Advanced Television

IBC Show Previews C – D

Canon – 11.C45

Canon Europe today announces it will be showcasing its solutions-based proposition at IBC 2022 – the leading international forum for content creation, management and delivery. Canon’s stand reflects the huge changes that the industry has experienced in the past few years, with a growing need for streamlined crews and low-cost content creation resulting in the rise of remote and virtual production systems. Visitors can see Canon’s Live Production Imaging Ecosystem, XR studio and VR solution in action and get their hands on the latest products, such as the EOS R5 C, XF605 and PTZ cameras, in its touch and try zone. 

Ryan Kamata, European Senior Product Marketing Manager at Canon Europe comments: “It’s great to be heading back to IBC to showcase our latest innovations. When we attended in 2019, the content creation and production industry was a completely different space. The pandemic has pushed the industry to advance its virtual and remote production capabilities to support smaller crews or even stand-alone operators – which our stand will showcase. We have been working hard to push the boundaries with our integrated solutions and are looking forward to speaking with our customers about what this means for them.”

Canon’s Live Production Imaging Ecosystem

Addressing the growing demand for solutions that support remote and live production, Canon will showcase its customisable multi-camera setup. From large format cinema cameras to remote control PTZ cameras, visitors to the stand will see how they can configure a unique multi-cam setup that meets their needs. To talk them through how this works in practice is Canon Ambassador and filmmaker, Sébastien Devaud. Canon’s latest PTZ cameras – which support a range of IP protocols – will be paired alongside high-end cinema cameras such as the EOS C300 Mark III and XF605 professional camcorder using Canon’s XC protocol and output on its professional reference monitors, to showcase the possibilities for live and remote production.

XR Studio

XR Studio solutions are changing the game for high-end content creation, offering a high quality and more efficient set up for filmmakers. Partnering with Mo-Sys – a manufacturer of virtual production solutions – Canon will be showcasing how its XR solution software communicates with lens and camera data on its professional cinema cameras. Demonstrated with various products such as EOS C500 Mark II and Flex Zoom lenses, the solution enables a high-resolution LED backdrop to react as the camera and lens are operated. Director and cinematographer, Brett Danton, will also talk about how he has used Canon kit to support his recent work, captured using extended reality (XR) methods.

VR Zone

For those wanting a break from the trade show floor, visitors can immerse themselves in a variety of VR content captured with the Canon EOS R5, EOS R5 C and RF 5.2mm F2.8L DUAL FISHEYE Lens. VR solution provider Invelon has created two VR experiences: either take a journey on the back of a quad bike through a beautiful holiday destination or be transported backstage with a rock band and experience the sensation of ambisonic audio with VR headsets provided by Varjo and powered by PCs from Lenovo.


Cinegy – Stand 7.A01

As it returns to IBC, Cinegy, a premier provider of software technology for digital video processing, asset management, video compression and automation, and playout services, will showcase how its portfolio of 8k and cloud optimised solutions support customers’ needs today and in the future. Visitors to IBC 2022 will also see demonstrations of Cinegy’s end-to-end capability with solutions such as Cinegy Air PRO, Cinegy Capture PRO, Cinegy Multiviewer, Cinegy Convert and Cinegy Archive, within which the Daniel2 codec is an integral part. Visitors to this year’s show will see first-hand how Cinegy solutions simplify workflows and allow production teams to work smarter and more efficiently. As an early adopter of the open source SRT (Secure Reliable Transport) protocol, Cinegy has SRT baked into its technology, including the license, which removes any concerns about whether users have the legal right, proper subscription, or adequate bandwidth to deploy the software.  Jan Weigner, Managing Director at Cinegy commented: “While the cloud is the ultimate destination for the industry, not every customer is ready to make the transition at the same time. Our role as a technology partner is to meet customers where they are today and show them how they can evolve their business to take on the challenges they face in a dynamically shifting market. We have created a highly flexible approach that allows broadcasters to migrate their workflow – in parts or wholesale – in a way that aligns with their business and operational requirements. We are excited to be back at IBC and showing customers how we can help them solve the issues facing their businesses.”   IBC 2022 attendees will see a clear demonstration of how Cinegy Air PRO simplifies multi-channel delivery, allowing customers to run many channels with flexibly configurable features from a single unit, while Cinegy Capture PRO allows operators to work with a rich client interface running anywhere on the network, simultaneously generating all versions needed for archive, editing and remote working. Cinegy Multiviewer, which runs as a service operating on commodity IT equipment, displays and analyses signals from multiple sources, raising alerts for any detected signal problems.   Designed to perform repetitive export and conversion tasks by “printing” material to predefined formats and destinations, Cinegy Convert saves time that can be applied to higher value creative tasks, while Cinegy Archive delivers advanced logging and metadata accumulation over the entire lifecycle of the media assets, making these easily searchable and reusable, and saving time and money. Underpinning the Cinegy software range is the newly optimised Cinegy Daniel2 codec, the only way to play professional quality 8k streams on affordable, commodity hardware or even a consumer-grade laptop.


Cobalt Digital – Stand 10.B44

Cobalt Digital has revealed plans to demonstrate its Indigo 2110-DC-01 SMPTE ST 2110 solution on its  9904-UDX-4K card at IBC on Stand 10.B44.  The new option offers support for high density native 4K ST 2110 audio and video processing on openGear form factor. The Company will also be highlighting the new version of the SafeLink Gateway as a virtual machine, and a higher density solution of +MPx-DANTE-64×64, the industry’s first license-based quad-channel 3G-SDI bridge to Dante audio. SafeLink reliably transports any audio and video content over the Internet with low latency.  Dante is Audinate’s combination of software, hardware and network protocols that deliver uncompressed, multi-channel, low-latency digital audio over a standard Ethernet network. Cobalt Digital is a designer and manufacturer of award-winning edge devices for live video production and master control, and a founding partner in the openGear initiative.

Cobalt’s 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 as well as IS‑04/IS-05 NMOS for automatic discovery and configuration. This 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.

Indigo, already available on the quad path 9905-MPx openGear card, offers advanced processing with IP inputs and outputs and eliminates the need for any external gateways. When Indigo is combined with the 9904-UDX-4K openGear card a powerful and dense solution is created that is capable of natively processing HD, 3G and 4K IP streams without compromising quality.  The 9904 platform is capable of up/down/cross conversion, audio routing, color correction, 3D-LUT processing and supports Advanced HDR by Technicolor. Adding native ST 2110 interfaces to the audio and video processing elements provides a cost-effective, integrated solution. Customers no longer need to put multiple boxes or processing elements in the data path switching between IP and SDI. By processing natively over IP, all this complexity is streamlined, and costs are reduced significantly.

Cobalt will also highlight its SafeLink Gateway that provides protection for live video and audio data over unsecured networks for legacy devices. SafeLink, previously offered as a hardware solution on the Company’s OG-PC openGear card, is now being launched as a software-only form factor and includes support for UDP, RTP, FEC, and RIST Main Profile, with encryption and authentication.

“We’ve been developing new features for SafeLink all along, but our customers asked us to design a software version in addition to the PC-based hardware solution,” explained Suzana Brady, senior vice president for worldwide sales and marketing at Cobalt. “The timing was perfect, so we are happy to launch it at IBC to a global audience.”

Using Reliable Internet Streaming Transport (RIST) – a low latency protocol, SafeLink serves as a secure pipeline that ensures video is transported safely even in live production environments that may experience network delay. The lightweight software version can live on most computers or on Cobalt’s openGear OG-PC-x86-A platform. Control is handled with DashBoard, a free application that handles control and monitoring for all openGear broadcast products.

SafeLink can support up to 8 streams which in turn can be sent to 8 destinations for a potential of transporting content to 64 destinations. SafeLink can also support up to 8 tunnels each of which can support an arbitrary number of streams.

Cobalt has made Dante’s IP-based audio networking solution available to users on a license-basis in a much higher density scale by incorporating the functionality into the Company’s quad channel 9905-MPx in addition to the 9904-UDX processing card existing solution. +MPx-DANTE-64×64 supports embedding and de-embedding in four simultaneous SDI channels all the way to 3G-SDI with full audio routing capabilities between SDI, MADI, and Dante, both input and output, adding up to 128 channels to existing 9905 cards for a very high-density solution without the need for any new hardware. Users will be able to ingest and process up to 64 audio channels from the network and will be able to output up to 64 channels back into the network using Dante and the Ethernet port. Dante effortlessly replaces point-to-point analog and digital connections with software-based routing sending AV channels anywhere on the network with perfect digital fidelity.

Cobalt will also conduct multiple demonstrations including ST 2110 processing, its line of compression products with a synchronized decoding demo of RIST, and a new feature from Technicolor that allows reversible inverse tone mapping SDR to HDR, followed by SL-HDR1 in seamless fashion.


Codemill – Stand C.611

Codemill will be showcasing the latest updates to Accurate.Video, its cloud-native product suite for content preparation, at this year’s IBC. Accurate.Video enables media organisations to intuitively respond to the demands of high-volume content operations, by consolidating workflows and utilising time-based metadata. Updates include the beta launch of Accurate.Video Review, in an exclusive collaboration with Box, the addition of Multi-Asset Editing functionality and MP4 multi-track audio switching in Accurate.Video.

Accurate.Video Review is integrated with Box, a leading Cloud Content Management platform that enables organisations to accelerate business processes, manage workplace collaboration, and protect information. This allows media professionals to collaboratively share media and frame-accurately playback and comment on video content, securely stored on the Box Content Cloud. Built with Codemill’s cloud-native professional video, audio, and subtitle player framework, Accurate Player SDK, the solution allows media operators to visualise content for review and take ownership of any corrective action. Accurate.Video Review is now available to select Box customer Beta testers, with shipping expected by 2023.

Jade McQueen, VP & Managing Director, Media & Entertainment, Box, said: “Box provides the media and entertainment industry with a user-friendly Content Cloud, to support digital processes, workflows, and integrations with leading  applications all while maintaining a high-level of security and compliance. Our integration with the new Accurate.Video Review enables our joint customers to simplify the way they collaborate around media with frame accurate review and approval.  We are excited to partner with Codemill on this new integration to support our customer’s needs for video workflows.”

The cloud-native professional video editing tools in Accurate.Video, now include the option to edit multiple audio and video assets. This provides a more advanced editing experience, within an intuitive web browser interface. Accurate.Video is a fast way to make edits needed for content compliance, content localisation for different channels or markets, content versioning for different platforms, and segmentation for promo and marketing teams. Its new use cases include; the ability to edit the highlights of live events, rough cut edit, and create more sophisticated promos. In addition, Codemill will demo MP4 multi-track audio switching in Accurate.Video. This much requested feature allows users to solo, mute and toggle between multiple audio tracks, within a single MP4 file. Accurate.Video features seamless integration with Cantemo Media Asset Management software, Vidispine media backbone APIs, and SDVI’s Rally Media Supply Chain platform.

Rickard Lönneborg, CEO, Codemill, commented: “There is growing pressure on media and entertainment providers to create even more high-value content. This means production and post-production tools must be intuitive and efficient to optimise content workflows. Codemill’s products are designed to streamline media workflows, and these updates to Accurate.Video will ensure our customers can stay ahead of the curve in such a fast-paced industry.”

As well as showcasing its latest Accurate.Video updates, Codemill will take part in the IBC Accelerator programme, Cloud Localization Blueprint (CLB). A media innovation project that outlines best practice architecture for a cloud-based localisation supply chain. Participants include Fabric, Rightsline, Iyuno-SDI, SDVI, Amazon Web Services (AWS), Vidispine, Codemill, EIDR and LMT. The CLB will be presented at IBC on September 11th at the Innovation Stage, Hall 2.

Lucia Johnstone-Cowan, Senior Sales Manager, Codemill, said: “It is a privilege to be involved with the IBC Accelerator Programme alongside so many leading media organisations. The Cloud Localisation Blueprint is a first-of-its-kind project that brings together leading supply chain software companies, to create a framework for efficient global content management and distribution.”


Comrex – Pod 7.P12

Comrex designs and builds equipment that uses the most advanced available technology to connect broadcasters with their audiences. We strive to build reliable, user-friendly tools that engineers can trust to work, even during complicated broadcasts. Our goal is to make it easy for broadcasters to create the programming they care about.


CyanView – Stand 10.D31

CyanView  – a leading developer of specialist camera integration solutions – will be using the 2022 IBC Show as an opportunity to demonstrate their new RIO Live solution, previously introduced and awarded ‘Product of the Year’ at the latest NAB Exhibition.

RIO Live is a camera-mounted addition which facilitates shading and tally across a diverse range D-Cinema cameras, camcorders and mirrorless cameras in multi-camera live productions such as concerts, theater plays or fashion shows.

The RIO Live unit can be coordinated with an extensive range of cameras in order to facilitate remote control. The diverse range of cameras supported and the flexible connection options available provide producers and creatives both in Broadcast and ProAV markets with the ability 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 post-production – can be secured across the cameras, even in live productions and whilst streaming.

The RIO Live unit further allows for the control of zoom lenses and lens motors, including B4 box lenses, PL zoom lenses, Canon Cine Servos and Fujinon Cabrios, along with C-Motion on large zoom lenses, and Chrosziel and Tilta motors on prime lenses. It also facilitates full gimbal control, which enables producers to create a PTZ setup using cameras and accessories of their choice, including robotic and cable cams, dollies and jibs.

Finally, the unit also allows for control of the internal tally of a camera  or an auxiliary tally connected to the RIO Live itself, with camera selection and tally ingest undertaken through protocols such as TSL and GPIO, or direct integrations with Atem, Tricaster or Vmix.

As well as providing physical control over all cameras, including simultaneous start for recordings, the RIO Live facilitates full shading functionality across a multi-camera setup. This includes remote video shading control for cameras where such functionality might be missing or locked, or when using 3D LUT-based processors such as the Flanders Box-IO, AJA ColorBox or the CyanView VP4 to add and coordinate functionalities as required.

Crucially, all of this can be coordinated flexibly by CyanView remote control, either devoting individual (or multiple) controllers to each camera, creating sub-groups, or through a single master controller. This ability to control multi-brand camera integrations through a single RCP (or indeed any RCP combination desired) grants immense creative potential to broadcast professionals, whilst still ensuring consistency and order across the setup. Few other products allow for such a diverse range of cameras and standards to be controlled through a single RCP. Setups combining CyanView RCPs and RIO Live units have seen as many as 100 cameras (of numerous different brands) all connected through one remote  as used for reality TV shows.

Indeed, the full capabilities of CyanView’s RCP will also be on display at their IBC booth, demonstrating how the RCP seamlessly integrates camera control with the linear colour corrections available in RGB and ProcAmp correctors in post. Its interface, which resembles that of a standard broadcast camera, allows for efficient multi-cam alignment in live productions.

CyanView will also be highlighting their support for the recently-announced AJA ColorBox, a flexible hardware processing solution with nodes that ensure accurate mappings and unprecedented color fidelity for live and post production HDR/SDR workflows. The ColorBox is particularly useful when multiple camera types and brands are implemented, as aligning cameras in this context requires more precise adjustments similar to the ACES workflow. With the ColorBox, the process is made as easy and intuitive as if the operator were undertaking the adjustments in the camera itself.

Speaking of their ability to demonstrate the RIO Live to audiences at IBC, David Bourgeois, Founder and CEO of CyanView, said: “The RIO Live provides so much creative potential for creative broadcast professionals, giving them absolute flexibility in their production setup, and allowing them to select cameras according to the benefits their attributes will bring, without having to worry about how they will be coordinated and controlled. Through the application of shading tools even when such functionality is not present in the camera itself, and with an incredibly easy and straightforward workflow and control system, the RIO Live is ideal for remote, distributed, live and cinematic multi-camera productions”. 


Dalet – Stand 1.A47

Dejero will introduce its new EnGo 3 and EnGo 3x 5G mobile transmitters with integrated internet gateway at IBC 2022, along with its new WayPoint 3 receiver.

Dalet solutions featured at IBC2022 – Dalet Flex media logistics, Dalet Pyramid next-gen news solutions and the Dalet Galaxy broadcast workflow platform – solve remote production and collaboration challenges and enable immense scalability and automation across operations.

Solutions Shown on the Dalet IBC2022 Stand:

  • Dalet Flex is the award-winning, cloud-native media logistics solution used by media-rich organizations to produce, manage, distribute and monetize content. It features web-based, user-friendly collaborative tools and automation capabilities that have been proven to shorten workflows for review and approval, content library management, multiplatform distribution, and packaging content for localization and OTT by up to 50% and reduce direct costs by up to 70%. The IBC2022 Dalet Flex showcase will feature both Dalet Flex for teams, the SaaS, multi-tenanted offering delivering media workflows as a service, and Dalet Flex for enterprises, the tailor-made media and content supply chain platform.
  • Dalet Unified News Operations solutions are uniquely positioned to solve the pain points of modern, end-to-end news workflows: planning, collaboration, remote editing, and digital news production. As such, it is ideal for news organizations with multiple stations, newsrooms with both broadcast and digital teams, digital-only news outlets, and distributed news organizations. Dalet Pyramid, the next-gen news solution, brings newsrooms into a new era. Powerful cloud-native services combined with advanced mobility, a state-of-the-art user interface, collaborative web-based tools, and Storytelling 360 offer greater ROI for customers while simultaneously providing a non-disruptive journey to the cloud.
  • Complementing the Dalet Flex and Dalet Unified News Operations showcases are the award-winning Dalet AmberFin media processing solution; the Dalet CubeNG suite of tools to design, manage and playout high-quality 3D graphics; the Dalet Brio high-density SD, HD, and UHD broadcast I/O platform; the Dalet Media Cortex AI service platform designed to leverage cognitive services and machine learning everywhere, and Dalet OnePlay the next-gen automated live studio production solution.

Join us at Dalet Pulse – Open to all IBC attendees and media professionals, Dalet Pulse is a free-to-attend cocktail and networking event co-sponsored by AWS and Bitmovin. Dalet Pulse offers an excellent opportunity to reconnect and celebrate the cutting-edge innovations our industry is embracing.

  • When: September 8th from 19:00-21:00 CEST
  • Where: The College Hotel Foodbar and patio: Roelof Hartstraat 1 in Amsterdam


Dejero – Stand 2.B51

Dejero will introduce its new EnGo 3 and EnGo 3x 5G mobile transmitters with integrated internet gateway at IBC 2022, along with its new WayPoint 3 receiver.The EnGo 3 and EnGo 3x combine superior 5G performance with unparalleled video quality for broadcast and media production markets; with EnGo 3x supporting 4K UHD transmission and multi-camera production. The company’s new WayPoint 3 receiver reconstructs video transported over multiple IP connections from select Dejero transmitters, decodes HEVC or AVC, and outputs resolutions up to 4K UHD.New 5G EnGo mobile transmitters
The EnGo 3 and EnGo 3x transmitters are designed with brand new RF and 4×4 MIMO antenna architecture to unlock the full potential of 5G connections and ensure optimal antenna isolation.“This next generation of EnGo has taken connectivity a step further by quadrupling the number of antennas per modem, offering wider support of cellular bands for greater performance and reliability,” explains Francois Vailant, senior product manager, Dejero. “Other 5G mobile transmitters are using 4G antenna design principles where interference by antennas, placed too close together, negatively impacts reliability, especially in areas where cellular signals may be weak, or where many cellular devices are competing for network bandwidth.”Dejero selected modems that support a broad range of cellular bands to enhance 5G performance of the EnGo 3 and EnGo 3x, supporting additional bands used by carriers in the US, Canada, Australia, China, Korea, and Latin America that other 5G mobile transmitters simply cannot connect to.With the new EnGo 3 and EnGo 3x transmitters, field crews can transmit broadcast-quality video, quickly transfer large files and set up high-bandwidth access points for multiple devices instantly. In newsgathering and remote production scenarios, GateWay mode can be used for file transfer, connect to newsrooms and MAM systems, publish content on social media, and access cloud or private datacenter resources. “It’s a huge breakthrough in terms of what a single unit can do on the go – especially those who find themselves reporting from or operating in fringe coverage areas or locations where there is network congestion,” added Kevin Fernandes, chief revenue officer at Dejero.The EnGo transmitters also streamline the communication and workflow between the field and station. This is essential for mobile news teams that work to tight deadlines; instead of losing time searching for an internet hotspot, or depending on mobile hotspot devices with just a single connection, they can count on an ultra-reliable, multi-network fast connection of up to 500 Mbps.For film, television and commercial production companies, EnGo users can leverage the ultra-reliable connectivity to enable real-time collaboration with dispersed teams. They can  also accelerate delivery of content from the remote location directly to post-production, regardless of where that location is – hence reducing the number of people required on set and unlocking huge cost-savings. EnGo 3x
EnGo 3x boasts multi-camera support for up to four fully frame-synced HD feeds. Perfect for capturing feeds from multiple cameras in a single unit, EnGo 3x reduces the cost and complexity of multi-camera sports and live event productions. The additional camera inputs can be licensed when needed, for ultimate flexibility.The ability to transmit in 4K UHD with eight audio channels delivers unparalleled video quality at extremely low latencies. With more sports and major live event viewers willing to pay a premium to watch in the highest definition possible, Dejero anticipates this will quickly become a sought after feature for sports and live event productions. Furthermore, 4K UHD live feeds can greatly benefit film, television and commercial productions to make it easier for distributed teams that are not located on set to monitor and detect lighting and color balance issues in real-time. This is paramount for avoiding expensive reshoots. The 4K UHD feature does not require a separate licence, unlike competing solutions. EnGo 3
EnGo 3 is designed for newsgathering in locations where 5G networks have been widely deployed, As with the EnGo 3x, it  reliably transports broadcast-quality live video from remote locations whilst also providing resilient, high-bandwidth internet access, all in a single device. With glass-to-glass latency as low as half a second over bonded cellular connections, it also delivers greater security with AES 256 encryption, a security-hardened Linux OS and a cryptoprocessor to authenticate the hardware. The 5G networks bonded by EnGo 3 and EnGo 3x transmitters can be combined with other wireless networks including Wi-Fi and GEO/MEO/LEO satellite, and fixed line (cable/DSL/fiber) wired networks thanks to Dejero’s award-winning Smart Blending Technology. This technology intelligently manages the fluctuating bandwidth, packet loss, and latency differences of the individual connections in real-time, providing enhanced reliability, expanded coverage and greater bandwidth.The new EnGo mobile transmitters also feature built-in Hybrid Encoding Technology with the latest generation of Intel processors with customized firmware. The units can adapt to real-time feedback on the complexity of the content being encoded, such as the amount of motion. To achieve unmatched video quality, EnGo 3 and EnGo 3x work in tandem with Smart Blending Technology to analyze the throughput capacity and latency of all the connections in real time.WayPoint 3 receiver
The new WayPoint 3 makes its debut at IBC. It can receive video in resolutions up to 4K UHD to ensure high picture quality. WayPoint 3 reconstructs HEVC or AVC video, transported over multiple IP connections from any Dejero transmitter from version 1.3 onwards, ensuring reconstruction, decoding, and playout in the highest possible definition that SDI, or MPEG-T workflows can support. Saving rack space in the server room, WayPoint 3 can simultaneously output up to four feeds from the same receiver; two 4K UHD and two HD (or lower resolution), one 4K UHD and three HD (or lower resolution), or four HD (or lower resolution).The receiver’s built-in redundancy minimizes risk and maximizes uptime using 1 TB hard drives with RAID protection for both power and storage redundancy.


DFT – Stand 7.A25

At IBC 2022, DFT is unveiling the next generation of film scanning, designed to flex and grow as user needs and technology changes over time.

Known and recognized worldwide for building high quality scanners for exacting customers, DFT is launching a new modular approach, which is unique in the film scanning world and marks a step-change in the way that scanners will be built in the future.

Launching for the first time at IBC 2022, and using the new DFT POLAR platform technology, DFT POLAR HQ represents a next generation film scanner specifically designed to address the unique needs of Film Archives.

DFT POLAR HQ provides clients with the tools to handle difficult to scan film material by introducing a revolutionary new film handling system called Smart Motion. Combined with a high resolution RGB 9.3K field array sensor, Smart Motion enables the user to both handle problematic film materials and enable mastering to Super 4K (deriving from a native 8K scan) as well as to native 8K (without slower micro-scanning) in full 16-bit RGB. Using the new DFT POLAR HQ, film digitization will be raised to the next level.

Alongside DFT POLAR HQ, DFT is also exhibiting it’s established film scanners; the flagship Scanity HDR – which offers high-quality and high-speed scanning, OXScan 14K – which provides ultra-high- resolution scanning, ideal for ‘scan-once’ large film format productions, and Sondor Versa with Resonances.

Norbert Hinckers, DFT Managing Director, said: “We are very excited to be showing the next generation of film scanning technology. DFT POLAR technology gives our customers a secure foundation when purchasing film scanning technology by enabling them to build and evolve as needs change. DFT POLAR HQ promises to revolutionize the way our customers approach scanning technology.”

DFT counts major archives and postproduction facilities worldwide among its customers, including but not limited to the BFI, YLE, Bundesarchiv, Technicolor, Library of Congress, NARA, TFAI, TFA, IMAGICA, NFSA, NAA.


disguise – Stand 2.A35

disguise, an Emmy-award-winning pioneer in extended reality (xR) technology, is giving showgoers a sneak peek into the future of visual storytelling at this year’s IBC Show. The disguise booth features a full 12 x 3 meter LED extended reality (xR) stage powered by disguise rx II real-time rendering nodes and vx 2 media playback servers, complete with the latest release of Polygon Labs’ Porta software, the ultimate production controller for Unreal Engine graphics.

The stage will enable visitors to get hands-on with creating real-time UHD content using the same innovative tools as Netflix, Prime Video, and ITV. It will also feature LED technology from ROE Visual, Ncam real-time camera tracking, and Canon digital camera equipment.

Visitors will have the chance to be the first to witness the latest developments from disguise and Polygon Labs since the acquisition was announced earlier this year. Bound by their joint mission to enable broadcasters to elevate their audience engagement through immersive visual storytelling, disguise and Polygon Labs will showcase new solutions for creating and managing real-time broadcast graphics.

“Our vision is to make it as easy as possible for broadcasters to turn their traditional sets into immersive virtual environments that are guaranteed to attract viewers,” says Grigory Mindlin, General Manager for Broadcast at disguise. “This year, we want to use IBC to showcase some amazing new developments we’ve made since acquiring Polygon Labs at the beginning of 2022, including how Polygon Porta’s cloud-based platform can help you control your entire studio from the lights to the tracking, LED walls and media playout, all in one place.” 

Throughout the show, disguise technical experts will also be hosting regular talks on the xR stage, demonstrating its groundbreaking capabilities in virtual production for broadcast. These talks will explore topics such as:

  • Creating data-driven and augmented reality graphics that presenters can see and even interact with – all in real-time.

  • How to build Extended Reality environments that can turn traditional studios into expansive virtual environments, with no post production or green screens required.

  • The benefits of managing an entire studio while working collaboratively in the cloud using the Polygon Porta software, which can automatically match studio lighting conditions to graphics, managing tracking, and more.

  • How to distribute live, synchronous content of any type to any screen and at any resolution using disguise’s cluster rendering technology.

The stage will also host a session with guest speaker Michael McKenna, CEO and Co-Founder of global virtual production studio Final Pixel, who will be exploring the rise of the virtual art department. During this session, attendees will learn about Final Pixel’s approach to creating real-time virtual production content for the likes of Netflix, Discovery, and Channel 4, and their new partnership with Hogarth, the WPP global creative content production company. The session will also explore how the Final Pixel Academy is inspiring the next generation of talent to support this, including teaching 500 students aged 11-18 how to build their first metahuman.


Dream Chip – Stand 10.C31

Dream Chip – innovators in the field of miniaturised, broadcast-level cameras – will be attending IBC 2022 with the intention of displaying a range of significant upgrades which have been made to their AtomOne range, all of which further enhance the remarkably dynamic ways in which the camera range can be deployed.

Front and centre will be a demonstration of the upgrades made to their AtomOne SSM500 – a camera that achieves HD quality shooting speeds of 500fps in a robust camera body measuring just 189mm x 60mm x 60mm. The IBC demonstration of the camera will focus on the way that the addition of IP control, along with the integration of Broadcast Solutions’ meshLINK, now positions the SSM500 as the most flexible, agile and adaptable miniaturised camera on the market.

Broadcast Solutions’ meshLINK represents a full-duplex IP-based wireless system that incorporates a remarkable array of functionalities – including ultra-low latency UHD HEVC encoding, RCP, telemetry, intercom, return video and prompter. The system also offers unique functions like true adaptive encoding, Total Recall of all connectivity parameters and, the recently developed prediction tool for coverage calculation based on 3D maps. Thanks to all these added functionalities, the AtomOne SSM500 becomes more versatile than ever, but even more importantly – more reliable. Common applications of the AtomOne SSM500 often see it deployed in remote broadcast environments where there is heavy reliance on 5G, with many different broadcasters and devices competing for signal and bandwidth. The addition of meshLINK technology heightens the reliability of the connection made, and when combined with the unobtrusive, lightweight, discrete nature of the camera, allows this tiny device to be deployed in fully remote contexts – including shoulder and bike-mounted situations.

The rest of Dream Chip’s range of cameras will also be on display – including their AtomOne mini zoom, which weighs just 286g. Dream Chip will be seeking to present to customers attendees the remarkable flexibility that is offered within the range, with a focus on wide-ranging third party integration, whether that be for lenses (B-mount and C-mount), RCP (CyanView, JLC Cooper, Skaarhoj and Antelope, to name but a few) or accessories (including ND filters, PTZ mounts and waterproof housings) all of which can be leveraged to further enhance the creative applications in which the camera can be deployed.

Visitors to the booth will be able to talk directly with the Dream Chip team about the range of novel and creative contexts in which Dream Chip cameras have been deployed; in and on motorsports vehicle, mounted on competitors in mountain-course cycle races, sky mounted on drones to capture winter sports competitions, on American football touchdown lines, and mounted upon the net in major global Tennis tournaments. The small size and rugged build quality allow for the cameras to be mounted in unusual locations – adding to the excitement and emotion audiences feel as they are immersed in the action.  Outside of sports deployment, the Dream Chip range has potential for remarkably diverse applications in the field of ProAV (including as PTZ cameras in worship and education), as well as cinematographic film and TV production.

Speaking of their attendance at IBC 2022, Christian Kühn – Sales & Product Marketing Manager for Dream Chip – said: “The AtomOne series of cameras incorporate such a remarkable range of technologies and standards – facilitating the highest quality of shooting -including the possibility for 4K, 500fps and HDR in some of the smallest sized cameras on the market. But these metrics are easy enough to communicate online and in marketing literature. The pleasure of attending a show like IBC is that we can show what these technological specifications really mean in terms of creative potential for producers and broadcasters. The flexibility built into the whole range means that the only limit to their application is the imagination of producers and cinematographers; we give them the tools to create broadcast that shocks, surprises, excites and inspires”.


DVEO – Stand 5.F41

At IBC, which will take place in Amsterdam in September 2021, DVEO and Stream Republic will present a wide variety of broadcast products and solutions. Stand visitors will have a chance to check the new developments and cutting-edge technologies of emerging technologies for streaming.

David Vargas, CEO of DVEO and Stream Republic, stated: “We are happy to be among the IBC exhibitors this year”. “For us to be in Amsterdam again showing our new products and solutions is a big milestone. We are back this year with Next generation products and services, but also for the news that we are preparing for our booth.”

More than 55,000 industry professionals from more than 150 nations have attended IBC, the world’s largest gathering for the broadcasting and electronic media industries. The expectation is to offer the participants a new approach and understanding of how broadcasters, telecoms, and content creators will boost revenue by making use of DVEO’s latest innovations and most cutting-edge technology.


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