Good morning my name is Jim Jachetta; I’m one of the co-founders and CTO of VidOvation. VidOvation is a transmission contribution and distribution company. We help customers transport their video through the public Internet over bonded cellular, over wireless on the network, over fiber. We help folks move their video content, and it’s usually live. Live is a common denominator with what we do. Today we’re going to talk about some of the latest developments in wireless technology. One of the biggest pain points customers have when doing live video over a wireless transmission is having as low as possible latency as possible. So I’ll give you an example if you’re shooting video inside of a sports arena and you’re wirelessly shooting the person singing the National Anthem, and you’re going up on the big screen even if there’s a frame of latency. A lot of systems have several frames of latency. But even a single frame of latency is noticeable on this on the big screen. And when the action on the field or the national anthem is being sung.
There are systems that have low latency on the market. But these systems use very aggressive encoding and VidOvation offers systems like this. They’re at a lower price point. But I don’t consider them broadcast because they’re not using sophisticated compression techniques. They’re using aggressive encoding where bits are thrown out, rather aggressively, unintelligently. And there is a market for those types of products, maybe for video assist, where they’re not so concerned about the quality, but they need to see the image with as little latency as possible.
But what we’re going to talk about today is a broadcast application, broadcast quality and the system we’re going to talk about today is the only broadcast quality system with latency this low, as low as seven milliseconds. So we’re going to get into that today. Before we get started, though, let me ask you guys a question. Are any of you folks out there using a wireless system today? Is that something you’re using? Just curious kind of where the audience is at in their pursuit of technology, et cetera. I can show you guys the results. It looks like it’s pretty much 50/50 that’s interesting. Oh, no, wait, it’s changing. Wait, wait, here let me, I’ll stop it, and then I’ll share it. So you guys should be able to see, I’ll just read it to you, 64% of you are using some sort of a wireless system right now. And 36% of you are not. So maybe you’ll learn something new today, contrary to what you’re using. We’d love to talk with you either way about your wireless needs.
Let me jump in. Let’s see. There we go. Again, the biggest, the number one attribute or the number one complaint or issue is this latency. And as I said before, our partner ABonAir is the only one that does a subframe or less than a frame or seven milliseconds, which is quite extraordinary. Any application, live application, sports, cinema drone, we’re working on a couple of, you know, large larger type drone projects, and they’ll be flying the drone with the image, with the camera image. And if there’s even the smallest amount of latency they might crash the drone. Camera control if the video engineer is painting the image through the system. ABonAir has extremely low latency when it comes to painting the camera. The ABonAir system is designed from the ground up to support not only video but intercom and paint. There are different radios or different subsystems or a bunch of different subsystems combined to make the different functions.
Some of our competitors will have a radio for the video, a radio for the intercom, a radio for the camera control. ABonAir is built from the ground up with a bidirectional radio to support everything and has up to 50 megabits per second throughput. But I’ll get to some of these features. Again camera control I mentioned pulling focus. So if you’re controlling a camera, the iris focusing the camera, if there’s a tiny … You’ll be focusing an image from a few frames ago. So there’ll be this lag which will drive your director crazy that the camera won’t be shaded right. Or there will always be these lag, it’ll appear as if the video engineer is asleep. Why is the video engineer always falling behind? And it’s not really the video engineers fault, it’s the wireless camera system, is delays in the radio.
So all RF radios, all microwave radios have some sort of modulation scheme. So what does that mean? Well, in simple terms, if we send one bit through the system at a time, like high low, on off, on off, that would be a very rudimentary kind of AM type of transmission scheme. And we would be very limited in the bandwidth that we could use or the throughput that we would get. So in modulation schemes, there’s techniques that will send more than one bit per symbol. Or as you can see here in the slide, QPSK, Quadrature Phase-shift Keying is actually two bits per symbol, or there’s for actual states. You can see here to the right there’s a diagram of that. So it’s two bits 00, 01, 10, 11. So there’s actually four states in a given word, or a given symbol. You could think of it as, like a data bus, in a computer.
A rudimentary microwave system would have a one bit bus. So by doing some modulation techniques, Quadrature Phase-shift, or 16 QAM, higher order modulation, allows us to put more bits through so in hence we’re making a wider bus. So in a given bandwidth, say we have an eight megabits bandwidth to deal with, we can fit much more throughput in the available bandwidth. Now in everything in life there’s trade offs. When you use higher order modulation, like QPSK, or 16 QAM or even 256 QAM, you can see here there’s more states, the signal the payload is more complex. It requires more processing so you need to have more horsepower, more computing power on both sides. But then it also becomes more sensitive to noise and interference.
So in a lot of cases, it’s desirable to have this modulation scheme adaptable. Now all of our competitors have different modulation settings from rudimentary to more complex. But you have to stop the unit, go into the settings go into the menu and change the modulation scheme. So if you get into kind of a dead spot in your RF footprint, you know on the third base side, there’s kind of a dead spot, maybe there’s some interference, maybe there’s some obstruction between you and your receiver. Whatever the case may be, you’d actually have to stop your transmission, go in and change the modulation settings. Now you want your cameraman doing that or the video engineer and the trucks got to deal with that, the ABonAir system adapts the modulation scheme automatically. So if the link is very good, very clean, there’s no noise, there’s no interference, it will use a higher order modulation scheme and hence give more bandwidth, double, triple, even quadruple the bandwidth, quadruple the throughput compared to some other systems, and then dynamically change.
If you get to the fringe of your RF budget, like you’re getting a bit too far from the receiver, the modulation will go less complex and the picture quality will go down. But in most cases, I think you’d rather have a slightly reduced picture quality and still have a picture than opposed to the picture all of a sudden just stopping or the transmission having a problem. So that’s a key feature. Everyone does some sort of modulation scheme. It’s the nature of the beast or nature of microwave radio, it’s having it be adaptive, having it be intelligence, that’s the big differentiator.
So some of you folks may know this already. But in addition to the encoding schemes, there’s different types of modulation of or transmissions schemes. So orthogonal frequency division multiplexing or OFDM or COFDM. When you put the word C it’s coded, so there’s some sort of extra coding being added on top of the transmission. And typically the coding refers to forward error correction. I have a whole nother PowerPoint presentation. I have an ebook actually on our website that goes into the science behind forward error correction. But basically the basic principle of forward error correction is, if we add 20% extra for forward error correction or if we add 20% redundancy. So if we set our FEC to 20%, theoretically, we could lose 20% of our packets in transmission and then automatically recover them.
All systems do this and they have high, low and medium settings, you can set that how much forward error correction you want. But here’s the caveat. When you add forward error correction, you take away bits from the video payload. So in order to make your transmission more robust, more redundant with forward error correction, there’s always in engineering and science and physics and life, there’s always a give and take. So you don’t get something for free. If we take bits away and set them aside for forward error correction, that takes away bits from the video payload. Most systems, you set the forward error correction and you leave it alone. You set it and forget it. And if you’re in a very good location where the signal quality is good and you’re not dropping packets, why do you need the forward error correction on constantly?
Now the cameraman could go into his transmitter or the video engineer could go into the receiver, go into the menu, stop the transmission, and lower and increase the forward error correction. Well, ABonAir has the novel idea of having the forward error correction dynamic. If the system starts dropping packets, it turns the forward error correction on, if everything kind of settles out. So it’s constantly turning it up and down to preserve video quality. So again, it’s very intelligent how it does this. With COFDM is very common in broadcasting, typically the bandwidth is limited to about eight megahertz channel bandwidth. The five gig band and the seven gig bands actually allow 20 megahertz of bandwidth. So if a typical COFDM system can only utilize eight mega hertz of the channel, 17 megahertz are being wasted.
Now there’s some techniques where they cascade two COFDM channels together to try to squeeze more into there. But I’ll show on coming slides that actually … Well here at the bottom it says with the modulation techniques, with the encoding techniques, the way their OFDM radio works, you get up to 50 megabits per second throughput. Which is amazing, that that makes some amazing pictures and I don’t believe any of the competition can even touch that. Then you add on to that, I mentioned the forward error correction. I don’t know if you folks are familiar with ARQ, or automatic requests of packet. So what happens is in IP transmission you you can have forward error correction, you have ARQ. ARQ, what happens is the receiver, or the decoder will say, “Hey, I’m missing packet 101. Hey, transmitter, hey encoded, could you resend packet 101.” So there’s actually a two way communication.
No other microwave system on the market that I know of is bidirectional and is able to do ARQ. In other words there’s a full duplex communication between the transmitter and the receiver. Actually, what ABonAir is doing is very similar to what is done in the bonded cellular space, transmitting through cellular in the public Internet. ARQ is part of that and there’s a bidirectional link. So it’s very unique what these guys that ABonAir are doing it’s very, very amazing. so I mentioned the ARQ. Then they use a technique called variable bitrate encoding, or adaptive bitrate. So I mentioned the modulation complexity will change, or the encoding complexity will change. The forward error correction will adapt. Now if the transmitter gets far away from the receiver and the throughput should drop due to signal quality interference. Whatever the case may be. The video encoder will change its bit rate. The decoder will tell the transmitter, the receiver and the decoder will tell the transmitter, “Hey, you’re dropping a lot of packets. I’m testing the connection and the connection is no longer 50 megabits per second. We’re now at 25.”
So the decoder actually tells the encoder in the transmitter to lower the bit rate to 25 megabits per second. So the encoder is going up and down in bit rate. Now our competitors, you can stop your transmission go in and change the bit rate of your transmission. But you got to stop it. And do you want your photog doing that? Or your video engineer? You’re trying to get live shots in the ballpark. With the competing systems, you’re constantly tweaking. Okay so for football the stadium is more full so we have more interference, so let’s be more aggressive with the forward error correction. Let’s lower the bit rate. You have to plan ahead of time or there’s a lot of trial and error. Everything with the ABonAir system is automatic. Everything. The operator, you just plug this system in, it just goes. You get the paint control, the camera control, the intercom, boom! Everything comes up, it just goes, the photog doesn’t even have to touch the unit. They just got to turn it on. That’s all that’s necessary.
And all these amazing things with the ARQ, where it’s re-requesting packets, it makes it even more amazing that they’re able to do seven milliseconds of latency and achieve a 50 megabit per second throughput. So again, as I mentioned, what enables all of this? This is a full duplex radio, it’s built from the ground up, they have full bandwidth in both directions. This is what in that allows the ARQ to work, the forward error correction, the receiver, the decoder, the base station is controlling everything. So it’s analyzing the spectrum, there’s actually a spectrum analyzer in the unit.
So if the receiver determines, hey, we’re on channel three and I’m starting to see a lot of drop packets and I’m picking up some interference, it will actually tell the receiver between pixels, there’ll be no glitch, it’ll tell the receiver, it will tell the transmitter, on the next pixel, let’s go to channel one. Channel one is clean right now, and it will jump channels. So all this is happening automatically in the background, because of the bidirectional radio. The receiver is giving the transmitter instructions, change the modulation depth, change the bit rate, add or remove forward error correction. ARQ kicks in, give me those packets that I lost. And all of this happens automatically with a MIMO, it’s a two by two type system where there’s two in, two out MIMO. There’s two antennas on the transmitter and two antennas on the receiver, which gives us some additional diversity and transmission resiliency as well.
What is all this gainers? It sounds like there’s a lot of complicated things going on behind the scenes. Why, do we do this? Why do we bother? Well, in most cases, it increases the channel capacity or the throughput by more than two times. I don’t think any of our competitors can come close to a 50 megabit per second throughput. I don’t think that they’re physically able to do that. Then I mentioned the forward error correction, it goes from 25% to 100% and constantly going up and down. Now in competing systems, you can set the forward error correction. So, if you have a very dirty connection, you could make the FEC 100%. Basically what that means is two of every packet is sent for redundancy.
But statistically ABonAir has done some statistical analysis that FEC is only needed about 1% of the time. That OFDM system is pretty reliable. By turning forward error correction on all the time, 99% of the time, you’re wasting that extra bandwidth, which could go to Video. So this slide is just proving the importance of having the forward error correction be dynamic, because you rarely need it. Unfortunately, in most systems, you don’t get a heads up a time or place when the failure is going to happen. What happens with ABonAir the forward error correction could be set very low or maybe even off. Few packets get dropped, but the ARQ will recover them. And then if the system doesn’t recover after the few packages are recovered with ARQ, the receiver will say, “I’m seeing a pattern of data loss here. So maybe we should bump up the FEC a little bit.” So it brings it up, then things kind of stabilize. Then if no packets of being dropped, it may ratchet it down.
But again, all this is happening in the background all automatic. So we don’t unnecessarily waste precious bandwidth that could be used for video on unnecessary forward error correction. So some of this I have already covered, I have a bad habit of jumping ahead. On the first slide, I give you an overview and kind of jump ahead. But again, the competition wouldn’t be able to add ARQ very easily, you need a full duplex radio and I’m not aware of any other microwave, any kind of wireless system that is doing ARQ across the microwave link. I’m not aware of anyone doing that, that is a real differentiator for the ABonAir solution.
I mentioned what are some of the variables? Our competition uses CBR or constant bit rate. Why do we need the adaptive bitrate? So the throughput could change due to distance, which I kind of alluded to earlier. If say you got a big football field or you’re outdoors and you’re at kind of the fringe of your coverage. Again, if you’re at the far end zone, the receivers in the opposite end zone, I think you’d rather a picture with a slightly less bit rate in the far end zone, than all of a sudden it dropping out. Our competitor systems, you kind of have like this cliff effect where it’s working, working, boom! Then all of a sudden nothing, because the channel bandwidth will … Say you have your radio set at six megabits per second. The second the pipe dips below six megs boom! It crashes you lose the connection.
Whereas this will just the DAP, the bit rate will go down it’ll gradually get a little bit softer. Now granted no wireless system is going to work everywhere, every time. If you walk into a lead lined or a steel lined room or a Faraday cage, nothing’s going to get through. But so distance is a factor, these systems are mounted on camera, so the cameraman moving around, he hits that weird dead spot, external interferences. Any of you guys, any of you people out there that have worked with wireless know that, with these weird anomalies where interference comes and goes at certain times someone nearby is turning on a radio that interferes with your radio and then there’s changes in the medium, trees, rain, walls, obstructions, et cetera.
Let me ask you guys another question. I probably should have asked you this further earlier on. I keep mentioning this latency thing, having low latency. I’d just be curious if low latency is important to you guys, maybe some of you guys don’t care, that seems to be one of the first differentiators of the ABonAir. So essentially it’s about 75% of you say that low latency is important. Now it’s changing a little bit. I’d say where it’s not so important, maybe you’re not going live, so it’s not as big of a deal. Look at that. Now it’s settled out at about 50/50. So let me share that with you. So it looks like 50/50 it’s kind of the consensus on that. Very good. Let me get rid of that there.
The ABonAir solution. Typically, the ABonAir, some of our competitors will recommend radios on the two gig license band or the seven gig band. And the ABonAir system has really thrived on the five gig band. We don’t have a two gig solution. But we do have a seven gig solution. But then you need a license. And there’s such volatility with the FCC, granting people’s licenses, taking them away. We think it’s safer and more scalable to use the five gig band and some people are afraid of the five gig band, and for good reason, they’ve had problems with it. I have a little bit of a cold I apologize I’m taking some cough drops here. But on the five gig band, the ABonAir system can grab either a 20 meg channel space or a 40 meg channel space, and with that, can actually get 50 megabits per second throughput. And like I said earlier, no one can really, really touch that.
And as I said earlier, the algorithm adapts, it’s constantly adjusting, changing the bit rate and … Excuse me, folks. Again, why do we go to all this effort? When comparing this system to some of these other low latency system some of these lower costs low latency system, the result is the signal to noise ratio. The systems that are aggressively encoding the video kind of throwing out the least significant bits, kind of unintelligently or less intelligently than a true MPEG encoder, the end result is signal to noise ratio. And usually the rule of thumb is to have 58 Db signal to noise ratio to be broadcast or better. The ABonAir is 59 db. And if you were to do a noise measurement, an AB test, the noise level coming in, versus the noise level coming out on some of these other system, you’d find the noise level is not acceptable.
Excuse me, folks. I’m sorry if I blasted your ears out. The result of all of this is better signal to noise, hence why we call this a real broadcast product instead of what we would consider a professional grade product. Again, I don’t think any of you guys want your photogs messing with complicated systems. We find this our bonded cellular product. The photog just wants to turn it on, maybe they got to hit a transmit button and that’s it just needs to work. Same thing with the ABonAir, all the operator has to do is turn it on, slap a battery on it, turn it on and it’s ready to go. There’s no setup no decisions that have to be made everything is just automatic. So no special training. Do you want your photog having to read the manual, how to go through the menu to change the modulation change, the bit rate change, the forward error correction. ABonAir is all automatic.
Do any of you guys run into situations where you wish you could have coverage in multiple zones? What do I mean by that? Coverage in the football arena, coverage in the basketball arena with the same system, or another common scenario is have some antennas inside the bowl of the arena, then maybe you want to catch the team as they come out of the tunnel. But the tunnel is outside the field of view of the receiver. So ABonAir has … It looks like all you guys. Yes, that’s desirable. That’s good to hear. Let me share that with you. So 100% of you guys said yes. Maybe you want to get shots in the tunnel, you want to get shots in the dressing room as the team comes out, a shot in the press area.
Our competition has several ways to do this. You either need multiple receivers, and then you’d home run the SDI video of those receivers back to the truck or the control room. Or another method is called a distributed antenna system where you move the raw RF around. And you have bulky RF cables. There’s techniques where they down convert the RF to an intermediary frequency, a lower frequency, so there’s less loss when it goes over the cable. But then again, there’s distance limitations. These cables are bulky. There are techniques, the RF signal is actually a very wide band, analog signal, very high frequency wideband analog signal. There is very expensive fiber optic equipment to extend this broadband RF over fiber. But this is very expensive. So again, ABonAir kind of takes a playbook from cellular, they have what they call fiber coverage extenders. And they operate very much like cellular sites.
So you can have up to 256 of these FCEs as they call them, connected to a single receiver. If you have a very large football field, maybe you have two antennas. Or like I said, one in the field, one in the tunnel, one in the dressing room, one in the press room, then you have one over the basketball arena nearby. So the photog just lights up wherever he needs to go. Particularly in college campuses, you might have multiple venues in close proximity on the same campus. But you know, I can think of, take Toronto for an example, the Leafs the Blue Jays, the stadiums are all pretty close to each other. So you can have each venue lit up, it be the same production company running multiple facilities near each other. Or they could be 20 kilometers away because this operates over a dark fiber. So the same production company is doing a rangers game at Madison Square Garden and then they’re doing a next games at the arena in Brooklyn and that’s all connected via dark fiber. The photog just shows up and lights up boom! He’s back to master control.
So it’s all seamless over dark fiber very much like cellular and the transmitter will talk to the base station or the FCE it’s closest to. So if you’re in this football field and you kind of get far away from a given received node, but you’re closer to the receiver in the tunnel like you’re starting to enter the tunnel. The unit will jump to that other receiver, the closer receiver, the receiver with a better signal, between packets there’s no loss, there’s no glitching. So this multi zone coverage feature is extremely powerful and customers are loving this. You can almost limitless coverage, up to 256 of these can be connected together. It’s a small little box, some of the boxes are simplex meaning there’s more of a star configuration. You can see the one here in the PowerPoint, it has two fiber ports on it. One could be going to the base station and then loop out, so you could daisy chain them together. Or ABonAir makes a fiber hub so you can do more of a star or a hub and spoke type configuration or a daisy chain configuration.
And the video, the camera control, the tally, the intercom is all passed through this these multiple nodes and it jumps between nodes without a single kick up, without a single glitch. So here’s another way of looking at it. So you got the basketball arena, the football field, you have multiples of these FC receivers, all home run to the base station. If you have more of these, you can daisy chain them together, or there’s a hub where you could bring 256 of them, into the hub, and then bring them into the base station that way. So it’s all seamless.
So here’s a topology of the old way of doing it. You have a receiver at each of your venues, which is expensive. You need a full base
station at each venue, then they might use a fiber optic infrastructure, SDI infrastructure to bring it back, then you need a switcher to figure out which one of the venues you want to receive from as I mentioned before, that they might push the raw analog wideband RF over fiber which is extremely expensive. These fiber extenders are not very expensive. So these FCEs, these fiber coverage extenders, you see how simple it is. You home run them, it’s a duplex a pair of dark fibers connecting these. With 256, we’re talking to broadcasters where say like Washington DC, they want to light up on the mall outside of Washington DC in front of the Capitol. Then they want to light up in other areas inside the capital.
Imagine DC bureau they’re jumping around, the press conference has different areas, different buildings. There could be these FCEs all over town, home running back to their master control and their photog can literally up anywhere in town and go live as long as he’s within … These units have about a two-mile range. So as long as he’s within a two-mile line of sight of one of these FCE receive sites, he’s ready to go, you can broadcast live from anywhere.
Someone was asking do I need to have a switcher on the fiber? Nope, it’s just a hub it’ll automatically … The receiver is actually looking at receive packets from all the FCEs, but the transmitter will actually jump to the FCE, it’s closest to the FCE it’s getting a signal from. So let’s just say packet number one comes from FCE number one, and the camera moves the next packet. The receiver magically puts that all together so there’s no fiber optic switching, no user intervention of any kind is required, it just magically works. That was a good question Dan. I think that answered your question.
Let me keep going here. I mean keep the questions up. I’ll scan them at the end when I’m done. I’ll go back to them and answer them. So systems out there either don’t have paint control or are missing something. It’s rare that you find a complete system. Even the systems that are complete if you dig under the hood, it’s actually systems from multiple vendors that are packaged together. The video will be on one rudimentary simplex radio, the camera control will be on another band from another vendor. The two systems don’t really talk to each other there. There’s no redundancy across these different systems. And then some of them will have an intercom from yet a third vendor. ABonAir was designed from the ground up having this bidirectional radio to do intercom, to do IFB. There are interfaces on the receiver for 4-wire or 2-wire.
We haven’t found an intercom system it doesn’t integrate with the paint and camera control. We’re adding new cameras every day. We support Sony, Panasonic, Ikegami, Grass Valley and Hitachi. We’re working with some of the Black Magic cameras now. So it’s a very, very robust bus system. Again to summarize, the big takeaway is getting that low latency but again not sacrificing video quality. This is a true broadcast system with less than a frame latency, seven milliseconds. True broadcast quality, up to 50 megabits per second, but remember that’s adaptive. Your modulation scheme, your adaptive bitrate encoding, the modulation complexity is going to change. How many bits we get through per symbol, the bit rate is going to change, forward error correction is going to change. The unit is slow to fail. You don’t have that cliff effect where it’s working and then bam! Then nothing. Then integrating these advanced features intercom, camera control.
Then finally, but not last. Last but not least, is this multi zone coverage. Customers are blown away by this. Here’s the thing, out of the broadcast solutions that are out there, ABonAir is the most affordable. So believe it or not, it’s the most advanced in technology, but it is also the most affordable. So I think the reason for that is because it was designed from the ground up to have all these features. So it’s not a bunch of different boards from different vendors Kluge together. So I think it’s a more streamlined design, hence, the lower cost. It was designed properly in the first place. It’s not a lot of things band-aided on there.
There’s a couple of things ABonAir has some surprise announcements for NAB. Some of them I can’t talk about yet. But I talked to the CEO yesterday and I said you got to give me something for the webinar to get people excited about NAB. They’ve taken their technology. So the standard unit is the AB 512, that’s the flagship unit. And that’s a typical package is usually a transmitter V-lock or Anton Bauer Mount. A base station or one AU base station and one of the fiber coverage extenders. Usually the base station is in your master control, or in your truck and then the fiber coverage extender is out in the stadium. A typical setup for a truck for each of the cameras, each of the wireless cameras in your truck you would have a transmitter, a AU base station and an FCE. If you have three cameras you need a set of three. Systems are coming that have more capacity but I don’t want to spoil things for NAB. But one thing I can say is they have a long range point to point system that will be coming out.
I haven’t seen it yet, but I imagine it has directional antennas. It will maintain the seven-millisecond latency. It’ll go up to 10 miles or 16 kilometers, with the intercom IFB camera control and paint, just like the flagship systems. But let’s just say some applications we’ve done where the actual studio in the stadium, the studio for the stadium is not actually in the stadium. We did one project with Carolina Panthers where we did a wireless link a mile or so from the stadium to an ancillary building where the production studio resided. So there’s always unique situations where the video needs to go longer distances.
There are some preliminary information about NAB, VidOvation and some of our partners, ABonAir, AVIWEST, Antelope cameras, or IPTV systems. If you go to vidovation.com/nab19 there’ll be updates. Visit there, you’re welcome to visit there now, but check back often to see if there’s any new news. A little bit more information about VidOvation, at the top of the slide I said we’re a video transmission, contribution, distribution company. Our tagline moving video forward. We help our customers move video. Most of what we do tends to be live sports, we’re doing live reality shows like live PD. We did the Writers Cup with Turner sports moving 16 ISO cameras from Paris to Atlanta doing a Remy at home production. We’re very good at doing very perfect genlock and lip sync of multiple cameras to be able to do a REMI or an at-home production.
And then we’re consulting company. We have a wide variety of solutions. Some manufacturers have a finite product set, so they’ll try to fit one of their square pegs into your round hole. VidOvation we find the right solution to solve your problems, your paints, we’ll even create a product to solve your pain. The NHL had a problem within that in-net officiating. So we designed and developed a custom in-net wireless camera system. Maybe you have a project similar to that.
That’s kind of the summary. Let me go I’m going leave it on this slide. So you guys can see the link for NAB. Any of you guys have any other questions? Yeah. So Dan, you would ask, how is this different than a distributed antenna system? Hopefully, I answered that, that. I like to tell customers, can you do this? Can you do that? Given enough time and enough money, just about anything can be done. You know. Kennedy threw enough money at the space program to put a man on the moon. Back in the 60s, people thought that might be impossible to do. But given the time and the money and the manpower, pretty much anything can be done. There are systems out there that are working but they’re more complex, they’re more expensive, you need these bulky cables. We’ll go into a sports venue and they have available dark fiber at every camera position throughout the facility, and those fibers go down to the truck Bay.
So it’s actually very, very easy to put an ABonAir system into a fully operational stadium. Just find an ideal spot to put the fiber coverage extender, that receiving node. You just need a pair of dark fiber and power obviously. And then, connectivity from that point to the truck bay. And then inside the truck is the one AU receiver. I hope you guys downloaded some of the … Though I have a handout. Our marketing team will send a follow up after the … in the coming days you’ll get an email summarizing what we talked about. We’ll give you a copy of the PowerPoint and then also we’re recording this so there’ll be a video to go with this. Again, I apologize guys, if I blew any of your ears out with my cough. But hopefully this was informative. If you guys have any other questions, give me a shout and I can answer the questions offline.
Thank you very much. Let me leave up my contact info. So if you want to reach me, Jimj@vidovation.com, that’s my email. That’s the best way to reach me. You can see here I’m on social media. Or call the team, talk to our VP of sales, Rick Anderson or anyone on the team. We’d love to help you guys. Thank you so much for tuning in today and have a great weekend. Thank you so much.