KAIROS is Panasonic’s IT/IP platform that gives you unlimited control by fully utilizing the power and flexibility of its CPU and GPU, offering unrestricted flexibility of input, output and operation for a more efficient live workflow. We caught up with Panasonic Engineering Manager Harry Patel to talk all things KAIROS, including its origins, the state of SMPTE 2110, KAIROS’ configuration and components and how it can be the “Photoshop” for video.

QUESTION: What is KAIROS and how is it different from a traditional switcher?

HARRY PATEL: Overall, the way I like to think about KAIROS is in two different components. The first is in IT/IP input/output source management. By using high-speed Ethernet networks utilizing SMPTE 2110 protocols, we’re able to bring in any source that is on a network, potentially replacing a need for a router that will typically be there. That’s because any ST 2110 stream has multi-casting enabled by default so you can send one input to as many outputs as you like. That is really powerful.

The second component to KAIROS is utilizing CPU/GPU-based processing for video switching and video processing, giving the user complete flexibility on how they want to use the product compared to traditional FPGA-based hardware. You have predefined the use case of what an M/E is and how many keyers it has, but when it comes to a switcher application the resources cannot be dynamically changed to do something else. With KAIROS, due to CPU/GPU-based technology and the evolution in the technology, we are able to change the horsepower of the system for a user who may not need a lot of M/Es and needs to have multiple outputs, versus a user that needs so many layers and multi-viewers. So for CPU/GPU based technology, it’s quite flexible compared to FPGA systems where you are completely locked in.

QUESTION: What is the origin of KAIROS and what went into the development of the system?

PATEL: Panasonic has been in the switcher business for many years and we were also active in developing the SMPTE 2110 protocol for the broadcast industry. This basically allowed video over IP transmission and solved scalability and flexibility issues that traditional switchers can’t offer. We also saw the advancements in CPU/GPU based technologies that could be applied to broadcast or live event production. The word KAIROS means that the you’ve been contemplating on doing something over and over again. The moment you decide you have the clarity on doing something, that is the KAIROS moment.

QUESTION: You mentioned SMPTE 2110. Has the standard been widely adopted in the industry?

PATEL: SMPTE 2110 as an IP standard is currently being utilized by several larger broadcast stations for flexibility and scalability. For large scale live productions, there are often too many inputs and outputs that traditional routers cannot handle. We see an opportunity where ST 2110 can move down the stream and be applied into products like studio cameras or live production switchers where connectivity between the devices could be 100% IP. Overall, ST 2110 is commonly accepted in the broadcast space right now but we also see an opportunity where we can use it on mid-tier applications. This would be not only for broadcast applications, but for live events like Houses of Worship and corporate A/V.

In addition, you’re also managing your iMAG, remote feeds and more. To be able to manage all of your displays, regardless of the resolution, you want to have a single platform. Ultimately, the single platform is benefiting in your total aggregated latency from camera to display. Having one platform processing all your outputs and sharing all your sources that are available on the network makes it a very streamlined production. And you do not have to worry about latencies that are aggregated because of multiple devices that you may have to put into the pipe to run that workflow. So with this platform, you can now process your non-standard resolution LED boards, iMAG and remote feed – all from a single platform.

QUESTION: What sort of bandwidth do you need for a KAIROS live production in HD? For 4K

PATEL: Typical network switches that are utilized in this scenario are high-speed network switches and the connectivity that you provide between the network switch and the server is 100Gbs. For a typical 3G signal, you need roughly about 3Gbs of bandwidth. For 4K, that is four times larger so roughly 12Gbs of bandwidth is needed. Also, it’s important to know that there is no compression in processing the IP video stream, so ST 2110 is natively uncompressed. In terms of 4K HDR, bringing that video stream into the KAIROS switcher is currently within that 100Gb pipe that’s going to the switcher.

If I’m a switcher operator who wants to run a show in 3G, I can bring in 32 inputs, which is no problem within that 100Gb pipe. When I go 4K, that’s now divided by four, so I can only bring in eight 4K signals. Now, it is true also that these are concurrent signals. So let’s say on the network switch, you could have a hundred inputs. And from those hundred inputs, you can choose either 32-3g or 8-4K. (16-3G & 4-4K can come into the switcher at the same time.) Also, you’re not locked into those 32 inputs and you can change between them. That 100Gb pipe is currently what we have available. Eventually on the PCI bus, when that grows to let’s say, 200Gb or 400Gb, our ability to accept more inputs would also grow.

QUESTION: KAIROS has been described as sort of a Photoshop for video production. What is the comparison?

PATEL: The user interface of KAIROS has been designed for the operator with minimal experience who wants to do a small show, as well as the experienced operator who wants to do a large show. The UI can adapt to both. It is layer based processing system so that you don’t necessarily have to think about where you’re going to get the resource to do something. If you want to add a Picture-in-Picture, you don’t have to worry about which keyer you are going to use. That is really the power of CPU/GPU based live production switcher, which allows you to not worry about what resource you’re going to use for that particular effect, or how you’re going to manage your effects. The user interface makes it extremely easy for you to track all your processing and allows a tremendous amount of flexibility in terms of composing your scenes.

QUESTION: What does KAIROS look like in terms of the configuration, and what components are available?

PATEL: First, you have the KAIROS Core (AT-KC100), which is the actual processing core. Accompanied with that is the user interface called the KAIROS Creator (AT-SFC10). KAIROS Control (AT-KC10C1) is the control panel that is a physical hard panel – a two M/E style control panel that gives you control at your fingertips.

Within the ecosystem, you have the KAIROS Core at the center, which is connected to the network switch, and the network switch has the IP inputs. For any of those traditional users who do not have IP outputs, they can use gateways, which are available from providers like Riedel or Imagine who can take an SDI source and convert it to IP and make it available on the network switch. For those who may not want to follow the IP path, there are modules available from Deltacast, which will allow you to take an SDI and make it available directly to the server bypassing the network switch. For a user who doesn’t need the flexibility of IP and wants to have the flexibility of the user experience and the software defined video switching, they can still utilize Deltacast modules to bring sources in and out. Going back to the IP side, to synchronize all the video sources that are coming in, you need a PTP (Precision Time Protocol) clock, which is a mandatory sync signal to work in ST 2110 networking (slide 21:33).

Many switchers are adapting to ST 2110 but KAIROS is doing it differently. Many switchers accept ST 2110 as an input, but in reality they are accepting an SDI input and then pushing it to an FPGA based core. We are taking an IP input natively and sending it to a CPU/GPU based platform. Our approach is completely flexible and scalable.

QUESTION: In our current situation with the pandemic, is KAIROS a good solution for remote production?

PATEL: In today’s environment, a TD might not be there in person to operate a show, but with KAIROS the TD can have the UI and control panel at home while the Core can be at the venue where it can be controlled remotely. From the remote production side, KAIROS still accepts uncompressed signals meaning you would have to figure out a way of getting your remote locations connected. You would need to use technology like SRT (Secure Reliable Transport). An example would be a camera with built-in SRT on the remote presenter. The cameras capturing the video sending it on the other side, you put an SRT decoder, convert that into an IP stream, or an SDI stream, and then bring it into KAIROS. So from the operation side of remote production, we have solved it but from the video side KAIROS is mainly an uncompressed video switcher. Hence, any compressed feeds would need to be handled externally.

QUESTION: Has KAIROS been used on any productions yet? What has the feedback been like?

PATEL: We ran the Panasonic ISE (Integrated Systems Europe) booth in Amsterdam with KAIROS and we were planning on running NAB 2020 with KAIROS before it got cancelled due to the pandemic. In terms of feedback, for the people who have seen or received demos, they really like the flexibility of the UI. It allows for them to operate it much easier. They can now be more focused on creative side of things, as well as the operation.

KAIROS is available now from your local reseller, including KAIROS hardware, software and third party hardware/software that is necessary to configure a system.

Learn more about Panasonic here!

Read the original article here!

Check it out, below.

Latest version of the world’s most widely adopted video over IP technology includes improved compression, new mobile tools, support for Unreal Engine and more

NDI^®, a Vizrt Group brand and the world’s most widely adopted video over IP technology, today unveiled NDI version 4.5 providing the most significant release update since NDI was introduced in 2015. Advancements in NDI’s already unmatched capabilities for transferring video, audio and metadata in real time across standard and wireless Ethernet networks include breakthroughs in mobile phone connectivity, wireless networking, augmented and virtual reality environments and more. These advancements come at a time when making video accessible over IP matters more than ever.

As social distancing is being widely practiced around the globe, the only way content creators can work together is through IP networks and software-defined visual storytelling (#SDVS) – the mission that has always driven NDI.NDI has the widest support of any IP video technology with thousands of companies implementing the NDI SDK, putting the technology in the hands of millions of users globally.

Mobile Support – For Esports and Wireless 4K iOS Cameras and Capture

As growth in esports accelerates and more than 50% of online gamers are now using mobile devices, the ability to bring the game from a smart phone into streaming software favored by gamers is crucial. NDI 4.5 adds support in iOS for real-time, full frame-rate, and resolution capture of the display on wireless with NDI|HX Capture for iOS. In addition, the NDI|HX Camera for iOS app turns any iPhone into a full 4K wireless camera, giving it the same capabilities as a high-end video camera. 

“No other IP technology for video production can translate to mobile phones because NDI is software-defined, not hardware-constrained. The NDI|HX mode for high-efficiency low bandwidth data transfer gives anyone with an iOS phone the ability to screen capture games and deliver it to any NDI-enabled multi camera live production system,” said Dr. Andrew Cross, president of Research and Development for the Vizrt Group.

Internet and Wireless – Simplifies Live Camera Feeds

Built into NDI 4.5 are extended capabilities for Internet use and use on wireless networks. This version shows massive improvements to NDI|HX, with lower latency, full support for (multi) GPU decoding acceleration, and support for the most advanced compression formats available today.

“We chose to integrate NDI|HX for the newest Mevo camera because of its low latency, quality and the ecosystem of integrated video switchers which can now use Mevo Start as a wired or wireless source,” said Max Hoat, CEO, Mevo.

Check out the full article HERE.

Learn more about NewTek HERE.

NewTek Spark PlusandNewTek Spark Plus 4K

The NewTek Spark NDI converter line adds two new NewTek Spark Plus HDMI-to-NDI models, one 4K UHD and one 1080p. Spark Plus captures video directly from connected cameras or devices and allows it to be transported over the network as visually lossless, full bandwidth NDI with virtually no latency. Spark Plus devices are the smallest, fastest and easiest way to acquire a 4K UHD or 1080p video source from anywhere on the network and integrate it into your IP-based video production. By combining these products with the announced new NDI recording capabilities, these become the worlds easiest multi-cam capture devices.

Read NewTek’s Full article HERE

To learn more about NewTek, Click HERE

From Gary Adcock with ProVideo Coalition

I spent my early years in Film and Television production during the transition from analog to digital. Beta had taken over broadcast and VHS had started a consumer revolution. That transition proved to be critical because it took place long before DV and HDV content could be captured to SD cards and SSD storage. It was a heady time of darkrooms and chemical developers, low-speed film stocks and TV cameras that weighed as much as a small elephant and also cost as much as a sleek Italian sports car.

This was a time when every connection was proprietary and video cables had limited lengths. In this era, the only way to change something already laid to tape was to cue up the deck, check the timecode, adjust the pre-roll and do an insert edit directly on the pre-recorded tape, in as little as 6 frames. Digital was still relatively young, with Pleasantville (1998) considered to be the first use of the Digital Intermediate in feature films. Avid was selling early offline editing systems and had been since 1989, finally achieving “Broadcast Quality” content some 3 years later.

We waded through these challenges and eventually got to the HDV era when the first HD cameras recorded the same long GOP data streams as used in terrestrial broadcast. These new capabilities allowed companies like Sony, Panasonic, Ikegami and JVC to offer the first “streaming” delivery back to the broadcast facility with the data transmission between remote reporter uplinks and the broadcast studios. It’s somewhat jarring to think back to those days now, as we live in a world that has become increasingly connected via Facebook and YouTube. Today, we can and are driven to check the status of every Instagram or Twitter update without a second thought about what it means to do so on a technical level.

Yet, while we were becoming digitally and emotionally attached to our devices, we overlooked the millions upon millions of security cameras that were being interconnected around the world. They were originally designed to protect us, utilizing the same fundamental technologies used to manage the data streams for all that Facebook, Instagram and Youtube content. However, this combination of IP and Video has moved beyond those original intentions, making it that much more important to understand this technology.

What exactly is IP Video?

Simply, IP Video utilizes basic Internet Protocols (IP) as the means to transport video and audio with ancillary metadata. It uses broadband ethernet based networking for connectivity and data rather than the legacy SDI (serial digital interface) cabling most are accustomed to using. Most of us working in the Corporate, Industrial, Education and Worship markets accept working around the issues of a single channel video signal, whereas the coming needs for 4K, 8K and the Wide Dynamic Range data streams required to enable HDR’s future, Video over IP offers a dynamic, scalable necessity allowing us to maintain the highest signal integrity in an ever-changing infrastructure.

Using ethernet connectivity to maintain professional levels of uncompressed audio and video signals is daunting at best. As a former IT guy, I’m not the slightest bit interested in going backwards to the tedious processes of manually addressing an IP infrastructure device by device. Using these Internet Protocols, you find devices by establishing subnets within the four-octet addressing scheme (ie:198.168.1.0) followed by the netmask (255.255.255.000) to pinpoint the address and physical location of your device as part of a larger topology.

A simple analogy for IP addressability is to think of it in the same manner as the address to your home, the subnet defines:

State > City > ZipCode > neighborhood

with the netmask defining that “last mile” to your exact location as:

Building > Floor > Room > Device

Auto-Discovery is a major part of the initiatives for simplifying the user experience and great effort is going into releasing products and providing protocols which will allow products to automatically declare themselves on the network, provide a list of their capabilities and find each other.

The viability of Local Area Networks (LAN) to control the data flow within a company or facility while a Wide Area Network (WAN) enables a smaller LAN group to function homogeneously with a larger corporate or facility infrastructure, and as part of the larger World Wide Web.

Within the structure we currently use with an embedded audio and video signal, SDI cabling only carries a single embedded signal for a limited length, whereas an ethernet backbone provides a greater number of simultaneous signal pathways over longer cable runs and provides for discrete channels of Video and Audio, essentially allowing simple embedding and dis-embedding of the two from virtually anywhere. That capability allows productions and the facilities to be distributed across a larger environment since the control room and machine rooms are no longer bound to the limited distribution issues found in SDI based connectivity.

What are the real advantages to an IP based Workflow?

The advantages of using an ethernet-based workflow for production or post are not always evident. Ethernet was designed as a bi-directional, multicasting environment, allowing a single source to deliver content to multiple end devices. That “server-client” relationship is little different than traditional broadcast, where a signal is sent out over the air to multiple receiving computers.

IP based production offers a distinct advantage because of location independence. You’re no longer limited to 50m-100m for a single channel of SDI when connectivity over multimode fiber reaches100km (60miles). That ability to provide a signal over greater distances removes the need for co-locating machine rooms and studio control, enabling them to be in the same building or situated in another city.

The advantage for IP is in the overwhelming volume of data that can be handled. SDI’s Coax cabling is limited to 12G providing enough capacity for one UHD/60P signal over very short distances. IP connectivity, on the other hand, can currently handle 100G’s of bandwidth and should exceed 400G in the near future, enabling delivery of any media or type of content. That’s regardless of whether you’re delivering 480p to mobile clients or multi-channel 8K HDR deliverables at 120fps for cinema.

One other enabling factor to consider, should be PoE (Power over Ethernet), utilizing ethernet’s cables inane ability to supply power to local devices downstream, as it requires HDBaseT implementations with shorter runs and simpler signal flows do make possible device delivery of 60W-100W of power in addition to simultaneously maintaining high frame rates and large raster streams of data is possible with PoE. It makes future ethernet connected devices simple, compact, and easier to use, much like working with the plethora of USB, Firewire and Thunderbolt devices we connect with today.

So what are the disadvantages then?

Today, the primary disadvantage is the cost of implementation and the lack of native IP devices. IP centric production changes can potentially require an additional 20-30% increase in budgeting to support and sustain infrastructure changes as needed. Existing organizations have already made substantial investments in SDI based workflow solutions and networking, making abandonment of current infrastructures doubtful. A vast majority of the existing digital workflows were newly installed during the FCC’s transition to digital broadcast transmission from just a few years ago. Many facilities will most likely transition using hybrid IP workflows, where the existing SDI infrastructure will be augmented with IP technologies as changes to those parts of the infrastructure require.

The change to IP based workflows will be subtle and won’t happen at the same time. The first to transitions will likely be for editing and graphics, as they are the least reliant on the existing SDI infrastructure because Avid, AJA, Blackmagic, Chryon-Hego, Grass Valley, Imagine Communications, Matrox and Newtek already offer a wide variety of IP based I/O solutions. These solutions accommodate switching, and I/O capabilities for nearly all existing editing and graphics platforms.

Is NDI the solution to our connection woes?

In any facility, user connectivity always ends up causing the most issues for individuals as well as the infrastructures. The wireless connectivity we enjoy on our phones and tablets has definitely spoiled us when it comes to connecting devices to the internet. We all want to be able to just plug and play all of our devices using DHCP, to expedite auto-configuration and discovery on the network by defining all of the necessary parameters. Doing so inherently allows these devices to directly communicate with each other across the network or across the world.

Yet, with the stringent requirements needed for uncompressed audio and video, those issues quickly become far more complex. In 2015, NewTek announced the Network Device Interface, a loose alliance of ideas, known collectively as NDI, a software-based architecture solution designed to work over a Gigabit or better network connection. It uses a dynamic VBR (variable bit rate) encoding of the data signal that is then distributed as needed across an ever-widening variety of printers, projectors, routers and switching on your local network. By utilizing the mDNS connectivity protocols that Mac users call Bonjour and everyone else calls Zeroconf, it can set up and administer the automated device discovery mechanisms used in controlling the networks connectivity.

Initially restrictive in bandwidth, recent upgrades to NDI now allow users greater accessibility to process and distribute 4K content. NDI is being openly distributed under royalty-free licensing for Macs, Linux and Windows PC’s, as well as being ported to work on iOS and Android as well as Raspberry Pi and FPGA’s configurations for developmental projects. With thousands of devices preconfigured for NDI use, Newtek and other manufacturers, are showing they understand how incredibly important unifying the ease of access is utilizing NDI’s auto-discovery to overcome the connectivity IP Video’s next hurdle.

Where does SMPTE 2110 stand in all of this?

The SMPTE 2110 specifications were ratified by the Society of Motion Picture and Television Engineers in 2017, defining a new standard that allows IP networks to transmit Video, Audio and Metadata. This standard utilizes a far more accurate time base, freeing users from the embedded audio and video most associated with professional video workflows. This SMPTE-defined standard allows manufacturers to build a wide variety of tools and devices that all have commonality for connectivity. It’s been an important development since it provided that last step of continuity, demonstrating how location independence, format agnostic file handling could function while establishing a viable path to future advancement benefits for manufacturers, facilities and even consumers. As the SMPTE 2110 standards roll out and items like compressed video over IP, ANC transmission and metadata delivery are addressed, you can expect to see an increase in adoption around the industry.

All of this leads to a broader future for both professionals and consumers. For professionals, IP based solutions enable efficiencies for large and small productions as they move beyond HD into 4K, 8K, HDR and beyond. Critically though, they can do so using the same fundamental infrastructure as the market expands and changes. It will also allow a wider diversity and distribution of personnel, something most of us are already experiencing in production by using data content collaboration using tools from companies like Frame.Io and Wipster. These tools allow workgroups to coordinate on video production and post in much the same manner as they would when sharing files via Google Docs and Whiteboards.

We live in a digital world and IP Video will allow us to take the first steps of aligning our work environment within the connected lifestyle enabled by our devices. In doing so, we’ll be able to more easily spread abilities and capabilities across our neighborhoods, our countries and the world at large. Think of IP as the next step in the digital revolution of our entire society.

LiveU’s data shows the reliability of bonded cellular with 79% of all bonded video now delivered over cellular networks only (wired internet connection, WiFi and satellite accounting for the remaining share).

The worldwide average uplink speed for video acquisition has reached 4.5Mbps, with developed areas experiencing approximately 9Mbps on average.

With the advances in HD video quality, HD 720/1080 video traffic now accounts for almost 80% of all traffic delivered this year and there has been an increase of over 120% in live HD sessions compared to 2016.

The length of video sessions has also increased with geographical differentiations worldwide. While the average broadcaster/content creator live session is 38 minutes, Western Europe and Africa show the longest average sessions at 46 minutes. In general, Africa has seen a move away from satellite to cellular bonding, with cellular often replacing satellite in some countries such as Ghana, Kenya and South Africa. This can be explained by the strength of the region’s 4G networks and the lower costs offered by cellular. Some broadcasters are also creating multi-camera productions using cellular transmission units….[continue reading]

The last few years have been an exciting time for the broadcast industry. We’ve seen the rapid development and deployment of IP and COTS-based infrastructures introduce new workflows to streamline operations and reshape how we build facilities.

With all the options and flexibility that IP-based infrastructures enable, additional complexity is also added to the system. On top of existing broadcast standards for transporting video over coax, such as SMPTE 292M, a plethora of emerging standards have been introduced into the marketplace that, although functionally solved a problem, generated large interoperability issues that inhibited growth and mass adoption.

With conflicting methods of transporting video over IP (NMI, SMPTE 2022-6, ASPEN and others), customers were hesitant to deploy IP solutions that were proprietary to a single vendor. Who wants to risk deploying a solution that might quickly be superseded by a more flexible emerging standard? With the work of industry associations like AIMS (Alliance for IP Media Solutions), we have seen the industry coalesce quickly behind SMPTE 2022-6 and the proposed SMPTE 2110 standard. Having a functional set of standards with which a broadcast or post production facility can deploy has allowed for the rapid adoption of IP infrastructures into workflows of all sizes. We have learned that with new technology comes risk, but with multiple vendors working toward a common goal, under a common set of standards, that risk can be mitigated.

The speed of technological innovation is one of the greatest strengths of migrating to a COTS infrastructure, but it also makes for one of the greatest challenges. Figure 1 is a generalized chart of the advancement of baseband data rates, compared to the advancement of IP switch data rates over time. When you compare that graph to Figure 2 , you see that COTS manufacturers have been pushing data rates higher and higher, to a point that is well beyond the requirements of the broadcast industry.

Just three years ago, 10GBbase and 40G aggregate data rates were the only cost-effective solution for transporting video. 10G was great for transporting 1080P and lower resolutions, but 4K UHD with its 12G data rate was challenging. The signal either had to be split across multiple physical interfaces or a light compression such as TICO (4:1) was required. With the emergence of 25G base data rate interfaces and 100G aggregate interfaces, an elegant path to transporting 4K UHD via IP is now available.

Using 25G on edge devices has led to some additional challenges in terms of network efficiency. 25G ports carry a significant cost premium compared to 10G ports. If a device, such as a camera running 1080p, uses a 25G port, you pay for a 25G port but only use a fraction of its capabilities. On one device that might not be a big issue, but with 20 cameras (or more for some facilities) the inefficiency of the design is multiplied significantly. If you scale that out to all devices on a system that only puts out one or two 3G signals, you have a large waste of CAPEX funds, allocated bandwidth, and physical switch space. Flow aggregators, such as Grass Valley’s GV Node, have been playing a larger part in delivering cost effective solutions that allow for aggregation of lower bandwidth signals onto larger aggregate data interfaces. For example, GV Node can take up to 144 3G bidirectional signals, which could easily be 72 10G connections taking up multiple network switches, and aggregate them into 12 40G connections, significantly lowering the physical layer IO count, and maximizing the bandwidth used on those connections. See Figure 3 .

With the physical layer issues considered, and a set of standards to deploy against, the issue of COTS switch compatibility was a hurdle that had to be addressed. Not all switches are the same.

Just because a switch manufacturer claims that it can transport 10G or 25G, does not mean it can handle full bandwidth, across all ports, all the time. Most switches are designed to transport data in a “best effort” manner, meaning that they will make their best effort to get the data to the destination on time. If it doesn’t get there, the switch will keep trying. That’s great for file-based workflows and using protocols that are designed to use high latency or buffered connections, but it’s a disaster for real time video production.

With real time video, we cannot simply accept that the data will be transmitted at a later time. The solution has to be designed so all source flows can switch to all destinations, at any time, without delay or buffering. Most switch manufacturers now have switches designed to do exactly that, but require special firmware, licenses, ASICs on the switches and control software. The first customers to deploy large scale COTS infrastructures bore the risk and learning curve that was required to find a functional solution. Now that we have many large scale deployments, the risk has been largely mitigated.

Today’s benefit in using COTS switches is simple: Multiple COTS switch manufacturers have deployed turnkey switch solutions that do not require the end user to know what firmware, licenses and ASIC’s are needed to meet customer requirements. The fully vetted COTS solution drastically simplifies the project’s design and installation phases. That makes life in an IP world that much easier.

By: Robert Erickson, IP Evangelist