< PreviousFor full details and introduction videos please visit www.lynx-technik.com GREEN AND YELLOW GO 4K LYNX TECHNIK AG By David Holloway, Director of Sales - EMEA, LYNX Technik AG Building on its worldwide reputa- tion for no-compromise German design, manufacture and support, LYNX Technik presents a range of yellobriks® and the already multi-award winning greenMachine® titan, the cus- tomer confi gurable ‘Super Brik’ modular processing platform for 4K/UHD broadcast and professional AV signal processing. 12G-4K/UHD POWERFUL AND FLEXIBLE MULTI-PURPOSE PROCESS- ING PLATFORM The greenMachine® titan hardware has been designed for 4K/UHD requirements. The hardware is a powerful processing platform for video, audio and metadata that can perform many diff erent functions using one of the available greenMachine constel- lations (confi gurations). 4K (12G SDI) constellations (pre-confi gured application sets) for greenMachine® include; static and dynamic HDR < > SDR conversion, audio embedding/de-embedding including MADI and DolbyE®, video and colour adjustment, frame syncronisation, up/down/cross con- version, ROI scaling and audio/video test signal generation. The functionality of the greenMachine® can be simply switched by deploying a dif- ferent constellation and assigning a license via the free greenGUI control software. The perpetual licenses can also be moved between machines making them ideal for reconfi gurable OB and fl y away system ap- plications. All constellations include NOVA, an SNMP v2 interface, and Custom Control which enables the creation of stripped down customised user interface panels for operational use. greenMachine® titan processes either four individual 3G/HD/SD-SDI video streams or a single 12G SDI video stream carried on a coax 12G single-link, or coax quad-link 4K (4x 3G 2SI). In addition, fi bre SFP options are available for one 3G/ HD/SD-SDI and one 12G 4K/UHD input and output. The 12G (up to 3840 x 2160 @60 Hz) processing supports conversion between any input and any output format including up/down conversion of 12G-4K/ UHD. greenMachine® is the ideal reconfi gu- rable ‘toolbox’ for studios, OBs, fl y-away and remote production and other media facility that require 4K/UHD AV signal processing, or are currently working in 3G and are looking for a cost-eff ective software upgrade to 12G in future. 4K FORMAT CONVERSION LYNX Technik’s yellobrik® model CQS 1441 provides a bridge between 4K UHD quad- link (2SI) devices and 12G SDI single-link devices. Conversion modes include: 12G SDI single link to 4x 3G Quad link (2SI); 4x 3G Quad link (2SI) to 12G SDI single link; 6G SDI single link to 4x 1.5G SDI and 4x 1.5G SDI to 6G SDI single link. The in- tegrated SFP fi bre port allows for optional TX, RX and TRansceiver SFPs to provide port, nge ward ar dcast ESS- s nts. that BRAND VIEW www.digitalstudiome.com40 / JULY 2019conversion to and from 12G fi bre and loop- through confi gurations for local feeds or monitoring. 12G 4K/UHD DISTRIBUTION AMPLI- FIERS A line of yellobrik® re-clocking coax distri- bution amplifi ers for up to 12G 4K/UHD allow users to input any signal, whether SD/ HD/3G or 12G SDI and feed multiple re- clocked outputs to devices across a facility. Two future proof models are available, 1>7 and dual 1>3. 12G 4K/UHD HDMI MONITORING Full 12G 4K/UHD can be expensive and un- necessary if only confi dence monitoring is required. LYNX Technik’s PMV 1841 Quad- Split yellobrik® is a compact, portable pro- cessor with an integrated down converter, for applications that require low cost, reduced resolution confi dence monitoring of 4K/UHD 12G, SQD quad-link streams on an HDMI display at 1080i resolution. In addition, it supports the display of four individual 3G/HD/SDI-SDI inputs on a single HDMI monitor (1080i full screen). The PMV 1841 allows the selection and display of waveforms, vectorscope, embed- ded audio level metres, safe area / centre markers, time code, video standard, video and audio alarms and up to 16 characters of free text for each input channel. The size and position of the four video panes and the required monitoring elements is user selectable. 3G/HD/SD-SDI channels can be viewed either as 4 quadrants on the monitor or toggled through 4 individual full screen views. Its compact size and aff ordable price combined with the advanced overlay features makes this an ideal solution for studio, outside broadcast, production and post-production monitoring requirements. 12G 4K/UHD FIBRE TRANSPORT The LYNX Technik yellobrik® 4K fi bre transport solutions solve the problem of transporting real-time, uncompressed 4K 12G/UHD with virtually zero signal attenu- ation, over distances up to 20km. The single 12G coax transmitter model off ers a coaxial loop-through in addition to the fi bre output. The fi bre receiver provide two 12G coax outputs and the transceiver has one coax to fi bre input and one fi bre to coax output. Single wavelength and CWDM multiplexing SFP options have a range of up to 10km. For the transport of either 12G on 4x3G coax format (2SI or SQD) or four discrete 3G signals, the OTR 1441 and 1442 off er a single box (at each end) solution. The four inputs are fi rst internally converted to fi bre, then multiplexed into a single LC fi bre. The receiver module de-multiplexes the individual streams and converts them to four 3G coax outputs. The 3G channels can be independent, or the quad feed of 12G 4K/ UHD in 2SI or SQD. Modules may be ‘daisy- chained’ to transport either 8x 3G or 2x 4K/ UHD over a single fi bre. The O TR 1442 may also be combined with yellobrik® bi-directional transceivers to add Ethernet or RS232/RS422/RS485 signals to the multi 3G or 4K/UHD fi bre link. 12G 4K/UHD FIBRE BI-DIRECTIONAL TRANSPORT WITH SYNC, AUDIO AND SERIAL DATA For more complex situations the green- Machine® Bi-Directional Quad Transport system off ers simultaneous point to point, bi-directional connection of 4K/UHD plus external audio, HDMI, GPI/RS-serial data and sync over a single pair of fi bres. Two greenMachines are required and both can accept 4K/UHD on a single 12G coax or 4x 3G coax (2SI). The receiving element of each greenMachine can be confi gured to provide either 12G coax or 4x 3G (2SI) outputs. The Quad transport can alterna- tively carry four discrete 3G/HD/SDI-SDI channels in each direction, or 4K in one direction and 4x 3G/HD/SDI-SDI in the other, making it an ideal starting point in a 3G environment with a simple switch to 4k/ UHD in the future. All yellobriks® and greenMachines® come with the intuitive free of charge, user- friendly yelloGUI or greenGUI software which off ers users access to all advanced settings and adjustments within the units. Rackframes for greenMachine® and yellow- briks® off er a neat mounting solution and redundant power options. BRAND VIEW www.digitalstudiome.comJULY 2019 / 41S: Which biographical events inspired your up- coming fi lm, The Shadow? The Shadow is based on the story of a family member. Some family members thought he was schizophrenic, others thought he was possessed. I at- tended a lot of real-life exorcism sessions that were quite intense and left such an impression, I had to make a fi lm about it. But the fi lm is also about how far a mother will go to protect her son. It’s really about the bond of a parent with their child. DS: What fi rst inspired you to become a fi lm maker? Simply put, I am in love with storytelling. I also have a fi ne arts background. Film mak- ing feeds my love for the arts – with all the compositions, lighting, and painting, but also gives me a voice to tell stories about my people, which I am very passionate about. For me the power of storytelling is the inspiration. DS: What’s the one piece of technology you cannot live without? I have been a Canon ambassador for the last eight years, and love my camera. I am proud to say that I am the fi rst fi lm maker in the Middle East who was given the Arri Signature Prime lenses. They were shipped from Germany and were used on The Shadow - a huge milestone for me. And to be the fi rst set in the Middle East to use those lenses – what a precious moment! DS: You’ve been making fi lms for a while. How has the process evolved? Technology has played a huge role in chang- ing how fi lms are made in the region. It democratised the process by making access to fi lm making much easier. Things are way cheaper than they used to be. When I started making fi lms 20 years ago, national fi lm festivals – Cannes, Venice or Toronto – they act like cultural ambassadors for their countries. I cannot over-stress the importance of this. Let’s be honest, we know so much about American culture thanks to media and fi lms. A government grant or private fi lm funds, we will see more productions taking place, something that is sorely lacking right now. DS: What are the challenges and joys of being a fi lmmaker here? That’s an interesting question. One of the joys is that it’s not very competitive, so it’s easier for people to stand out and tell their stories, especially women. The negative side is that the industry here isn’t really booming. There will be moments of sheer nothingness, which can be really dangerous. People can easily give up. There’s not enough creativity and you’re not practising your craft enough. DS: What’s on your slate of upcoming projects? Two very distinct projects. The Shadow is a classic psychological horror fi lm. The other is a series, not a fi lm, based on true life events. It’s the story of Egypt’s most notorious serial killers, Raya and Sakina, sisters who were the fi rst Arab women sentenced to death. I have written it through the perspective of the daughter of one of the killers. The story is absolutely shocking, yet so visual, it actually warrants a series. DS: What needs to be done to promote fi lm making in the UAE? We shouldn’t be restricted by geographic parameters, but make fi lms that can be seen overseas and in diff erent continents. While we have a small fund for short fi lms through diff erent competitions and funding bodies, we don’t have a government grant for feature fi lms. Grants go towards pushing the cultural agenda. We really need this to encourage private investors to contribute to the fi lm industry. There needs to be an awakening and education about investment in fi lm. Once these elements are in place, we will see a lot more fi lms being made in the UAE. It’s taking a bit of time, but I also feel it will happen for sure. (as told to Shalaka Paradkar) D NAYLA AL KHAJA, FILMMAKER AND CEO OF NAYLA AL KHAJA FILMS 5:00 minutes with... WHILE WE HAVE A SMALL FUND FOR SHORT FILMS THROUGH DIFFERENT COMPETITIONS AND FUNDING BODIES, WE DON’T HAVE A GOVERNMENT GRANT FOR FEATURE FILMS it was all on actual fi lm – Super 8mm, Super 16mm, 35 mm; they had their own charm. I really miss those days when we had to go and develop our fi lms at Kodak. But it was also not accessible to many people who have voices and want to write their stories. Digitisation changed this — everyone can now tell a story. But not everyone can tell a good story. So a good fi lm maker will still stand out from the crowd. DS: Where do you see the next few years taking us in terms of production? I’ve been saying this for many years now. I would really love the UAE government to institute an annual grant to greenlight three feature fi lms. The amounts need not be massive, but just enough to make a decent fi lm in the UAE itself. Sadly, there is a lack of feature fi lms being made here. I believe fi lms are a powerful and mobile medium. If you see the fi lms shown in inter- www.digitalstudiome.com42 / JULY 2019 5 MINUTES WITH...Register before 16 August to get your free visitor pass or the early booking conference discount The world’s most infl uential media, entertainment and technology show 13- 17 September 2019 | RAI, Amsterdam show.ibc.org FROM THE WORLD OF MEDIA TO TELECOMS, CLOUD, MOBILE, ENTERTAINMENT & TECHNOLOGY See it differently. Digital Studio (ITP) 205 x 275 + 5 mm bleed - World of media ad.indd 114/06/2019 09:43Next >