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Friday, July 25, 2014

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SMPTE to Give IBC Attendees a Taste of Technology’s Future

Fri, 25 Jul 2014 11:51:40 -0400

SMPTE members will lead a variety of sessions during the IBC2014 exhibition to be held in Amsterdam in September, including “Laser Projectors Part 1: Seeing is Believing” and “Laser Projectors Part 2: Is the Devil in the Details?” as part of the IBC Big Screen Experience. Produced and chaired by Peter Ludé, past president of SMPTE, the session will address the impact of laser projection technology on digital cinema and provide a look at breathtaking images shown on the Big Screen Experience’s 6-Primary laser projection system from Christie.

SMPTE will also co-produce “Go With UHD-1, or Wait for UHD-2?” as part of the IBC Technical Stream. In this session, Dr. Hans Hoffmann, past SMPTE standards vice president, and Howard Lukk, a SMPTE standards director, will lead a discussion with major players in this space to explore strategies and standards for content creation and delivery to the home. Additional sessions featuring SMPTE members include “Trifocal Camera Systems” as part of the IBC Big Screen Experience; and “Movie-making in the Matrix,” presented by SMPTE Governor Richard Welsh, who will join fellow experts in examining virtualized movie production. SMPTE will also present “EDCF Global D-Cinema Update,” in which an impressive array of SMPTE panelists — including SMPTE Governor Angelo D’Alessio — will bring attendees up to speed on the latest business and technology developments in digital cinema.

As an IBC2014 partner, SMPTE is once again supporting the Rising Stars program, which offers exclusive conference sessions tailored to tackle the topics most important to young professionals. This popular program gives new entrants to the broadcast industry the opportunity to meet top industry experts across a series of specially staged sessions and events. Throughout the show, SMPTE members will volunteer their time and expertise to provide guided tours of the exhibition floor to Rising Stars participants. Through this program, SMPTE helps to foster the successful rise and advance of young creative, business, and technology professionals working within the industry. A complete list of sessions for the two-day program is available here.

The SMPTE 2015 Forum in Berlin, produced in collaboration with FKTG, has been officially confirmed, and the Society will announce details at IBC2014. The rapid convergence of connectivity, bandwidth, and media technology improvements, coupled with consumer interest, has led to a rapid increase in Web-based media distribution. This conference will explore the “old” and the “new” in the context of the technology required to deliver a compelling entertainment experience over the Web. Examining related opportunities and challenges from a European perspective, this unique two-day event at Fraunhofer Institute for Open Communication Systems (FOKUS) will provide fresh perspectives to help engineers, creatives, and researchers understand the technical trends that drive the future of media over the Internet.

Throughout IBC2014, SMPTE staff will be available on the stand to discuss current trends and answer questions about SMPTE activities, resources, and publications. One of those publications, the latest “SMPTE Standards Quarterly Report,” was released in July following the June meeting of the SMPTE Standards Committee in Tokyo. The Standards Report summarizes the current progress of SMPTE committees working to create, approve, revise, and remove standards for the industry. Copies of the September 2014 SMPTE Motion Imaging Journal’s “Progress Report” issue, the Society’s key publication, will be available on the stand. The issue will focus on trends and developments in the motion-imaging industry. Readers may access Journal content from 1916 to the present from the SMPTE Digital Library available at The SMPTE Digital Library provides one-stop access to SMPTE resources so that professionals can stay informed about the latest technology and industry research.

Adobe Hosts Summer-Long Digital Media Webinars Series

Thu, 24 Jul 2014 10:27:16 -0400

Adobe welcomes attends for a complimentary series of webinars designed to show how to work smarter and more effectively with Adobe Digital Media Solutions, including Adobe Acrobat, Creative Cloud, Digital Publishing Suite, and EchoSign.

To register for any of the webinars listed below, Click Here.

- Thursday, July 24 - Spotlight on New Creative Cloud for Enterprise Features - Mihai Corlan, Adobe
- Tuesday, July 29 - How to Build an Android App and Submit it to Google Play - Keith Gilbert, Gilbert Consulting
- Wednesday, July 30 - Adobe Would Like to Give You Some Money Back. Find Out How with Adobe EchoSign - Jonathan Schreiber, Adobe
- Thursday, July 31 - Acrobat & Document Security - Dr. Ponemon, Dr. Ponemon Research, and Alison Cattelona, Adobe
- Tuesday, August 12 - Creating Multi-state Objects in InDesign for Adobe DPS Projects - Keith Gilbert, Gilbert Consulting
- Wednesday, August 13 - New Services Update: Creative Cloud for enterprise. - Mihai Corlan, Adobe
- Wednesday, August 20 - Want a More Productive Salesforce? Find Out How with EchoSign and Salesforce. - Jonathan Schreiber, Adobe

Blackmagic Announces New Apple ProRes formats for all BMD Cameras

Wed, 23 Jul 2014 12:43:02 -0400

Blackmagic Design has announced the immediate availability of Camera 1.8.2 software which adds three new Apple ProRes file formats for the Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera and Blackmagic Production Camera 4K. Camera 1.8.2 update is available now free of charge from the Blackmagic Design website.

Blackmagic Design camera customers have always been able to record in both CinemaDNG RAW or compressed ProRes 422 HQ formats, however now this new software update adds three additional Apple ProRes™ file formats, ProRes 422, ProRes 422 LT and ProRes 422 Proxy. This means customers using Blackmagic Design cameras will be able to get significantly smaller video file sizes allowing much longer recording durations on the same media card, all while preserving full frame 10-bit 4:2:2 quality.

Because this update is available to our camera customers free of charge, they simply need to download it, and install the update from their Mac or Windows machine using a simple USB cable connection to the camera. Once the update is complete, customers will see these new formats available in the camera menus.

Because this update reduces the data rate of recording, it means customers can now choose lower cost SSD or SD cards while still recording high quality video in HD and Ultra HD resolutions. Using ProRes 422 Proxy it is possible to record 230 minutes of 1080HD video on a single 64GB SD drive. Selecting the type of ProRes format for recording can be set via the on screen menus and all ProRes types can be played back instantly.

The Apple ProRes 422 formats are designed specifically for multi-stream non linear editing, minimal generation loss and fast export, making them very popular video file formats for post production and broadcast. All ProRes files recorded with Blackmagic Cinema Cameras and Blackmagic Production Camera 4K can be opened directly in DaVinci Resolve 11 and Apple Final Cut Pro X for immediate color correction, editing and finishing.

“We are extremely excited to release this next update for our camera customers ,” said Grant Petty, CEO of Blackmagic Design. “With the addition of the 3 new ProRes formats, cinematographers can now record for longer on low cost SSD’s and SD cards without sacrificing image quality, as they are still recording in full 10 bit 4:2:2 quality. Because our cameras feature a software centric design, we are very excited to be able to update our cameras with more and more features over time and make the cameras better and better! And there is more to come!”

NewTek Names Dr. Andrew Cross as President

Tue, 22 Jul 2014 11:57:16 -0400

NewTek announced that Dr. Andrew Cross has been named president of NewTek with responsibility for the overall strategic direction of the company’s video business.

Dr. Cross will retain his current title and duties as chief technology officer and report to NewTek chief executive officer, Jim Plant. Dr. Cross joined NewTek in 1998 as a senior software engineer and after several promotions was named chief technology officer in 2010. His technology leadership and guidance shaped the initial concept and development of the TriCaster multi-camera live video production system, which has evolved into the global gold standard for integrated live video production and streaming. Other key products among the more than 50 shipped under his direction include the NewTek Video Toaster and 3Play integrated sports productions systems.

“Andrew’s contributions to the success of NewTek cannot be understated. Our company is a driving force behind the current global transformation taking place in today’s broadcast video market, and we would not be in the leadership position we’re in without Andrew’s vision, engineering acumen, and passion for innovating disruptive technologies,” said Plant. “These qualities, combined with his unique ability to understand the complexities of a dynamically evolving marketplace make him the ideal individual to lead our video business now and into the future.”

Cross commented, “We’re in the midst of a massive shift in the way people and organizations communicate using live video. NewTek is uniquely positioned to continue driving innovation and meaningful change in ways that redefine the world of broadcasting as we know it. We will be relentless in our approach to make it easier and more affordable for corporations, schools, governments, houses of worship, entrepreneurs, sports entities and entertainers of all kinds to share network TV-style video experiences with the world.”

Tom Petty Hits the Road with EAW Anya System in Tow

Mon, 21 Jul 2014 09:55:46 -0400

EAW has announced that Sound Image has joined the expanding global network of Adaptive Performance Partners through the purchase of an Anya system. The system will be immediately deployed on the Tom Petty Hypnotic Eye Tour. Award winning FOH engineer, Robert Scovill, insisted upon Anya after putting the system through an extensive evaluation at a private event.

“I haven’t been this excited about a new approach to PA technology in a couple of decades now,” says Scovill. “The approach that EAW has taken with Anya is a leap forward in the quality and the way in which audio can be presented to a large audience. I’m thrilled to have the opportunity to be an early adopter of Anya. I’m literally counting the days to our first shows.”

The arena tour, featuring very special guest Steve Winwood, will additionally make stops at the scenic Gorge and Red Rocks amphitheaters along with a special night at Boston’s historic Fenway Park. EAW Resolution software will be used to adapt the coverage of the 54 module Anya system to match the diverse requirements of the venues on the tour.

“This is a very big day for EAW,” says Jeff Rocha, president of EAW. “The collaboration between this specific artist, engineer and sound company is as good as it gets. Robert’s selection of Anya further reinforces the industry shift away from conventional line arrays in favor of the pioneering technologies of adaptive performance. And the level of excellence that Sound Image consistently delivers will make those technologies available to a very wide range of artists.”

Dave Shadoan, president of Sound Image adds, “We analyze, watch and develop evolving technology closely and we strive to remain at the technological forefront in the touring industry. When we see a product that has the potential to cut a new path, we will certainly get involved. When Robert Scovill came to us with the concept of using Anya for Tom Petty, we knew that it was time to pay attention as we had been monitoring the Anya system as well.”

“Robert is a very talented engineer and we have had a strong relationship for many years. As we roll this system out for its first major tour, we’re confident that it’s in very capable hands. It will be a great opportunity for Sound Image to show the system to other engineers that are curious about Adaptive Performance technology, allowing them to see how it can be used with their clients moving forward. Jeff Rocha and the EAW team have worked very hard to provide something new and different. It is an exciting project to say the least.”

Markertek Video of the Week:

Daily Tech Term Sponsored By Laird.

Ground Wave

Effect found in radio transmissions where radio signals propagate with increased strength as a result of traveling along the earth's surface. Radio signals with wavelengths longer than line-of-sight waves yet shorter than waves refracted in the ionosphere propagate with a ground wave component.

Blackmagic CONVMBSQUH4K2 Mini Converter - Quad SDI to HDMI 4K 2
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Blackmagic 3 CH Snake XLR and 3.5mm to 1/4 inch and 3.5mm Right angle 2ft
Blackmagic 2.5K Cinema Camera audio breakout cables. Dual Right Angle 1/4" TRS to Female XLR with 3.5 mm mini to 1/4. Broadcast quality designed audio breakout for the BMCC featuring Neutrik Black and Silver 1/4" balanced TRS and XLR XX series connectors. 1/4" connectors and XLR connectors are colored coded for stereo channel identification. A high grade polyethylene dielectric is used to minimize high frequency attenuation, while excellent process control and tight pair twisting achieves superior noise rejection. Designed to adapt the 1/4" balanced stereo inputs on the BMD Digital Cinema Camera to industry standard size XLR females.


Canon EOS C100 EF Cinema Camcorder (Body Only)
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Cloud Cloudlifter CL-1 Mic Activator Inline Preamp
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Cloud Microphones Cloudlifter CL-1 Mic Activator A Must-Have Tool for Dynamics and Ribbons!Cloudlifter CL-1 Mic Activator is an easy to use, compact solution for common audio problems faced in the field and in the studio. Designed for all passive microphones - including ribbons- the CL-1 safely uses any standard phantom powered microphone input device to provide up to +25db of ultra-clean, transparent gain.Cloudlifters dramatically improve the performance of passive microphone signals by driving stronger, cleaner signals over longer XLR cable runs, making them ideal for broadcast, live, and studio applications. Enclose...

Camplex Tac-N-Go 3G SDI Fiber Optic Converter / Extender & 1000 Foot Cable Reel
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The All-In-One SDI Over Fiber Deployment Solution!A complete cost effective 3G SDI to Fiber optic extender and converter in a field deployable cable reel system. Convert and extend your SDI signals over 1000 feet of tactical fiber optical cable using the Camplex Tac-N-Go SDI system. Convert any camera or 3G SDI source to a powerful long haul fiber transmission system. The 3G-SDI extender is either battery or AC powered making it perfect for mobile video, stadiums, sports venues, live event arenas and more. Long life Lithium 9V batteries are included.This system includes a built-in SDI Beamer f...

ScopePrepared By The Markertek Engineering Department...

When going back & forth between 2- and 3-wire audio connectors, sometimes I get considerable hum. How do I avoid this?

Two-wire audio connectors are used for unbalanced audio. One wire is the signal (hot) the other is ground and signal return. Three-wire connectors are not as simple. The primary use of a 3-wire connector is for balanced audio where one wire is a separate ground and the other two carry audio. The audio on the two wires is identical, except one signal is out of polarity with the other. Another use of 3-wire connectors is for the insert jack on audio boards. On these, one wire is an input, the other is an output and the third is a Common ground.

Over the years, 3-wire stereo plugs (F-16) also have become common in many sizes. These connectors are used for two unbalanced (L&R) signals with a common ground. With all of this in mind, the problem you are referring to usually occurs when you mix balanced and unbalanced signals.

The best way to interconnect balanced and unbalanced signals is with transformers that match signal type and impedance. In addition to matching the wiring and impedance, the levels must also be matched. Small pre-amps can be used to boost levels that are too low, and attenuator pads can reduce levels that are too high. If you don't have the proper matching equipment, careful and consistent wiring practices can keep the signals relatively clean.

The first area to look at is ac power. Make sure that all of the audio equipment is powered by the same circuit. If this is not possible, keep the number of circuits small. Second, any ac plugs that are not polarized can be reversed. If noise is detected, reverse the ac plugs one at a time, leaving the plugs in the position that produces the least hum.

At this point, the process can get a little messy. When you wire an unbalanced output to a balanced input, connect the signal wire to the positive, or hot, input. Generally, connect the ground to the negative, or cold, input and to the ground input. Depending on the situation, better results may be obtained if the ground input is left unconnected. When you connect a balanced output to an unbalanced input, connect the signal input wire to the positive, or hot, output, and connect the ground wire to the ground output connection. At this point, check the frequency response at 100Hz, 1kHz arid 10kHz. It should be flat. If the response increases with frequency, place resistors from the positive output terminal to ground and from the negative output terminal to ground. The value of each resistor should be about half the output impedance listed in the equipment specifications.

GS-6 Frequency Characteristics


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