With each passing year, NAB looks less and less like a broadcaster’s show and more like a cross between CES and InfoComm. It’s a three-ring circus of product demos, panel discussions, conferences, and media events that all points to the future of ‘broadcasting’ as being very different than what it was at the end of the 20th century.
Officially, slightly less than 90,000 folks showed up to walk the floors of the Las Vegas Convention Center, and it was elbow-to-elbow in some exhibits. But there was another trend of smaller booths for the ‘big name’ exhibitors like Panasonic and JVC.
That reflects the reality of selling products that have mostly three and four zeros in their price tags. At my first NAB in 1995, it wasn’t unusual to see $50,000 cameras and $80,000 recorders. Now, you can buy some pretty impressive production cameras for about $5,000.
Streaming and over-the-top video was big this year. Ironically, NAB featured an enormous streaming media pavilion back in 1999, but it vanished the next year. The reason? A lack of broadband services across the country that could support streaming at reasonable bit rates.
Obviously, that’s all changed now, what with Netflix at 21 million subscribers and climbing, and MSOs deploying multi-platform delivery of video and audio to a plethora of handheld devices. Concurrently, the broadcast world is trying to roll out a new mobile handheld (MH) digital TV service to stand-along portable receivers and specially-equipped phones.
And behind all of this, the FCC continues to make noise that it wants to grab an additional 100 – 120 MHz of UHF TV spectrum to be repurposed for wireless broadband, a service you’ll have to pay for. Attendees had mixed thoughts on whether the Commission will actually be able to pull this off – there is some opposition in Congress – but there appeared to be a high level of opposition to the plan, considering there is plenty of other spectrum available for repurposing, much of it already used exclusively for government and military purposes.
Like last year, there were lots of 3D demos, but the buzz wasn’t really there. 3D still has a ways to go with its roll-out and it simply can’t compete with the interest in content delivery to smart phones, tablets, and other media players. Still, there were some cool 3D products to be found here and there.
Here are some of the highlights from the show.
ATSC MH Pavilion – several companies exhibited a range of receivers for the MH services being transmitted during the show from Las Vegas TV stations and low-power rigs in the convention center. LG and RCA both showed some snazzy portable MH receivers, with LG’s exhibit putting the spotlight on autostereo 3D MH (as seen at CES) and a service call ‘Tweet TV’ which would allow viewers to comment on shows they’re watching and have those tweets appear on their MH receiver.
Another demo had CBS affiliate KLAS-DT transmitting electronic coupons for local retailers and restaurants during the show. These showed up on a prototype full-touch CDMA smart phone with a 3.2” HVGA screen.
In a nearby booth, RCA unveiled a lineup of hybrid portable DTV receivers. There are two 3.5” models (DMT335R, $119, and DMT336R, $159), a 7” version (DMT270R, $179), and a pocket car tuner/receiver that connects to an existing car entertainment center. It will sell for $129.
Motorola had two intriguing demonstrations. The first showed full-bandwidth 3D content distribution, using the full 38.8 Mb/s bandwidth of a 256 QAM channel to transport frame-packed 1080p video with full 1920×1080 left eye and right eye images, encoded in the MPEG4 H.264 format and sequenced through active shutter glasses.
Nearby, an HD video stream was encoded for four different displays, with all four signals carried simultaneously in the same bit stream. First up was a 1080p/60 broadcast; next to that a 720p/60 version, followed by a standard definition version (480i) and a version sized for a laptop computer or tablet. Both MPEG2 and MPEG4 codecs were used.
Red Rover attracted quite a crowd with their 28″ 4K (3840×2160) 3D video monitor which uses two 4K LCD panels arranged at 90-degree angles to each other (one on top, facing down). A half-mirror with linear polarization is used to combine the left and right eye images for passive viewing. Both LCD panels are Samsung vertically-aligned models, and the whole works will sell for (ready for this?) $120,000.
Volfoni showed dual-purpose 3D glasses at NAB. When powered on, they function as active shutter eyewear. Powered off, they are usable as passive 3D glasses. The whole shebang is controlled by an external power pack the size of an iPod nano that clips to your pocket or shirt, and this ‘pod’ can ‘learn’ any IR code from active shutter TVs.
The pod controller can step through several neutral density filters and there are several levels of color correction possible from the remote power pack. (Electronic sunglasses – imagine that!) The glasses use 2.4 GHz RF signaling technology to synchronize with any active shutter monitor or TV. And despite all of the bells and whistles, they weigh just over an ounce.
Sony’s 17″ and 25″ BVM-series OLED monitors that were first shown at the 2011 HPA Technology Retreat now have siblings. The PVM-E250 Trimaster OLED display is structurally the same as its more-costly BVM cousin, but has fewer adjustments and operating features. And it’s going to sell for quite a discount over the BVM version – just $6,100. There’s also a 17-inch version which wasn’t operating at the show, and it is expected to retail for $4,100.
Up at the front of the Central Hall, Panasonic was showing the TH-42BT300U, their first plasma reference-grade monitor. It’s not all that different from the exiting 20-series industrial plasma monitors in appearance, but there’s a big difference in operating features. Black levels have dropped and low-level noise has been minimized with a half-luminance PWM step. This results in more shades of gray and a smoother transition out of black.
In addition, the TH-42BT300U supports 3D playback for side-by-side and top + bottom color and exposure correction. Panasonic has also added automatic ’snap-to’ color space menu options, along with a user-definable color gamut option. When calibrated, it was an eye-catcher. There’s a 50-inch version also in the works, and both monitors will go on sale this fall.
Hyundai unveiled the B240X, a new 24″ passive stereo LCD monitor. It sports a 1920×1200 display with circularly-polarized film-patterned retarders and supports 3D side-by-side and top + bottom viewing formats. The pixel pitch is about .27 mm and brightness is rated at 300 nits. Hyundai also created an eye-catching 138″ (diagonal) 3×3 3D video wall for NAB, using its flagship S465D 46″ LCD monitor.
Sisivel has come up with a unique way to deliver higher-resolution 3D TV in the frame-compatible format. Instead of throwing away half the horizontal resolution for 1080i side-by-side 3D transmissions, Sisivel breaks the left eye and right eye images into two 1280×720 frames. The left eye frame is carried intact in a 1920×1080 transmission, while the right eye is broken up into three pieces – the top 50% of the frame, and two half-frames that make up the bottom.
All of this gets packed in a rather unusual manner (see photo), but some simple video processing and tiling software re-assembles the right eye fragments into one image after decoding. Then, it’s a simple matter to sequence the lefty eye, right eye images as is normally done. The advantage of this format is that it has higher resolution than ESPN’s top+bottom 3D standard (two 1280×360 frames).
JVC announced two LCD production monitors at NAB. The DT-V24G11Z is a 24-inch broadcast and production LCD monitor that uses 10-bit processing and has a native resolution of 920×1200 pixels. The extra resolution provides area above and below a 1080p image for metering, embedded captions, and signal status. The incoming signal can also be enlarged slightly to fill the entire screen.
The DT-3D24G1Z is a 24-inch passive 3D monitor with circular polarization patterned films. It has 1920×1080 pixel resolution, 3G HD-SDI and dual-link inputs, a built-in dual waveform monitor and vectorscope, left eye and right eye measurement markers, and side-by-side split-screen display for post production work including gamma, exposure, and color/white balance correction.
Nearby, crowds gathered to see two new 4K cameras that use a custom LSI for high bitrate HD signal processing. The demo used a Sharp 4K LCD monitor, and the cameras were running at 3840×2160 resolution. They have no model numbers or price tags yet.
Ikegami’s field emission display (FED) monitor that attracted so much attention a few NABs ago, but was written off when Sony pulled out its investment from the manufacturer, is now back. Its image quality compared favorably with Sony’s E-series BVM OLED monitors, and the images displayed with a wide H&V viewing angle and plenty of contrast pop. It was being used to show images from a Vinten robotic camera mount at NAB, and no pricing has been announced.
Dolby showed their PRM-4200 42-inch HDR LCD reference monitor at NAB. While this product is not new, there was a substantial price cut announced at the show to $39,000. Initial comments from the post production community have indicated the price is too high for today’s economic environment. As a result, Dolby has apparently sold a few to video equipment rental houses for location and studio production work.
Digital SLRs are being used to shoot TV productions such as “House” and independent films, and they could use a couple of good monitors with hot shoe mounts. Nebtek had a 5.6” model at the show, as did TV Logic. Both models sport 1280×800 (WXGA) resolution, compatibility with HD-SDI and HDMI inputs, and have on-screen display of waveform/vectorscope details, focus assist, and chroma/luma signal warnings. Embedded audio from the cameras’ HDMI output can be displayed on screen, and there are several scan and pixel mapping modes.
One of the more significant announcements at the show – at least, at first reading – was Verizon’s Digital Media Services. The idea is to serve as an electronic warehouse for everyone from content producers to digital media retailers – in effect, an Amazon e-commerce model, except that Verizon wouldn’t sell anything; merely ‘warehouse’ the assets and distribute them as need to whomever needs them.
Numerous companies showed real-time MPEG encoders, among them Z3 Technology, Visionary Systems, Haivision, Vbrick, Adtec, Black Magic Designs, and (of all people) Rovi, otherwise known for their electronic program guide software. Many of these encoder boxes can accept analog video (composite and component) as well as HDMI and DVI inputs. The general idea appears to be ‘plug-and-play’ encoding for IPTV streaming across a broad range of markets. The Black Magic encoder was the cheapest I’ve seen to date at $500, while price ranges on other models ranged as high as $9,000.
Tektronix had one of the funnier (unintentionally) demonstrations of test and monitoring gear. A new combination monitor, the WFM300, has a color anaglyph mode where you can see the interocular distance for red and cyan color anaglyph program material. Never mind the fact that color anaglyph isn’t being used for much of anything except printed 3D these days, so what were the folks at ‘Tek’ thinking?
Finally, Sony showed they can be all wet but still on top of things with their demonstration of an HXR-NX70U 1080p camcorder operating normally while getting a pretty good hosing. The camera is completely water-sealed and dust-sealed for use in hostile environments, and records to internal hard disc drives and memory cards. The shower ran continuously during the show and the camera never even hiccupped. Fun stuff!
Posted by Pete Putman, April 20, 2011 10:25 AM
About Pete PutmanPeter Putman is the president of ROAM Consulting L.L.C. His company provides training, marketing communications, and product testing/development services to manufacturers, dealers, and end-users of displays, display interfaces, and related products.
Pete edits and publishes HDTVexpert.com, a Web blog focused on digital TV, HDTV, and display technologies. He is also a columnist for Pro AV magazine, the leading trade publication for commercial AV systems integrators.