In Broadcast - November 2015 - 26


26

www.inbroadcast.com | Vol: 5 - Issue 11 | November 2015

InStudio

Developments In
OB Technology - Part I
Developments in OB are moving at pace with new tools for 4K/UHD making regular live
transmissions a reality, writes Contributing Editor Adrian Pennington...

T

he broadcast chain has many links
that must be in place, and key
technologies are now opening up the
playing field for more creative editorial
and workflow options for 4K / UHD
productions...
Cameras
UHD technology has now reached
critical mass for production use. All
that's required is a commercial case
to send channels to the consumer.
Helping to reinvigorate camera sales
and drive 4K adoption has been the
advent of a series of systems models
which can utilise 35mm sensors for
UHD yet accommodate 2/3-inch lenses,
allowing legacy lenses to be mounted.
That has allowed stations, networks
and mobile truck operators to
repurpose expensive long lenses and
motorised box zoom lenses on new
cameras that deliver 4K and 8K. This
breakthrough means users don't have
to dump their 2/3-inch inventory for
new 35mm ones.

The latest update
for the Sony HDC-4300 will provide
4K/100p shooting and S-Log 3 output

Leading the charge were Hitachi and
Sony. Sony's HDC-4300 will have a
software upgrade v.1.1 due in October
to enable 4K/100p shooting and S-Log
3 output. The cameras were used
for the 4K production of the UEFA
Champions League Final in Berlin in
June.

"...if you look at sports
today, four to six [4K]
inputs is key"
Mike Cronk
GV Senior VP Strategic Marketing

Others vendors have followed suit.
Grass Valley LDX 4K/UHD cameras,
which take B4 broadcast lenses and
have the depth of field required for
sports production, are joined by GV's
Dyno Universe, claimed as the only
server that can do four 4K inputs
and two outputs. "That's significant
because if you look at sports today,
four to six inputs is key," says Mike
Cronk, GV's Senior VP Strategic
Marketing. "Others can only do one
or two 4K inputs, which impacts
rack space and operational
budgets."

Grass Valley LDX 4K/UHD
cameras take B4 lenses

Ikegami's new 4K shooter, designed
for studio and trucks, also uses a 2/3inch sensor. The Unicam UHD uses 4K
native 8MP CMOS chips and
traditional prism optics to
provide the deep focus
favoured for broadcast
sports.
Uncompressed
RGB 4:4:4 baseband is
delivered for the camera
head to the newly designed 4K UHD
base station to ensure transmission
quality.
Also new is Ikegami's BS-98/CCU980 hybrid 2K/4K rack-mountable
optical fibre link. This delivers HD and
UHD signal simultaneously, so that
users can employ existing HD cameras
and accessories, including lenses, for
4K productions as economical bridge
equipment. Further innovation from
Ikegami is a single dark fibre cable
which can carry multiple HD or 4K
signals over distances up to 40km. The
signal is packetised at less than 200
microseconds point to point, based on
a new type of SFP module.

The FOR-A FT-ONE-S 4K high speed
camera can shoot 360fps and is
smaller and lighter than its
first incarnation. It features
a
removable
camera head
to allow for
different
shooting
positions and
angles.
As
the
camera links operators
both optically and via
an intercom, users can shoot in
the field with up to 1km distance
between the unit and base
station.
Also from For-A
is Insight, a new
multi-channel
video
server
that supports
a
range
of
wrappers and codecs. Designed for
studios and OBs, it supports up to
four SD or HD channels and can be
configured as a single 4K channel. The
company's HVS-2000 switcher boasts
48 inputs and 23 outputs, 12 DVEs, 12
keyers and is considered well suited to
deployment in OB trucks and studios.
HDR Tests
The potential to offer High Dynamic
Range (HDR) in live broadcasting is
considered by many to be a 'must
have' to convince consumers to
upgrade their TV set or a new UHD
service. For little to no additional
bandwidth, viewers can see a
difference over normal HD at any
viewing distance.
The main outside broadcasters
including Visions, Telegenic and
Arena, are testing HDR for clients
including BT Sports. At IBC, Delia
Bushell, Managing Director at BT TV
said that the company is looking to
add HDR capabilities to its Ultra HD 4K
channel within two years.
How might live HDR broadcasting
be handled? Technicolor has a new
server-based version of its Intelligent
Tone Management software that

Ikegami's Unicam
UHD 4K camera
has a 2/3-inch
sensor

scales standard dynamic range source
material (such as 4K 60p) for HDR use.
The aim is to allow sports or live event
productions to continue to use current
cameras and infrastructure at a venue,
with the upscaling occurring on the
final output mix.
Importantly, the upscaled signal is
routed through an Elemental encoder
which spits out a single stream that
can be received in HDR and SDR, which
for a broadcaster reaching the mass of
households with plain old SDR screens
is a must.
"You can't justify the cost of running
two infrastructures so the distribution
system needs to be combined,"
says Mark Turner VP, Business
Development & Relationships. "The
cheapest way of implementing HDR
live is for the mix to happen as
normal with the final mix upscaled.
OB engineers can adjust the settings
in real-time or apply different HDR
settings to different sports."
Dolby offers an alternate route to
HDR. It has worked with Grass Valley
to introduce a process for individual
camera feeds. Grass Valley has a
XDR software-upgrade option for all
LDX 86 Series cameras working in
single-speed formats (HD/3G/4K).
This is claimed to deliver 15 F-stops
of sensitivity to the home with a
suitably equipped HDR set. At IBC the
feed was encoded along with the HDR
information by a Muse Live encoder
in from Envivio (now an Ericsson
company). A licence upgrade from
Grass Valley is required to unlock it on
all LDX series, plus you need a monitor
to view it on - and Dolby has those.


http://www.inbroadcast.com http://www.ikegami.de/news_detail/ikegami-experiences-rapidly-growing-interest-in-4k-and-8k-uhd-at-nab-2015.html http://www.grassvalley.com/products/ldx_86_4k http://www.sony.co.uk/pro/product/HDC-4300/

Table of Contents for the Digital Edition of In Broadcast - November 2015

In This Issue
In Broadcast - November 2015 - Intro
In Broadcast - November 2015 - Cover1
In Broadcast - November 2015 - Cover2
In Broadcast - November 2015 - In This Issue
In Broadcast - November 2015 - 4
In Broadcast - November 2015 - 5
In Broadcast - November 2015 - 6
In Broadcast - November 2015 - 7
In Broadcast - November 2015 - 8
In Broadcast - November 2015 - 9
In Broadcast - November 2015 - 10
In Broadcast - November 2015 - 11
In Broadcast - November 2015 - 12
In Broadcast - November 2015 - 13
In Broadcast - November 2015 - 14
In Broadcast - November 2015 - 15
In Broadcast - November 2015 - 16
In Broadcast - November 2015 - 17
In Broadcast - November 2015 - 18
In Broadcast - November 2015 - 19
In Broadcast - November 2015 - 20
In Broadcast - November 2015 - 21
In Broadcast - November 2015 - 22
In Broadcast - November 2015 - 23
In Broadcast - November 2015 - 24
In Broadcast - November 2015 - 25
In Broadcast - November 2015 - 26
In Broadcast - November 2015 - 27
In Broadcast - November 2015 - 28
In Broadcast - November 2015 - 29
In Broadcast - November 2015 - 30
In Broadcast - November 2015 - 31
In Broadcast - November 2015 - 32
In Broadcast - November 2015 - 33
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In Broadcast - November 2015 - Cover4
In Broadcast - November 2015 - S1
In Broadcast - November 2015 - S2
In Broadcast - November 2015 - S3
In Broadcast - November 2015 - S4
In Broadcast - November 2015 - S5
In Broadcast - November 2015 - S6
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