The SVG and SVGE editorial teams were out in full force at IBC 2024, covering the biggest sports-technology news and delivering daily live roundups. Here is a look at the news from exhibitors in Halls 9-12.
Featured in this roundup are Arista Networks, Astro Design, BCE, Black Box, Blackmagic, Cerberus Tech, Clear-Com, Cobalt Digital, Eluvio, Fujifilm, Grass Valley, Hitachi, Ikegami, Leader, Marshall Electronics, MRMC, MultiDyne, Pixellot, Qvest, Reuters Imagen, Ross Video, RTS Intercom, Shure, TATA Communications, Telemetrics, Vindral, and Wohler.
Arista Networks (Stand 10.A25) is on hand at IBC with products and a technology that is increasingly critical: switching infrastructures. The company, says Albert Faust, media technology expert, Arista Networks, is seeing more and more use of 800 Gig for large-scale infrastructures. “We don’t have cameras or devices running at 800 Gig,” he notes, “but we are seeing things like what would traditionally be a 25,000×25,000 router being brought into play. We are also seeing smaller, fanless routing for things like audio. So we are continuing to broaden our product line.” Faust also sees AI playing a role in Arista switching technology, most notably for things like security — by being able to detect nefarious activity on the switch by identifying odd connections (like a Polycom in North America to something in North Korea) — and risk validation. “When you have a large and complex network, relying on one person to make all the right configurations is hard. With AI, you can stop the conversation between two switches and make sure the operator wants to make the change. That protects the technician.”
Astro Design (Stand 9.A11) is worth a stop for attendees seeking the ultimate in image extraction. The company is coupling its AB-4815 8K 120-Hz portable camera with the IP-4042 Realtime ROI Extractor. The extractor can pull four 1920x1080p cutouts simultaneously from an 8K image, and the extraction movements can be programmed to match the speed and touch of how a dedicated human operator would move or pan. It also can detect up to 50 people for extraction. According to Furuta Ryoji, executive officer, international sales, Astro Design, the system will be available next year.
BCE (Stand 10.C21) is demonstrating its Media-as-a-Service offering. Provided as an online platform, it is populated with a range of apps: remote-commentary service Holovox, which was adopted by the Basketball Champions League to boost remote voice-over capabilities; Playit, for cloud-based TV-channel management; Freecaster, for streaming live events and VOD content; and NxP, for content exchange and distribution. Says BCE COO Frédéric Fiévez, “Rightsholders trust us to manage technical aspects of a production from glass to glass.”
Black Box (Stand 10.C23) is spotlighting its Emerald Unified KVM-over-IP products built to offer secure, flexible, and scalable workflows with low IP bandwidth usage. Emerald devices facilitate easy integration with H.264/265 video feeds, media controllers, automation systems, and other systems and provide access to physical servers, the public and private cloud with PCoIP Ultra support, and collaborative virtual-machine (VM) sharing. Also on the stand, the company is presenting other features of the Emerald portfolio, including Emerald DESKVUE, Emerald DESKVUE PE, and Emerald AV WALL.
Among the new products that Blackmagic (Stand 7.C49) is exhibiting, 12K and 17K cameras are well-suited for such situations as putting one camera at midfield to capture the whole field, cropping into the frame, and deriving a multicam production out of one camera. Says Simon Westland, director, sales, EMEA, Blackmagic, “We’re also showing a new immersive camera called URSA Cine Immersive, which is coming and is an 8K stereoscopic camera for productions for Apple Vision Pro. That opens a whole load of opportunities for sports. Then we have the postproduction technology with DaVinci, the only commercial end-to-end system to do immersive content for Apple Vision Pro and other formats moving forward.” There has also been a lot of interest in Blackmagic’s Replay system, he adds, which takes advantage of the cloud to provide a fully scalable system.
Clear-Com (Stand 10.D29) is a must-stop for anyone looking to revamp intercom systems. As productions are increasingly decentralized, intercoms are more critical than ever, and a major upgrade to the Eclipse Version 14 matrix system is on exhibit. Says Kari Eythorsson, product manager, Clear-Com, “We can now do integrated SIP directly into the system and have interconnectivity to our intercom user station, key panels, and wireless beltpacks in one very slick package. We are the only ones who take SIP directly into the machine.” Also check out the Arcadia Central Station, a system allows flight packs or OB trucks in the field to connect to the central station and home as Arcadia connects to the main system at the production plant if needed. And Clear-Com’s Cloud service allows up to 384 users on apps on mobile devices, tablets, or computers to be connected via the cloud. The system can also connect to a ground-based system via Clear-Com’s LQ interfaces.
Cobalt Digital (Stand 10.B41) has an IP multiviewer with a 48-thread processor allowing up to 48 PIPS. “It makes use of both software and the Nvidia GPU,” explains Monte Variakojis, VP, software, Cobalt Digital, “so it has a good technology base.” Also a standard SDI router supports legacy and modern protocols as well as two types of control panels: the Wave CP78, which has membrane keypads that are already marked, or the CP84L. “The L stands for LCD screen, and the user can control what is on the LCDs,” adds Variakojis. “There is a 32×32 version and a 64×64 version, and both a 1RU and a 2RU version.”
Eluvio (Stand 14.AIB10) is demonstrating its full-stack solution for live streaming, PVOD, FAST channels, and video-archive monetisation at scale and also sharing details of new customers and partners. As part of the expansion of its European business, the company has appointed Glenn Broere EMEA commercial director and launched the Content Fabric operations team in Europe to support its growing streaming and archive-monetisation business. Eluvio is also discussing its work with European Professional Club Rugby and a new solution partnership with Videon focused on Eluvio’s growing of live-sports-streaming business through the Content Fabric.
Fujifilm (Stand 12.B20) is highlighting the new DUVO HZK 14-100mm T2.9-3.9 portable PL-mount zoom lens. Like its predecessors, DUVO HZK25-1000mmF2.8-F5.0 PL-mount cinema box lens and DUVO HZK24-300mm T2.9-4.2 portable PL-mount zoom lens, the newly available DUVO 14-100mm produces a cinematic look with the ease of broadcast-lens operation. It supports dual large image sensors, covering 14mm at the wide angle to 100mm in Super 35mm and 21-150mm in large format with its built-in 1.5X expander. The lens achieves 7.1X zoom and at 266.9mm length and, weighing only 2.54 kg, is the smallest and lightest in the DUVO Series.
Grass Valley (Stand 9.A01) has launched the LDX 110 and LDX C110 entry-level cameras, which provide UHD capture at “the lowest possible price points,” says Grass Valley Chief Product Officer Adam Marshall. With a native UHD 2/3-in. CMOS imager equipped with Global Shutter technology, the cameras targets sports, studio, and entertainment productions. In addition, Grass Valley has expanded its K-Frame XP family with the K-Frame VXP, which provides “enterprise-grade production- switcher capabilities in a compact 5RU chassis” and is pitched at flypacks and smaller OB vans and small to mid-tier production events.
Hitachi’s (Stand 11.C10) major intros are 4K UHD cameras space, including ST 2110 functionality, and an upgradable HD-camera system for broadcast production and live events with a cost-effective path to 4K UHD. Also on exhibit is a next-generation 4K UHD box camera for a wide range of applications. The SK-UHD7000E, for example, incorporates three 2/3-in. global-shutter CMOS image sensors with native 4K resolution while minimizing unwanted artifacts, such as flickering and banding, that could otherwise occur in capturing LED walls. And the Z-HD6500 HD camera with Full UHD Sensors and BT.2020 prism is for customers seeking exceptional HD visual quality and cost/performance value for studio and live-production applications. The F11 sensitivity of 50 frames per second (fps) enables high-quality acquisition in reduced lighting, and a signal-to-noise ratio (SNR) of 62 dB delivers super-quiet images.
Ikegami (Stand 12.A31) has a new camera making its IBC debut, but its freshest introduction is the IPX-100, a full-featured IP-oriented mini base station. The unit includes a signal generator to allow ST 2110 system configuration before cameras are connected. On the day of the event, the cameras can be connected easily to the IPX-100 by a conventional SMPTE-hybrid fibre cable with up to 3.5-km cable extension. Because the camera head is powered by the IPX-100, there is no operational difference from a conventional fibre-cabled camera. According to Gisbert Hochguertel, product specialist, Ikegami Europe, it is compatible with all cameras in the Ikegami XE and HD series and is just 2RU high by half 19-in. rack width. “ST 2110-22 (JPEG-XS) encoding is available as a software option,” he adds, “an important feature allowing the data rate to adapt to the available IP bandwidth.” The HDK-X500 HD portable camera system, a new entry-level model in the Ikegami Unicam-XE family, can be configured easily for pedestal-mounted studio operation, tripod-based sports coverage, and shoulder-mounted outdoor production. Three latest-generation 2/3-in. CMOS sensors with a global-shutter architecture enable the camera to capture natural images even in challenging situations, and a pre-installed HLG opto-electronic transfer function conforming to ITU-R BT.2100 delivers super-HDR images. Also check out the OCP-500 camera-control system with Ikegami’s slimmest panel width to date, as well as the HLM-2460WA 24-in. and 18.5-in. HLM-1860WR 1920×1080 HD video monitors.
Leader (Stand 10.C01) has launched a quad-input waveform monitor with dual-independent screens for hybrid IP/SDI workflows. The LPX500, the first in a new range of video-analysis and -generation instruments, features simultaneous display of four 4K inputs, 4K and 2K inputs, HDR and SDR inputs, or SDI and IP inputs, plus dual 10GE, 25GE and 100GE inputs. “It’s the first jointly developed product of Leader and Phabrix teams,” Leader Sales Engineering/Technical Marketing Manager Kevin Salvidge says, “so it brings together Phabrix’s quality of service and expertise, and Leader’s quality of experience expertise. It’s also the first device with no physical buttons. We have seen more and more of the tapping and swiping generation becoming operators, so, rather than presets and buttons, this product has a fully customisable interface. It’s the next generation of test and measurement products, and we’ve had a very positive response to it. In addition, Leader is showing its Zen Series, which now enables a user to import an apply a 3D LUT to aid simplification of a single-layer workflow and allay fears of SDR’s being compromised. The software upgrade was made available in early September.
Marshall Electronics (Stand 11.A17) is rolling into Amsterdam with three new pieces of equipment on its PTZ camera catalog. The new trio — CV612, CV620, and CV625 — bolsters options for users looking to upgrade broadcasts with behind-the-scenes access. The CV612 features the ability to automatically place the subject in focus as the center of attention with AI facial recognition. The CV620 has a 57-degree field of view, supports broadcasts up to 1080p/60, and is outfitted with a high-quality Sony sensor, mic and line-in audio options, and a range of IP protocols: RTSP, RTMP, RTMPS, SRT, and MPEG-TS. The CV625 taps AI facial learning but also has a high-performance 8-megapixel 1/1.8-in. sensor to capture crisp high-quality UHD video.
MRMC (Stands 11.C28, 12.C20) is showcasing its robotic and AI solutions for remote production. MRMC Sports Broadcast Manager Marius Merten says, “Today, we are looking into robotic automation and are currently working on a game-changing solution of a complete AI workflow for sports broadcast, which we’re looking forward to announcing in a few weeks.”
MultiDyne (Stand 11.C12) arrived at IBC 2024 with a 10-Gig fiber extender that can also do POE into Ethernet. Also on display are the MDoG-6060 and MDoG-6061 ST 2110 IP gateways. Also available, a version for JPEG-XS codecs can handle up to 10 cards per frame and, depending on the rear-module selection, can be used for HD or 4K workflows. There are frame syncs on each input, in-band NMOS status and control, and DashBoard status and control. An openGear card can also act as a base station for MultiDyne’s camera adapters and, in one frame, it can handle three 4K cameras.
Pixellot (Stand 7.C24) is continuing its extensive work in AI-based live sports production. Solutions that enable a complete end-to-end broadcast at a cost-effective price point target shows of all sizes — from high school athletics to collegiate sports. With support from NBC Sports NEXT’s SportsEngine in the U.S., the company is building off successes experienced over the last year to make more inroads. This is also being done through enhanced fan engagement and insights driven by rich data.
Qvest (Stand 10 C.24) has teamed up with NVIDIA on a series of gen-AI solutions focused on metadata tagging, content creation, and content discovery, with the aim of creating new opportunities for revenue generation, customer engagement, and operational efficiency. Christophe Ponsart, EVP/applied AI practice co-lead, Qvest US, expects collaboration with NVIDIA, a leading AI-capabilities and -technology platform, to enable Qvest to quickly deliver use cases for media and entertainment companies.
AI is everywhere at IBC 2024, with plenty of examples showing where it can be used to enhance everything from product development and data analysis to content creation and media distribution. Occasionally, it is simply just a marketing tool. For Reuters Imagen (Stand 5.A35), it is most certainly the former. The company’s AI-driven content library makes use of multimodal video-data analysis, looking at multiple inputs —faces, text, objects, logos — to decipher what it can see. The company believes this makes video and rich media infinitely more searchable. A year after Imagen was acquired by Reuters, the combined teams are also talking about how they bring together their technologies, enabling sports and media customers to transform content workflows.
Ross Video (Stand 8.B91) has launched a compact professional UHD production switcher in a cost-effective package. Carbonite Ultra Solo is positioned as an ideal choice for HD/UHD flypacks, space-constrained production facilities, or mobile units. It’s available in two versions: an all-in-one system with frame and control-surface electronics in a compact unit, and a 1RU frame that can be controlled by separate hardware or a software-based control panel.
RTS Intercom (Stand 11.D09) is displaying its new PH+ series of deluxe, ultra-lightweight passive noise-reduction headsets designed specifically for broadcast professionals. Designed for directors, floor managers, and camera operators, the PH+ series features the company’s advanced passive noise-reduction capabilities, reducing fatigue and allowing clearer communication even in noisy environments. Large ear cushions provide a superior acoustic seal, ensuring that ambient noise is minimized while conversations and critical sounds remain audible. Also be sure to learn more about the RTS NEO Intercom Management Suite, the next-generation software ecosystem designed for faster, more flexible configuration of OMNEO-based RTS intercom systems. The software supports ADAM, ADAM-M, and ODIN matrices, as well as OMS from the RTS Digital Partyline family.
Shure (Stand 8.C32) is showcasing its Wireless Multichannel Audio Systems (WMAS) technology. The new ETSI standard is designed for multichannel-audio applications integrating wireless microphones, IEMs, and other audio applications into one radio interface. A more spectrally efficient wireless-microphone technology, it can be used in parallel with existing narrowband devices when a high number of audio links is required. Says Tuomo Tolonen, senior director, global marketing development, Shure, “WMAS gives us a much more flexible set of rules. It opens the door for innovation for manufacturers.”
Telemetrics (Stand 12.G43) is showcasing quality camera robotic pedestals, tracks, and controls, featuring tracking technology improved with the addition of ultra-wideband tracking. “In addition to facial and object tracking for our reframe feature,” explains Telemetrics VP Michael Cuomo, “we can now have ultra-wide-band sensors, giving us three layers of tracking capabilities.” UWB, a small sensor about the size of a deck of playing cards, can be placed into the pocket of talent or onto objects, and the cameras will track that sensor, even if it is off camera. Telemetrics is also showing its TG-5 Teleglide track, which can be recessed into the floor, eliminating worry about someone’s tripping over it.
Wohler (Stand 10.B12) is rolling out the iAM1-MIX8 multi-source mixing audio monitor, which offers the ability to sum, mute, and solo channels in eight mono or stereo cluster configurations for monitoring purposes and to create a mix as a new output with operator-adjusted cluster trim levels. “It has a 7-in. touchscreen as well as physical knobs,” notes Amol Natekar, VP, engineering, Wohler. “It’s great for non-technical operators who want to quickly use the unit.” This next-generation model comes MAVRIC-ready and standard with 3G-SDI and a pair of analog I/Os, with upgradable options that include support for SMPTE ST 2110, SMPTE ST 2022-6, AES3, and MADI. Additionally, multiple rear-panel option cards provide support for AES67, Dante, and RAVENNA (with hitless support), additional analog inputs, additional SFP inputs, and 12G-SDI (including support for remote video monitoring with MAVRIC).
In collaboration with TATA Communications, Vindral (Stand 14.H06) is exhibiting a broadcast workflow seen during SailGP’s 2024 New York Sail Grand Prix June 22-23. It builds on work done at the New York City Marathon in April and the Tour of Britain in September. For live production of a sports event that didn’t take place in a building with existing infrastructure, the company played an integral role of providing 28 total feeds — two camera feeds from the 14 participating vessels — as well as video signals from the overhead helicopter and the world feed with low-latency and in synchronization with each other. The solution was imperative to keep fans at the event up-to-date on the action taking place on the water. Another aspect of the workflow was the need for quick channel switching, which allowed users to jump from vessel to vessel instantaneously without buffering or lagging.
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