NAB 2024 in Review: Central Hall — SportsTech Buzz From Calrec, Canon, Clear-Com, Fujinon, Grass Valley, Lawo, Multidyne, Panasonic, PPI, Riedel, RTS, Sony, SSL, and More

The SVG and SVGE editorial teams were out in full force at NAB 2024, covering the biggest sports-technology news and delivering daily SportsTechBuzz at NAB 2024 roundups. Here is a look at the news from exhibitors in Central Hall.

Featured in this roundup are Arista Networks, Arri, ASTRODESIGN, Audinate, Audio-Technica, Calrec Audio, Bridge Technologies, Canon, CHEQROOM, Clark Wire & Cable, Clear-Com, Cyanview, Deltacast, Disguise, Dreamwall, For-A, Forecast Consoles, Fujinon, G&D North America, Grass Valley, Hawk-Eye, Ikegami, JVC, Lawo, Leader, MRMC, Multidyne, Nemal Electronics, Panasonic, Pixotope, Program Productions, Q5X, RED, Riedel Communications, RTS Intercom Systems, Sennheiser, Shure, Solid State Logic, Sony, Telemetrics, Telos Alliance, TSL, Wisycom, XLT, and Zero Density.

Program Productions and XLT (Booth C2321) offer tech-enabled labor and payroll management with the proprietary ProCrewz mobile app and client portal system. NAB attendees will have the opportunity to interact with a remarkable team of experts in event labor management. Guests will enjoy a comfortable space and lively discussions about the challenges faced in the industry while discovering innovative solutions. Attendees will also be able to see in action the ProCrewz technology solution to optimizing labor management and operations across their organization.

Sony (Booth C8201) is announcing an integrated-lens pan-tilt-zoom camera, the BRC-AM7, with built-in AI analytics for advanced recognition. Highlights of the lightweight model include a 1-in. CMOS sensor for high-quality 4K 60p image performance, AI-enabled PTZ Auto Framing options, and seamless integration with the company’s system cameras and switchers, as well as color matching with the Sony ecosystem. The company’s Networked Live portfolio for remote and distributed production offers new functionality enabling the NXL-ME80 LAN/WAN media-transport appliance to work alongside the CBK-RPU7 remote-production unit in a 5G environment. For cloud operations, Sony is featuring enhancements to Ci Media Cloud and the DWA-F03D expandable adapter connecting to the DWR-S03D slot-in receiver to create a lightweight solution for field audio recording. The VERONA Crystal LED display demonstrates virtual-production workflows, including Cinematic 24p and 60p multicamera switching, and the Virtual Production Toolset, which enhances camera compatibility and synchronization between real and virtual.

Canon CJ27ex7.3B portable zoom lens

Canon’s (Booth C3825) big news for sports production professionals is the CJ27ex7.3B, its first 2/3-in. portable lens. Topping the list of features are a 27X optical zoom and the ability to span a focal range of 7.3mm to 197mm. With a built-in 2X extender, maximum telephoto reach increases to 394mm. Weighing around 4.5 lb., the CJ27ex7.3B lens offers the mobility of a conventional ENG lens. The 27X zoom ratio, typically available only in 2/3-in. box lenses, is now offered in a portable lens. “The lens also features a new e-Xs V drive unit with advanced features to support a variety of shooting needs,” says Josh Stoner, senior technical specialist, Canon U.S.A. “That includes an angled 20-pin connector to diversify shooting setups and serial communication via the 12-pin cable.

The big news from Grass Valley (Booth C2308) is the launch of the Maverik X software-based production switcher. Available to run on local, hybrid, or cloud compute, it supports combined uncompressed and compressed inputs and outputs, with full 10-bit UHD HDR workflows, automatic up/down/crossconversion, and HDR LUT mapping. Maverik X can be controlled via fully customizable HTML5 user interfaces on PC and tablet devices, in addition to Grass Valley’s modular Maverik switcher panel, providing a familiar operator experience while allowing freedom in panel design. Also on exhibit are enhancements to the LDX 100 Series broadcast camera platform and the K-Frame video-production switchers.

Fujinon (Booth C5325) is highlighting introduction of the third Duvo Series lens, the Duvo HZK14-100mm portable PL-mount zoom. It delivers 7.1x zoom, covering 14-100mm, a focal range frequently used on set. The built-in expander shifts focal length by 1.5X to 21-150mm, allowing users to capture even the most expansive environments. At 10.5 in. long (266.9mm) and 5.8 lb. (2.65 kg), Duvo 14-100mm is compact and lightweight, easily portable for all types of live production. It is fully compatible with Fujinon portable broadcast lens zoom and focus demands and can be shoulder-operated, used on a Steadicam, or remotely operated.

JVC (Booth C4720) always has plenty of great camera systems on display, but this year one of its hot products is the KM-IP12S8 Series Connected CAM vMix studio switcher lineup. The complete video-production solution provides live mixing, switching, recording and streaming. Comprising the KM-IP12S8 and the KM-IP12S8PRO, the series is suited to a variety of multicamera, fast-paced applications, such as live sports and event production. According to Joseph D’Amico, VP, JVC Professional Video, the switchers combine the most ubiquitous technology in the industry to create seamless hardware connectivity and support at a price point accessible by a wide scope of users. The switchers come standard with licensed versions of either vMix 4K or vMix Pro live-production and streaming software, which are among the industry’s most popular production solutions. Additionally, resolution and imagery are optimized for live programming in SD up to full 4K 60P, across an array of traditional and personal viewing devices.

Arri Live Production System LPS-1 camera adapter/base station

This year’s NAB Show is the first since Johan de Nysschen was appointed to his new role as president and chief executive of Arri Americas (Booth C6325). Having served as a consultant for Arri over the past several months, De Nysschen took on the role toward the end of March. He says, “Arri’s product portfolio has inspired creatives in Hollywood and around the world for decades, and Arri still has much to offer, not only for motion pictures but also in live entertainment, virtual production, and beyond.” ARRI EVP, Sales, Glenn Kennel, who supervised the Americas team for many years, reports directly to de Nysschen. At the show, the company focused on live production, showcasing the launch of the ALEXA 35 Live – Multicam System. The system is intended to provide sports producers the ability to capture cinematic images and a shallow depth of field and, the company says, will “seamlessly” integrate into existing live-production environments. The System combines the new ALEXA 35 Live camera with the new Live Production System LPS-1, which comprises a fibre camera adapter and fibre base station. According to Arri, the system is open to support a range of remote-control panels, but the recommended panel is Skaarhoj RCP Pro Arri V2B, which provides full control over frame rate, start/stop recording, playback, selection of looks and other camera functions. Three packages — entry, standard, and pro — with pricing to be determined after conversations with potential customers at NAB 2024.

Riedel Communications (Booth C4907) is showing a significant expansion of its RiCapture line of ingest solutions with the addition of RiCapture i8, i44, and i84. Complementing the RiCapture i4, these new products bring increased channel density and/or UHD resolution, 8- and 10-bit support, expanded internal SSD storage, and a series of advanced functionalities to the RiCapture platform. “As a complete suite for multichannel ingest, recording, capture, and transfer to postproduction, RiCapture caters to a wide range of markets — from sports, concerts, and theaters to motion-picture applications,” says Bernard Stas, product manager, live video production, Riedel Communications. “Accommodating UHD resolutions and a variety of formats, such as 23.98 fps and 29.97 fps, the newly expanded RiCapture family sets the bar for high-quality ingest solutions at an exceptionally competitive price.” In all configurations, RiCapture offers high-quality recording in DNxHD or DNxHR, along with H.264 4:2:0 and 4:2:2 encoding to the local storage. Local recording storage offers continuous-loop recording for the captured content, with options to stream manually, stream with a scheduler, or clip and export files as needed from available local storage to numerous streaming destinations.

Powering transportation of physical equipment via the Enterprise Asset Management software platform, CHEQROOM (Booth C8719) serves an industry consistently on the go. Providing control and customizable services for a variety of client needs, the company is highlighting an increase in efficiency and a decrease in asset loss and project delays. With real-life case studies, including a $500,000 saving in assets during the 2022 FIFA Men’s World Cup in Doha, Qatar, the company illustrates streamlining operations and knowing where materials are at any given time. Besides making prompt delivery and assurance a priority, CHEQROOM enables users to extend the lifespan of their assets.

Servicing the sports-video–production industry and the live-event experience since 1989, Clark Wire & Cable (Booth C4107) is highlighting its continued support of cabling and connectivity. The newest addition to its cable arsenal is the DSM_UHD series coax snake, which features precision 12-GHz miniature 23AWG for 8K and 4K UHD transmission data. Also on display is Clark’s full line of configurable systems, including 8-channel SMPTE splice enclosures, which change the industry standard for stadium and arena hybrid fiber camera installations. In addition, the MPAS system offers a modular design with up to eight connections using various combinations of SMPTE 304M plugs, sockets, opticalCON, or other specified formats.

Since 1978, Forecast Consoles (Booth C7708) has helped broadcasters, sports venues, and other production companies with physical facilities. Specializing in furnishing production areas and control rooms with desks, work surfaces, and more, the company is highlighting custom designs, finishes, and LED integration. Offerings include its podcast, MasterVision, GCX Continuum, and Sightline product lines.

Known as a reliable provider of high-end KVM and video-processing equipment for more than 35 years, G&D North America (Booth C2820) is showcasing its extensive array of products aimed at enhancing broadcast workflows. Particularly notable is the PersonalWorkplace-Controller, which enables flexible organization and operation of video inputs across one or multiple displays and supports resolutions of up to 5K at 60 Hz. PersonalWorkplace-CPU ensures compatibility with traditional broadcasting setups and enables users to maintain their current infrastructure while expanding capabilities with modern digital video and streaming sources. Visitors to the booth can explore solutions optimizing broadcast workflows, flexibility, and performance.

For-A (Booth C4507) has unveiled a series of updates to its SOAR-A platform, reinforcing the company’s commitment to the evolution of the software-defined IP solution. Enhancements include the ability to incorporate JPEG XS and AV1 in SOAR-A Edge, an IP transport appliance, and the evolution of the SOAR-A Play software-based media-server line to include up to 8-channel capability for NDI, 3G, and SMPTE ST 2110. CG and graphics engine SOAR-A Graphics, meanwhile, now supports the MOS protocol for communications between newsroom computer systems and newsroom equipment, such as video servers, still stores, and character generators.

MLB umpires already wear a lot of protective gear during games. Now, with on-field audio becoming an increasingly large part of the broadcast-sports experience, those electronics can add to the umps’ load. Q5X (Booth C6516) is addressing that with the ToggleMic and PushMic, launched in March 2024 for MLB umpires through CP Communications. “The introduction of the ToggleMic and PushMic onto the MLB umpire’s belt reduces the gear they strap on for a game,” says Q5X owner Paul Johnson. “Until now, umpires typically wore two packs: the transmitter and the mute switch. For a game official, the ToggleMic and PushMic mean less bulk at the waist and the confidence that what they say reaches the intended audience. Leagues understand the need to balance the fan desire for miked-up wireless audio from the game with the practical functionality required by officials or athletes wearing the gear.” The two products expand Q5X’s switched-transmitters option beyond the existing CoachMic rocker switch to add a firm baton-style or momentary-button-style switch, respectively. The third new transmitter is the AquaMic XL, boasting a 32-hour battery life while also being fully waterproof (IP68 rated to 100 ft).Sports-broadcast audio is about the technology, for sure, but it’s also about facilitating access to that technology.

Audio-Technica’s new Broadcast Audio Rental Program enables short-term use of selected mics and studio and headset products.

Audio-Technica (Booth C5532) is doing exactly that, announcing at the show its new Broadcast Audio Rental Program. Users in all 50 states can rent selected A-T shotgun and handheld mics and studio and headset products for location and studio use on a short-term basis with no obligation to purchase. The new rental program provides access to an extensive inventory of A-T’s top-of-the-line broadcast-audio equipment, including mono, stereo, and immersive audio microphones and selected wireless systems. Renters can choose from a variety of options to suit their specific requirements: the program offers customizable rental packages to meet the specific needs and budget constraints of the client. Brent Chamberlin, sales engineer, broadcast, Audio-Technica, calls the program “a significant milestone in our ongoing commitment to providing comprehensive and cutting-edge solutions for our broadcast clients. Adds Gary Dixon, director, broadcast business development, Audio-Technica, “Audio-Technica mics are found on many of the award-winning broadcast productions, and, with the new Broadcast Audio Rental Program, we want to support existing and up-and-coming producers with access to our top products.” The company’s BP 3600 mic is gaining momentum among sports considering immersive audio for upcoming seasons, says an A-T representative: “The ease and quickness of setup sets it apart from other immersive-microphone solutions. It’s getting them the immersive image they’re looking for faster and easier.”

RTS Intercom Systems (Booth C3810) previewed a major new software ecosystem for intercom configuration, control, and system monitoring. The first installment of the software suite, scheduled to launch later this spring with regular iterative additions planned thereafter, significantly enhances the user experience with new workflows. Key features include Intercom Manager, allowing users to see all available intercom resources locally as well as globally, with the ability to assign any resource to devices through a simple drag-and-drop workflow, and Intercom Resource Search Engine: users can quickly find any resource available in the Intercom Manager by simply typing in the search field. “While leveraging the proven performance of our existing AZedit software for RTS matrix systems,” says Guy Low, manager, creative and public relations, ElectroVoice/RTS/Bosch, “this new software significantly enhances the user experience with new workflows to ensure even faster and even more clear configuration and operation of their intercom system.”

Ikegami (Booth C3819) is celebrating its 60th anniversary and introducing the brand-new HDK-X500 portable camera system, which is designed for 1080p needs and can also do 1080i at 120 fps. It’s the first Ikegami HD camera to have a global shutter sensor (the company’s 4K lineup has that capability). According to Ikegami Director, Sales and Marketing, Terry Zastrow, it can be upconverted to HD with the help of the PSX100.. Two new monitors have also been released: the 24-in. Ikegami HLM-2460WA video monitor has an IPS LCD panel with 1,800:1 contrast ratio and 400-nits peak brightness; the HLM-1860WR features an 18.5-in. IPS LCD panel, larger than its HLM-1760WR predecessor but within the same 19-in.-wide 7RU chassis, and has a 1,000:1 contrast ratio and, with its 500 nits peak brightness, reproduces clear images even in outdoor environments. “There is an HDR option with some scaling,” says Alan Keil, VP/director, engineering, Ikegami. “Part of the 60 series, they have the same engine board and functions.” Also on display, a slim-line OCP-500 operational control panel allows five control panels to fit into the same space as four of the previous versions and offers improved ergonomic feel and support for RS-422 and Ethernet.

Telos Alliance Infinity VIP (Virtual Intercom Platform) software and app for iOS and Android devices

Telos Alliance (Booth C1808) is giving attendees “sneak peeks” at what VP, Business Development, Martin Dyster says are new concepts being applied to its Infinity VIP (Virtual Intercom Platform) software and app for iOS and Android devices. “For example,” he notes, “we are finding that more and more customers are interested in using our virtualized intercom for contribution. So, rather than looking just like an intercom panel, maybe looking something a little bit more like an announcer panel or a commentary panel, the interface is more familiar to the contributor. We’re able to deploy intercom anywhere you happen to be, without having the overhead of a matrix-based system and having to ship hardware around the world. I can put an intercom panel on a computer in front of anybody in seconds.” There is, he emphasizes, both an operational and a business case to be made for this approach to intercom deployment.

ASTRODESIGN (Booth C9325) is showcasing the TR-5004 SRT transmission monitor, equipped with AVC/HEVC hardware codecs to facilitate stable transmission. It supports playback, return, tally, intercom, and camera-control signals for communication, allowing it to be used with existing system cameras. Among the highlights are 3G/HD-SDI signal encode/decode and support of H.264, MPEG-4 AVC, H.265, and MPEG-H HEVC codecs. It also provides transmission support for send back, tally, intercom, and camera-control–signal communication and features a display switch between HD-SDI input signal and received IP-stream signal. It can also connect via USB/WLAN and Wi-Fi.

Telemetrics (Booth C4420) continues to improve its lineup — for example, enabling operators to see a graphical 3D representation of the studio environment on the panel (complete with real-time location of camera pedestals and track systems). The RCCP-2A control panel also now has power-status view, robotic status, and more. Also being showcased is a series of software improvements to reFrame Talent tracking software, which can be accessed from both the control panel and the reFrame Server. Among new features are AI improvements to add more flexibility to subject framing (asymmetric return), incorporating additional movements via Telemetrics Televator, TG-4/TG-5 track and OmniGlide rover capabilities (X, Y, Z priority), and auto retrigger framing when talent is slightly out of frame for prolonged periods.

Dreamwall (Booth C6028) is gearing up for a bumper year of activity, with the animation and creative production studio that provides virtual and augmented solutions gearing up to work on the impending European elections, Belgian elections, and Euro 2024. For the upcoming Euro 2024 soccer tournament, Dreamwall will once again be working with Belgian broadcaster RTBF, for which it created a virtual set with LED screen with a virtual-set extension and “teleportation” of studio guests for the broadcaster’s Qatar 2022 World Cup coverage. Said Dreamwall Head of Sales, Media Solutions, Isabelle Denis, “Our unique selling point is our integrated design and production studio, which means we can handle everything from the initial concept with resource for each step of the process; the designer at beginning can speak with the person responsible for the integration, which means they can maximise the quality and effectiveness of the project. [For Euro 2024,] we will innovate again and try to push beyond what we have previously done.”

Calrec Audio is showing off vintage gear: its very first mix console, built c. 1970, and original mics.

Calrec Audio (Booth C6307) has lots new to show this year, including the next iteration of the Impulse AES67 and SMPTE 2110-compliant audio-processing and -routing engine, due for release in September. But perhaps its most striking display is the company’s very first mix console, a sheet-metal affair c. 1970 built for the BBC, whose faders moved in the reverse direction of modern desks: the way audio consoles from the heyday of Abbey Road Studios were designed, ostensibly to keep the cuffs of the engineers’ lab coats from catching the wrong fader during mixes. Next to it are two of Calrec’s original microphones, part of a product line that came together as they were needed in pro audio’s Pleistocene era. “In true BBC style, they kept wanting changes, so we eventually made our own products that were fit for BBC’s purposes,” says Calrec VP, Sales, Dave Letson. As for the next 60 years, he adds, “The short answer is the cloud and IP. If you look at what’s happening with broadcasters, some are still living in an SDI baseband environment, some have migrated to IP, you have people who are working on cloud solutions, and then people who have a little bit of everything going on at the same time. I think the industry is in a bit of a state of flux, but the building blocks are all there for the future, and that’s the key thing.”

Bridge Technologies (Booth C4939) has enhanced the monitoring features of its VB440 set of production tool with the addition of ST 2110-31 and -41 SADM monitoring. Says Chairman Simen Frostad, “Yet again, with the VB440 we are pushing forward the scope of what can be done in the field of live IP production. Our recent focus on audio advancements has seen us incorporate a range of crucial immersive-audio tools, and, currently, no other monitoring solution on the market incorporates ST 2110-31 or -41 monitoring. The development has been driven by a client’s need to deliver immersive audio for the live broadcast of one of the world’s largest global sporting events, coming up later this year, but its potential use will extend to a whole range of broadcasters and events. We’re excited to showcase its full potential at NAB 2024.” This new capability follows on from incorporation of monitoring for Dolby’s full set of audio standards, including Atmos.

Nemal Electronics is showcasing a bespoke panel built for a customer.

Nemal Electronics (Booth C6616), a manufacturer of professional broadcast and pro-AV connectivity solutions, has substantially expanded its custom-panel–production and –machining capabilities with this month’s installation of a state-of-the-art CO2 high-speed fiber laser and highly precise automated CNC router/cutter capable of handling aluminum, steel, plastic, and other materials. Products include control panels, custom panel assemblies, show control, small racks, and lighting and speaker brackets. Some of its new custom-built panels are on exhibit at its booth.

Audinate (Booth C3008) is highlighting progress made with Dante Connect. The cloud-based service allows broadcasters to deploy Dante audio devices worldwide over a seamless AWS-enabled cloud network, enabling them to create efficient remote-production workflows directly from the hundreds of thousands of on-premises Dante devices. Audinate CMO Joshua Rush notes an NHL Capitals vs. Hurricanes game on March 22 that underscored the expanded capabilities to give replay operators access to more remote feeds. “What Dante Connect does is take your Dante audio that’s onsite — the actual audio from the action, the commentators, the comm systems — and put that all up into the cloud and allow production in the cloud,” he explains, citing a new collaboration with mixer manufacturer SSL’s cloud-based mixing software. “If you have another facility and want to maximize the usage of that facility, you can be getting feeds from different events and producing that all through one facility, wherever that is in the world.”

Riedel Communications (Booth C4907) is highlighting the interoperability between its Bolero wireless and Punqtum wired intercom platforms. The hybrid result, says Marketing Manager Sara Seidel, offers the ability to extend comms infrastructure for large-scale sports productions where, for instance, additional antennas are not available or easily deployable and for second- and third-tier sports broadcasts, such as collegiate sports, whose budget may mandate that most of an intercom system needs to be wired to be affordable. “It’s ideal for small colleges that want to provide a professional workflow for broadcasts,” she says, noting also that those schools use sports’ reach to connect with parents and donors. Riedel’s intercom systems will be on board for the upcoming series of Sail GP races in New York, Bermuda, Halifax, San Francisco, and elsewhere.

Jochem Haverman, product marketing manager, Zero Density, with Las Vegas Formula 1 virtual sports environment

Zero Density (Booth SL2038) has turned its XR Stage into a dynamic and photorealistic sports environment with immersive graphics — a “graphics ecosystem,” says the company. Zero Density is showcasing how sports broadcasts can be transformed into dynamic hyper-realistic environments complete with data-driven virtual elements. On show are products and solutions powered by Unreal Motion Design, including Reality5, a real time VP platform offering a blend of virtual and physical worlds in virtual-studio, AR, and XR productions. Also new is Lino, the company’s real-time motion-graphics platform supporting both on-air and video-wall graphics. Ampere EVO2 is the new render hardware platform for real-time virtual production, and the Traxis tracking platform sets high standards for camera and talent tracking.

Sennheiser (Booth C4732, N204LMR) is introducing its new MKH 8030 figure-8 RF condenser mic to the U.S. market. The MKH 8030 unlocks M-S, double M-S, and Blumlein stereo-recording option and can provide high attenuation of neighboring sound sources. The MKH 8030 shares the qualities of the MKH 8000 family and its RF-condenser principle with the unique push-pull transducer. The qualities include high resistance to moisture; a fully floating, balanced output signal; extended low- and high-frequency response (30 Hz–50,000 Hz), and extremely low inherent self-noise, enabling capture of a sound event in its entirety and with all its intricate detail, with wide dynamics, extremely low distortion, and a frequency-independent polar pattern to avoid coloration. Senior Product Manager Kai Lange notes that motorsports have been using the 8030 on a regular basis recently.

Leader Europe’s Kevin Salvidge at Leader booth

Leader (Booth C5521) has expanded its product range with three “major” additions designed to ease the industry’s migration from SDI to IP, HD to UHD, and SDR to HDR. Making their first-ever NAB Show appearance are the ZEN-W Series SDI/IP LV5600W waveform monitor and the LV7600W rasterizer. Says Kevin Salvidge, sales engineering and technical marketing manager, Leader Europe, “The WebRTC remote-control interface has been added because we are seeing more and more customers looking to install test and measurement equipment in a data-centre environment, whether as part of a remote production or general on-prem operation. We are certainly seeing within sports production not necessarily a rush to remote production but a gradual shift in that direction. We launched the W-Series to address that and provide remote connectivity.” NAB 2024 is also the U.S. debut of the LT4670 1U full-rack width SDI/IP synchronous test-signal generator for use in traditional SDI broadcast facilities as well as the next generation of hybrid SDI/IP facilities.

TSL (Booth C2119) is showing off the MPA1-MIX-NET-V-R audio-monitoring unit. Best of Show Winner at September’s IBC, the MIX-NET extends ST 2022-7 functionality to ST 2110 AoIP networks and has been the company’s fastest-selling new product ever launched. TSL CEO Matthew Quade notes the unique genesis of the unit’s interface design. “The V-shaped layout of the controls for accurate fingertip navigation in low-light environments,” he says, reaching over his shoulder to simulate an A1’s adjusting one of the front panel’s eight rotary knobs, locating them solely by touch according to their placement on the panel. “We researched that by talking with potential customers and users of the unit, and that was an important conclusion.”

Wisycom’s Geoff Baynard shows off the BFL1 module.

Wisycom’s (Booth C7507) BFL1 single RF-over-fiber module offers selectable filters and extended-range Bluetooth and is equipped with an optical laser that transforms an RF signal to an optical one. It’s also, according to Product Marketing Manager Geoff Baynard, a pivotal product for Wisycom’s efforts in wireless systems for broadcast sports. “It’s excellent for both wireless microphone and IFB applications on the field. It adds considerable range for things like parabolic and sideline-reporter microphones.”

Multidyne’s (Booth C7107) new MDoG-6060 Series gateways offer SMPTE ST -2110 network interface and low-latency JPEG-XS codec modules to efficiently manage uncompressed and compressed signals as they move between legacy systems and IP networks. The products are Multidyne’s first IP gateway solutions for uncompressed ST 2110 networks, and the modules provide a reliable SDI-to-IP network interface with exceptionally wide bandwidth, helping broadcast and media companies optimize throughput for uncompressed 4K and HD video transport. There are multiple I/O configurations and two 25-GB network interfaces for a redundant transport stream. New designs for the SilverBack camera mount allows the gateway to act as the base station for next-generation workflows. Also, Multidyne’s famous SilverBullet transmission solution for SD, HD, 3G, and 12G SDI over fiber is updated with enhanced performance and better specs, including 16 CWDM wavelengths.

Panasonic (Booth C3310) is introducing the mainframe KAIROS Core 200 AT-KC200L1 and the latest software update (version 1.7), which includes smart-routing functionality. The AT-KC200L1 supports SDI I/O as standard, and the new smart-routing functionality provides improved video quality and productivity when KAIROS is used. Other features include 24-input/12-output support (Full HD) with the ability to go to 32 inputs/16 outputs. In addition, making its NAB Show debut, the AV-HSW10 compact live switcher combines a professional hardware switcher with the scalability of a software solution. The new software control panel allows switcher functions to be conveniently controlled from a PC or tablet, and detailed settings and confirmation of input/output sources, conventionally performed with buttons and knobs, can be easily executed with a PC keyboard or touchscreen.

Grass Valley (Booth C2308) has unveiled the LDX 135 RF and LDX 150 RF camera solutions, providing the same camera technology as their sibling devices, with integrated wireless transmission via RF or 5G bonded cellular. The native-UHD cameras were designed in cooperation with industry-leading RF-system vendors and offer a reliable, EMI-approved mechanical interface that accommodates third-party transmission modules without the need for external cables or great mechanical effort. Recently announced updates to GV’s Framelight X SaaS asset-management solution are intended to make it easier to record, manage, edit, find, and deliver content more quickly and efficiently.

SSL’s Berny Carpenter at the company’s booth

Solid State Logic (Booth C6307) launched the System T Cloud, a virtualized audio-mixing solution for live-to-air broadcast. The complete and comprehensive broadcast-audio solution enables seamless management of live productions from multiple venues via the cloud. “System T is a distributed platform comprising a control surface, processing, and I/O,” explains Broadcast Product Manager Berny Carpenter. “We’ve added processing, which can run in the cloud, so all of these elements can be joined together. And any of these elements can be anywhere. It’s all modular and all IP-based so it can go over distances.”

MRMC (Mark Roberts Motion Control) (Booth C4925) is present in a few parts of Central Hall. In the Central Hall Lobby, its Bolt X and Cinebot Mini are being used as part of the company’s “Unreal Ride 2024” virtual-production demonstration that allows attendees to sit in a three-wheel sportscar and star in their own movie. At its booth, MRMC is demonstrating integration of PTZ cameras and sliders, including the Slidekamera and PTZ enablement solutions, including the RLS-1 (Rail Lift System), Atlas Slider with Bullhead Studio, and the recently released PTZ Mover Kit. In addition, a live demonstration of automated-production of a table-tennis match taking place at the Pixelscope booth (C6135) showcases a partnership with MRMC and Table Tennis USA.

Lawo (Booth C4110) is showcasing its enhanced IP-platform solutions, reflecting the company’s decision to focus its hardware and software products around the HOME management platform for IP infrastructures: HOME multiviewer, HOME UDX converter, HOME stream transcoder, HOME graphic inserter, and the free Test Pattern/Test Tone Generator apps. The HOME Apps support SMPTE ST 2110, SRT, JPEG XS, and NDI for increasingly mixed-technology environments, ensuring instant integration with a variety of workflows. Lawo is also presenting the .edge hyper-density SDI/IP conversion and routing platform, which is able to handle 8K workflows and offers licensable options — proxy generation, JPEG XS compression —that address bandwidth constraints, streamline IP pipeline use, and optimize workflows directly at the source with edge computing. Lawo CMO Andreas Hilmer notes that Lawo’s Powercore RP remote-production solution for mc² audio consoles is being regularly updated and that AI for automated mixing is on the company’s — and the industry’s —radar but is not there yet. But its implications are already clear: it can present both a challenge and a benefit to A1s and broadcasters. “It will bring benefits to the broadcasters because it will allow them to create more content,” he says. “And third-tier sports production will also profit from this.”

Shure (Booth C5525) has a busy booth, showing its new line of MoveMic Microphone System, which comprises wireless clip-on mics that leverage the company’s technology to send two channels of broadcast-quality audio directly to a smartphone without requiring a receiver. Shure is also showcasing expansion of its SLX-D Digital Wireless family: the new SLX-D portable wireless system includes the SLXD5 portable digital wireless receiver and SLXD3 plug-on digital wireless transmitter. Another highlight is a demo of the WAVETOOL RF-management software, following the completed acquisition of Finland-based developer Ab Wavemark Oy late last year. Wavemark Commercial Director Timo Liski, now with Shure, showed how the software interfaces with Shure’s existing Wireless Workbench software to provide audio engineers with a comprehensive set of tools to manage RF and monitor all audio sources throughout a production.

Clear-Com (Booth C6007) is highlighting its new cloud-managed Gen-IC virtual intercom enabling real-time partyline workflows without the need for intercom hardware. According to VP, Research and Development, Marco Lopez, the system is simple to deploy, configure, and manage and is scalable for both small and large teams while also providing a wide range of connectivity to existing onsite intercom systems. “Gen-IC is securely available worldwide,” he notes, “over the public internet and cellular networks and backed by Clear-Com’s pioneering experience and customer support.”

Sony DWR-S03D portable slot-in receiver

Sony’s (Booth C8201) DWR-S03D 2-channel portable slot-in receiver is part of the company’s third-generation DWX series digital wireless microphone system that combines advanced digital technologies, analog-microphone expertise, and wireless-audio-transmission technologies. Andy Munitz, senior product manager, professional audio and pro video monitor, notes that the receiver operates with a bandwidth up to 148 MHz (depending on region), increasing the probability of finding unoccupied frequencies in congested metropolitan areas. The DWR-S03D can be mounted in the slot of Sony or other professional camcorders via the optional DWA-SLAS1 or DWA-SLAU1 interface adaptor. Automatic channel scan and sync permits quick, easy frequency setting, and the high-density 375-kHz-interval channel plan enables simultaneous multichannel operation.

The HawkNEST broadcast-asset–management server from Hawk-Eye has been unveiled on the Sony booth (C8101). The system can be added to any existing or future HawkREPLAY infrastructure and deployed to provide media-management staff with a dedicated workstation able to access and distribute HawkREPLAY-created clips from any networked HawkREPLAY server. Preproduction video files from networked third-party storage and/or direct-networked delivery of edited videos from NLE can also be exported to local HawkNEST server storage. According to Dan Cash, managing director, North America, the company sees opportunities for further growth in replay, and HawkNEST is an essential part of this: “In order to be able to take over a whole truck and run replay through Hawk-Eye, you need NEST in there to move and orchestrate the files around. We knew we needed it, but we’ve expedited it into production because we’re looking to aggressively grow replay.”

Client-to-cloud–networking provider Arista Networks (Booth C2011) has a new network-observability offering. CloudVision Universal Network Observability is available as a premium-feature license on Arista CloudVision and enables automation of network, systems, and application/workload visibility, coupled with AI-driven proactive analysis and prescriptive recommendations. According to the company, the software significantly reduces human error, accelerates issue resolution for unforeseen events, and provides precise root-cause analysis of network events and their impact on application delivery. “Our message at show is that we know media,” says Technical Lead Albert Faust. “The whole industry is moving to IP, and we support them in doing that. Our job is to support technology partners and give them the best environment to make their tools work.”

Cyanview (Booth C5924) is using NAB 2024 as an opportunity to share with new and existing customers’ insights into the company’s involvement in the Super Bowl LVIII broadcast. For the Chiefs–49ers matchup at Las Vegas’s Allegiant Stadium, CBS deployed two Cyanview RCPs in each of three production trucks, along with Cyanview VP4 video processors. Some of the controlled cameras were concealed in the pylons to provide immersive angles on the goal lines and sidelines. Additionally, two Dreamchip Atom cameras equipped with a Cyanview RIO (remote IO) and cellular modem for remote control were placed in cars traveling to the stadium.

Deltacast (Booth C2438) is demonstrating its high-end video solutions for developers, including I/O solutions, and a range of offerings to enhance video connectivity across IP, SDI and HDMI formats. According to International Sales Director Lionel Dutilleux, the company’s customers are looking for support in the transition to ST 2110. “To get the right people to help with that transition is a challenge,” he notes, “because not so many people have mastered that technology. In that case, we can assist them. When they decide to move from SDI infrastructure to 2110, they will ask for more support from us than just shipping one board. For us, it’s about more proximity and ongoing relationships with customers; with 2110, there is no other choice.”

At NAB 2024, Disguise is introducing its Porta broadcast-graphics controller, which has been upgraded for Unreal Engine 5.4. In addition, the company’s end-to-end xR and virtual-production technology is on display at six booths across the show. ROE Visual (Booth C4535) is displaying Disguise’s VX 4+ and VX 2 servers and RX II render nodes, which power two LED stages to showcase the latest advances in XR and how these technologies can be integrated into broadcast workflows. INFiLED (Booth C6935) and Kino Flo (Booth C6430) are demonstrating how Disguise enables content playback, Unreal Engine graphics control, and extended reality in broadcast workflows. Studio B&H (Booth C7916), AOTO (Booth C6130) and RED (Booth N202LMR) show how Disguise enables cinematic virtual production with unlimited LED content display and control.

Pixotope (Booth N201 LMR) has created what it’s billing as the world’s first AI chroma keyer. Says Chief Revenue Officer David Dowling of the proof of concept, “Effectively, we’ve created a virtual green screen. Yesterday, we tested it with 23 people, creating separate masks for each of them and putting AR elements in, which those people could walk in front of and behind.” One potential use case could be a sports presenter in a commentary box, he adds: “With this, they can have AR elements in the commentary box — maybe over the shoulder, maybe on the desk, or wherever else — but they no longer need to be in a green-screen environment.”

RED (Booth N202 LMR) is looking to “unlock cinematic imagery for broadcast and live event productions” with the introduction of new broadcast technologies at NAB 2024, including the RED cine-broadcast module and broadcast color pipeline option. In addition, RED is demonstrating the all-new V-RAPTOR [X] and V-RAPTOR XL [X], recently launched as the first-available, large-format cinema camera with a global shutter. Demonstrations also focus on the company’s Global Vision suite of tools, including Extended Highlights and Phantom Track for virtual and live productions.