IBC 2022 in Review, Part 2: Halls 8-13 Featuring Canon, Grass Valley, Lawo, Riedel, Ross Video, Sony, and More

Also news from Calrec, Cobalt Digital, EVS, Gravity Media, and Telos Alliance

The SVG and SVGE editorial teams were out in full force at IBC 2022, covering the biggest sports-technology news and delivering daily live roundups. Here is a look at the news from exhibitors in Halls 8-13.

Featured in this roundup are Advanced HDR by Technicolor, ARRI, ATOMOS, Calrec Audio, Canon, Cartoni Camera Supports, Cobalt Digital, Eluvio, EVS, G&D, Grass Valley, Gravity Media, Lawo, Leader Electronics, Marshall, Mo-Sys Engineering, Pliant Technologies, Q5X, Riedel, Ross Video, RTS Intercom Systems, Sennheiser, Sony, Telemetrics, Telos Alliance, TSL, Waves Audio, and more.


Aeta Audio Systems (Stand 8.F83) is exhibiting the new Scoop6 double IP mono codec. Following in the footsteps of the Scoop5s rack-mount audio codec, the new unit is more compact and allows users to combine many codecs into one 19-in. rack unit. “Just like we’ve upgraded Scoopy+S into Scoopy Flex, we have modernised Scoop5s with Scoop6. Our job is to offer top-quality technology that lets users benefit from the most advanced features and versatility on the market, may it be in remote connections or in the studio,” said Aeta Audio Systems GM Yann Vonarburg.

Aeta Audio Systems (Stand 8.F83) is taking commentary to the next level with its 5G-enabled product line. Said GM Yann Vonarburg, “At Aeta, we’ve always been ahead in terms of mobile, and we’re on the same track with 5G. All our latest products are 5G-enabled: just put a SIM card in and you’re good to go. We’ve got our fourth-generation ScoopyFlex here on the stand. It’s built to be flexible and can take two mics, so it’s good for small sports events where you only have two commentators; for bigger events, you just put it into its docking station, and you have the capability to do four commentators.”

Calrec Audio (Stand 8.B57) is unveiling a brand-new audio-mixing system designed to keep pace with the changes broadcasters are experiencing in production workflows. Designed to adapt to changing production needs, Calrec Argo is a new approach to audio mixing, with a flexible control philosophy that breaks the traditional geographic tie lines between processing and control, according to the company. Calrec VP, sales, Dave Letson said, “As broadcast infrastructures migrate to new environments, broadcast consoles need to work in different ways to ensure that they remain a safe investment. On Argo, Calrec’s Assist GUI is central to the operation of the console and is directly transferable onto a browser to provide portability, backup, and on-the-fly configuration in remote locations.”

Content Blockchain pioneer Eluvio (Stand 8.M54) showcasing the Eluvio Content Blockchain, a complete and open decentralized utility network for Web3 media. Examples of companies and creators whose content blockchain initiatives have been powered by Eluvio include Fox, MGM Studios, Microsoft, Sony Pictures, WWE, The Masked Singer, Dolly Parton, Black Eyed Peas, Rita Ora, and independent filmmakers. Just ahead of IBC, Eluvio was selected as the platform behind the Web3 film experience for the upcoming film The Real Cannonball Run, which will tell the true story of the legendary coast-to-coast automotive protest race across America.

Eluvio also held a supersession symposium on Web3 Media attended by 76 people with use cases for decentralized content distribution (50x more efficient than today’s CDNs and Web3 native) including live, on demand and interactive content. Uses covered supply chain transformation, token-gated content, interactive live events with Web3 offers, and personalized media NFTs including the WWE Moonsault Dynamic Video Collectibles experience.   The full event agenda is here:  https://live.eluv.io/community. Executives from MGM Studios, Microsoft/Contend, The RealCannonballRun, and Cirkay/UMG presented on how they are using the Content Blockchain with benefits in scale, efficiency, and new engagement / monetization capabilities.  Moonsault was recognized by TV Technology as a “Best of Show” product.

G&D (Stand 8.B89) will headline its presence in Amsterdam with the new high-performance KVM-over-IP extender VisionXS. The product allows switch functionality to manage multiple target IP addresses from up to 20 computer sources on one device. The PersonalWorkplace-Controller will also be display at the RAI. The tool enables users to display up to 26 video sources on a single monitor.

Lawo (Stand 8.B90) is showcasing the latest additions to its IP video infrastructure offerings. In its European debut is .edge, an SDI-to-IP interface that includes a JPEG XS compression module for Lawo’s V_matrix platform. The company is also exhibiting new features, such as health monitoring, for its Home IP-management platform. Noting what it feels like to be back at IBC, Lawo CMO Andreas Hilmer said, “This show is about meeting people, and it’s so good to finally be able to that that again in immersive 3D! We’ve been completely blasted on the stand since the show opened; it’s going brilliantly.”

Mo-Sys virtual production

Mo-Sys Engineering (Stand 8.A49) is focused on virtual production. Its message coincides with the release of MoRail, a motorized and cost-effective creative pan-tilt-zoom (PTZ) camera rail system for ENG movement within newsroom environments. Within this setup, customers will receive a device to customize the height of the rail and camera position as well as focus and iris control. In addition, Mo-Sys is working toward becoming a viable conduit for real-time broadcasts in the virtual space through a live demonstration at its stand at the RAI. In partnership with European manufacturer Alfalite, a multi-camera setup — orientated and positioned by Mo-Sys StarTracker Max — will be siphoned through Mo-Sys VP Pro XR software, which builds on the power of Epic Games’ Unreal Engine rendering to create a seamless augmentation of real and virtual elements.

With everyone looking to bring fans closer to the action, placement of miniature microphones on players and officials is a growing trend. According to Q5X (Stand 8.B47) CEO Paul Johnson, IBC 2022 is the first time his company has been able to demonstrate digital player microphones in Europe. “It’s a result of our collaboration with Shure, and it has been very popular with the NBA, which adopted it for their coaching microphones,” he said, “It’s attractive for two reasons: it allows encryption, which is important, but also, with the density of signals in the spectrum, we can put in more frequencies and channels.” The company is also exhibiting a new clip that makes it easier to quickly connect miniature mics.

Salsa Sound (Stand 8.B77c) is highlighting three demos. One is a world-first automated MPEG-H production showcasing true object-based audio. In partnership with Fraunhofer, Salsa Sound has implemented the MPEG-H authoring tool with MixAir, its AI-driven automatic–audio-mixing solution for live sports coverage to allow automated MPEG-H production. Said co-founder Rob Oldfield, “You can interact with the audio to create audio personalisation and it’s all done automatically in MixAir. We’ve been talking about personalisation for years, and it’s amazing to actually be able to show this for the first time.” Salsa Sound is also showcasing 360 immersive football in partnership with BT Research and Innovation and BT Sport, based on part of the 5G Edge-XR project. “We’re doing adaptive immersive audio so the audio matches the video, SAID Oldfield, “so you can experience sound in different parts of the stadium; as you move, the audio follows. This is important because, without the audio matching the visual perspective, it’s just not as compelling. If the visuals are interactive, the audio needs to adapt accordingly so the viewer buys into it. This is volumetric audio.” In addition, MixAir is being demonstrated with an as-live sport production showing AI auto mixing stems and multiple output formats.

Along with plenty of microphones and other gear, Sennheiser (Stand 8.D50) is showcasing its efforts in transforming immersive audio. The big offering is AMBEO, a two-channel spatial audio unit that translates an original immersive mix into a two-channel mix. “We’ve licensed it to Netflix,” says Renato Pellegrini, AMBEO project leader, Sennheiser, “and they use it to take Dolby Atmos mixes and bring it to two channels for people that listen to content via their TV speakers, laptop, or tablet. This can also be useful for sports and be a big game-changer because it brings the work done for an immersive production to everybody rather than just those who have an Apple spatial audio system.” Also on exhibit is a workflow for mixing audio for VR while wearing a VR headset, ensuring that the audio mix best meets the viewer’s experience. Adds Pellegrini, “It’s a very easy way to do the mix properly where there are moving sources and other things.”

The Telos Alliance (Stand 8.A44) has its own stand but is also participating in the Grass Valley (Stand 9.A01) and AWS (Stand 5.C80) exhibits, where the Telos Infinity virtual intercom platform is demonstrated on the Grass Valley Agile Media Processing Platform (AMPP) and on AWS, respectively. Meanwhile, the Telos Alliance exhibit features a team of audio and broadcast experts ready to collaborate with visitors on projects and concepts, as well as providing insights into how hardware, software, or a hybrid combination allows them to enhance capabilities or solve problems in their facilities. “As we continue to provide more solutions to the industry,” says Marty Sacks, EVP, sales, marketing and strategy, Telos Alliance, “IBC 2022 is the perfect event at which to showcase our continued work across a wide range of file-based and real-time media workflows, including virtualization to empower our customers to broadcast without limits.”

WorldCast Systems (Stand 8.C58) is launching the Ecreso FM 1kW transmitter from the AiO Series In the compact form of a 2RU FM transmitter. It is said to deliver the highest efficiency on the market. In its standard operations, broadcasters benefit from up to 76% efficiency (AC to RF), and, when the patented SmartFM technology is activated, they can further reduce energy consumption by up to 40%, according to WorldCast. “Our mission is to provide our customers with the most advanced solutions that reduce their operating costs while supporting them in delivering the best FM service to their listeners. With the new AiO Series, we have breached a major milestone for achieving the lowest total cost of ownership in FM transmission,” said David Houze, product manager, Ecreso, WorldCast Systems.

Worldcast (Stand 8.C58) has launched Version 4.7 of Kybio, which includes an umbrella feature allowing a single instance of Kybio to monitor other Kybio instances and thus provide visibility over a decentralised team., “We came out with this feature out of the needs of our customers,” said Cyrus Uible, application engineer solution architect, Worldcast Group. “For distributed teams and, off the back of COVID, remote teams, this gives central management a way to get their fingers on everything.” Kybio also now has built-in self-monitoring, which provides an overview of the health of the system and allows problems to be stopped before they arise. Noted Uible, “The big [problem] is running out of disc space or being resource-starved. It gives you some visibility over that sort of issue.”


Grass Valley is occupying all of Hall 9 this year. Although announcing several new pieces of physical hardware, its IBC 2022 press conference on Thursday focused squarely on AMPP (Agile Media Processing Platform) and the company’s continued push toward the cloud. In terms of physical equipment, introductions at IBC 2022 include the new LDX 135 camera, a significant upgrade to the Kula switcher, new Kaleido-IP multiviewer, and Sirius router models. AMPP has 24 new applications and more than 80 platform enhancements as the company looks to help customers transition into the next generation of live production — whether that’s on-premises, remote, or fully in the cloud.

Waves Audio (Stand 9.A01) is on the Grass Valley stand promoting its inclusion in the GV Media Alliance, a group of media organisations dedicated to providing fully tested, integrated solutions for media workflows running on-premises or in the cloud. The validation means that the Waves Cloud MX audio mixer can connect with Grass Valley’s AMPP (Agile Media Processing Platform) system and provide audio-mixing and -processing abilities injected into the AMPP’s workflow. Visitors can see a demo of the integration in action.


Advanced HDR by Technicolor, exhibiting at the Cobalt Digital stand, is demonstrating production features integrated with Cobalt Digital processing.

Advanced HDR by Technicolor is displaying the latest advances in SDR-to-HDR conversion at multiple stands at the RAI. Infusing automation into the process, the company also enables backward compatibility while maintaining the creator’s original intent. Partnering with Cobalt Digital (Stand 10.B44), Advanced HDR by Technicolor is demonstrating production features seen within Cobalt Digital’s 9904-UDX-4K processing card. In addition, the team at BBRight (Stand 2.B39) is highlighting features integrated in its playout solutions.

Arkona Technologies (Stand 10.B10) is exhibiting the AT300 dual 100GE edge compute processor. Said Former Lawo SVP Erling Hedkvist, who joined Arkona shortly after NAB 2022 to lead sales and marketing efforts, “With up to 96 UHD instances per rack unit, the AT300 is the highest-density 4K HDR solution on the market while being more energy-efficient than the previous generation.”

Cobalt Digital (Stand 10.B44) is celebrating its 25th anniversary here at IBC. Said Suzana Brady, SVP, worldwide sales and marketing, Cobalt Digital: “We started out with a small SDI-to-analogue converter box from NEP, and, 25 years later, we have hundreds of products. We founded openGear with Ross Video in 2006 and today have over 40,000 frames deployed and many thousands of Cobalt processing cards. And it’s great to be back here at IBC with our friends and partners to celebrate.”

Cobalt Digital (Stand 10.B44) is demonstrating its Indigo 2110-DC-01 SMPTE ST 2110 solution on its 9904-UDX-4K card. The new option offers support for high-density native-4K ST 2110 audio and video processing on an openGear form factor. Indigo 2110-DC-01 is a highly integrated factory option that includes dual 25G Ethernet interfaces and now supports uncompressed 4K on the company’s 9904-UDX-4K card. Support for ST 2022-7 seamless redundancy switching is incorporated for improved network reliability; support for IS 04/IS-05 NMOS offers automatic discovery and configuration. The included support makes interfacing to an existing network very straightforward, as the devices are auto-discovered by the network management and made available for interconnection.

Cyanview (Stand 10.D31b) is demonstrating its new Rio Live solution, a camera-mounted addition that facilitates shading and tally across a diverse range of D-Cinema cameras, camcorders, and mirrorless cameras in multi-camera live productions. The unit can be coordinated with an extensive range of cameras to facilitate remote control. The range of cameras supported and the flexible connection options available enable producers and creatives in both broadcast and pro-AV markets to deploy complex camera setups; this is fundamental when using large-sensor D-Cinema cameras with PL zoom lenses and 3D LUTs and ensures that a specific, consistent look — usually achieved in postproduction – can be secured across the cameras, even in live productions and while streaming.

Domo Broadcast Systems (Stand 10.D40) has announced the release of DBS IP-Mesh Backbone, the sought-after solution that lets broadcasters centralise control of their wireless devices on a single RF channel. “With DBS IP-Mesh Backbone, the production team can monitor the performance and connectivity of their wireless assets from one central location — from any node in the network via any common web browser,” said Stuart Brown, commercial director, Domo Broadcast Systems. “Because less kit needs to be attached to cameras, it improves on rigging time, reduces the weight of camera units, and decreases the amount of kit that needs to be transported to broadcast-event locations.”

Domo Broadcast Systems (Stand 10.D40) is showcasing Onyx HEVC, a broadcast-quality H.265 encoder offering compression ratios on video resolutions up to 4K UHD. It is suited for remote-production applications over leased lines or satellite, handling 4X HD or 1X UHD 4K feed with ultra-low latency. Said broadcast systems integrations director Stuart Brown, “The whole industry is moving to remote production. We’ve developed a plug-and-play platform to allow customers to do remote productions easily. It’s a modular system, but a single box allows you to plug in four cameras, and they don’t have to be the same format or synchronised. You can also very easily stack these up to a 16-camera OB without a serious engineering effort.”

EVS (Stand 10.A25) has three years of innovation on display, beginning with the XtraMotion cloud-based service that can take regular-speed video and turn it into super-slo-mo. “We don’t need to be connected to a super-motion camera,” says EVS CMO Nicolas Bourdain. “We are also demonstrating a proof of concept to add channels in the cloud. With the LSM-VIA server, you can activate additional channels for things like a PTZ or GoPro camera. And, instead of using server channels, you can browse the channels using the LSVM system. It’s a full SAAS model, where our customers will buy credits and use for integrating those cameras.” Also on display are other new LSM-VIA features, such as multi-review across multiple servers, along with EVS’s balanced computing efforts and the latest developments in the Cerebrum broadcast-control and -monitoring system.

Gravity Media (Stand 10.A45) is on hand to discuss its wide range of production services, facilities, and OB trucks, along with details about a new production facility it will build in west London. “That will be a transformation for us,” said Eamonn Dowdall, executive officer, Gravity Media. “We already have a London production center, but it is working to capacity, and we’re here to talk about where production is going.” Learn more about Gravity’s full service of offerings around the globe as well as recent accomplishments, such as being a key technical backbone to the US Open tennis tournament currently taking place in New York City.

Hitomi (Stand 10.A42) is demonstrating its established MatchBox timing-alignment tool to show how it can help measure latency as well as lip sync. The European debut of MatchBox’s latency capability is powered by the addition of use of time of day as the measurement reference, on top of the existing lip-sync capability, which uses signal as a reference point. Said Hitomi co-founder Russell Johnson, “There are more and more immersive experiences in sports coverage; all sorts of things get added in to make it look nice for the viewer. Also, the number of cameras being used for broadcast has risen. All of that adds delay, so we’ve given broadcasters a tool to enable them to measure latency differences caused by all these additions and have the evidence to prove it.”

Leader Electronics (Stand 10.C01) is demonstrating the latest additions to its wide range of broadcast measurement and monitoring equipment. “A key theme of the exhibit will be easing the SDI and IP transition from both a technical analysis and operational perspective,” said Kevin Salvidge, sales engineering manager, Leader Europe. “Since the IBC show in 2019, Leader has added an IP-specific product to its range of test and measurement products: the LVB440 IP analyser. We now offer a complete IP solution, ranging from the LT4610 and LT4611 PTP generators through the Zen Series LV5600 and LV7600 True Hybrid IP and SDI test and measurement instruments to the LVB440.”

Leader (Stand 10.C01), looking to help broadcasters make the most of HDR without compromising SDR output, is hosting a combined demonstration on its stand. The demonstration features Leader’s LV7600 and LV5600, with an AJ Colourbox using Cromorama’s Orion Convert. The result is broadcasters’ ability to optimise HDR and SDR output. Said Leader Sales Engineering Manager Kevin Salvidge, “Sport and HDR go hand in hand, but most viewers still watch TV in SDR. Broadcasters don’t want to damage that output while still going for a single pass on both HDR and SDR. This demonstration with Cromorama, AJA, and Leader will give broadcasters confidence to push HDR without compromising SDR; they can maximise the HDR quality. Using our waveform monitors, you can see SLOG3, HLG, PQ, and SDR.”

Phabrix (Stand 10.C01) is exhibiting multiple new hardware and software releases in its range of T&M tools. Headlining the rollcall of innovations is a portable addition to the Qx Series rasterisers in the form of the 3RU QxP, and NoVNC browser-based remote access and improved audio functionality are among the features of the latest software release (V4.7) for Qx and QxL Series rasterisers. Providing a portable and remote-application–friendly addition to the Qx Series, the QxP inherits the flexible architecture and extensive workflow support of the QxL.

Phabrix (Stand 10.C01) is introducing a portable version of QxL, the QxP. The brand-new QxP inherits the flexible architecture and extensive workflow support of the QxL rasterizer. It incorporates a 3RU multi-touch 1920×1200 7-in. LCD screen and is equally at home on-set in SDR, HDR, grading, and shading applications, as well as in QC, MCR, engineering, and R&D environments. The QxP’s extensive feature set is headlined by its capacity for 25GbE UHD IP workflows and its suitability for portable operation, thanks to an optional V-mount battery plate. Said CEO Phillip Adams, “We’ve made the QxL portable. We’ve launched it here at IBC and will be shipping it in November. At the point of launch, it will have all the QxL features but with 12 V, mains, and a battery option that can keep you mains-free for two to four hours.”

Pliant Technologies’ Gary Rosen

Pliant Technologies (Stand 10.C53) is exhibiting new audio hardware to serve this sector of the sports-video–production landscape. Making its IBC debut, CCU-08 CrewCom Control Unit is the latest addition to the CrewCom family. Offering features seen on the CCU-22 and CCU-44 product, this new iteration gives clients the chance to use up to eight 4-wire ports. The CCU-08 CrewCom Control Unit is capable of monitoring and maintaining any device across CrewNet regardless of radio-frequency bands in use. In addition, according to VP, global sales, Gary Rosen, new challenges confronting the company in the current age of production include the need to monitor individual frequencies so as not to interfere with other RF activations.

Qvest [Stand 10.C25] is targeting the unprecedented challenges that sports broadcasters are facing. Speaking from the show floor, Qvest CSO Christian Massmann cited a trifecta of issues faced by the industry: the need to invest wisely in current economic conditions, growing pressure to be sustainable, and the continued war for eyeballs on content. He said, “This is the first time our customers are struggling with these three things at the same time. All this is coming together now for numerous reasons. For broadcasters and streaming platforms, this is tough. They have a need to invest, but there’s an economic crisis, so they can’t increase their prices significantly. They need to maximise their content to stay attractive to customers and fulfil their net-zero objectives. We’re connecting the dots here and advising customers on all these areas.”

Riedel (Stand 10.A31) is celebrating acquisition of Simply.Live. Riedel CEO product division Rik Hoerée said, “The rationale behind this acquisition of Simply.Live is we want to move into the heart of the production and get in front of users. With the acquisition of Simply.Live, we get that position. We also want to offer a choice of deployment types for end users, from on premises to the cloud and hybrid, as well as a choice of business models: investment and subscription models and a utilisation-based model. What we bring to Simply.Live is the intercom part, that audio capability we have, which we can add to their portfolio. Also, our global presence.”

In addition to the acquisition of Simply.Live (Stand 11.B28), Riedel (Stand 10.A31) is celebrating its acquisition of SDNsquare (Stand 10.F40b). Riedel CEO Thomas Riedel noted of the two deals, “Both at their core are about technology. SDNsquare has a knowledge of orchestration in broadcast IT networks and that gives us another building block for the bigger picture. And Simply.Live is a very established company with their all-in-one-box production units for replay, remote multiviewing, and other applications. That gives us technology for remote production, cloud production, and all the buzzwords these days. Our portfolio is more complete with the same top-of-the-pyramid positioning we want, and we are getting great teams that will bring us to more than 1,000 people in the company.”

Riedel (Stand 10.A31) is showcasing its new Bolero 2.4 wireless intercom system. Although Bolero has been successful in taking intercoms from the often congested 2.4 GHz spectrum to the 1.9 GHz DECT band, the company is combining technologies to make 2.4 GHz a possibility for sports broadcasters: RF diversity, provided by a real-time processing DSP engine for multi-path reflection suppression for 2.4 GHz, with a multi-retransmit mechanism on top. “Bolero 2.4 GHz allows OBs to move across regions, unconstrained by DECT frequencies,” said Riedel executive director, product management Jake Dodson. “While DECT 1.9 GHz is a global standard, you can’t use it in places like China or South Korea. Before, 2.4 GHz never had the stability; you’d have congestion problems in stadiums or other close environments with more interference as it’s close to Wi-Fi. Not now.”

RTS Intercom Systems (Stand 10.B48) is using IBC 2022 to promote their work in multiple facets of the industry: efforts in IP, the cloud, and wireless capabilities and providing a digital interface for all clients. On the IP front, the company is diving headfirst into creating SMPTE ST 2110-enabled products that offer channel-by-channel selectivity, backwards compatibility, simplified native implementation, and OMNEO media-network architecture. Other solutions on hand at the RAI address glitch-free communications, redundancy, VLINK Lite, and more.

Tedial (Stand 10.D30) is introducing its smartWork next-generation, cloud-native, no-code media-integration platform to the EMEA media and entertainment market. Following the platform’s launch in April, Tedial is demonstrating new features for IBC that will improve business processes for media companies. Attendees will see how Tedial’s smartWork platform decouples the customary orchestration capabilities embedded in the systems that broadcasters have traditionally been using, such as MAM, DAM, PAM, and CMS. It offers a framework where all the systems are integrated in the same way, based on three key pillars: common interface, common data model, and common workspace, in which applications go to the media and not the media to the applications.

Responding to broadcaster requirements for cost-effective, networked audio monitoring, TSL (Stand 10.B41) is highlighting its complete portfolio of audio solutions, including MPA1, SAM-Q, and PAM offerings. SAM-Q-NET audio monitor is the company’s latest audio-product release and introduces SAM-Q advanced audio-monitoring capabilities to an IP-networked world, with native support for ST 2110-30 and ST 2022-7 and multiple control options, including NMOS. One of the benefits of SAM-Q-NET is that the onboard redundant 1G Ethernet connectivity vastly reduces the cost of deployment for audio-specific installations. “TSL can provide an audio-monitoring solution to fit within any environment and to suit anyone, from operator to engineer,” said Berny Carpenter, audio product manager, TSL.


ATOMOS (Stand 11.D25) is targeting attendees seeking new ways to get live content into the cloud for editing and other production needs. The company is showcasing latest developments in ATOMOS CONNECT devices, Cloud Studio services, and Capture to Cloud. The CONNECT system uploads a proxy, which makes editing instantly available, and a master file (up to 8K), which can have content swapped in for the final output. ZATO CONNECT connects to playout sources via HDMI and USB UVC, enabling live streaming to Facebook Live, Twitch, YouTube, or even custom RTMP destinations. It also provides transparent overlays, with .png files able to be uploaded and then, via presets, placed into the video frame where desired. Its picture-in-picture feature is on display at IBC for the first time.

Canon (Stand 11.C45) has one of the larger exhibits at the show and is offering several new products. Most impressive for attendees looking to take the next step in big-time broadcast lenses is the UHD Digi-Super 122xAF (UJ122X8.2B AF) offering auto focus. According to Jack Adair, product marketing specialist, Canon Europe, operators still have complete control over focus controls, but, with the demands of UHD, the auto-focus control provides an extra level of support where focus issues are more noticeable. Also on display, the just-released CR-N700 broadcast PTZ camera can do 4K 60 fps over SDI, HDMI, SRT, or IP and has professional XLR inputs; the CR-N500 can do 4K at 30 fps via IP; and the CR-X500 PTZ has 12-Gbps SDI connections. Says Adair, “We also have introduced our XC protocol, which is available for our PTZ, cinema EOS cameras, and XF cameras and allows control of up to PTZ cameras.”

The big news for Marshall (Stand 11.C23) this year is that all of its NDI cameras are able to use NDI HX high-efficiency transport, reducing the required network bandwidth thanks to H.264 compression, improving the color matrix of its cameras, and adding global shutter via the CV568 miniature camera. “We also have a high-bandwidth camera coming out towards the end of the year,” says Tod Musgrave, senior director, cameras, Marshall Electronics. “We also have a new 4K 60-fps camera with IP, HDMI, and USB support that is a good streaming camera and also allows an HD image to be extracted from the 4K sensor via what we call ePTZ.”

Cloud-based live-production specialist Mavis Broadcast, exhibiting at the ATOMOS stand (11.D25), has announced a partnership with ES Broadcast, which will offer the Mavis Live SaaS-based ultra-low-latency, cloud-based production platform as part of its systems-integration solutions. Mavis Live enables remote production for live events and provides a suite of professional virtualised production tools, including vision and audio mixing, instant replay, talkback, commentary, VT, and graphics. Both progressive and interlaced workflows are supported.

Ross Video (Stand 11.B10) is highlighting the Ultrix FR12 routing, multiview, and signal-processing platform. Said VP, Global Sports and Live Events, Kevin Cottam, “It’s 288×288, and the Ultrix has already been successful so moving up to a larger size is pretty awesome. It is also hyper-converged, so we can get up to a pretty high number of inputs and outputs.” He added that the acquisition of Spidercam gives Ross customers a new production tool that he sees as a big plus in the venue and broadcast marketplace: “It’s another arrow in our quiver.”

Ross Video (Stand 11.B10) has announced that it has agreed to acquire Spidercam, a global supplier of broadcast cable-camera solutions. Spidercam made its television debut in 2005 and is now the market leader in cutting-edge cable-camera solutions used to create unique outdoor shots for sports events, concerts, esports, and TV shows around the globe. “Spidercam’s technology creates visuals that are simply spectacular, and we’re thrilled to integrate them into our production universe,” said Ross Video CEO David Ross. “We’re committed to continuing Spidercam’s excellent customer experience as a part of Ross while offering more capabilities to even more customers. On a personal level, I just love cable cameras; they’re such an awe-inspiring and dramatic technology.”


Arri (Stand 12.F18) is offering attendees a chance to check out the latest developments in its ALEXA camera and lens lineup. New this week is the Orbiter Projection Optics 25° and 35° and RIA‑1 Radio Interface Adapter. The RIA-1 is a versatile hub for different shooting setups and is the smallest camera-mounted controller Arri has offered. Supporting ARRI’s swappable radio modules, it facilitates powerful wireless camera and lens control in any situation. Orbiter Projection Optics provides a state-of-the-art LED profiler suited to broadcast studios or live productions. According to Arri, it provides precision in every detail, allowing even projection of a light spot without color aberration. With the latest update of Orbiter’s Lighting Operating System, LiOS2, the focus can be controlled locally via Orbiter’s control panel or remotely by DMX/RDM or IP-based (ArtNet or sACN).

Cartoni Camera Supports (Stand 12.F31) is showcasing professional fluid heads — the Maxima, Master and Magnum — that make it the first camera-support company to introduce a full line of encoded and encode-ready professional fluid heads. With the ability to track position, they provide precise camera information for VFX, virtual production, and more. The e-Maxima, e-Master and e-Magnum encoded heads offer all the features of Cartoni’s premium heads for digital cinematography. In addition, the E-series features extremely high-resolution direct-sensing encoders in both the pan and tilt axis. The encoders render absolute positioning without recalibrating at startup. “We were pioneers when we made our first encoded-ready heads and are now pioneers in creating the new position-encoded E-series,” said Elisabetta Cartoni, president and CEO, Cartoni Camera Supports.

Telemetrics (Stand 12.G34) is demonstrating several new features, including new capabilities for the RCCP-2A robotic camera control panel (improved AI-assisted talent tracking, for example) and award-winning OmniGlide Robotic Roving Platform. The former RCCP-2A control panel will demonstrate features like Prep Execute, which enables users to instruct the robotics to prepare to move to a starting position and then execute the move with a single button press. And OmniGlide will feature “Path Planning,” allows the user to navigate complex nonlinear paths in a studio or event space while avoiding collisions with set pieces and studio personnel. Special AI-assisted software enables the rover to instinctively learn the space it is operating in and find the safest and least-obstructed path from Point A to Point B.


Occupying a whole hall at RAI, Sony (Hall 13) has plenty of room to demonstrate new technologies and services. One of the most anticipated is the new MLX-X1 vision mixer, which can stack CPUs with GPUs and FPGAs to allow simultaneous 4K and HD productions (or even a home and away HD production), an important addition to Sony mixer capabilities. Sports-content creators will want to check out the A2P AI Automated Production system, which allows users to set up rules for a particular event (say, a goal or a shot) and then use AI to identify other goals or shots automatically, speeding content creation and delivery to social media and more.

Sony (Stand 13.A10) has announced that, since 1 September, its mobile division — home of the Xperia — has moved under the Imaging Product Solution division alongside digital imaging and media solutions under the Connected Content Acquisition umbrella. The move is part of Sony’s consolidation of services that include Creators Cloud and Networked Live, putting connectivity at the heart of its offerings. The company is reinforcing the connectivity and capabilities of its cameras, allowing users to do more with their content at the point of acquisition, supporting development of remote operations. On the move to bring mobile into the Connected Content Acquisition fold, Norbert Paquet, head of live production solutions, said, “Everything is now interconnected so a mobile isn’t just being used as a [content]-acquisition tool; it’s also a connectivity tool. We see that everywhere. The BBC, for instance, is using smartphones as modems to get content into the cloud. At IBC, we’re just trying to get our customers a workflow solution that will enable them to put their workflow together in the simplest way and get content to viewers as fast as possible.”


The IP Showcase continues to be an important piece of the IBC experience. It is closing out the show with four presentations that begin at 10:30 a.m. and conclude at 1:30 p.m. Highlights for Monday: “Managing Audio in IP Production” at 10:30 a.m., “Expanding Your Production Remotely or to a Public Cloud”, and sessions on cybersecurity and MNMS (Media Network Management Services). “The education sessions have taken over the spotlight,” says Andrew Starks, chair, AIMS marketing work group. “They’ve been well-attended so we’re going to double down on that next time around. And we still want to keep the demos going and highlight what some of the manufacturers are doing.”

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