"TECHNOLOGY DOESN'T DEFINE US, BUT THE JOURNEY WE TAKE DOES"

If you could change one thing about working in the industry, what would it be?

Where do you think the industry will go next?

What should the industry be talking about that it isn't at the moment?

Boxer Systems Managing Director Marc Risby speaks to TVB Europe about working in an industry that never stops evolving.

Catchup on the March issue of TVB Europe here.

If you would like to find out more about how Boxer are helping customers on their technology journey give us a call or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Media teams work and collaborate more effectively with ShareBrowser.

ShareBrowser runs on macOS and Windows

Search, find, tag, comment, and preview… for the whole team.

ShareBrowser enables your users to organize and search for media and projects across EVO storage as well as local, offline, and other SAN/NAS network disks.

Assets can be catalogued, tagged, and commented, so everyone on the team can easily find, preview, and share media and projects. ShareBrowser is built for media teams that collaborate around a shared storage workflow, giving everyone a central, searchable database.

ShareBrowser shows you your storage workspaces in one spot — including cloud services like Dropbox, Hightail, and Adobe Creative Cloud.

Unlimited client licenses of ShareBrowser are included with every new EVO shared storage system (www.studionetworksolutions.com).

Search, find, and preview your Media

Find What You Need

Everyone can easily search and find assets using tags, comments, and metadata such as name, codec, frame rate, modified date, resolution, and other file attributes.

Preview Your Media

Not sure if you’ve found the right clip? Preview media directly from ShareBrowser’s integrated player. Just press the spacebar to start playback of the proxy file, which is playable even if the original source media is offline.

No Additional Cost or Hardware

ShareBrowser’s server software runs right inside your EVO. All indexing (cataloguing) and proxy generation can be handled inside EVO, meaning you don’t need additional server hardware to use ShareBrowser. Unlimited client licenses are included with EVO.

New Web App!

Read about the all new ShareBrowser web app (studionetworksolutions.com).

Easy-to-Use Asset Management

Simple asset management — add tags/keywords and make comments on your assets from folder level down to file level.

Anyone on your team can quickly add tags and comments to media and projects from within ShareBrowser.

Project Locking & Collaboration

Collaborate Effectively — Automatic Project Locking and Avid Bin Locking

Features such as Avid Bin Locking and ShareBrowser’s ability to lock Premiere Pro and Final Cut Pro X projects mean your editors won’t save over the top of each other.

Export to Premiere and Final Cut Pro

Once you’ve found what you need you can export your media — with all the custom tags and comments — directly into Premiere Pro or FCP X and browse by that custom metadata from within the NLE.

Data Verification

Paste & Verify

Paste & Verify enables you to select files and folders on a source volume, select a destination, and initiate a copy with verification.

MD5 Checksum

Generate an MD5 checksum for a file, store the checksum in the ShareBrowser database, and compare files against existing checksums to ensure data is intact.

Send to LTO Archive

Complete Your Workflow — direct integration with StorageDNA means you can send your files to LTO tape archive without leaving ShareBrowser.

Organize, index, tag, share, preview, and verify your assets

Unlimited client licenses of ShareBrowser are included with every new EVO shared storage system.

 

COLORFRONT TRANSKODER 2020 RELEASE NOTES

The Colorfront Transkoder 2022 Release Candidate is now available in the download section of the Colorfront Help Center

Although Transkoder underwent significant build revisions in 2021 with new features, enhancements and bug fixes, no version update has been released for the year 2021, Transkoder 2022 is the next major release version.

HIGHLIGHTS INCLUDE

• PSNR and Light Levels graphs directly in the Web UI

• GPU accelerated H.264 encoder

• HDR10 sidecar file generation for ProRes and HEVC encoders

• Improved peak luminance calculation method for HDR QC (as opposed to used MaxCLL)

• Assign custom names to DC reels

• Streaming via the Colorfront Broker Service with personalised email invitations

  NEW FEATURES OF THE 2022 INITIAL RELEASE

Web UI

Graph Viewer in Colorfront Web UI

Colorfront’s Web user interface has been updated to version 1.8 In this update, there is a new Graph Viewer for checking the results of Light Level Analysis or Video Compare form renders. Click on the graph icon in the detailed view of a render job to open the graphs.

Graph icon in the Details panel of a render job

The Graph Viewer has five views showing:

• HDR10 metadata,
• Dolby Vision V2 metadata - in PQ or Nits, or
• Dolby Vision V4 metadata - in PQ or Nits.

You can specify a maximum threshold in the viewer so that any values above this custom threshold are highlighted (in red), and the threshold error is displayed in frames. The default threshold is 1000 nits. If the max points marker is enabled, the average and maximum light level error points are indicated by red lines.

Selecting from graph views

Indicating threshold error

Graphs, which can be line or histogram types, can be zoomed in or out.

Histogram graph

If the media path is available in the log, a player appears on the right to the Graph Viewer, showing the footage.

Click the Markers icon to add QC or reel markers to the graph as follows:

1. Select the Marker type as QC or reel.
2. Click anywhere on the graph to define the In point for the start frame.
3. Click after the yellow vertical line to define the Out point for the end frame number. If you click before the In point in the graph, you enter a new start frame number.
4. Select the Rate to set the priority of the marker.
5. Click the Comment field and add any custom text.
6. Click the + button to add the defined marker to the graph.
7. Export these markers in .csv format into your Download folder using the icon on the right side of the page.
8. Optionally, you can import previously saved markers into the graph with the import icon.

Adding markers to the graph

Color Indicators for Validation Result

As a new feature, validation success, warning and error results appear as colour keywords in the Validation Summary View, when you click the validation result icon in the detailed view of a validation render job.

Clicking the validation result icon on the Details tab

Colour keywords for validation success, warnings and errors

Rendering

HDR10 Sidecar Metadata

HEVC and ProRes encoders can optionally generate a metadata sidecar file. Five HDR10 presets are available in the new SIDECAR FILE parameter on the Render Page, but the user can add more. These sidecar files are generated based on user customisable templates stored under the … OSD2022\user\sidecar_templates\ folder.

HDR10 sidecar metadata generation for ProRes and HEVC encoders

• HDR10 asset xml template: Asset XML format.

<?xml version = "1.0" encoding = "utf-8"?>

<asset media_type = "video">

 <file_name>short_test_file</file_name>

 <attribute name = "hdr.red.chroma.x">0.68</attribute>

 <attribute name = "hdr.red.chroma.y">0.32</attribute>

 <attribute name = "hdr.green.chroma.x">0.265</attribute>

 <attribute name = "hdr.green.chroma.y">0.69</attribute>

 <attribute name = "hdr.blue.chroma.x">0.15</attribute>

 <attribute name = "hdr.blue.chroma.y">0.15</attribute>

 <attribute name = "hdr.whitepoint.chroma.x">0.3127</attribute>

 <attribute name = "hdr.whitepoint.chroma.y">0.329</attribute>

 <attribute name = "hdr.format">HDR10</attribute>

 <attribute name = "hdr.max.content.lightlever">411.314209</attribute>

 <attribute name = "hdr.max.display.luminance">1000.0</attribute>

 <attribute name = "hdr.max.frame.avg.lightlever">44.346352</attribute>

 <attribute name = "hdr.min.display.luminance">0.0001</attribute>

</asset>

• HDR10 mm xml template: Media manifest XML format

<?xml version="1.0" encoding="UTF-8"?>

<md:Picture xmlns:md="http://www.movielabs.com/md">

 <md:MasteredColorVolume>

  <md:PrimaryRChromaticity>

   <md:ChromaticityCIEx>0.68</md:ChromaticityCIEx>

   <md:ChromaticityCIEy>0.32</md:ChromaticityCIEy>

  </md:PrimaryRChromaticity>

  <md:PrimaryGChromaticity>

   <md:ChromaticityCIEx>0.265</md:ChromaticityCIEx>

   <md:ChromaticityCIEy>0.69</md:ChromaticityCIEy>

  </md:PrimaryGChromaticity>

  <md:PrimaryBChromaticity>

   <md:ChromaticityCIEx>0.15</md:ChromaticityCIEx>

   <md:ChromaticityCIEy>0.06</md:ChromaticityCIEy>

  </md:PrimaryBChromaticity>

  <md:WhitePointChromaticity>

   <md:ChromaticityCIEx>0.3127</md:ChromaticityCIEx>

   <md:ChromaticityCIEy>0.329</md:ChromaticityCIEy>

  </md:WhitePointChromaticity>

  <md:LuminanceMin>0.0001</md:LuminanceMin>

  <md:LuminanceMax>1000.0</md:LuminanceMax>

 </md:MasteredColorVolume>

 <md:ColorEncoding>

  <md:Primaries>Rec2020</md:Primaries>

  <md:TransferFunction>PQ</md:TransferFunction>

  <md:ColorDifferencing>Rec2020</md:ColorDifferencing>

 </md:ColorEncoding>

 <md:LightLevel>

  <md:ContentMax interpretation="MaxCLL">872.947083</md:ContentMax>

  <md:FrameAverageMax interpretation="MaxFALL">143.107407</md:FrameAverageMax>

 </md:LightLevel>

</md:Picture>

• HDR10 PQ metadatas template: HDR metadata XML with "metadatas" tag.

<hdr norm="HDR10">

   <MasteringDisplayColorVolume>

      <DisplayPrimaries>

      <DisplayPrimary name="Red" x="0.68" y="0.32" />

      <DisplayPrimary name="Green" x="0.265" y="0.69" />

      <DisplayPrimary name="Blue" x="0.15" y="0.06" />

      </DisplayPrimaries>

      <DisplayLuminance min="0.0001" max="1000.0"/>

      <WhitePoint x="0.3127" y="0.329"/>

   </MasteringDisplayColorVolume>

   <PQMetadatas>

      <PQMetadata name="MaxCLL" value="411.314209"/>

      <PQMetadata name="MaxFALL" value="44.346352"/>

   </PQMetadatas>

 </hdr>

• HDR10 sig xml template: Generic HDR10 metadata XML with a signaling tag

<?xml version="1.0" encoding="UTF-8"?>

<HDR>

    <Revision>

        <DateTime>2021-11-26T18:17:04.945000</DateTime>

        <Author>Colorfront Transkoder</Author>

        <Version>0.1</Version>

        <SMPTE>ST2086:2014</SMPTE>

        <Videofile>D:/projects/testp01/generated/signaling</Videofile>

    </Revision>

    <Video>

        <Source>

            <color_primaries>Rec2020</color_primaries>

            <transfer_characteristics>PQ</transfer_characteristics>

            <matrix_coefficients>Rec2020</matrix_coefficients>

            <range>Legal</range>

        </Source>

        <Signalling>

            <mastering_display_color_primaries>P3D65</mastering_display_color_primaries>

            <mastering_display_luminance>min='0.0001' max='1000.0'</mastering_display_luminance>

            <maximum_content_light_level>872.947083</maximum_content_light_level>

            <maximum_frame_average_light_level>143.107407</maximum_frame_average_light_level>

        </Signalling>

    </Video>

</HDR>

• HR10 text template: text formatted basic HDR10 metadata

Max FALL: 143.107407 Nits

Max CLL:  872.947083 Nits

White Point:

Xw 0.3127 (15635)

Yw 0.329 (16450)

Mastering Display Primaries:

Xr 0.68 (34000)

Yr 0.32 (16000)

Xg 0.265 (13250)

Yg 0.69 (34500)

Xb 0.15 (7500)

Yb 0.06 (3000)

Max Luminance: 1000.0 (10000000)

Min Luminance: 0.0001 (1)

Transfer matrix: Rec2020

GPU-Accelerated H.264 Encoder

Proxy H.264 encoders have been accelerated by GPU processing, which results in much faster rendering capability than with CPU. This acceleration only applies to 8-bit H.264 encoders.

Please note that some older GPUs may not support this feature.

Customize ALE Metadata in GUI

Until now, ALE metadata files of Avid encoders could only be customised by editing the PHP script file of the current project. As a new feature, the columns of the ALE file are also customisable in the GUI using the new Avid settings in the Settings Page.

The MXF Clipname setting has been improved with often used presets, such as:

• $Scene$-$Take$$Selected$
• $Scene$-$Take$$Cam$,
• $Scene$-$Take$_$Cam$$Selected$
• $Scene$-$Slate$-$Take$Selected$

You can also define any custom metadata pattern in the Custom Value field.

The new Ale Custom Fields setting is for specifying the list of custom fields in the ALE file with header:value pairs, such as the following syntax:

Size:$Resolution$,Asp:$Aspect$

The value can be a single keyword such as $ISO$, but also a string including keywords (Note the “k” for Kelvin at the end):

Temp:$ColorTemperature$k

Other ALE settings, such as Ale Media Metadata, Ale CDL or ALE Video Format have been moved to Avid Settings from the Encode settings section.

Application Version as Metadata

In order to properly track which Transkoder version is used to render deliverables, a new metadata item, $CFApplicationVersion$ has been introduced. This is available as a burn-in and render path keyword, and also injected into EXR deliverables as metadata.

QC

New Luminance Calculation for HDR Report

Measuring peak luminance levels of compressed video formats based on the MaxCLL value has not been proven reliable. This measurement, which is based on the max R, G or B component, is heavily distorted by compression noise and chroma subsampling artifacts. While Transkoder has built-in thresholds to ignore outlier pixels to mitigate this problem, a better solution is to measure the true luminance values of pixels (ITU-R BT.2020-2 Table 4) during QC.

Thus, a new Luminance Validation setting has been added to the QC section of the Settings page in Transkoder to control the brightness calculation method for the HDR report.

• Max RGB is the default option based on MaxFALL/MaxCLL calculation, and
• Luminance is a new weighted sum luminance calculation method for computing maximum brightness. (MaxCLL is still included in the report)

Digital Audio Pass-Through via SDI

Transkoder now supports transferring 24-bit digital audio signal via SDI interface without altering the code values. This enables Dolby-E QC workflows where the system passes through the digital signal to some receiver device.

The new Audio Processing setting in the Advanced Audio section of the Settings Page controls how audio samples are processed, including volume/gain processing and audio mix downs. Set this to Digital Signal to guarantee that digital values are preserved and Dolby-E audio is correctly sent to the SDI output.

Support for 24-bit audio on SDI video out has been also introduced in this latest version. The new Audio Bits Per Sample Advanced Video setting is now set to the default 24 bit value.

Checking Missing Characters During Subtitle Import

As a new feature, Transkoder checks the imported DCI subtitle file to see if all characters are in the referenced font file(s). The new Check Font Missing Characters subtitle setting in the Settings Page is enabled by default.

Audio

Multi-Mono WAV Export

The Audio encoders on the Render Page include two new presets that allow for rendering multi-mono WAV audio files. If you have a 5.1 channel audio group on the timeline and select either the Multi-mono wave or the Multi-mono wave 24 bit audio profile, each audio channel is rendered as a separate audio file, resulting in six mono wave renders.

New 7.1.4 Channel Preset

The 7.1.4 channel preset has been added to the list of predefined channel configurations in the Audio Mixdown window. Click the Channel presets drop-down menu at the bottom of the window to add this preset to the selected channel of the current mixdown.

New Default Audio Bit Depth for ProRes Encoders

From now on, all ProRes encoder presets on the Render Page default to 24-bit audio bit depth, instead of the previous 16-bit.

IMF and DCP Mastering

Enable Absolute Path for IMF/DCI Packages in Finalize Window

During production, it is often necessary to change an element of an IMF/DCP package (e.g. to modify the subtitle file) and then regenerate it under the same package name. Now there is a new IMF and DCP setting in the Settings Page that allows you to use the same name when modifying and then regenerating packages.

Enable the Absolute Finalize Path advanced IMF or DCI setting to force the overwriting/renaming of existing packages in the Finalize Window.

When you use this option, the old package is not deleted; it is only moved to a backup folder.

Ability to Rename Reels

As of this version, you can edit reel names either on the reel marker track or in the new Marker Table by double-clicking the reel name. The Marker Table is available either from the Window  Tables menu or using the Ctrl+Alt+M shortcut. It also includes a separate Positions tab for positional markers for DCP and IMF packages.

After editing the reel names, you can finalize a new IMF/DCP package. Empty or duplicate name fields display an error warning.

The Marker Table allows you to add not only custom names but also comments to reels. You can use the Timeline  Markers  Export Reel Markers to CSV menu option to export the custom names and comments to .csv format. To import reel markers, use the Timeline  Markers  Import Reel Markers from CSV option.

$ReelName$ Keyword in DCI MXF Name

The keyword $ReelName$ has been added to supported keywords in the DCI MXF naming pattern. In the Naming tab of the Finalize Window, you can now add ReelName by selecting it from the Keywords list in the bottom right corner.

If you want to save this naming pattern, click on Save next to Asset Naming so that you can select it later from the templates.

Dolby

Tolerance Threshold for Dolby Vision L1 Validation

A new setting, Dolby Vision L1 Tolerance has been introduced among the QC settings of the Settings Page to avoid random L1 peak luminance errors when validating HDR footage with Dolby Vision metadata. The entered value is in percentage of the brightest pixels in the image that is ignored as Dolby Vision Level 1 metadata. Using this threshold helps to avoid false error messages due to compression error, indicated by L1 values marked in red.

 

HDMI Tunneling of L5 Dolby Vision Metadata

There is a new Advanced Video setting in the HDMI section called Dolby Vision Tunneling Crop to control whether or not Level 5 metadata is sent to a Dolby Vision enabled television over HDMI. This is a useful feature for letterbox images.

New setting that enables Dolby tunneling option of sending L5 metadata

HEVC Encoding with Dolby Vision Metadata

Transkoder now supports encoding HEVC files with Dolby Vision metadata using the Dolby Encoding Engine (DEE). The DEE is Dolby’s stand-alone file-based CLI application for encoding Dolby Vision and Dolby Audio content, including HEVC processing, which has been integrated into Transkoder.

To have this functionality, the Dolby Encoding Engine must be installed and licenced on your system as follows:

1 First, download the Dolby DEE package from Dolby’s website.

2 Unzip the package file and install the DEE .exe file on your computer.

3 Copy all DEE files and the license from the installed folder to the following directory:
c:\Program Files\OSD2022\pymodules\scripts\dolby_encoding_engine

4 Also copy the dee_plugin_prores_dec_apple_dlb.dll file from dee_plugin_pack folder of the installation package to the same directory.

ACES

New Default ACES Pipeline

A new ACES pipeline has been developed in Transkoder, which wakes up with two separate grading nodes instead of the former, single ACES-CDLLMT tool.

New default ACES pipeline with separate ACES CDL and CFLMT nodes

• The new, separate ACES CDL node has selectable grading color space options. The default color space for grading is ACEScct, but it can also be switched to LogC or Slog3.
  The node also contains master and individual slope/offset/power parameters and a slider for overall saturation control.
• The improved parametric CFLMT node includes all previous CF Engine tools (e.g., ODT selector for look correction, selectable looks and look blending option), but the typically scene-referred grading sliders, such as exposure or color temperature have been specified for look modification, hence the new naming: Look Exposure, Look ColorTemp and Look Tint.
  The HUD also has a new Publish CLF button to export the .clf file with the applied look adjustments of the current shot. In addition, the second page of the node has been renamed as Look CDL, indicating that CDL changes made on this page apply to the show look, which should not be confused with scene-referred, shot by shot creative grading.
  For creative, shot-specific grading, use a CDL node before the LMT in the pipeline.

CLF Export From CFLMT Node

The HUD of the modified Colorfront LMT node has been supplemented with a new Publish CLF button with which you can export the defined look in Common LUT Format (CLF).

The Common LUT Format, or CLF is a non-proprietary LUT format that supports several types of lookup tables, such as 1D and 3D LUTs, as well as logarithmic functions, matrices and range rescaling. These standard mathematical operators can be assembled in any number and order in an XML file, which makes it possible to define sophisticated color processing pipelines.

Further advantages of CLFs are:

• easy to archive and interpretable years later

• thoroughly documented with published specification

• has many implementation test kits to ensure that the implementations from different vendors are all producing the same results

• has high-quality open source implementation

The CLF is a flexible carrier of ACES Input and Look transforms, often used together with an ACES Metadata File (AMF).

When you use the Publish CLF option, any adjustments on the CFLMT node, required to create the desired look, are burnt in the .clf file and stored as a lookup table in the lower part of the XML file.

The CLF can also store additional proprietary information, such as look colour temperature or applied look presets, as well as CDL look grading, as an XML comment indicated by a ! (exclamation mark) in the XML file.

<!-- comment -->

When such CLF is imported into Transkoder, the system automatically reads the comment format and applies the adjustments on a CFLMT node in the ACES pipeline.

Exporting ACES AMF Metadata File

Transkoder now has the ability to export ACES AMF files in different ways.

The ACES Metadata File (AMF) is an XML-based sidecar file, carrying information about ACES transforms, such as Input, Look and Output transforms, as well as archival elements, to fully describe and accurately recreate the ACES viewing pipeline in any of the stages of production and post-production.

The AMF structure’s ACES pipeline element may include:

• Input Transform element, which may be a published IDT, an inverse output device transform or a custom CLF file

• Look Transform element: a CDL file or an LMT pointing to the associated CLF file

• Output Transform element, which may be an reference rendering transform (RRT), an output device transform (ODT) or an RRTODT

The new File  Export Looks  Export AMF From Clip and File  Export Looks  Export AMF From Timeline menu options export the ACES Metadata File from either the clip or the timeline, and saves it under the selected folder.

As another way of exporting an AMF file, a new metadata encoder, ACES AMF has been introduced on the Render Page.

If you are exporting an ACES pipeline that includes nodes unknown to ACES, such as Burnin or Reframe, they are excluded from the exported metadata file. AMF contains only the transformations described in specifications of the ACES viewing pipeline.

 

ACES AMF Import

Transkoder has added two new menu items to import metadata from an external ACES AMF metadata file. When using the File  Import Looks  Build Pipeline from AMF option, the existing pipeline is replaced, and a completely new ACES viewing pipeline is built based upon the metadata elements of the imported AMF.

The File  Import Looks  Update Pipeline from AMF menu option, however, does not build a new pipeline; it is only updated in accordance with the transform elements included in the imported metadata file. Thus, nodes previously added to the pipeline are not lost; only the LUT, CDL and/or CLF values are applied to the relevant shot.

Remote Workflows and Streaming

Remote Media Browser for Importing From Frame.io

The File  Import Remote Media menu option now supports not only importing projects from S3, but also from the Frame.io object storage.

To import from Frame.io, first add a bearer token in the Cloud Storage settings. Then, go to the menu item and browse to the media file you want to import into Transkoder in the Remote Media Browser pop-up window. When you press Open, the selected media is imported into the Bin Window.

Separate Streaming Player Client Documentation

There is a dedicated manual available for creative professionals on Colorfront’s Streaming Player client application. Read about the application in detail in the Streaming Player 2022 User Guide.

Pipeline and Project Management

Pipeline Presets Window

A new window has been introduced to manage tool pipeline presets. Presets can be saved to be visible globally or only in the current project. When loading presets, the operator can import the complete pipeline or selected parts of it, such as RAW or reframe settings.

Open the Pipeline Presets Window with the Grade  Pipeline Presets menu option or the Alt+O keyboard shortcut.

In the Pipeline Presets Window, you can perform the following functions:

• At the top of the window, select from the Presets drop-down menu to set a template from the list.
• Click Remove Preset to delete the selected template from the Presets list.
• Optionally, enable All or any selector to specify which tools in the pipeline to apply the selected preset to.
• Click Apply to All or Apply to Selected to employ the template to all or only selected shots.
• At the bottom part of the window, Save Preset with any name with the Save button. For this, set Visibility to be either visible within the same Project, or to be a Global pipeline that is visible in all projects.

 

Rename and Delete Project Templates

From this version, you can rename and delete previously saved project templates.

1. First, click the Templates tab on the summary page of a project.
2. When the Templates page opens, select the project template you want to rename or delete. Once selected, it will be highlighted in yellow.
3. Click Rename Template or Delete Template to make the appropriate change.
4. Optionally, you can review project information and settings by clicking the Template Info button.

 

Quick Search of Project Names

It can be confusing to find the right project if there are plenty of projects on the Project Load Page. Transkoder has been added a new search bar that allows you to filter the project list by relevant project names.

Start typing on the Load Project page so that the quick search bar appears at the top of the right panel. As you type in a keyword, the list of projects is immediately filtered and only those that match the letters you enter are displayed. Click Esc to return to the full list.

General Improvements

Support Lens Metadata From External Preston XML

We now support lens metadata coming from external Preston XML. The Preston MDR-3 motor outputs absolute motor encoder position or lens distance information metadata into an XML file, which is now automatically detected and evaluated by Transkoder.

The XML data file is of the following format, where the timestamp is from timecode or MDR-3 internal clock, and the Focus, Iris, Zoom and Aux lens positions are in hexadecimal values:

<fps>24.00f</fps>

    <data>

        <time>11:01:28:16</time>

        <lens>

            <iris>0110</iris>

            <focus>0356</focus>

            <zoom>0069</zoom>

            <aux>0000</aux>

        </lens>

    </data>

Hardware/Drivers

NVIDIA RTX A5000 GPU Card Support

This version of Transkoder now supports NVIDIA’s RTX A5000 graphics card, built on the latest Ampere architecture.

Support NVIDIA GeForce RTX 30 Series with LHR

Transkoder now supports NVIDIA GeForce RTX 3080, RTX 3070 and RTX 3060 Ti cards with LHR (Lite Hash Rate), i.e. with reduced Ethereum hash rate.

If you would like to find out more about working with Transkoder give us a call or email This email address is being protected from spambots. You need JavaScript enabled to view it., we would be happy to arrange a one to one demonstration for you.

LVB440 High Bit Rate IP Packet Monitor 

 

The LVB440 High Bit Rate IP Packet Monitor provides revolutionary monitoring and analysis capabilities for IP media traffic found in outside production, broadcast studios and master control centres allowing for quick troubleshooting and quality improvement.

The LVB440 supports ST2110 and ST2022-6 flows at dual 40 Gbps bitrate, and dual 60 Gbps with additional options. Streams from SD to 4K (UHD) can be monitored, with 8K monitoring configurations available.

The LVB440 offers familiar visualisation tools such as vector scope, picture monitor, audio pairs, and waveform monitor allowing broadcast and production crews to easily manage real-time analysis and troubleshooting of IP-based network audio and video streams. Packet analysis of uncompressed video and audio is available with microsecond accuracy.

In addition, up to eight clients can view the analysis data in a standard web browser at the same time for simplified remote operation.

 

 

Features

• 8 users can access the LVB440 simultaneously, remotely (via web browser / HTML5).
• Video can be confirmed with a minimum delay of 2 frames.
• ST2110 and ST2022-6 IP standard compatible.
• Supports dual SFP 10G, 25G, 40G, 100G.
• Dual 40 Gbps support; dual 60 Gbps analysis bandwidth with additional options.
• Check packet loss and jitter on both primary and secondary network lines.
• IP Jitter allows you to visualise changes in arrival time between two adjacent IP packets.
• Comprehensive error logging for up to 4 days, including packet loss.
• Check PTP lock status, grandmaster information, Clock Identity, time delay, ANC.
• Easily verify video streams available on the network.
• Various error settings such as freeze error, colour freeze error, silence error, phase shift voice error FEC packet loss, RTP packet loss, synchronisation error, etc. are possible.
• Multiple packets can be monitored at the same time.
• Primary and secondary video streams can be checked by simply alternating tabs.
• Network status history recorded and displayed graphically for ease of troubleshooting.
• NMOS compliant for simplified automation and integration.
• Video, audio, and ANC packet status can be verified at a glance.
• Key statistics and alarming available including.
• Video format, number of errors, bit rate, packet rate, angle of view, frame rate, and colour system compatible standards.
• Video frame and packet capture function, up to 50 video frames and up to 10,000 packets.
• Measure primary and secondary packet delays.
• Visual alarm summaries.

 

Monitor packets	Display errors that occurred in chronological order
Packet loss and jitter on the primary and secondary network lines	Error log
PTP lock status, grandmaster information, Clock Identity, time delay, ANC information

Measurement item

• RTP error average, minimum / maximum per flow
• Average CRC error, minimum / maximum per flow
• IAT average, minimum / maximum per flow
• Bitrate average, minimum / maximum per flow
• PTP delay average, minimum / maximum per flow
• Average packet rate
• DSCP QoS parameter settings per flow
• Packet TTL per flow

Monitoring band

• Monitoring bandwidth LVB440 standard
  Dual configuration   PORT-A: 40G, PORT-B: 40G
  Single configuration   PORT-A only: 40G

• Monitoring bandwidth LVB440 + 40G-OPT
  Dual configuration   PORT-A: 60G, PORT-B: 60G
  Single configuration   PORT-A only: 80G

Corresponding standard

• ST 2022-6
• ST 2022-7 Redundancy
• ST 2110-20 / 21/30/40
• AES 67
• NMOS IS-04 / 05/07
• PTP v2 SMPTE 2059 / IEEE 1588-2008

 

 

For more information click here or call Boxer for a demonstration.