Markertek Supports Philadelphia Eagles With SMPTE Fiber, Customer Service
Fri, 24 Oct 2014 11:44:17 -0400
As part of the $125 million renovation of Lincoln Financial Field, the Philadelphia Eagles added 10 Sony F55 4K cameras to capture in-game content. To connect those camera locations to the video-control room, the team tapped Markertek to supply SMPTE fiber, tactical fiber, and telecast gear.
“Markertek is my go-to for any thing at all for our production, and that’s probably because of their customer service and the fact that they do handle a lot of their own stuff,” explains David Sullivan, building AV engineer, Philadelphia Eagles. “I’ve never had a problem, but I know that, if I’m buying their brand [and] I had a problem, they’re going to back it up.”
The Eagles selected Markertek’s SMPTE fiber cable after testing several brands side-by-side for durability, cable size, and more. “We actually had some other SMPTE cable in the building that fell apart already, but the Markertek cable has stood the test of the first six weeks of football,” Sullivan continues. “So far, so good."
Manufactured in the company’s LEMO-, Neutrik opticalCON-, and Canare Fiber-Certified Fiber Lab in Saugerties, NY, Markertek’s SMPTE fiber is hybrid fiber-optic and copper cable that connects the camera-control unit (CCU) of each F55 with the video-control room. Located on The Linc’s press level, the control room feeds content to videoboards throughout the venue, including two 10-mm end-zone displays manufactured by Panasonic.
“From start to finish, we’re manufacturing some of the highest-quality fiber optics in the industry,” says Dan Coscarella, proprietary sales manager, Markertek. “Our defined specs exceed what the industry spec is, so we’re really building a quality brand for our customers.
Markertek also supplied the team with tactical fiber cables, which are not installed in a fixed location. Rather, the cables are kept spooled and can be deployed for any live-production need: capturing fan reactions in the stands, halftime events on the field, postgame reaction in the studio.
The SMPTE and tactical fiber were added to the Eagles’ existing triax infrastructure as part of the renovation, which was completed prior to this season. Diversified Systems installed and integrated the venue’s fiber infrastructure in addition to serving as the video-control-room integrator.
“There’s 500 varieties of each product, but we don’t want to sell the one we want to sell. We want to sell the one that makes the most sense for the particular customer, and, to get there, we spend a lot of time training the staff and making sure the staff knows what their customers really are looking for,” says Coscarella.
Eurovision Americas To Offer IEEE BTS ‘Bridging the Gap’ Training Course
Thu, 23 Oct 2014 09:45:39 -0400
The IEEE Broadcast Technology Society (BTS) announced that Eurovision Americas Inc., the U.S. arm of the European Broadcasting Union (EBU), will host the next session of the society’s “Bridging the Gap” training course, Dec. 8-9, at its Washington, D.C. headquarters. During the interactive seminar, attendees will learn how to address the knowledge gap between IT technologists and video specialists in order to improve operational efficiencies in broadcast facilities. The course is open to Eurovision Americas employees, members of the broadcast community, and the general public at a rate of $395.
“Operational efficiency is critical for the success of any broadcast facility, and especially in a 24-hour live news and sports environment such as ours,” said Jay B. Hahn, vice president and engineer-in-charge, Eurovision Americas. “By hosting the IEEE BTS ‘Bridging the Gap’ seminar, we can ensure that our employees and members of the broadcast community are up to speed on both IT and broadcast technologies. Gaining an understanding of the complex relationships that exist between media and information processing technologies is imperative for modern broadcast facilities that are operating under a file-based workflow.”
“Bridging the Gap” training is ideal for engineers and senior level technicians looking to gain a deeper understanding of a wide range of current and emerging technologies used in broadcast facilities. Taught by well-known broadcast industry experts Wes Simpson and John Luff, the course covers a broad range of topics such as baseband digital video transport, video servers, data networking for broadcast facilities, metadata, archiving, and video compression. After completing the course, attendees are able to resolve day-to-day issues more efficiently.
Attendees also receive a printed copy of the course materials featuring detailed diagrams and tables for future reference. IEEE continuing education credits are available to those who complete the course.
The IEEE BTS is currently accepting hosts for future sessions in 2015. Each two-day seminar accommodates 30 or more attendees. Sessions can be hosted privately by a broadcast organization or can be open to the public. Host organizations may be entitled to receive a discount on student tuition, and IEEE BTS members receive a 5-percent discount toward tuition.
Online registration for the seminar is now open and can be accessed at http://goo.gl/bGsBxI.
Live from SMPTE: Belden Talks 12 GHz Coax for 4K Needs
Wed, 22 Oct 2014 10:40:28 -0400
Coax will still play a role in the world of 4K and 12 GHz as Steve Lampen, Belden, multimedia technology manager, laid out plans for a 12 GHz single link coaxial cable that the company plans on introducing in the first quarter of 2015.
“Single link 12 GHz requires new design,” explained Lampen. One of the big changes will be doubling the Nyquist rate in order to give users longer distances to play with. The current 1694A cable, for example, will be able to reach distances of 69 meters and still be able to send a high-quality signal.
“Is 69 meters far enough? Time will tell,” said Lampen. The cable will also be thicker and also include a tri-shield, giving it a -20 dB improvement over foil/braid at high frequencies.
“By bonding the foil to the core we will improve return loss and ruggedness as at 12 GHz there are super tiny wavelengths and even subtle changes in the difference in distance between the foil and core can have huge effects on the signal,” explained Lampen. “So by bonding the foil to the core that distance will not change even when the cable is bent.”
The cable will be introduced early next year and Lampen says it will allow those who are comfortable working with coax to not have to make the move to fiber in order to embrace 4K. The only remaining uncertainty is when the connectors will become available, as the 4K signals will require improved connectors. Using existing connectors, said Lampen, would be like using wooden wheels on a sports car and going 500 miles per hour.
MLB Network Plans Wall-to-Wall World Series Coverage
Tue, 21 Oct 2014 10:29:33 -0400
With the World Series matchup set, MLB Network’s studio shows will hit the road as part of its expanded on-site programming, which began yesterday in Kansas City. MLB Network’s extensive coverage of the AL Champion Kansas City Royals and NL champion San Francisco Giants will include previews, analysis, highlights, and interviews on High Heat with Christopher Russo, MLB Now, Intentional Talk, and the flagship program MLB Tonight before and after every game.
MLB Tonight’s on-site coverage will be anchored by Greg Amsinger, Brian Kenny and Matt Vasgersian with analysis from Sean Casey, 2010 World Series champion Mark DeRosa, 1993 and 1997 World Series champion Al Leiter, Dan Plesac, and 1995 World Series champion John Smoltz. Studio coverage during MLB Tonight throughout the World Series will be anchored by Scott Braun, Fran Charles, and Paul Severino with analysis from Eric Byrnes, 2013 World Series champion Ryan Dempster, Cliff Floyd, Darryl Hamilton, and Bill Ripken. This marks the first World Series that both DeRosa and Dempster will cover as analysts.
Airing live daily from each World Series ballpark is MLB Network’s afternoon lineup of High Heat with Christopher Russo presented by Liberty Mutual, MLB Now presented by the U.S. Army, hosted by Brian Kenny, and Intentional Talk presented by the U.S. Army, hosted by Chris Rose and 2004 World Series champion Kevin Millar.
MLB Network’s coverage of the World Series is part of 200 hours of live coverage of the 2014 Postseason. MLB Tonight presented by Bacardi will air before and after every World Series game with reporters including Peter Gammons, who is covering his 42nd World Series, Heidi Watney and Matt Yallof on-site at each ballpark.
MLB Network will keep its social media followers updated with the latest news, photos, quotes, interview clips and highlights using #MLBTonight, #Postseason and #WorldSeries through its presence on Facebook, Instagram and Twitter. Fans can also stay up to date by following MLB Network’s on-air personalities on Twitter.
Canon Announces World’s Longest 4K Ultra-Telephoto Zoom for Large-Format Single-Sensor Cameras
Mon, 20 Oct 2014 11:10:23 -0400
With the increasing use of large-format single-sensor 4K cameras for field productions like sports and nature documentaries, Canon U.S.A., Inc. has introduced the new ultra-telephoto CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens.
With the world’s longest focal length (75-1500mm with its built-in 1.5x extender) and highest (20x) magnification among Super 35mm zoom lenses, the new CINE-SERVO zoom lens offers cinematographers new possibilities for shooting scenes in HD, 2K and 4K on single-sensor cameras. The new Canon CINE-SERVO 50-1000mm zoom lens is an ultra-telephoto lens with superb 4K optical performance and a removable Digital Drive unit to accommodate either broadcast or cinema-style production.
“The use of large-sensor 4K cameras is rapidly spreading beyond motion pictures and episodic television, into many new types of productions such as broadcast sports and nature documentaries,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “We are proud to deliver a lens with the advanced 4K optical performance, impressive focal range and operational versatility required to serve the creative needs of today’s growing community of 4K and UHD image makers.”
Available in either EF- or PL-mount, the new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens leverages Canon’s decades of expertise in optical design, computer simulation, and advanced glass materials to achieve a balance of ultra-telephoto 4K optical performance and image brightness with a compact form factor of only 15.9 inches in length (PL version) and a weight of just 14.6 pounds. This combination of advantages provides outstanding aberration correction and high image quality extending from the center of the image to all edges. For professional users, this lens enables close-up 4K imaging of wildlife subjects or athletes while maintaining the physical distances necessary in such shooting situations.
The new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens joins Canon’s CINE-SERVO 17-120mm T2.95 lens, CN-E15.5-47mm T2.8 L and CN-E30-105mm T2.8 L Compact Cinema Zoom lenses, CN-E30-300mm T2.95-3.7 L and CN-E14.5-60mm T2.6 L full-size Cinema zooms, and six Cinema prime lenses as a comprehensive Canon family of professional lenses designed to meet a wide variety of 4K single-sensor Super35mm digital production needs. Canon is a leading global lens brand serving photographers, sports producers, broadcasters, and theatrical filmmakers. Earlier this year, the Company celebrated a milestone having produced its 100 millionth EF lens.
The new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-telephoto Zoom lens is expected to be available in the first quarter of 2015 for a suggested list price of $78,000.