NAB 2022

NAB 2022 SportsTechBuzz in Review: Central Hall

The SVG and SVGE editorial teams were out in full force at NAB 2022, covering the biggest sports-technology news and delivering daily SportsTechBuzz at NAB 2022 roundups. Here is a look at the news from exhibitors in Central Hall.

Featured in this roundup are Allied Broadcast Group, ARRI, Audinate, Audio-Technica, Bird Dog, Calrec, Canon, Creative Dimensions, Dalet, DPA, FOR-A, Fraunhofer Institute, Fujinon, Grass Valley, Imagine Communications, Leader Instruments, Markertek, Marshall Electronics, Nemal Electronics, Panasonic, Pliant Technologies, Program Productions, Q5X, Riedel, RTS, Shure, SimplyLive, Solid State Logic, Sony, Tedial, Telestream, Tellyo, and TSL.

Calrec (Booth C8008) has an ambitious setup at the show, running three independent consoles — a 48-dual-fader Apollo console, a 40-fader Artemis console, and a headless console running Calrec Assist on a PC — from a single ImPulse core (whose new v.2.2 software update makes it native to IP). In addition, Calrec’s Type R and a Brio console sit on the same IP network, connected via an AoIP box. A much smaller new product, though, garners as much interest: the Talent Panel compact AoIP endpoint can be quickly configured to let users switch among multiple sources via an integrated hi-res TFT display and adjust headphone volume with a dedicated rotary control. Four switches allow the panel to be customized with common functions like talkback and cough switches. Also new: the GPIO unit for Type R is a 1RU box that delivers an additional 32 GPOs and 32 GPIs for interfacing with external systems, such as playout, phone systems, codecs. Functionality can be added to physical buttons on Type R fader panels, soft panels, or web UIs and configured via Calrec’s Connect application. “The pandemic provided a lot of momentum towards remote production, which these systems support,” says VP, Sales, Dave Letson. “But other forces were also at work, including cost saving and the shift to IP. These developments here also support that.”

RTS Senior Digital MarCom Manager Bryan Wilkins

At RTS (Booth C6108), Senior Digital MarCom Manager Bryan Wilkins points out that, while the company’s focus has been on a steady transition from analog to digital in the intercom sector — for instance, how its VLink enables seamless integration between phone systems and its ADAM and ODIN comms platforms — as hybrid work environments persist, it has also maintained backwards compatibility with older systems. “We’ve had customers hook up their 30-year-old panels to new digital systems, and they connect and work seamlessly,” he says. “That has been important especially in broadcast, where customers need to get maximum return on all of their systems.”

Shure (Booth C9612) is showing off its new KSM11 wireless condenser microphone capsule, designed to provide low- and mid-range clarity and high-end detail. Performance includes a high off-axis rejection and shock isolation, along with plosive protection; it’s available in black and brushed-nickel finishes for use on Shure wireless handheld transmitters. This next-generation model in the KSM line offers a lighter, streamlined design, outfitted with a ¾-in. gold diaphragm and high-end electronics to enhance dynamic range. Advanced suspended isolation is designed to eliminate handling noise, and the dent-resistant hardened-steel grille features three-stage plosive-reduction pop filtering. Senior Market Development Specialist Ben Escobedo calls it “the flagship new capsule in the KSM line.” Noting that Shure’s Axient Digital line has seen significant uptake, including in broadcast sports, boosted by its pairing with Q5X’s PlayerMic and CoachMic systems, he adds, “That strategic partnering has helped further boost our footprint in sports.”

Program Productions (Booth C5012) continues to enhance its ProCrewz app. Upcoming features include the ability to allow freelancers and payees to see their pay statements within their profile and improved ability to find job offers. The pay statement will include pay, union benefits, and tax information. Says EVP, Strategy and Development/CSMO Amy Scheller, “No other software and mobile application satisfies the need of the live-remote industry. It’s built to satisfy our needs and the needs of crewers, production managers, and freelancers rather than finance.” President/CEO Scott West adds that the app will soon offer Crisis Support Network resources, which have become increasingly important during the pandemic with the growth in issues around substance use and mental health: “We want to take the best ideas from our customers and the market and design an end-to-end platform.”

Nemal Electronics’ Ben Nemser shows off the special cable designed specifically for the new UBS Arena in New York.

Nemal Electronics (Booth C8608) is showing off its full suite of cabling products but most notably its Emmy Award-winning Stadium-4 Plenum 4 cable system. In addition, according to CEO Ben Nemser, the company is displaying a special cable designed specifically for Diversified’s build of the new UBS Arena in New York.

Dalet (Booth C4423) has announced Dalet Flex for Teams, a SaaS offering fully hosted and maintained by Dalet. According to Dalet Strategic Partner/Channel Director, News, Ewan Johnston, the new offering lowers the cost of entry to professional tools for media companies, sports brands, and corporate creative teams, thanks to a multi-tenanted architecture that enables economies of scale. Available on a subscription basis with three plans — Essentials, Growth, Advanced — Dalet Flex for Teams provides the convenience and affordability of SaaS in an agile media-logistics solution designed to support the fluid ebb and flow of creative collaboration. Dalet Flex for Teams, which runs on AWS, can be up and running within one business day, according to Johnston.

The cloud production platform Tellyo (Booth N1932) is showcasing some of the biggest changes to its flagship Stream Studio solution: most notably, a significant upgrade of the platform’s graphics offerings. Head of Marketing and Communications Stuart Russell notes that, since partnering with SPX Graphics, Tellyo is able to offer users a deeper catalog of customizable live graphics for both broadcast and streaming. Stream Studio also boasts a new playout feature that enables content creators to build and run 24/7 channels combining multiple and different video and content assets.

Allied Broadcast Group’s Mark Chapman (left) and Bradley Chapman

Allied Broadcast Group (Booth C10021) is showcasing a 16-ft. remote production trailer jam-packed with top-flight live-production solutions from Sony, Ross Video, NewTek, Blackmagic, EVS, Hitachi, and more. According to company owner Mark Chapman and Sales and Operations Manager Bradley Chapman, the unit has been very popular among sports and live-music clients. Fully outfitted units are offered in sizes up to 20, 24, and even 50 ft.

ARRI (Booth C7925) is spotlighting the fusion of cinematography and live production. The AMIRA Live cinematic Super 35 live TV camera, which debuted in March 2021, is being used during live band performances at the company’s booth. This live demonstration also features ARRI’s systems for cinematic lighting, most recently used for the new Sportsnet studio in Toronto. While postproduction and studio-based projects are the company’s bread and butter, Technical Sales Representative Chase Hagen is highlighting possible use cases for events in real time. One product is a 19-lb. rig that can hold a 66-lb. camera. In addition, live-event personnel can tap into new technology with familiar settings through customizable applications. The company’s recent partnerships in sports include work with the NFL’s San Francisco 49ers and top-flight esports organizations for LAN events taking place in a controlled environment.Panasonic’s Michael Bergeron (left) and Keith Vidger

Panasonic (Booth C3607) is finally getting the chance to exhibit solutions originally slated to be shown at NAB 2020. Most notable is the expansion of its KAIROS platform to include cloud-based workflows. The new offering is paired with the on-premises KAIROS IT/IP platform for integration within any KAIROS ecosystem. At the booth, Senior Category Owner, Advanced Technology and Video Production, Michael Bergeron and Solutions Sales Manager Keith Vidger are spotlighting how this service supplies the same high-quality services whether the user is located onsite or at a remote location. The two executives also expect this system to have an impact at the collegiate level, with content creators for an institution sharing files with counterparts at different venues or multiple schools working simultaneously on conference-wide projects.

Pliant Technologies VP, Global Sales, Gary Rosen

Pliant Technologies (Booth C7118) is showcasing the new CrewCom CB2 professional wireless intercom system, a full-duplex and feature-packed solution for small to mid-level applications, including academic-level sports broadcasting. Available in both 900-MHz and 2.4-GHz frequency options, the CrewCom CB2 base station can accommodate up to six CRP-12 two-channel radio packs to create a powerful but economical wireless intercom system, each with two intercom channels, as well as interconnectivity to all industry-standard two-wire and four-wire intercom systems. “It’s designed to be easy to use and affordable for a wide range of users,” says VP, Global Sales, Gary Rosen. Also on exhibit is the v1.10 software update for the CrewCom professional wireless intercom. It features the new selectable High Density mode, which allows user densities to increase more than five-fold. When implemented, this new software-selectable mode supports up to 32 Radio Packs (RPs) on a single Radio Transceiver (RT) while allowing any of the RPs to communicate using four available full-duplex talk paths. Together, CB2 and the CrewCom update reflect the industry’s need for more-efficient RF-spectrum management. “It’s still a battle for spectrum out there,” notes Rosen, adding that both ESPN and the NFL Network have deployed the CrewCom system for the upcoming NFL Draft, taking place in Las Vegas later this week.

Looking to improve your virtual-reality experience? Definitely check out the Canon (Booth C4432) RF5.2mm F2.8 L dual fisheye lens. A lightweight, compact prime lens, it also has a wide-angle field of view and also has 60-mm distance between the two lenses, making the left and right lens locations similar to the distance between actual eyes. The result? Greater similarity to human vision, increasing the 3D effect and making it more natural. And with 8,000 pixels across the two lenses, it also delivers top-notch resolution.

TSL Director, Products and Technology, Mark Davies

TSL (Booth C5420) showed an expanded SAM-Q audio monitor with new SAM-Q-NET and SAM-Q-EDIT tools. The updates integrate SAM-Q advanced monitoring with an IP-networked environment, with ST 2110-30 and ST 2110-7, as well as multiple control options including NMOS. The unit’s 1-GB capability significantly reduces the cost of operation in situations where 10 GB isn’t either available or needed, according to Director, Products and Technology, Mark Davies. “We’ve always covered REMI-type workflows with SAM-Q monitoring, but now we also address control and do so with IP connectivity,” he says, explaining the dynamic behind the new software developments and noting SAM-Q-NET’s support for both in-band and out-of-band operation.

Imagine Communications’ (Booth C2122) Aviator cloud platform goes a long way toward solving a key problem: improving management of advertisement playout in a digital environment. The cloud origination ecosystem is focused on providing great video and audio quality and also seamless program-ad-promo transitions for content and live events. “We have a lot of customers making good economic use of popup channels that are per-event or special-event channels,” says CTO Networking and Infrastructure John Mailhot. “We created the right workflow environment to spin those up and down very easily, including all of the bindings of how traffic and advertising fits into them. Ultimately, the goal of all these channels is to get the ad on the right stream at the right viewer at the right time. And that’s the objective with Aviator: to make the integration effort repeatable as part of a deployment so that it’s done well on every channel we deploy.”

Creative Dimensions’ (from left) Joel Roy, Michelle Etheridge, Daniel Kiley

Creative Dimensions (Booth C3626) is discussing its latest projects for professional and collegiate franchises. After supplying the focal point of the Las Vegas Raiders’ Intermountain Healthcare Performance Center during the pandemic, the company is developing studio sets for two NFL clubs that will be completed at a later date. One of the more recent projects in the professional space is the studio sets for the Seattle Kraken at Climate Pledge Arena. President Joel Roy — accompanied in the booth by Director, Broadcast and Versa Products, Michelle Etheridge and Business Development Associate Daniel Kiley — sees a new industry trend toward more-lightweight and -flexible sets. The standup bistro table offers a solution for a pregame show on social media, a ceremony during halftime, or branding for quick onsite hits.

Telestream (Booth C3007) made a big announcement that it has struck a new multiyear enterprise-wide deal with Sinclair Broadcast Group that will establish unlimited use of Telestream Cloud Services for all of its products and services. Sinclair is using the Telestream Vantage Media Processing Platform for cloud and on-premises media-transformation and orchestration workflows. “Since January, we’ve already processed more than 1 petabyte of content through Vantage consisting of hundreds of thousands of files,” Sinclair Broadcast Group SVP/CTO Mike Kralec said in an official release following a press breakfast on Monday morning. “It represents a substantial saving in terms of both cost and time.” Sinclair reported that it is centralizing reception and processing of commercials, syndicated programs, paid programs, and promotions for all 600+ of its channels, which include the Bally’s regional sports networks.

Leader Instruments (Booth C6118) is showcasing the LV5600 waveform monitor and LV7600 rasterizer, which allow simultaneous monitoring of SDI, IP, and NMOS IP sources in multiscreen mode, whether displayed via the integral monitor on the LV5600 or the rasterizer output from the LV7600. Commented Sales Engineering Manager Kevin Salvidge, “Our whole strategy here is that, with our products, we’ve gone through a number of transitions with our partners. This is another one with our waveform monitors that support both IP and SDI. Train the staff once, use what you want to today, and, as you grow your facility or your operations evolve, the product moves with you, and you don’t have to throw it away. That’s what we’re here [to do]: to help these people make that migration to IP but at the pace they want to make the migration.”

Q5X MicControl All-Star 2022 mockup

Q5X (Booth C7406) is displaying a new generation of MicControl software featuring a totally new user interface and the ability to monitor telemetry and control all settings on both Q5X Axient Digital transmitters and Shure Axient Digital receivers from one screen. The software also supports full control of Q5X analog transmitters. Remote control of additional analog receivers will be available later this year. “This is the first NAB since we announced or collaboration with Shure in 2020 and launched the line of Q5X Axient Digital transmitters,” says CEO Paul Johnson. “The new ability to remotely control both the transmitters and receivers from a single GUI in MicControl is a feature that our users have been asking for.” MicControl software works in conjunction with the handheld Q5X MicCommander and Network Gateways and facilitates rapid and accurate setup of in excess of 150 audio channels. Q5X’s gear is now used for most major-league sports, including the NBA, MLB, MLB, and NHL. Johnson is pleased with that, of course, but points out how upper-end–market saturation creates challenges for growth, since most collegiate leagues don’t currently permit wiring athletes for audio. He sees future opportunities in academic-sports practice and other training applications, which can help develop AV training materials.

Solid State Logic (Booth C8008) is exhibiting its System T broadcast console, launching its v3.2 software, which is intended to further integrate the desk with REMI-type workflows, including operational control of the console over lower-bandwidth VPN connections. Also included is advanced Dante AoIP implementation, featuring full routing control directly from the console with AES67 and ST 2110 integration. It further includes a pair of updated TE1 and TE2 Tempest processing engines, part of a new DSP package that are more efficient and — significantly, according to SSL VP, Technical Operations, Thomas Jensen — scalable, allowing the console to address productions from stereo through fully immersive as needed.

Audio-Technica Product Manager Gary Dixon

On April 17, Audio-Technica (Booth C5826) marked 60 years since its founder, Hideo Matsushita, established the business, starting with his AT-1 phonograph cartridge, in his small apartment in the Shinjuku section of Tokyo. At NAB 2022, Product Manager Gary Dixon offered SVG a look at its new 8.0 immersive microphone. Still a few months from official launch (but with some Moto GP and other broadcast-sports experience behind it), the 8.0 Concept microphone, still known by its working title, features eight elements derived from A-T’s ATM350 cardioid condenser mic. Custom weather cover and Rycote wind cover suit it to outdoor applications. Development challenges included form factor, multichannel connectivity solution, and weatherproofing, according to Dixon. “We had a lot of good feedback from sports networks in the process,” he says, opining that it’s a vanguard product for the coming 5.1.4 immersive era of broadcast sports.

Solid State Logic (Booth C8008) is exhibiting its System T broadcast console, launching its v3.2 software, which is intended to further integrate the desk with REMI-type workflows, including operational control of the console over lower-bandwidth VPN connections. Also included is advanced Dante AoIP implementation, featuring full routing control directly from the console with AES67 and ST 2110 integration. It further includes a pair of updated TE1 and TE2 Tempest processing engines, part of a new DSP package that are more efficient and — significantly, according to SSL VP, Technical Operations, Thomas Jensen — scalable, allowing the console to address productions from stereo through fully immersive as needed.

Bird Dog (Booth C5021) is offering a world’s first: the OG4, an NDI openGear card. Co-founder/CMO Eamon Drew opines that, with 40,000 openGear chassis in the world, it will be pretty popular, especially among sports broadcasters: “We can do four channels of 4K 60-fps encode or four channels of 4K 60-fps decode or four channels of 1080p 60-fps decode. And you can fit 10 of them into a 2RU chassis, meaning 40 channels of 4K in 2RU.” Also on exhibit are Core 5 and Core 7 camera-mounted monitors that also include NDI encoders, allowing streaming of video directly from the monitor. With physical buttons instead of a touchscreen, fingerprints on the screen won’t be an issue.

Tedial CTO Julian Fernandez Campon

Tedial (Booth C1731) is introducing its smartWork Media Integration Platform, featuring an easy-to-use toolset that distills complex workflows into simplified processes. It allows users to define integrations autonomously — without vendor participation — and create workflows in a flexible and agile manner. Aligned with Movielabs’ 2030 Vision for Media Creation, the platform removes time-consuming and complex configurations via a common user interface, provides easy access to all applications and external systems (including any legacy MAM), and features self-validation. According to Tedial CTO Julian Fernandez Campon, the goal of smartWork is to allow users to concentrate on creativity and make the data-driven decisions necessary to quickly adapt to market or supply changes.

Grass Valley (Booth C2107) Chief Executive Andrew Cross has laid out his vision for the company’s AMPP (Agile Media Processing Platform), which he described as “the SDI jack of the future.” Speaking during Grass Valley’s press conference on Sunday, he said of the cloud-based SaaS platform, “Compute is everywhere, and there needs to be infrastructure that drives that compute. And that is what we are creating with AMPP.” However, he also underlined Grass Valley’s commitment to hardware: “TV stations still use hardware, and we understand that the future will be both of these and we need to build out a full ecosystem. The best analogy is to think of the iPhone: what Apple [does] that is amazing is combine software and hardware because both contribute value. If you want to understand what our strategy is, we are going to be the Apple of the broadcast industry.”

With fiber playing a bigger role in sports productions, the need for custom metal wall plates, Millbank boxes, and enclosures is increasingly important. Markertek (Booth C6712), which provides a wide variety of custom gear, can put custom breakout boxes wherever they need to go and with nearly every type of SMPTE or optical cable supported. Says Broadcast Sales Engineer Ryan Bradley, “We can do typical SMPTE and optical and also 24-channel MTP, 12-channel MTP, single-mode, multi-mode, and we’ll start doing expanded beam in the next two months. Our difference is, our fiber guys in the lab are top-notch, our turnaround time is good, and we can do rushes as well.”

Cutting a fiber cable is usually cause for concern, but the new expansion panel that Riedel (Booth C6925) is demonstrating for existing Riedel Smart panels eliminates that concern by providing redundancy. The demonstration includes both copper and fiber connections being used simultaneously. Up to 256 different destination keys can be available with the expansion panels. “With 2022-7 redundancy for the key panels,” says Head of Intercom Product Management Karsten Konrad, “the fiber can be cut or disconnected, and it will still run.” Incidentally, all the fiber cables cut in the demo will be used to create a sculpture at the end of the show.

SimplyLive (Booth C3923) continues to transition to contribution and cloud-based models, expanding well beyond its initial foray into instant replay with the ViBox. Says VP, Sales and Operations, Greg Macchia, “Here at NAB, we’re showing an all-in-one control room in the corner of the booth with audio mixing, cutting of cameras, replay, graphics, and now commentary.” A web-based multiviewer allows production personnel anywhere to see the multiviewer via a link and a browser, and the Venue Gateway is designed to take feeds from any site and send them to wherever the client needs. Also on exhibit is the R8, an affordable eight-channel 1080p replay box that Macchia describes as a solid fit for colleges, universities, and high schools: “And the technology is the same as the rest of the product line.”

Leader Instruments (Booth C6118). is taking part in its first joint demonstration with Phabrix since acquiring the latter in 2019. Says Sales Engineering Manager Kevin Salvidge, “One of the messages we’re trying to get across here is that get IP is now happening. It has been forced upon the industry because of travel restrictions, social distancing, and [more]. I often use as analogy that tsunami that hit Japan: you couldn’t get hold of tape for love nor money, but that was the kick that the industry needed to move on to solid-state media. [People said,] “You know, we’ve been forced to test this new technology, it works, and we’re going to go with it.” And that’s, I think, where a lot of the broadcasters are now. Remote production has come of age. You’ve got the big boys doing this on a global scale, [and everyone is] joining the party. They have realized that this is going to complement their traditional truck business that’s not going to go away.”

Canon (Booth C4432) is offering something totally new this year: the Free Viewpoint Volumetric capture system makes use of more than 100 cameras to render 3D images of the in-game action. It’s definitely worth checking out to get a sense of where volumetric capture and rendering is headed and how it will make a difference for coaching, replays, analysis, and more. Also showcased is a new firmware update for EOS C300 Mark III and EOS C500 Mark II digital cinema cameras: Camera to Cloud (C2C) sends secure high-quality, low-bandwidth H.264 proxies and uncompressed audio files with matching timecode and filenames to the The cutting-edge workflow with C2C firmware update saves valuable time in a variety of entertainment and broadcast-production environments.

At Fujinon (Booth C6127), Stosh Durbacz, national sales manager, Optical Devices Division, Fujifilm North America Corp., notes that among the new lenses on display are the UA107x8.4AF (Auto Focus) for fast and accurate subject-tracking performance, which will be shown on a Mo-Sys U50 Remote Head; large-format Premista Series cinema lenses with new Chrosziel drive unit and ZEISS eXtended Data, a technology that creates opportunities to streamline and increase the accuracy of the lens data; and the UA125x8 4K-compatible broadcast lens with a zoom ratio of 125X.

Hawk-Eye Innovations, part of the Sony (Booth C10901) family, is officially getting into the replay-device and -service market with the launch of Hawk-Eye Replay. Hawk-Eye Innovations Senior Product Director Matt Zajicek suggests that a key differentiator from other systems in the market is the ability to leverage Hawk-Eye’s other innovations: “Hawkeye has had success in AR and optical tracking and in our data platform, so there’s tons of world-class and cool technology that we can apply to broadcast-media workflows. And various broadcasters used Hawk-Eye on things like the NFL with remote access and operators working from home.”

Fraunhofer’s Robert Bleidt spoke to booth visitors via Zoom

Getting back on a show floor was a huge relief for most attendees, but some of the working model of the past two years remained. Robert Bleidt, GM, audio, at Fraunhofer Institute (Booth C3926), was unable to attend the show but did bring SVG up to date on the MPEG-H audio codec via Zoom — at the Fraunhofer booth. Brazil’s TV Globo has now exclusively included the codec in its TV 3.0 standard, and Japan will apparently be next to adopt the format for 22.2 for its terrestrial audio standard. Several music-streaming platforms, including Sony 360 and Amazon HD, have also adopted MPEG-H.

FOR-A (Booth C5408) is prioritizing a handful of themes at NAB 2022: 4K and 12G solutions, hardware to handle 4K super-slo-mo, further involvement in in-venue production, the SDI-to-IP transition, and integrating NDI into the live-production ecosystem. These themes are being explored through multiple products, including the debut of the MFR-3100EX router for NDI support, the FA-1616 multichannel signal processor, the MV-1640IP multiviewer, and staple products like the HVS-490 NDI and HVS-6000 ST 2110 production switchers. FOR-A is also boasting multiple partnerships that improve its product line: AMMUX IP Technology, Media Links, and Seiko Solutions.

Diving deeper into video, Audinate introduced Dante Studio, a platform solution for advancing audio- and video-production capabilities and streamlining workflows. The first tool on that platform, Dante Video RX, enables Windows PCs to receive video from any Dante AV-enabled source. According to Chief Marketing Officer Joshua Rush, Dante Studio is a critical phase of building out the Dante AV ecosystem: “Dante Video RX completes the end-to-end video workflow. It complements the growing ecosystem of Dante AV hardware products including cameras, encoders and decoders and allows Dante AV signals to be easily ingested into PC platforms and software applications.” With Dante Video RX, computers can receive a video signal from Dante AV transmitters or Dante AV cameras on their network. Dante Video RX supports 1080p resolution, 60 frames per second and, system timing and synchronization, along with separate routing of video and audio elements, and will soon support 4K video. Like other manufacturers, Audinate has found the current computer-chip supply chain challenging. Rush says its response has been to adapt its platforms to accommodate a wider range of chip types and to leverage Dante’s considerable licensed-manufacturer base as an entity, enabling efforts to use that scale for better supply access.

Riedel’s NAB 2022 “press kit”

Riedel (Booth C6925) VP, Strategic Accounts, East, Phil Stein noted that the company’s Bolero system will be used for the 2023 XFL season. He emphasized the importance of the -7 component to the ST 2110 standard to intercom deployment. The company wins the unofficial award for best press kit however: a QR code imprinted directly onto an apple.

DPA (Booth C8609) showed off its 4097 CORE Micro shotgun microphone, part of an interview kit that also includes a Manfrotto telescoping boom, a 5.9-ft. MicroDot cable to connect the mic to a transmitter or recorder, and a Rycote windjammer, along with a transmitter plate and cold-shoe mount. DPA Service Manager Jarrod Renaud pointed out that NASCAR is currently using the company’s 4062 and 4099 microphones for in-car applications, and Formula 1 racing is using its 2062 for exterior (exhaust, turbo) and cockpit audio. “Auto racing is looking for solutions that are small, weatherproof, and robust,” he said.

Marshall Electronics (Booth C1307) is presenting a long line of POV and robotic cameras. On the POV front, CV568/CV368 global-shutter cameras with Genlock and CV566/CV366 rolling-shutter cameras with Genlock are featured. Tapping HD resolutions up to 1920x1080p, 1280x720p, and 1920x1080i with a wide selection of frame rates, both cameras are built around the next-gen Sony 1/2.8-in. CMOS solid-state rolling-shutter image sensor. On the robotic side, the CV730-BHN high-bandwidth NDI, 4K PTZ camera has two simultaneous SDI (BNC) outputs with genlockable 12G SDI and 3G SDI as well as HDMI and USB3.0 options.

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