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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

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.

137th Audio Engineering Society Convention Breaks Record

Fri, 17 Oct 2014 10:27:40 -0400

The 137th Audio Engineering Society Convention, held Thursday, October 9, 2014, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California, was the place to be if you have anything to do with the audio industry. The exhibit floor, panels and technical sessions were packed all four days, and with 15,403 registered attendees and 307 exhibitors/sponsors, AES137 far surpassed any West-Coast AES Convention in the last 10 years or more. At show close, AES reported a 28% increase in registration since the last time the convention was on the West Coast (133rd AES Convention in San Francisco in 2012).

Convention Committee Co-Chairs Valerie Tyler and Michael MacDonald and their team created one of the most ambitious and comprehensive schedules of workshops, panels and technical programs in AES convention history. From the opening keynote address on Thursday by acclaimed engineer, musician and record producer Alan Parsons; and the Richard C. Heyser Memorial Lecture presented by legendary game audio director and composer Marty O'Donnell; to Friday’s keynote by Neil Portnow, President/CEO The Recording Academy®, The GRAMMY Foundation® and MusiCares; the popular Project Studio Expo and Live Sound Expo; the High Resolution Audio Program in association with DEG: The Digital Entertainment Group; the GRAMMY® SoundTables event “Songs That Move The Needle: Producers on Producing,” moderated by Ed Cherney and featuring Alex da Kid, Don Was, Niko Bolas, No I.D., and Michael Brauer; “DTV Audio Group Forum:The Implications of Streamed Content Delivery on the Evolution of Television”; “Chicks in the Mix,” moderated by acclaimed producer and mixer Chris Lord-Alge and bringing together well-known female industry professionals to discuss their personal experience; “Sound Is the Conduit to the Artist Heart” presented by acclaimed producer, engineer and technologist Jack Joseph Puig; and more, AES137 hit it out of the park for attendees and exhibitors alike.

"I cannot put into words how thrilled I am with the 137th AES Convention,” stated Bob Moses, Executive Director of the AES. “Our organizing committee really outdid themselves, with over 350 presentations from an astounding 731 leading researchers and practitioners in the field, many of them standing-room-only. We have some serious momentum built from recent conventions in New York and Berlin, and we are going to keep it going for the coming conventions in Warsaw in May and then back to New York next October. You could say that our conventions and the AES organization have a renewed energy, and we couldn’t be happier.”

Markertek Video of the Week:

Daily Tech Term Sponsored By Laird.

SMPTE Time Code

SMPTE Time Code is a set of cooperating standards to label individual frames of video or film with a time code defined by the Society of Motion Picture and Television Engineers in the SMPTE 12M specification.
Time codes are added to film, video or audio material, and have also been adapted to synchronize music. They provide a time reference for editing, synchronization and identification. Time code is a form of media metadata. The invention of time code made modern videotape editing possible, and led eventually to the creation of non-linear editing systems. Longitudinal and vertical-interval time codes were developed in 1967 by EECO, an electronics company that developed video recorders, and later video production systems. EECO assigned its intellectual property to permit public use.

Audio Technica ATW-1701 Camera-Mount Receiver - ATW-T1001 UniPak Transmitter
Rock Solid Performance!
Audio Technica System 10 Camera-Mount Digital Wireless System is a digital wireless system designed to provide rock-solid performance along with easy setup and clear, natural sound quality. Featuring a compact design, the system is available in handheld, lavalier and body-pack configurations. Operating in the 2.4 GHz range, far from TV and DTV interference, this system offers extremely easy operation and instantaneous channel selection. Up to eight channels may be used together without any frequency coordination problems or group selection issues.System 10 offers high-fidelity digital wireless for performing musicians and pres...

Atomos Ninja Star Pocket-size Apple ProRes Recorder & Deck
Star Power!
The Ninja Star is a must have for people who need to "Record Apple ProRes on Board" camera rigs, such as Drones, RC Helicopters, extreme sports and Reality TV.The Ninja Star is the next break through in external HDMI recorders based on core technologies that have made Atomos the leader in camera mounted solutions. Its small, self contained size and flexible mounting options allow DP's and cameramen to mount it to just about any POV set-up and offer edit ready format recording with ProRes.Since the company was founded in 2010 Atomos has broken new ground in the design and functionality of recording, monitoring and playback dev...

Atomos Powerstation for Atomos Monitors/Recorders and Cameras/Camera Accessories

The Atomos POWERSTATION is a lightweight mobile cart with a collapsible design that is perfect for interactive touchscreens and confidence monitors.The dual DC outputs and provided splitter cable allows charging of up to 3 DC devices on the rig. Your choice of DSLR, lighting, monitor or Atomos product up to a maximum of 5A output.A flexible dual USB power source allows you to charge 2 x 1A devices. The provided 2600mAh batteries is enough to charge aniPhone 5 from 0 to 100%, 3 times over.Features:

  • CONTINUOUS POWER: Our patented Continuous Power dual batt...

Blackmagic CONVMBSQUH4K2 Mini Converter - Quad SDI to HDMI 4K 2
4K Today!
Connect Single Link 6G-SDI, Dual Link 3G-SDI or Quad Link HD-SDI to the newest HDMI 4K projectors and televisions that support Ultra HD over a single HDMI link. Includes SD/HD and Ultra HD auto switching, plus analog or AES/EBU audio de-embedding.Specifications:

  • Connections:
  • SDI Video Input: 1 x SD, HD or 6G-SDI.
  • SDI Video Output: (4K HDMI output only)
  • HDMI: HDMI type A out.
  • SDI Redundant Input: Automatically switches over if main SDI input is lost.
  • Multi Rate Support: Auto detection of SD, HD or 6G-SDI
  • Updates and Configuration: Via USB 2.0 high...

CAIG Labs K-FO79 Fiber Optic Cleaning Kit
Keep it Clean!
CAIG Laboratories Fiber Optic Cleaning Kit is made in the USA and gives the technician everything needed to clean fiber optic connections and prepare fiber for splicing. Works with LC, SC, ST, and Neutrik OpticalCON fiber connectors. All of the accessories are lint free and the CAIG Fiber Cleaning Fluid is fast to evaporate and leaves no residue. Uniquely, this kit also includes CAIG's Precision Air Duster that facilitates removal of any loose debris and other contaminants at the outset of cleaning. The multiple sizes of swabs and cleaning sticks, and the polyester cellulose wipes included in the kit allow for the cleaning of the...

ScopePrepared By The Markertek Engineering Department...

Understanding Fiber Optic Attenuators

Attenuators are used with single-mode fiber optic devices and cable to filter the strength of the fiber optic signal. Depending on the type of attenuator attached to the devices at each end of the fiber optic cable, you can diminish the strength of the light signal a variable amount, measured in decibels (dB).

Why would you want to filter the strength of the fiber optic signal? Single-mode fiber is designed to carry a fiber optic signal long distances—as much as 70 kilometers (or 43.4 miles). Fiber devices send this signal with great force to ensure that the signal, and your data, arrive at the other end intact.

But when two fiber devices connected with single-mode fiber cable are close to each other, the signal may be too strong. As a result, the light signal reflects back down the fiber cable. Data can be corrupted and transmissions can be faulty. A signal that is too strong can even damage the attached equipment.

Because it’s probably not feasible to move your fiber equipment farther apart, the easiest solution is to attach an attenuator to each fiber device. Just as sunglasses filter the strength of sunlight, attenuators filter the strength of the light signal transmitted along single-mode fiber cable. Within the attenuator, there’s doping that reduces the strength of the signal passing through the fiber connection and minute air gaps where the two fibers meet. Fiber grooves may also be intentionally misaligned by several microns—but only enough to slow the fiber optic signal to an acceptable rate as it travels down the cable.

Before selecting an attenuator, you need to check the type of adapter on your fiber devices. Attenuators typically fit into any patch panel equipped with FC, SC, or LC adapters that contain either PC or APC contacts. In addition to the type of adapter, you also need to determine the necessary attenuation value, such as 5 or 10 dB. This value varies, depending on the strength of fiber optic signal desired.

Understanding Fiber Optic Attenuators

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