Originally Posted by bobchase
I'm not certain that is correct in the USA. One router manufacturer uses two bonded IP's in an external interface to generate the 4 input videos for the router and then does the same for the outbound video.
Ah - the all-IP trucks and buildings here are not using SDI routers at all - just multiple big switches from people like Arista, often in a spine and leaf style. The key thing to working UHD in a sane fashion is to avoid Quad 3G or Quad-2022 (3G-over-IP) solutions and go full-fat 2110 (slightly easier in 2160p50 as that will fit in a 10GbE pipe, whereas 2160p60 needs 25GbE or TICO/LLVC/VC-2 style mezzanine compression)
The only LKFS audio cable encoder I know of is Ateme and it cannot do 4k with IP (1 or 4 wire yes). There is an external LKFS box that was supposed to come to us for testing (in 2k) before C-19 but to do 4k requires 4 of them and 4 daughter cards for linking.
LKFS ? Is that the same as LUFS (Loudness Units and monitoring?). Is that a processing board to ensure you stay loudness compliant?
We don't really use those in the UK - we expect all shows to be EBU R128 compliant at -23LUFS +/- 0.5 for pre-recorded and +/-1.0 for live or as-live. All recorded shows have to pass an R128 AQC prior to delivery (and have to be sent back and fixed if they fail) - and all live control rooms are expected to hit R128 -23. All acquired shows and movies will go through an R128 compliance check and dub.
Dolby E gear is a problem for IP set-ups but we're migrating to all-discrete + ST.2020 metadata to escape Dolby E.
I don't know of any CC encoders in 4k. In fact, now that I've typed it, I don't know of any CC encoders that output TTML caption data.
Master Control switchers, news production switchers are said to be capable but at what level?
Master Control Switchers are disappearing in the UK - all the main networks are now using systems like GVG Morpheus ICE - which are IP-in, IP-out with all the processing for graphics, DVEs, transitions, promos and voice overs done in a 'channel in a box' IP system - no discrete master control switchers.
News production here is still HD (heck - some is still 16:9 SD-SDI...)
What necessary options do you give up to do 4k? How many DVE's, Chroma Keyers, ME's are available when you switch to 4k mode in the production switchers. Do you get Elevators, bugs, and snipes in the 4k MC switcher? Hence my wish visit to the NAB conference that didn't happen. Could we get a 4k island on the air and do a 4k network passthrough with local 2k upconvert? Maybe, depending on how FCC compliant you want to be (or not be).
Lots of people are going for the Kahuna Maverik here as for IP UHD switchers (we call them vision mixers) - which is now a GVG switcher. It has a lot of functionality in UHD - but you do get what you pay for. It also lets you split mixers (or switchers if you will) across studios - even across countries if you are using remote production. Discovery/Eurosport are building a large two-site UHD-capable all-IP facility in Europe that will be used by all the major production centres across Europe. (So Stockholm's control room can use a section of the Kahuna Maverik switcher in London remotely over IP for instance - as if it was in Stockholm)