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theibcdaily

SUNDAY12 10SEPTEMBER SEPTEMBER2009 2006 SATURDAY

www.ibc.org

The official newspaper of IBC

Inside

BBC opens iPlayer to all Conference Analysis

IBC COO Michael Crimp – see page 6

Take a seat for 3D

Courtesy of Dreamworks Animation and UIP International, you can watch Monsters vs Aliens in 3D on the IBC Big Screen tonight Page 10

Conference today – 3D

What can stereoscopic 3D offer and how important will 3D be on TV? Just two of the questions examined today Page 12

IBC Innovation Arena

In a new development, 12 young companies have been invited to bring their ideas to IBC and their concepts will be evaluated by a panel of judges Page 14

Beginning of recovery?

An up-to-the-minute study from the IABM suggests that there is light at the end of the tunnel Page 16

New Technology Campus A chance to get a hint of the developments that will be making IBC headlines over the next decade Page 18

Take time to add skills This year IBC features two Training Zones with a full programme of free workshops on a range of skills Page 22

Sharing new workflows

Conference hears the move to digital files and IP is revolutionising workflows Page 26

Exhibitor listing

Complete with stand numbers and floor plans for the entire RAI Centre Page 45 Published on behalf of the IBC Partnership by United Business Media Limited

by Adrian Pennington The BBC is to allow third parties the ability to run the technology behind the BBC iPlayer on their own websites. Erik Huggers, the BBC’s director of future media and technology told IBC deleg at e s : “OpeniPlayer is not a concept of aggregation, but federation.� The mechanics of the arrangement, whereby broadcasters might share or licence the SDK or even develop it further with B B C Research and Innovation engineers, have yet to be worked out. “iPlayer is not something you can stick on a DVD, install and run,� he said. “It’s an end-to-end system that brings a lot of different systems together. The concept of opening up our investment and technology infrastructure – as well as our knowledge of metadata, back-end systems, user experience

Erik Huggers: “OpeniPlayer is not a concept of aggregation, but federation�

and design – is front and centre for us in helping other broadcasters achieve their goal in continuing to have a direct relationship with users rather than being disintermediated by third party aggregators.� OpeniPlayer is the project formerly known internally to the BBC as Marquee and is intended to encourage a write once, publish anywhere specification for iPlayer. Th i s i s a n i m p o r t a n t g o a l a s

currently there are 23 different versions of the iPlayer ported to different platforms. Huggers said the OpeniPlayer i n i t i at ive wa s a re s p o n s e t o requests from both domestic and international broadcasters since the iPlayer launched in 2007. The concept has yet to be put before regulatory body, the BBC Trust, and is subject to its approval. Asked how the new innovation would sit with comments by James Murdoch at the Edinburgh Television Festival that the BBC’s involvement makes it difficult for commercial interests to compete, Huggers said he believed the opposite was true. “What we are seeing is that the BBC’s interest is in delivering on its public performance requirements to inform, educate and entertain. The investments are going to be made availabl e t o p u bl i c a n d p r ivat e companies so that they don’t have to reinvent the iPlayer or look at how to deliver free-to-air.�

Big WIN for Grass Valley: Despite the recession, work has started on Australia’s biggest ever playout centre. The 50/50 joint venture between the WIN Corporation and the Australian Broadcasting Corporation will give rise to one of the largest playout centres in the world, and “by far the largest in the Asia Pacific region,� said Andrew Sedek, MD Grass Valley Australia (pictured, right, with GV’s Ray Baldock). It is being built by Grass Valley and will have 125 channels initially, but is designed to cope with 300 (HD and SD). The design, build and migration of the channels should take about one year, and it should be operational by mid 2010. Technology being installed includes the latest Trinix NXT routers; more than 60 Maestro presentation mixers; Grass Valley K2 media servers for online and near-line storage; K2 Summit servers for time delay; and GeckoFlex signal processing products for signal switching and conditioning. ContentShare2 will be used for workflow and media asset management. – David Fox 1.D11

Arri camera for broadcast by David Fox Arri is making a move into the mainstream broadcast camera market with a high-end digital camera range at prices that should worry Sony and Panasonic. The three Alexa prototypes will start at about â‚Ź50,000 – little more than the upcoming Red Epic with a similar specification. The newly-developed CMOS sensor boasts ‘best in class’ latitude and sensitivity, and excellent colour and image sharpness. The entry model will allow even soap operas or documentaries to have a cinematic look, at typical TV budgets. “The two entry level models utilise a 16:9 sensor area and an advanced electronic viewfinder,â€? said Franz Kraus, Arri MD and

head of R&D. “The electronic viewfinder makes these two cameras lighter and more affordable; the image quality and consistent colour reproduction are incredible, and the image latency minimal.â€? The â‚Ź130,000 top of the range model continues the philosophy shown in Arri’s existing D-21 of a digital camera with as many features of its 35mm film cameras as possible. It has an optical viewfinder (OV) and a rotating mirror shutter, but is more compact than the D-21. “With a 4:3 sensor area, it suits both spherical and anamorphic productions, so will be the natural choice for feature films,â€?he added. “That said, all three cameras use the same image technology and they work side by side very effectively.â€?

Code name Alexa: Marc Shipman-Mßller, Dr Martin Prillmann and Franz Kraus reveal a first look at Arri’s bold leap into the broadcast camera market at IBC2009

They all use the same core electronics. The basic EV (electronic viewfinder) model targets productions traditionally done on 16mm film, while the middle model, the EV Plus, includes film-style elemets, such as

wireless remotes and lens data system control, and it could be ideal as a B camera where the OV model is used as the main camera. “The EV will open us to new markets,� said Kraus. 11.F21

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set to chair Wood calls for health Lumley IBC2010 Conference warning on 3D television

transport people and tape. With modules MAXcut and MAXreview, the MAXedit workflow would integrate logging, creating, reviewing and approving to exporting and publishing. In this environment, tasks such as reviews could take place from mobile devices. Avid reported that with the deal, several MaxT staffers would become Avid employees. Future use of the brand name MaxT has not been determined. 7.J20

After three highly successful years, Professor David Crawford is to step down as chairman of the IBC Conference Committee. Under Crawford’s leadership, the IBC C o n f e re n c e h a s evo l ve d t o embrace all areas of content creation, management and delivery, including new areas of technology such as IPTV, digital signage and 3D film. After IBC2009, he will hand over the role to Michael Lumley who has headed IBC’s Production Events and Innovation Awards judging since 2006. “I am very proud of the way we have developed the conference, and this year’s programme is incredibly strong,� said Crawford. “However, after three years I think it is time to pass the baton on to someone who can bring new ideas and a different slant, to maintain the strength and reputation of IBC as the one unmissable global event for our industry.� Michael Crimp, IBC’s chief operating officer, agrees that this year’s conference programme is a powerful reflection of the state of the industry. “Under David’s guidance the committee and the inh o u s e c o n f e re n c e t e a m h ave created a compelling programme with three clear streams – technology advances, creative innovation and the business of broadcast. “David is a great guy to work with and so I hope to persuade him to continue working with IBC in the future. His expertise is invaluable to the Conference and many other areas such as the Innovation Awards.� Crimp added: “Michael Lumley is well-known and respected within our industry. We have all been impressed with his ability to produce high quality sessions

which connect with audiences and bring in fresh and innovative contributors. His production background and understanding of audiences will be invaluable.� Lumley said he was looking forward to working with the IBC Conference team to create a conference which positions IBC as the leading forum for technical, business and creative thought leadership and knowledge assimilation in the world of media technology. “My aim is to add even more value to IBC’s conference, complementing its hugely respected peer reviewed technical stream,� he said. Since the Conference planning cycle is 14 months, IBC is making this announcement now so that it can consult with stakeholders throughout this year’s event.

Tor Godal, TV 2’s 2009 election editor, is eager to attract young people both as viewers and as voters. “If a technology enhancement like the interactivity provided by never.no increases the level of interest in politics among young people, that is a positive thing,� he said. “With this interactive technology, it’s not only the limited audi-

ence inside a studio that gets to meet the politicians, but also the much larger audience at home,� said Lars Lauritzsen, never.no CEO. “Interactivity helped generate excitement among Tour de France fans watching TV 2, and we expect it will also generate interest and participation among the Norwegian electorate.�

Lauritzsen added that the system ties directly into the customer’s broadcast chain, and speaks the native language of legacy equipment like automation systems, CGs, video servers, tape machines, station clocks, content management systems, news production systems, and more. 2.A40

Conference Today by George Jarrett David Wood, the EBU’s head of emerging media, plans to play the ‘bad boy’ at today’s conference session on Stereo 3D by focusing on what he says is the forgotten issue of eye strain. Speaking under the banner of The Truth About Stereoscopic TV At Last, Wood will deliver key passages from a fuller paper IBC visitors can find in a package of the best six papers to be released here at the show by the IET. “I plan to concentrate on getting broadcasters to take the issues around eye fatigue seriously,� he said. “I want a government health warning on all 3D products and shows, but it won’t say that 3D kills like cigarettes do. “What this means is that when broadcasters screen 3D content, they should mention up front that there are viewers who cannot fuse left and right images,� he added.

David Wood: “Broadcasters must take eye fatigue seriously�

“Shows should at the very least carry a caution that viewers should not watch 3D for long periods.� Wood believes that ignoring these health warning aspects is already impeding the wider spread of 3D broadcasting. “What I will quote are things like the Danish designed Colour Code (colour anaglyph) system that Channel 4 will be using for its autumn season of 3D content,�

he said. “The concern about eye fatigue should be at the front of the industry agenda now. Nobody should start broadcasting regularly before a standard is agreed. “Proprietary systems will be no good. They will just add to the costs,� he added. “My plea is please, please, before serious 3D broadcasting commences, let’s have a worldwide standard that essentially covers pre-transmission cautions.�

Avid confirms MaxT acquisition by Carolyn Giardina Avid Technology quietly acquired MaxT Systems in the weeks prior to IBC, although the company has not revealed details of the transaction. Avid said that it invested in the MaxT technology to complement its own R&D. Having alerted consumers, Avid confirmed that it would not further develop feature versions or market any of MaxT’s existing products, although it will honour existing service agreements. MaxT

products include the Sledgehammer NAS and video device. Perhaps of particular interest for nonlinear editing system-maker Avid, MaxT also developed a collaborative editing environment based upon its MAXedit Server Edition, which is a multi-user, browser-based HD/SD editing system. MAXedit was designed to enable local and remote native format editing of centrally ingested material, intended to reduce project costs by eliminating the need to

TV2 says yes to never.no by Ken Kerschbaumer TV2 Norway is using interactive TV technology from never.no to stir interest in parliamentary elections coming up later this month. The never.no iTV suite

e n ab l e s v i e we r s o f p o l i t i c a l shows to use Twitter, other web interfaces, and mobile phones to comment or ask questions in real time and have them posted on live TV.

Michael Lumley: “My aim is to add even more value to the programme�

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Vermaele wants end to interop “mess” sion in the future about ‘declarative or procedural’ – d e c l a r at ive being the putting of things like text on screen, and p ro c e d u r a l being the executable content like computer programs – but they are just two types Lieven Vermaele: “I want 1080p50 to become the master format” of multi media content,” he added. by George Jarrett “It is not a conflict. And if you EBU Technical Director Lieven Vermaele has cited the technical look at what the manufacturers fronts of hybrid broadcast broad- are pushing – screens with broadband and what he calls the “mess’’ cast, broadband and something around integration and interoper- like a browser – we are looking at ability as the big issues of the a great opportunity for broadcasters to deliver content,” he contincoming year. Talking about the HbbTV ued. “Open internet TV offers a group specification that is due to huge viewing experience.” HbbTV 1.0 will go before the go before ETSI for standardisation, he said: “We are happy with ETSI committee that Vermaele its evolution, and happy that the chairs. A largely French and German backed initiative – from EBU contributed. “There will always be a discus- Phillips, ANT, Astra PS, TF-1,

France TV, and IRT – it competes w i t h t h e B B C ’s C a nva s a n d MHEG-5 in the UK, and Italy’s preference for a profile of MHP with internet connectivity. Talking generally, Vermaele said: “Hybrid could be the solution for problems like subtitling and audio description.” The carnage around integration and interoperability has been made worse by the coincidence of broadcasters turning to IP and file-based systems whilst migrating to HDTV. “The obvious problems are around the exchange wrappers, too many compression formats, a n d m e t a d at a a n d i n t e r f a c e issues,” Vermaele said. “The IP networks are not ready for 1080p 50 media production, and the way that commercial solutions are offered is also unprofessional.” He has made the call for the industry to sit together to clean up the mess, and sees business conflicts as the main reason for the lack of movement so far. “I want 1080p50 to become the master format. We are at a stable moment that we can keep for some time,” Vermaele said.

IBC Party time: Despite the battering the world’s economies have taken in recent months, the mood at IBC2009 was upbeat yesterday – and nowhere more so than at the IBC Party last night. TV Genius, the content discovery platform company, from the UK, were back at IBC and having a good time. “Everyone we want to do business with is here,” said TV Genius’ Tom Weiss, (top, second left), “... and there are the 3D movies, and the free beer!” Konstantin Glasman (below, left), of the St Petersburg State University of Film and Television, is here for the conference. “IBC is a source of new ideas and information, and of course, this is where I can meet my friends from all over the world,” he said.

Customers are ‘buying differently’ Conference Analysis by Chris Forrester The IABM trade association constantly monitors the health of the industry, and while admitting that 2009 is proving to be a very challenging year, says it is time that broadcast suppliers recognise that the industry is changing, and their customers are buying differently. Graham Sharp, IABM’s point man for the US, told IBC conference delegates during the ‘Inside Out: Are large customers ever going to buy products again?’ ses-

sion: “They don’t even want to see you, or they haven’t time. Then they want the best prices, o f course, but they say they haven’t any money, or they’re looking for some sort of off-balance sheet transaction. Or maybe they’re looking for a ‘one-stop shop’ solution. In other words, the complete buying model is changing. Customers are simply buying differently.” Sharp said that these elements were causing a very real divergence of the buying model. Vendors needed to be aware that with increased product commoditisa-

tion, and greater involvement of the IT industry, the business model itself was also evolving rapidly. “If the broadcast industry is converging with the IT industry from a technology viewpoint, it follows that the business model must also change.” “ Fo r ye a r s ve n d o r s h ave approached the market looking for a straightforward technology sale. But this is now changing. We are transitioning up the trust curve to a position where we need to be a business partner of your client. You now need to know your client’s business.”

AJA ships Ki Pro, launches Kumo

by Carolyn Giardina AJA Video Systems has released its anticipated Ki Pro, a portable t ap e l e s s v i d e o d e v i c e t h at records files to the Apple ProRes 422 codec directly from camera. The company has also introduced its Kumo line of compact SDI routers. Launched to notable market interest last spring, Ki Pro is designed to bridge production and post. Virtually any video and audio source can be fed into Ki Pro to record 10-bit ProRes 422 media that is then immediately available to edit within Apple’s Final Cut Studio. Ki Pro will therefore allow filmmakers, broadcasters, video professionals and prosumers to skip the process of re-rendering to an editing codec by giving immediate

4

AJA President Nick Rashby with Kumo, launching at IBC2009

access to full raster edit-ready Apple ProRes 422 files directly from camera. Ki Pro records hours of media to a removable storage module. Applications may include on-set monitoring. AJA President Nick Rashby reported that the company has

already taken roughly 1000 Ki Pro orders. “We’re pleased to be shipping a very robust 1.0 version, and will be supporting our customers with frequent software updates and additions. Ki Pro provides significant workflow efficiencies for everyone from cinematographers and filmmakers to editors and post professionals.” The first products in the new Kumo line of routers offer SDI, HD-SDI and 3G SDI compatibility, as well as web-browser control over a LAN. They are designed for broadcast, post and mobile OB vans. Kumo routers will initially be available in two configurations: Kumo 1604 supporting sixteen SDI inputs and four out, and Kumo 1616 supporting 16 channels in and out. 7.F11

Blackmagic’s DaVinci Resolve by Carolyn Giardina As exhibitors were busy with final preparations for IBC, Blackmagic Design acquired DaVinci, expanding the technology developer’s base in high-end markets. With the acquisition, Blackmagic will be focusing its attention on the Resolve colour grading system and Revival restoration tool – which will be renamed DaVinci Resolve and DaVinci Revival to maintain the well-known company name. Both products are displayed on the DaVinci stand. Commenting on the acquisition, Blackmagic CEO Grant Petty said: “We have two DaVinci Resolves in our post production company (Blackmagic Design Singapore). We needed new features and we learned that they were for sale. The company was losing money but their products are good.” As to future development, Petty

said of the DaVinci products: “I’d like to see them open up a bit and work with other systems. I firmly believe in an open software industry. That is what customers need.” Admitting that DaVinci had been working on ‘products that were obsolete’, Petty also reported that marketing and further development of the DaVinci 2k colour grading system – launched in 1999 – would be discontinued. Blackmagic will continue to offer support and spare parts to existing customers. Re f l e c t i n g t h e p l a n n e d changes to the product lines, a restructuring of the DaVinci busin e s s i s u n d e r way, i n c l u d i n g ex p a n d i n g t h e Re s o l ve a n d Revival engineering teams. “We have to get it back to a customer focus,” Petty said, citing R&D as well as improved marketing and customer support. Blackmagic 7.B21, DaVinci 7.D08

Peter Barber, managing director of post production house Blackmagic Design Singapore, was instrumental in the deal to acquire DaVinci THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Looking to a classic IBC IBC all about sharing knowledge and doing business As the IBC2009 exhibition opened its doors for the first time, we spoke to Mike Crimp, the chief operating officer. We started with the obvious question: last year saw the biggest and busiest IBC ever. Are we in for a very different experience this year? “I think this year will be a great experience for everyone – a classic IBC,” he said. “At its heart, IBC has always been about two things: it is about sharing knowledge, and it is about doing business. There will be plenty of both this year.” The shape and structure of the conference is new this year, with the old idea of theme days now replaced by streams running through all five days. “What we have done is make the conference more relevant to the way the industry works today,” Crimp replied. “Decisions about creativity and technology are now tightly linked, and of course everyone is concerned about achieving a return on investment. So the conference programme has been developed to appeal equally to engineers, artists and managers. The technical papers are still there,

of course, but we also h ave streams on content creation and on the business of broadcasting. “In particular, we have invested in getting some very high level speakers in to drive the debate,” he added. “I am particularly looking forward to hearing Vir Sanghvi from the Hindustan Times, talking about the future of journalism.” For most visitors, though, IBC means the exhibition. With a couple of prominent manufacturers absent this year, is the exhibition still as relevant as ever? “We have over 1,200 exhibitors, more or less filling 12 halls, which is great,” said Crimp. “It is a smaller exhibition in terms of square metres, because o u r exhibitors have carefully evaluated their requirements, but t h e breadth of the IBC show floor is as great as ever.” Will the exhibitors be rewarded with a healthy stream of visitors? “Everyone has to think about return on investment, and that goes for visitors to the exhibition,” he said. “Coming to IBC is all about investing in knowledge, to find out what technologies are

by Dick Hobbs

available to do their jobs better in the coming year. “This year visitors will be maximising their investment, perhaps by spending less time here and concentrating on specific areas,” Crimp continued. “That could mean that the aisles of the halls appear less busy. This is somet h i n g we w i l l b e m e a s u r i n g through exit research, and of course we’ll publish all the attendance data towards the end of the show. But the key message for the exhibition is that this is a solid show,” he underlined. “Visitors will be coming not to kick tyres but to do real business.” Alongside the conference and the exhibition, IBC has always had a strong networking element. How is IBC using that to attract visitors? “We add value to the visitor experience in all sorts of ways,” he replied. “Training is one example, and this year we have extended our free training opportunities with a whole new range of sessions in the Production Village. “But you are right: IBC is a very social event, and that is a n o t h e r way o f i nve s t i n g i n

Omneon evolves the workflow

Geoff Stedman: ‘A very significant addition to the Spectrum product line’

by Farah Jifri Omneon has announced two new products at this year’s IBC that aim to further increase workflow

efficiency. The new MediaDirector 2202 for the Omneon Spectrum video server system has been designed to offer customers a more scalable option, offering five to six times the capability of the existing MediaDirector. The system comes in response to growing demand for greater numbers of SD and HD channels, higher network file access bandwidth and an increase in the number of edit seats. The MediaDirector 2202 significantly extends the Omneon

Spectrum server’s capability by delivering higher channel counts as well as higher bitrates for HD codecs and represents a significant increase in network bandwidth capacity. “Because of Omneon’s modularity, we wanted to ensure that existing systems and Mediaports integrate with the MediaDirector 2202,” said Omneon Senior VP Geoff Stedman. “MediaDirector 2202 really helps us to scale the Spectrum system and is a very significant addition to the Spectrum product line.” Also new from Omneon is the Media Application Server, which t i e s i n w i t h t h e c o m p a ny ’s roadmap for a services application

Metadata gets a management revolution

by Farah Jifri IPV is demonstrating its new Teragator relational metadata aggregation and management engine at the show. This browser-based tool aggregates metadata sources and data mining services, allowing users identify and manage complex relational links between assets, while a ‘constellation’ view allows them to interact with these links. Using IPV’s low bit-rate video technology, users can browse through the contents of any or multiple libraries to identify related content, quickly and sim-

6

ply. According to the company Teragator offers a more intuitive, cost-efficient way of finding, retrieving and managing assets and associated metadata. “What we’ve found is that broadcasters can lose track of data that hasn’t been catalogued properly. This allows you to see all of the related data/metadata when carrying out a search,” said Nigel Booth, executive vice president for sales and marketing, IPV. “We’re not saying that it replaces the list search method; it sits above it and enables you to bring together dis-

Tergator intuitive search capability offers a constellation view of related data

parate data in an intuitive way.” Teragator is ideal for broadcasters and content producers with large libraries – in particular in the news and sports arena – who may

Mike Crimp: ‘Thought leadership, comprehensive exhibition, a place to relax’

knowledge – sharing experiences with your peers from around the world. And of course we want people to enjoy the whole of their visit to IBC, so we build in some fun, too,” he said. “That could be watching a 3D movie on the IBC Big Screen, or challenging colarchitecture first announced at NAB08. The system acts as an interface point across applications, enabling users to get a transparent view across all of their content. The integrated rules engine allows users to set up triggers (be they time or events) for what should happen to a particular content file. Omneon is also introducing a new suite of applications powered by the Media Application Server including Omneon ProXplore, a new clip and metadata management utility, and new versions of the Omneon ProBrowse proxy application and the Omneon ProXchange transcode application. The suite of applications provides simple clip processing and management tools via a common web-based UI that can be made available across an organisation. 8.B60 not be making the most efficient use of their assets. With Teragator users can browse simultaneously across multiple data sources. The search engine is designed to sit on top of existing archive systems and integrate with storage systems. Teragator can also be used to draw on external content sources, from the web for example. IPV plans to add Teragator to its existing browse systems including Curator and SpectreView. Today’s demonstrations make use of data from a major US broadcaster to illustrate how users can bring the system to bear within their own workflows. 8.B67

leagues in virtual motor racing in the Games Arena. “Thought leadership in the conference, a comprehensive exhibition and the chance to relax with old friends,” Mike Crimp concluded. “It all makes for a classic IBC.”

Vinten gives support for World Cup by David Fox Vinten has won a large order for tripods, heads and other support equipment from SABC, the official broadcaster for the 2010 F I FA Wo r l d C u p i n S o u t h Africa. The kit will equip a fleet of four new outside broadcast trucks being built by Sony Professional in the UK. Each truck will carry 12 Vector 750 pan and tilt heads, six Vision 250 heads and two lightweight Vision 11 heads. The heads are complemented by the appropriate tripods, including 12 HDT2 h e av y - d u t y t r i p o d s w i t h spreaders for the principal cameras. The order also includes skids and dollies, telescopic pan bars and scaffold clamps. “We have a great relationship with SABC, which is a big user of Vinten equipment, both in the studios and in outside broadcasts,” said Tony Niemeyer, Vinten’s South African distributor. “The contract for the four new trucks was hotly contested, but SABC had specified Vinten heads and tripods for the new fleet,” explained Niemeyer. 9.D28G

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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theibcdaily In Brief EVS for SVT Swedish Television SVT is currently developing a new ingest and media centre in Stockholm. The purpose of this new platform is to move from a tape-based workflow to a centralised ingest process, so that SVT’s resources and media content can easily be shared and allocated wherever and whenever they are needed. For the video ingest and the digitisation, SVT is using EVS Instant Tapeless Technology. Content from SVT’s various sources, such as tapes and feeds, will be centralised and ingested on EVS’ new XS production servers. SVT has selected a series of 2channel and 4-channel XS servers, which all natively support DVCPRO 50 and DNxHD codec configurations and will be controlled by IPDirector, EVS’ production content management software. The video content, which will be recorded on the XS servers, will be instantly transferred via IPDirector ingest stations located in SVT’s media centre to the Avid ISIS Interplay for storage and post production. Due to EVS’ integration with Avid’s Interplay Web Services the content will be automatically checked in the Avid Interplay database. 8.B90

Czech Radio news Czech Radio has migrated its central radio broadcast station to the enterprise audio news production and music programming system Dalet Radio Suite HD. A Dalet customer since 1998, Czech Radio is the Czech Republic’s national public radio broadcaster with six main radio stations (four digital on DVB-T) located in Prague and 12 regional stations throughout the country. Phase one of the installation equipped two of the Czech Radio Prague stations with the Dalet enterprise asset management based newsroom solution. Dalet’s workflow provides end to end news production and playout capabilities with a fluid exchange of content and packages among the 12 local stations. “The Dalet system delivers an editorial workflow expertly adapted to the audio reporting environment. The integration of Dalet journalist production tools with the Dalet content catalogue provides our large team a very simple way to not only access late breaking stories, but to actually assemble and broadcast these packages on the fly with extreme efficiency,” said Martin Zadrazil, technical director of Czech Radio. 8B77

Intelligent lip sync Evertz is showing its new IntelliTrak Program Video and Audio Lip Sync Analyser at IBC. IntelliTrak has been developed to perform programme audio and video synchronisation measurement. It provides a non-intrusive audio and video lip sync analysis without the addition of a watermark. Using VistaLink PRO, IntelliTrak reports measurement accuracy of less than 2ms. The analyser also offers an optional automatic re-synchronisation. According to Evertz, IntelliTrak was designed to be used for ‘real programme content’, and can be installed as a valueadd option on many Evertz products. 8.B40

8

contributes What’s the 3D TV bottom line? PMG with T-VIPS JPEG HD investment no basis for 3D

by Kate Bulkley

Conference Analysis The free-to-air broadcasting industry cannot afford 3D said David Hill, the chairman and CEO of Fox Sports Television Group in the US. “We are still getting over the cost of HD,” he told the packed keynote audience in the Forum. Showing a stunning 3D tape of sports including boxing, NASCAR and NFL football, he said that as a producer he “loves” 3D but as a business executive worried about the bottom line he “hates” it. “A bunch of people m a d e money on HD, but not us,” Hill told the audience for the ‘Evolution of Sports’ session. The problem is there is no reasonable way to charge advertisers more for HD pictures. “3D is a case of fool me once shame on you, fool me twice, shame on me. Let me tell you, the broadcasting industry will not be investing in 3D technology until we know if we are going to be

David Hill: “We are still getting over the cost of implementing HD”

reimbursed one way or the other. I am only talking about the part of the broadcasting industry that I control but if the others have any sense they will say exactly the same thing. “The set manufacturers, the equipment manufacturers all made money off of it and I am having to put out millions and millions of dollars which means I can’t do programme innovation. I can’t give people raises, I can’t employ any

more people. I can’t do the stuff on the internet that I want. Why? Because there is this big truckload of money departing to the Sonys and the Panasonics and the people that make the equipment and the wires (for HD),” said Hill. Roger Mosey, director London 2012 for the BBC said that the next Olympics in London will be shot entirely in HD but he also has plans to shoot some 3D “for the archive” and also “experim e n t ” w i t h S u p e r H D. “ We s h o u l d c ap t u re s o m e o f t h e Games in 3D because it would be a shame not to have that for the archive,” said Mosey. Mosey said discussions on how much Supervision and 3D will be shot for the games are still in “early stage discussions”. Mosey also told The IBC Daily that the BBC is considering offering 3D transmissions of the Olympics to cinema audiences. Arnaud Simon, broadcast director of Eurosprt said although 3D is “exciting” he is “not 100% sure that it is mature” enough for broadcasters to be considering seriously.

Spinal Tap experience for IBC Conference Tomorrow by George Jarrett The multi-talented Harry Shearer is set to inject a mix of top grade comedy and production experience into IBC tomorrow afternoon through chosen highlights from Spinal Tap’s 25th anniversary tour and the resultant celebratory film Unwigged & Unplugged. An original member of the spoof band, along with Christopher Guest and Michael McKean, Shearer will be part of a double act with project producer and director Jim Gabour, who explained the sudden emergence of his commission. “By chance, Harry spoke to my editor at the Atlanta post house

Crawford about another project for his record company, and he s a i d t h at , s i n c e t h e t o u r h a d become so successful, he had started to think about documenting it,” he said. “We had enormous difficulties to overcome on site,” he continued. “The tour only had minimal stage lighting, and we had 24 hours to design a high definition lighting set-up, procure the instruments and install them. “I had only one camera operat o r wh o m I k n ew. A n a s t a s Michos, ASC, flew in from Washington as a special favour to me, to act as director of photography, and shoot the hand-held content,” he added. “Other than Tass, we had five sports cameramen and

two lock-down cameras, a reverse and a high balcony. I knew none of those cameramen personally, and had only a three-song sound check to get them oriented to shooting a music performance. “We were using a brand new EVS hard drive system to simultaneously record all eight HD cameras and my line cut, while simultaneously spitting out 20 minutes at a time onto external hard drives that I planned to take to the post house,” he continued. “Two songs before the encores that system crashed. Luckily we had five HDCAM SR decks rolling for back-up reasons, so we were able to salvage the show. But it was a hugely difficult project to finish.”

Vocas gets to grips with camera add ons by David Fox Dutch camera accessory manufacturer Vocas Systems has a host of new products at IBC, including two prototypes: a shoulder bracket attachment for 15mm rails (so that smaller cameras can be shoulder mounted) and a universal DSLR support for those still cameras with HD recording so that they too can be used comfortably on your shoulder. There is also a range of new affordable, lightweight handgrips that can be used on both 15mm and 19mm rails. They are interchangeable with the other main

brands, and can have extender brackets for more flexibility, plus a comfortable leather finish. Its balance plate that allows the use of 19mm rails and precise calibration of the camera’s centre of gravity on its tripod has been updated to be compatible with other main brands, including Arri. Also new is a flexible gear ring for its MFC-1 follow focus that can be adjusted to fit on any cylindrical focus barrel with a diameter between 40mm and 120mm. It has also addressed the problem where a rail support is used on

A Sony EX3 fitted with some of Vocas Systems’ camera accessories

Panasonic’s HPX-300 with a standard Fujinon XT17X4.5 lens, causing the 8-pin connector for zoom controllers to become unreachable, with the addition of two short extension cables with a right angle connector – one for use with a Fujinon 8-pin or Vocas zoom controller, the other for use with a Canon 8-pin zoom controller 11.D30

by Ian McMurray Australian sports producer and broadcaster Premier Media Group (PMG) has selected a T-VIPS JPEG2000 based-system to power a new permanent national contribution network between its playout centre and key sporting venues throughout the country. The T-VIPS contribution and distribution system has been tested and deployed with the assistance of the T-VIPS Australian business partner, Gencom Technology, based in Sydney. The network will meet the increasing demand for high definition content in Australia, while also providing support for ongoing SD services, utilising high bit rate motion JPEG2000 encoding. The system is in the advanced stages of roll-out, with full deployment to be completed by the end of September 2009. Once fully deployed, the PMG network will link its play-out centre with 15 major sporting venues throughout Australia, including: Subiaco Oval, Perth; Adelaide Oval; Canberra Stadium; Melbourne’s Olympic Park , Ethiad Stadium and the world-famous MCG. The network will enable Premier media Group to extend its capability to deliver exceptional quality broadcasts of AFL, NRL, football, rugby union and more of Australia’s most popular sports in HD. 1.B28

GlobeCast scores with UEFA deal

by Ian McMurray GlobeCast has renewed and significantly expanded its contract with UEFA in a deal to provide HD coverage of the Champions League and HD and SD coverage of the Europa League to non-European rights holders. As a result, GlobeCast has made a significant investment of more than €2 million in HD upgrades for its two UK sites. For the UEFA Champions League, GlobeCast has partnered with Israeli-based Satlink to deliver all the games in HD to 26 territories across the Americas and Asia each night of the competition. Up to eight games per night will be downlinked in HD from the Eutelsat W2A and Eutelsat W3A satellites using a wide range of new Tandberg RX 1290 receivers across both sites. In order to fulfil such a large capacity requirement, each feed will then be compressed, using new Tandberg E 5782 encoders, into four multiplexes of two 31Mb HD channels — to fit within 36MHz satellite transponder slots. English commentary mixes will also be added to all games via ISDN. For broadcast across the Americas, GlobeCast will convert all eight games using new Snell Alchemist frame-rate converters. 1.B40

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Gefen gets Matthews modular jib a smooth operator extension by Carolyn Giardina G e f e n i s shipping the DVI3500HD, a long-range sender/ receiver extension system for professionals working with high-resolution DVI displays at local and remote locations. The DVI-3500HD delivers video in the DVI format with USB peripherals, RS-232 control and analogue audio up to two kilometers in distance over fibre-optic cables. It supports extended resolutions up to 1920 x 1200. Gefen’s DVI-3500HD was designed to operate in either local or remote mode. When in local mode, the DVI display and USB peripherals connected at the computer’s location can be used to access data. When in remote mode, the DVI display and USB peripherals at the extended location is used to access data. With the system, two different locations can access the same computer. Fibre-optic cables connect the local sender unit to the remote receiver unit. The fibre cable can be single or multi-mode 62.5 or 50 microns and the connectors are LC-to-LC. 7.B31

by David Fox Matthews Studio Equipment has introduced a ‘unique modular jib system’ that can go from zero to three metres in two minutes without tools. The Intel-a-Jib features a V-Lock Connector, which makes assembly and disassembly simple

and fast, without wires or cable. The one-piece X-Box Extrusion offers improved anti-deflection and anti-torsion properties, resulting in a lightweight jib that is claimed to offer ‘great load capacity and smooth operation’ and can accept ‘virtually any camera package’ (it

can carry about 54kg at 1.83m or 36kg when extended to 3.10m). It costs $6,750 and can be fitted to a track dolly, mounted on a heavy-duty tripod, that will operat e o n s t ra i g h t , 4 5 ß a n d 9 0 ß radius track. 11.A70

V-Lock and load: Matthews new Intel-a-Jib

FOR-A for a virtual studio by Ken Kerschbaumer F O R - A is demonstrating VRCAM, a plug-in for its Brainstorm eStudio 3D realtime graphi c s s o f t ware pac kage. With VRCAM, a virtual studio can be created without any modifications to existing cameras, lenses, tripods and other parts of an established camera system. Studio operation is simplified b e c a u s e the VRCAM system requires no location data detection sensors or complex calibrations typically required by a traditional virtual studio, when used with the MBP-12CK chroma key option found on FOR-A’s MBP-1244 video card. FOR-A says VRCAM moves a virtual camera through the CG, removing picture limitations and enabling dynamic productions that extend beyond the size of the studio. The subject is inserted as a video wall on a CG set and put in place as a CG object, achieving a virtual studio in which the actor’s movements are tied into motion on the CG set. FOR-A also offers a library of background CG sets. FOR-A is also showcasing its HD/SD 3Gbps capable HVS5000 series of switchers, including the two M/E HVS-5300A, three M/E HVS-5300, and four M/E HVS-5400. 2.A51/B59 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

9


theibcdaily In Brief Never.no Twitters on-air At this IBC, never.no is showcasing enhancements to the Interactivity Suite’s Auto Dialogue System (ADS) to enable interaction with Twitter and other social networking applications so that on-air journalists or hosts instantaneously can share their thoughts and incorporate audience buzz about musical, sporting, or other live events. Also on display is the Dynamic Content Scheduler (DCS), a Windows-based graphic user interface for configuring, deploying, and scheduling interactive automated TV graphics. IBC2009 upgrades include Harris IconMaster support, which allows control of an IconMaster over a serial connection relying on the M2100 protocol. DCS now also includes expanded flexibility when working with Vizrt, Harris RTX, Adobe Flash, and Microsoft Silverlight. 2.A40

NDR failsafe with VCS German broadcaster Norddeutsche Rundfunk (NDR) has contracted VCS to deliver a software solution for an Integrated System Management (ISM) to monitor and control the dira! Digital radio system installed in NDR’s radio stations in Hamburg. The solution is based on egmc2, a VCS software framework which is able to monitor, control and configure systems and workflows in critical installations. NDR Info will be the first station in Hamburg to join the new failure signal concept based on egmc2, with further stations to follow. The solution will not only provide monitoring for the hardware and operating system but will also monitor the dira! System itself, including the import and export of jobs or transfer routines. Martin Knop, NDR project manager, stated: “There are some factors of disturbance and operation phases that we would like to control within systems that have to be 100% available, such as the storage space on our hard discs. This is the reason why we have chosen VCS to provide us with an adequate monitoring solution.” Dr Karl-Willi Pieper, COO VCS added: “The IISM for NDR dira! is a modern solution for modern production systems, which are the heart and soul of a professional broadcaster. We are very pleased to demonstrate our expertise also in this area.” 10.D20

Take a seat for some 3D mayhem In his landmark transatlantic 3D interview at IBC last year, Jeffrey Katzenberg of Dreamworks Animation treated us to a sneak preview of the studio’s n ex t blockbuster, Monsters vs Aliens. Since then it has gone on to take more than $375 million at the box office. And, courtesy of Dreamworks Animation and UIP International, tonight you can enjoy the latest in stereoscopic animated movie-making in a state-ofthe-art 3D digital cinema, the IBC Big Screen. When a meteorite from outer space hits a young Californian woman named Susan Murphy and turns her into a giant monster, she is taken to a secret government compound where she meets a ragtag group of monsters a l s o rounded up over the years. As a

last resort, under the guidance of General WR Monger on a desperate order from the President, the motley crew of monsters is called into action to combat the aliens and save the world from imminent destruction. Critics hailed its use of stereoscopic 3D, which really brings the bizarre selection of animated characters to life. The movie is complemented with the very best digital projection and sound in the IBC Big Screen, making this a chance not to be missed to see great movie-making technologies and have a laugh too. All are welcome for Saturday night at the movies, but space is limited, so make your way to the Auditorium in plenty of time if you want to be sure of your seat. The screening starts at 18:30.

Is 3D the future for film?

Dogan in Turkey picks Grass Valley for HD by David Fox Turkey’s leading independent m e d i a g ro u p, D og a n T V, i s migrating to HD with Grass Valley, and will standardise on LDK 8000 Elite multiformat HD came r a s, L D K 8 3 0 0 H D S u p e r SloMo cameras, and Kayak production switchers for all of its HD facilities. Dogan TV now has two HD studios at its headquarters in Istanbul (where there are also seven SD studios). The smaller HD studio (300m2) has four LDK 8000s and a 2.5 M/E Kayak, while the larger (1000m2) has eight LDK 8000s and a 3.5 M/E Kayak.

The company’s largest outside broadcast truck has also been reequipped for HD, with 16 cameras, including two LDK 8300s, and a 3.5 M/E Kayak. “When we developed our plans t o m ove t o H D we n at u ra l ly looked at all the suppliers of production equipment,” explained Hakan Tumer, Dogan’s CTO. “Grass Valley impressed us with the technical superiority of their products, not least the excellent s u p e r s l ow - m o t i o n c a m e ra s. Working with Arttek [GV’s local distributor], we also developed a strong local support relationship, and we are very pleased with the

service Arttek and Grass Valley are providing in terms of technical support and training.” The contract represents the largest order in the country for HD production equipment, and allows Dogan TV to produce much of its own content for its new Kanal D HD channel, which is already on air. The OB upgrade ensures that remote HD production is available for high profile sporting events, such as the Champions League and UEFA Cup football games fo r wh i c h D og a n T V ha s t h e Turkish broadcast rights. 1.D11

3D graphic showcase from ADB

by Ian McMurray Advanced Digital Broadcast (ADB) is showing how its 3D graphics engine enables network operators to deliver easy to navigate content libraries and EPGs, with support for interactive TV graphics, fluid motion, and a full suite of 3D animation effects on platforms that were previously limited to the 2D world. ADB’s 3D effects can be seen on the ADB-5810TX high definition DVR for digital terrestrial, a product that the company says illustrates how the user experience is evolving in digital TV. The ADB-5810TX supports a wide range of multimedia interactive applications such as photo e d i t o r, M P 3 d ow n l o a d a n d player, and games. It also features push-video on demand capabilities to support the vision of ondemand services available on all television platforms. ADB says that re-thinking the user interface for a better TV experience also involves the physical form of set-top boxes, and the company is showcasing its ‘setback box’ for the US cable market, which mounts to the back of a flat panel TV and operates with the TV remote control. 5.B48

Studer is scoring its kicks on Route 6000 now by David Davies Pro-audio manufacturer Studer is showcasing the Route 6000 system, which is based on the Score Live DSP core and comprehensive D21m I/O system. Route 6000 can accommodate up to 1728x1728 inputs and outputs. According to Studer, the main DSP Core is highly suited to space-conscious installations. Equipped with an internal D21m I/O system with up to 192 inputs and outputs, it takes up only 6RU

of rack space, while multiple cores are simply interconnected using Cat5 tie lines. Since the system is fully modular, there is a wide variety of input and output formats (Mic, Line, AES/EBU, MADI, ADAT, TDIF, SDI and DolbyE), which can be combined. Route 6000’s DSP core allows the insertion of assignable audio processes consisting of compressors, limiters, panning, stereo-tomono summing, etc. Multiple

redundancy options for failsafe operation, including DSP and host cards as well as all I/O cards and power supplies, are available. There are also full redundancy solutions, which are based on two networked cores. The Route 6000 is fully integrated with all Studer DNET products. It therefore supports networking, I/O sharing, unique resource handling (eg mic inputs), codec management, central Log Screen, remote configuration, 2

wire/4 wire routing, etc. Even twostep I/O sharing with control parameters is possible (eg mic gain control, fader start, red-light etc). Open interface protocols are provided to control the router through most major router control systems (RS422 and TCP/IP). As a result, says Studer, sophisticated control systems which support different hardware or software panels as well as scheduler, GPIO etc, can easily control the Route 6000. 8.D60

I’M A SKY VIEWER. I CAN WATCH TV ON MY PC, MOBILE, SONY PSP AND XBOX. Give your viewers access to your content across multiple devices. Visit ioko in Hall 1 stand D26 to find out how you can have the same capability as Sky, one of the leading pay TV operators in Europe, and deliver premium linear and on-demand content to your audience over multiple devices.

Digital Vision. Delivered. 10

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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theibcdaily In Brief TV1.EU 0nline video TV1.EU, which develops and supplies its eponymous online video platform, is talking about the work it has done with the European Commission over for the past four years. This includes production portal development and live streaming of all conferences of the EU departments Energy and Transport across Europe. TV1.EU is also a technical enabler, notably for German broadcaster ZDF’s Mediathek which is a media player similar to the BBC’s iPlayer. It also handles the worldwide streaming, geoblocking and load balancing for the largest live broadcasts in the European area, including the 2008 European Soccer Championships 2008 and the Olympic Games in Beijing 2008. “Online video based projects or portals can be launched quicker than ever before, and do not require a technical beta phase,” stated the company. “TV1.EU delivers all the technologies and interfaces required for successful online video applications. In fact, Deutsche Welle worldwide uses TV1.EU for their online video and audio.” 7.G21

Maya 2010 is here Autodesk is showing its Maya 2010 software, which combines the Maya Complete 2009 and Maya Unlimited 2009 feature sets with matchmoving, compositing and rendering capabilities into a single system. New in Maya 2010 is Maya Composite, a compositing system based on Autodesk Toxik software, which is no longer available as a standalone system. Additional new features include Autodesk MatchMover 3D tracking and matchmoving system; five mental ray Batch render nodes and the Autodesk Backburner network render queue manager. Maya 2010 additionally offers the features of Maya Unlimited 2009 and Maya Complete 2009, including Maya Nucleus Unified Simulation Framework, Maya nCloth, Maya nParticles, Maya Fluid Effects, Maya Hair, and Maya Fur. This also includes modelling, texturing and animation tools, brush-based 3D technology, an integrated stereoscopic workflow, Toon Shading, rendering, and Maya application programming interface/software development kit and Python and MEL scripting capabilities. 7.D21

12

What can stereoscopic 3D offer? Conference Today

Saturday Sept 12, 17.15-18.45 by Chris Forrester This panel’s key question might provoke an immediate response in the shape of ‘a headache’ from o n e o r t wo m e m b e r s o f t h e panel. However, all the signs are that 3D for television is going to play an important part in future broadcasting. Despite – as yet – any fixed standard and conflicting suggestions as to what shape the standard should take, services are now beginning to emerge. Indeed, it is undeniable that these early green shoots of 3D are taking fir m root. Europe satellite operator Eutelsat has b e e n r u n n i n g a f re e - t o - v i ew experimental 3D channel for the past 18 months. It is the same in Japan. Now BSkyB says it will have a dedicated 3D channel on air next year, while Fox in the US is another determined experimenter. Hollywood’s enthusiasm for 3D is obvious as movie after movie is released to adoring fans prepared to pay a premium to visit 3D-equipped theatres. But how important will 3D be on TV? This illustrious IBC panel will give their opinions on 3D. Perhaps they’ll be influenced by a recent study that suggested that more than 10% of homes in the USA and Japan will be equipped

Exhibitor Q&A

3ality 3D rig: the positioning of 3D rigs in stadia is crucial for live 3D broadcasts

with 3D-enabled TV sets, and just as importantly Europe with its massive number of TV households “will not be far behind” according to research consultancy Futuresource. “Consumers are starting to experience the new wave of 3D technologies at the cinema and through Digital Out of Home advertising, and it won’t be long before there’s a groundswell of demand for 3D within the home,” says Sarah Carroll, Director of Continuous Services at Futuresource. “With over 200 million new TVs sold across the globe every year, the potential is huge, but the industry needs to over-

Fraser Clark, director sales & service, Evertz (UK) Has IBC come at a good time for the electronic media industry? Why? This year’s IBC comes at a good time for the industry. The economic news looks positive in terms of the start of a recovery, albeit a long one. This optimism will give customers and vendors an opportunity to examine new technologies.

come some serious obstacles in order to kick start and fully realise the revenue streams. “Most notably, technical and standards issues still need to be resolved and there is a limited supply of 3D content, with the current economic climate making new investment in production and distribution a challenge, particularly for the broadcast industry. That said, there is a real feeling of excitement surrounding 3D and here at Futuresource we believe this will translate into commercial success within the next three to five years.” All eyes will be on the consumer electronics industry, with What do you think are the key developments in, or threats to, your market sector at the current time? The key development in the market is a need expand revenues with minimal investment in the existing infrastructure. This includes new compression technologies to push more content t h ro u g h s m a l l e r p i p e s w i t h higher quality. Why should delegates visit your stand at IBC?

‘3D Ready’ TVs a prerequisite to consumer adoption in much the same way as ‘HD-Ready’ sets were used to seed the high definition market five years ago. An early decision on the Blu-ray 3D standard will also be critical, as packaged media will be necessary to help drive the market, adds the report. As if to emphasise its message, Futuresource states that 3D for television will absolutely not b e a n i c h e p a s t i m e. I n o t h e r words 3D for TV is an extremely hot topic. To d ay ’s c h a i r m a n i s Ra l f Schaefer, head of image processing at Fraunhofer Institute’s Heinrich-Hertz Institute. His panel includes Gerald Moser from Iosono, which amongst other work is closely involved in taking the firm’s technology into cinemas, night-clubs and other entertainment venues. Kevin Murray, systems architect with technology specialists NDS is another panellist. NDS provides the backbone encryption and middleware to BSkyB’s HD Sky+ set-top boxes, and are already using these boxes for 3D testtransmissions. David Wood, the EBU’s head of emerging media, is another panellist. The EBU is m a d e u p o n E u ro p e ’s p u bl i c broadcasters, already carrying a heavy financial burden in terms of HDTV, and no doubt concerned about the extra investment that 3D might demand. This session covers several aspects of stereoscopic content to give you the latest developments in both the visual and aural aspects of the creation and delivery of stereoscopic 3D. Evertz has continued to develop new and innovative products during this economic downturn. With customers looking to maximise revenues, they are looking for more efficient and effective ways of doing business. We feel with our expanding product lines, especially in compression products, our customers will be able to find a solution that fits their needs. These latest products will be showcased on our booth for this year’s IBC. 8.B40

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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IBC Innovation Arena

Can you catch the judge’s eye?

What will the future bring for media creation and consumpt i o n ? Wh at a r e t h e b l u e s ky thinkers working on? What are the innovations that will capture t h e i m ag i n at i o n o f t h e c o n sumer? Trying to pick the next big thing is always a tricky business, but IBC is at least starting the process with a new idea of its own this year, the IBC Innovation Arena. Within the arena, 12 young companies are invited to bring their ideas to IBC. Yesterday and today they have been on show in the Ruby Lounge, and this morn-

ing there is a pair of conference sessions in which each concept will be tested by a panel of expert judges. The ideas are grouped into four categories. ‘Consumer oriented innovation’ looks at practic a l s o l u t i o n s t o i m p rove t h e content delivery experience to heighten the desire and enhance the consumption of rich media. ‘Agents of change’ are new technologies, services or commercial structures that offer a real shift in the way we create and commercialise content. ‘Technology to The Rescue’ focuses on behind the scenes

products and technologies that enhance the quality, reduce the cost or smooth the creation, management and delivery of content. And ‘Innovation for tomorrow’ considers completely new ways of creating and applying emerging capabilities which have yet to make an impact in the media world. The format is thus: the protagonist for each product has just five minutes to make an ‘elev at o r p i t c h ’ t o t h e p a n e l o f judges, and is then subjected to questioning on the technology and its market. The judges are all experts at picking successful future strategies, drawn from the worlds of finance and business as well as media. Chairing the panel is Shawn DuBravac, economist and director of research for the Consumer Electronics Association in the USA. The panel will consider every submission, then make their judgments on winners in each category, who will each receive a ‘I Caught Their Eye’ certificate, as well as the knowledge that they have impressed a tough audience: the IBC delegates. The Innovation Arena is part of the conference programme, and starts this morning at 09:00 in the Forum. Exhibition visitors can get a flavour of each offering today in the special Innovation Z o n e ( i n t h e Ru by L o u n g e ) , where each entrant has a small demonstration area.

Leader debuts analogue output by Adrian Pennington Leader has introduced an analogue component output unit with which video signals being measured on its LV 5800 multi-monitor can be displayed on an analogue picture monitor. Two selectable output modes are provided: to output the signal displayed in the selected area on the mainframe screen, and to output the signal of the selected unit. The unit’s serial name is LV 58SER21 and converts the video s i gn a l ap plied to the LV 58SER01A or LV 58SER04A into the analogue component signal, and then outputs it.

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GV for ABC affiliate by David Fox Grass Valley’s latest capture software is currently helping KCRGTV9, an ABC affiliate in Iowa, move to a file-based platform that will automatically record and playback syndicated programming and commercial spots in HD. The new playback system, expected to be fully operational this month, will be transferred late next year into a new HD facility the station is currently designing. It includes various Grass Valley technologies and systems that facilitate automated file handling and conversion as well as ensuring 24/7 broadcast operations. The system will allow KCRG to develop and implement multi-element commercial logs and electronically insert content into them each day. “The Grass Valley HD playout system will make us more productive and allow us to automatically do a number of tasks we previously did manually,” explained John Phelan, VP and g e n e r a l m a n ag e r at KC RG. “Moving to a file-based system, although complex, was exactly what we needed at KCRG, and Grass Valley made that transition smooth and seamless with rock solid technologies and great customer support.” The installation includes a Grass Valley Maestro SD/HD branding and master control system, which will handle two 720p

HD programme streams, plus two Grass Valley K2 SD/HD media servers for commercials and programme playback. It is using the new K2 Capture Service software to automatically ingest commercials and programmes coming from the DG/Pathfire service. “The file-based system being installed at KCRG will help manage their workflow in ways that take full advantage of the benefits of Grass Valley’s flexible technologies and bring new efficiencies and revenue to the station,” commented Jeff Rosica, senior VP, Grass Valley. A G r a s s Va l l e y C o n c e r t o Series HD router with Encore facility control software is at the heart of the station’s digital infrastructure and will be used to distribute and manage the hundreds of files that come into the station each day, while Grass Valley GeckoFlex signal conversion modules, managed by a Newton Ethernet-based modular control system, will convert files and do SD to HD up/down-conversions. A NetProcessor system will be used with the Pearl ATSC-PSIP system to generate and display Dynamic PSIP tables of the station’s on-air programmes. The Grass Valley Amethyst Redund a n c y S w i t c h e r w i l l p ro t e c t against on-air system failure by automatically switching to a backup of the MPEG-2 ATSC digital transport stream in the event of a problem. 1.D11

Datavideo 7-inch HD monitors Analogue component output unit from Leader

According to Leader and its European distributor ElQuip, the LV 5800 is a new type of multimonitor that allows users to configure various input and output units according to the application. “You can construct a versatile system by combining dedicated

input and output units,” they stated. “Upgrading the LV 5800 with the LV 58SER21 module is easy so with minimum downtime you can maximise the efficiency of all your test and measurement equipment.” 10.F28

by Carolyn Giardina Datavideo is showing two new additions to the company’s line of digital LCD TFT monitors. The TLM monitor series is designed to automatically switch between PAL and NTSC, and can be powered via 12V DC or AC power. The TLM-700HD is a 16:9 widescreen LCD TFT monitor with HD/SD-SDI, YUV, composite video and HDMI input. It includes an audio peak meter for both SD & HDMI, safe area indicator, VITC time code display,

and a dual colour tally light indicator. The monitor also offers adjustable individual brightness, contrast, colour and tint. The unit is switchable between NTSC/PAL and 16:9/4:3. The TLM-702HD is a dual monitor bank version of the TLM-700HD, offering the same specifications, in a 19-inch 3RU rack-mountable design. The TLM-700HD product l i s t s fo r € 7 7 5 a n d t h e T L M 702HD for €1,495. 7.E29

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

The beginning of the recovery?

There’s no doubt we are witnessing a structural decline in the value of the broadcast industry but as an up-to-the-moment study from the IABM reports, there is light at the end of the tunnel. Dick Hobbs has the analysis

Manufacturers are exhibiting at IBC09, then because this is the beginning of a new phase in the industry. “Advertising revenue will return, pay television revenue is stable and license fees will recover with the economy,” Morrod asserted. “Yes, there are going to be structural changes in the industry, but these will be balanced by the need to support new platforms, by traditional broadcasters moving into new areas and by new opportunities, like digital signage, opening up.”

Credit limitations

Selling and buying: Many broadcasters are re-evaluating their technology plans

Across the industry, vendors are reporting a significant drop in sales. For most, bookings in the first half of this year are between 10% and 40% down. But there is evidence of a slight recovery in the order books of some companies beginning to show over the last couple of months. This is the headline news from extensive new research carried out on behalf of IABM, one of IBC’s partners and the body which represents broadcast and media technology suppliers worldwide. The study will update the most authoritative work on the scale of this industry, IABM’s ‘Broadcast and media technology: global market valuation and strategy’. A new edition of this study will be published later this month, re f l e c t i n g detailed research amongst manufacturers, service providers and broadcasters carried out during the summer. The study was again undertaken by leading research body Screen Digest.

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“In general, everyone saw their sales order book go down from October or November last year,” said Tom Morrod, lead Screen Digest analyst on the project. “Jobs with a long life cycle – major systems integration projects, for example – seem to suffer the least impact, but otherwise we saw a big downturn.” Not all of that downturn was directly attributable to the economic crisis. 2008 was the end of a broadcast four-year cycle, with investment in major projects like the Olympics and the US presidential election complete. The USA, because of its advertising-driven model, declined most sharply, but it is likely that EMEA and Asia-Pacific will hit the wall too. The current forecasts suggest that overall Asia-Pacific will feel the impact the least, but again that is relative. The two big exceptions are China and India, which will recover to 2008 levels as early as 2010, then enjoy double-digit

“Advertising revenue will return, pay television revenue is stable and licence fees will recover with the economy” growth in 2011 and 2012. F i n a l ly, m a ny t ra d i t i o n a l broadcasters were anyway re-evaluating their technology plans in the light of new competition from multi-channel and online services. “There’s no doubt, though, that we are seeing a structural decline in the value of the industry,” Morrod emphasised. “The downturn this year will take the total value of the industry back to 2007 levels, and the slowdown will, in general, continue through 2010, before we see a recovery towards 2012 – another Olympic year.”

There’s no doubt, though, that financial concerns, and the need to conserve cash, have had an i m p a c t . “ P ro j e c t s t h at we re already signed off are continuing,” Morrod summarised: “projects in planning have been put off.” Cash is an issue for vendors, too, with access to credit a serious limitation. A separate IABM research project, carried out by Ernst & Young, looked at how manufacturers are affected by the credit squeeze. A year ago only 9% of manufacturers surveyed quoted finance as a constraint on their ability to fulfil orders: today it has quadrupled to 36%. The need to control costs is also likely to show an impact on future innovation, with 17% of manufacturers reducing R & D investment. The Screen Digest research did identify a small number of vendors who do have a strong cash position, though, and these were seen to have an advantage in that they could support their own financial deals to help customers spend with them. The research also points to a difference in impact between incidental product sales and projects. Incidental expenditures – one off product purchases, like infrastruct u re e q u i p m e n t – h ave b e e n resilient to the downturn, while projects have been dramatically affected. “In simple terms, spending that does not need to go to the chief financial officer is all right,” Morrod explained. “But the point at wh i c h t h e C F O wa n t s t o g e t involved has dropped in value, so more orders are being trapped. A $50k order – maybe one ENG camera or a studio pedestal – is

now being carefully scrutinised. These are the orders which are g e t t i n g p u s h e d b a c k , by s i x months or a year.” T h e 2 0 0 8 m a rke t s t u dy revealed that broadcasters are increasingly turning to outsourcing and managed services as a way of controlling costs and allowing them to focus management effort on core activities. Because these frequently involve long-term contracts the service sector has not yet been affected by the downturn, although there is evidence that it will be, just a little later in the cycle.

“The decision-making process is entirely around the cost/benefit analysis and return on investment, not what a chief engineer says is the best product” Not all negative

The Screen Digest researchers have also been talking to broadcasters, and encouragingly they have not been entirely negative about the situation. “Yes, they are taking stock, reassessing their strategies,” Morrod reported. “But no broadcaster we spoke to has thrown its hands in the air and said they are finished.” It is clear that the current downturn marks a major shift in the industry, and broadcast and media companies are never going to spend the way they used to. “This is a trend we have been seeing for some time, though,” said Morrod. “The decision-making process is entirely around the cost/benefit analysis and return on investment, not what a chief engineer says is the best product.” Underlining that point, the research suggests that major software-driven projects, like playout automation or enterprise management, might fall by only around 2% this year and recover by the same amount in 2010, then grow from there. The message from the research is that, for vendors who are smart and agile enough to recognise the d ra m at i c c h a n g e s bl ow i n g through the industry, the worst may be over. They will need to find ways of supporting a new mood among their customers, though, who even if advertising revenues do pick up will not be reverting to previous spending patterns. “What broadcasters tell us is that the economic crash has forced them to make decisions on their technology strategies earlier than they might have done,” Screen D i g e s t ’s M o rro d c o n c l u d e d . Understanding those new strategies would appear to be critical to success in the future.

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily greater awareness of ‘green issues’, such as power saving and space efficiency.

Exhibitor Q&A Michel Proulx, chief technology officer, Miranda Technologies Has IBC come at a good time for the electronic media industry? Why? The television industry has been changing at a tremendous pace over recent months, with much greater interest in technologies such as file based processing and IT-based playout. This openness to new technologies and more productive workflows should make IBC a very timely event. 3D production was science fiction not so long ago. What will be the next step? Image courtesy Can Communicate

Look into the future If you want to get a hint of the products that will be making the headlines at IBC events over the next decade, you should head to the New Technology Campus, located between Halls 3 and 6. A regular IBC favourite, the New Technology Campus is where the latest research comes to life. It is the chance for scientists and engineers to bring early prototypes, and get feedback from the huge amount of expertise and experience available among the IBC community. This year the projects on display come from around the world and cover a broad range of innovation. An EU project which investigates the idea of contextaware, self-adaptive intelligent

content runs alongside work on a scripting system for multimedia content creation that works like musical notation. Stereoscopic 3D content creation and display is important, as is a new holographic transmission system. And if you want to feel the presence of a virtual object, multi-sensory interactio n i s another feature of the New Technology Campus. Taking time out to visit this area will give you not ju s t a glimpse of the future but the chance to talk to the teams developing these ideas. Your input could change the direction of the research and have an impact on the future of the media industry.

Arabsat to launch two more by Ian McMurray Arabsat is at IBC to discuss with visitors the launch of two new satellites. Arabsat 5-A will be located at 30.5° east covering the Middle East and the whole continent of Africa, and will provide significantly enhanced capacity for the telecommunication sector. It will be launched by the end of 2009. Badr-5, meanwhile, will be located at 26¯ east and cover t h e M i dd l e East and North Africa, and will act as an in-orbit backup satellite for the existing

Arabsat fleet (Badr satellites) and provide expansion capabilities serving the DTH market including the expected growth in HDTV demand. Arabsat says that it is the only entity equipped with a complete fleet that includes all TV satellite broadcasting and telecommunication services on all frequency bands in order to cope with all future expansions expected to take place in the Middle East and African regions. 5.A19

What do you think are the key developments in, or threats to, your market sector at the current time? I am not sure I would characterise it as a threat but I would say that a key reality faced by all of our playout customers is

operational costs. Pressure on revenue is putting pressure on the bottom line, and these customers are looking for solutions that cut down on the number of people needed to put programming to air. Another key development in the industry is a much

Fiber-Comms goes long for Multidyne

by Ken Kerschbaumer Fiber-Comms, a four-wire optical extender designed for intercom lines, has been introduced at IBC by Multidyne. The fibre optic extender transports from one to eight intercom or IFB channels and can also transport control and signaling data. Fiber-Comms allows for greater data transport, over a lighter fibre cable and for a longer distance. When used in conjunction with the MultiDyne COMMS-2000 twowire to four-wire converter, FiberComms can extend a two-wire system. The manufacturer adds tha it is also a cost-effective integrated component for the LiGHTBoX field portable fibre optic transport system. “Fiber-Comms allows for easy integration with the other products in MultiDyne’s innovative fibre optic solution line,” said Frank Jachetta, senior vice president of sales and operations. “Customers can order the FiberComms extender with an XLR pigtail for configuration with the Clear-Com, Studio Technologies and RTS systems, giving our users

Fiber-Comms allows for greater data transport over lighter fibre for longer distances

even more options for serial data transport over greater distances.” The Fiber-Comms four-wire extender handles 24-bit audio, with a flat frequancy response from 20Hz-20KHz, a key feature that does not colour the audio. It also has an S/N greater than 90 dB and a THD less than 0.05%. An optical budget of up to 24dB for

No Limits…

… with BMS wireless links. 18

single-mode further enhances the product’s audio capabilities. An optional eight separate intercom channels can also be used. Fiber-Comms inc ludes an XLR cable with a four-wire XLR input and output and is available in portable and rack-mount configurations. 2.A54

Live approved wireless HD bundle!

professional wireless video-transmissions high definition at best prices low latency more than 25 years experience in wireless solutions

Broadcast Microwave Services, Inc.

Why should delegates visit your stand at IBC? Miranda will be highlighting multiple new product launches at IBC, which address key demands of the industry. For instance, we’ll be showing the exceptional integration between our new NVision routers and our multiviewers and interfacing, which simplifies control and encourages higher productivity. We’ll also show many new capabilities of our Enterprise Class routers, such as integral fibre and audio processing. We’ll also be launching our Kaleido-Modular multiviewer, which offers unmatched space and power efficiency, as well as new automated loudness control capabilities for our signal processing equipment. 8.B80

www.bms-inc.com

le Special IBC Sa Booth 5.B30 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


Finally, a Tapeless HD Flash Memory System that understands the pace of newsgathering.

Ikegami and Toshiba’s GFseries optimizes HD workflow for news, sports, and entertainment. Ikegami and Toshiba have teamed up for one incredible tapeless HD ENG system. The GF series features fast, innovative workflow, superb open-architecture HD quality, and Flash memory technology. These advantages provide broadcast HD news and digital media professionals with unprecedented file-based HD efficiencies from video capture, to fast editing, to instant IT networking, to content delivery. The GF series includes the rugged GFCAM HDS-V10 Tapeless Camcorder, the GFSTATION GFS-V10 Multi-Format Studio Recorder, and GFPAK high-capacity Flash media to record more than two hours of HD video. The race is on for affordable tapeless HD ENG solutions, and Ikegami leads the way. TM

TM

TM

Learn more about GF series at www.ikegami.co.jp/en/gf Ikegami Electronics (Europe) GmbH HQ : Ikegami Strasse 1, 41460, Neuss, GERMANY Email.info@ikegami.de Tel.+49-(0)2131 1230 UK Branch : Email.sales@ikegami.co.uk Tel.+44-(0)1932-769700 Denmark Office : Tel.+45-(0)3880-9903

Tapeless • Wireless • Seamless


theibcdaily In Brief Envivio and Telemak partner for mobile TV Envivio and Telemak have announced that the companies have reached an agreement that addresses the content encoding and distribution needs of mobile operators, broadcasters and internet service providers. Under the agreement, Telemak will sell, integrate and support Envivio products to its customers. Telemak is also deploying Envivio mobile TV and web TV headend solutions at its own operations centre in Belgium. The installation includes Envivio 4Caster C4 convergence encoding solutions and the new Envivio iLiveTV solution for the Apple iPhone. “This is an essential upgrade of Telemak’s own mobile TV and web TV headend operations centre, as well as a significant enhancement to our encoding solution catalogue,” said Christophe Lenaerts, Telemak CEO. “We needed to offer our customers the possibility to either buy Envivio solutions through Telemak or to get full headend operations from our dedicated team. Thanks to this agreement, Telemak will now be able to provide its customers with the highest quality live television and radio services to any mobile or web TV subscriber,” he continued. 1:D72

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Always in motion

When the industry faces dynamically changing times ARRI is responding with product to match, explains Dr. Martin Prillmann, MD, sales and marketing, ARRI Munich and Franz Kraus, managing director and head of R&D, ARRI Munich

Franz Kraus (L) and Martin Prillmann: ‘A new road map of digital camera products’

The last year has seen various parts of the world experience an upturn of productions opting to shoot digitally, especially in television. 35mm continues to be the format of choice for motion pictures, but digital acquisition will increasingly be considered a realistic alternative, even for major international movies. As the sheer number of available tools, systems

and workflows increases, so too does the need for clarity and trustworthy expertise. Amidst the profusion of emerging technologies, our customers have the opportunity to use ARRI as a means to filter the important from the trivial. We know, as other true professionals know, that there is more to digital image quality than counting pixels. In a market

Exhibitor Opinion flooded with digital cameras, we believe objective evaluations such as those carried out recently by the ASC and BSC show clearly that the ARRIFlex D-21 remains a market leading product. In terms of image quality, the D-21 delivers at the very highest level, and continues to distinguish itself from all other digital cameras with a host of unique selling points: the characteristic look; the optical viewfinder and mirror shutter; the anamorphic options; the film-like motion capture and the silent, fan-less electronics that also help keep the sensor clean. We choose to invest in customers who invest in us. At IBC 2009, ARRI is announcing a new road map of digital camera products, with two ground-breaking models to appear in 2010. New and existing D-21 customers will be the first to take advantage of these technological breakthroughs, with upgrade options and migration pathways designed to protect their investment. At the centre of our expanding Digital Camera System is a new CMOS sensor that offers unparalleled sensitivity and dynamic range; a preproduction version of this sensor in a proof-of-concept camera is displayed on the ARRI booth at IBC.

Across our product range, we s t r ive t o g ive o u r c u s t o m e r s absolute control of the images they create. ARRI Relativity is a suite of post production software modules that idealises content for any delivery platform through precise control of grain, noise, frame rate and format. It is capable of degraining Super 16mm film so effectively, for example, that theatrical release and HD broadcast become much more viable options. The Relativity demo reel has caused a stir wherever it has been shown, so we anticipate strong interest in the screenings at IBC. Developments in our other business areas will also be in evidence at the show. ARRI’s marke t - l e a d i n g D I t o o l s, wh i c h combine the best of the film and d i g i t a l wo rl d s, c o n t i nu e t o improve; the new ARRILaser 2 doubles the recording speeds of p rev i o u s m o d e l s, wh i l e t h e ARRIScan 2K and ARRIScan Archive options open our film scanner up to new markets. On the lighting side, LED technology is facilitating versatile products such as our Pax kits and Caster series. In every department, ARRI looks to the future and is determined to remain a beacon of quality and innovation. Dynamically changing times – yes – but exciting times. 11.F21

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

SIR150 IP-Audio receiver highlighted by Streamit the required quality levels in terms of uptime and audio quality. To maximise audio quality the SIR150 offers XLR and RCA outputs and plays AAC+ and Ogg Vorbis streams but also MP3 and WMA. A rack mount kit is

The SIR150 offers XLR and RCA outputs

available as well. It also offers a stereo headphone output. RDS data streams can also be handled and delivered though the RS-232 connector. The SIR150 will automatically sw i t c h t o t h e S D c a rd w i t h a

backup radio programme in case of a network failure. The SIR150 is, says Streamit, easy to install, flexible to use and c a n b e c o n f i g u re d re m o t e ly. Complementary software tools make it possible to monitor the receiver performance and to control it, greatly reducing maintenance effort. 5.A14

by Ian McMurray According to Streamit, many radio stations are struggling with so-called Studio Transmitter Link so l u t i o n s. They have to rent expensive telephone lines and install equally expensive equipment in their studios and in FM transmitter sites or cable headend stations. At this IBC, the company is highlighting its new SIR150 IPAudio receiver, which Streamit says allows them to use ordinary ADSL connections and still reach

CRC demos advances from Canada

It’s VOD time.

Ask your customers. Ask their kids. They want VOD, and they won’t take no for an answer. Viaccess provides a powerful range of flexible and secure solutions for user-friendly VOD services in a multi-network environment. //www.viaccess.com Photo : Peter Muller - Getty Images VU DU TOIT

by Ken Kerschbaumer The Communications Research Centre (CRC), the Canadian government’s primary laboratory for R&D), is at IBC to discuss its advances for four major platforms that form the basic transport mechanism for information delivery across Canada: wireless, broadcasting, satellite and fibre optics. The broadcast technology R&D programme encompasses advanced audio and video systems, digital television, 3DTV, digi t a l ra d i o broadcasting and multimedia broadcasting services to be carried over terrestrial overthe-air channels, satellite, cable, and other broadband wireless systems. CRC is the only research laboratory in Canada that has a comprehensive broadcast research programme with world-renowned experts and facilities. For IBC, the CRC is offering live demonstration of CRC’s Openmokast platform, an open source software framework that enables broadcast reception on open handhelds based on Openmoko and Android. Also look for live demonstrations of CRC’s software DAB transmitter, including a realtime audio encoding framework for DAB+ and DMB audio, a multiplexer and a modulator based on GNU-Radio and the USRP. Finally a demonstration of CRC’s realtime and offline 2D-to3D conversion technique for 3DTV applications is on display as well as a demonstration of view interpolation for 3D TV displays. 3.D02

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

Visit us at IBC

Stand A51 Hall 1

21


theibcdaily

Take time to add skills

This year IBC features two Training Zones, each with a full programme of free workshops on a range of skills and systems. In Hall 7 the Training Zone focuses on post production issues, with a hands-on theatre looking at some of the most powerful and popular software tools. Sessions fe at u re t h e latest version of

Apple’s Final Cut Studio, released last month, and the Adobe Production Suite, as well as specialist tools like Maxon Cinema 4D. Every seat in the training theatre has a 24-inch iMac, and each session, run by a professional trainer, works through real-world situations so you get the complete hands-on experience.

Alongside these workshops is a second training area in which manufacturers will run a programme of detailed demonstrations and workshops on their specialist tools. Lined up for these sessions are Cinegy, da Vinci, Digital Rapids, Orad, Seamobile, TelestreamTiger Technology and VidiGo Delta Systems, among others. In Hall 9, as part of the IBC P ro d u c t i o n Vi l l ag e, t h e r e i s another Training Zone, this time focusing on production issues. The sessions are split between a training theatre and small group sessions on the camera set itself. Topics cover the whole gamut of production issues from choosing and setting up the camera, through lighting and sound, to g e t t i n g t h e b e s t o u t o f yo u r interviewee. Meanwhile, smaller group workshops concentrate on practical issues, with hands-on opportunities to see how to achieve the best results. L i ke t h e p o s t p ro d u c t i o n Tra i n i n g Z o n e, H a l l 9 a l s o includes opportunities for manufacturers to talk through the benefits of their systems in detail. T h e s e c o m e f ro m A r r i , J VC, Panasonic, Phabrix and the Vitec Group, among others. All sessions in the IBC training programme are free but space is l i m i t e d , s o e a rly b o o k i n g i s strongly recommended. You can book your session at the reception desk in each Training Zone.

Da Vinci extends colour grading range by Carolyn Giardina D a Vi n c i i s introducing new colour grading/finishing products based on its CORE (Cuda Optimised Resolve Engine) platform. The new range includes the R-160, a next-generation, entry level system for broadcasters, post houses, and production studios. The R-160 is designed with PC technology components and is said to deliver one-third faster processing than the previous generation R-100. The R-160 o ff e r s t h e l at e s t v e r s i o n o f

Resolve software. The R-560 is a realtime, 4k colour grading system that da Vinci says will offer processing power 20 times faster than the R1 0 0 . Wh e n c o u p l e d w i t h d a Vinci’s optional Digital Powerhouse, the R-560 is designed to grade uncompressed RED RAW files at full-resolution in realtime. For this IBC, it is also being used to demo colour grading of stereoscopic 3D images. Da Vinci is showing Kodak grain management, integrating

FOR THOSE OF YOU WHO HAVEN’T SEEN ONE BEFORE THIS IS A 3G EYE

Kodak’s proprietary motion compensated grain management into the Resolve R-series colour grading systems. The goal is to provide g ra i n - l eve l m a n ag e m e n t i n s c a n n e d f i l m . Re s o l ve a l s o employs Kodak’s adaptive sharpening Technology to help preserve the detail of an image throughout the process. The company is also demonstrating its Impresario controller and Revival image restoration system throughout IBC this year. 7.D08

AND HERE IT IS WITH AUTOMATED MEASUREMENTS, DECADE FILTERS, JITTER THERMOMETERS AND HISTOGRAMS

WORLD’S FIRST AT A PRICE THAT’S WORLD BEATING 22

Prime suspects: the line-up of 16Digital lenses

P+S launches 16Digital prime lenses for 16:9 by David Fox P+S Technik has introduced a new range of fast prime lenses for use with digital cameras using a single 16:9 format 2/3-inch CMOS sensor, and equipped with its own Interchangeable Mount System – particularly the SI-2k Digital Cine m a C a m e ra S y s t e m o r t h e Ikonoskop A-cam dII. The internal optics have already been used to shoot Bloody Valentine 3D. The 16Digital lens set was designed with the lens manufacturer Linos Photonics (formerly Rodenstock), and come with easy to read calibrated scales, uniform front lens diameter of 60mm, uniform 0.8 gear rings for focus and

iris control and uniform position of exit pupil. Standard follow focus and electronic lens control systems can be used with these lenses. Floating elements allow the optical performance to remain high all the way to the close-focusing limit. Distortion is claimed to be well controlled, especially with the wider-angle lenses, where it counts most. The compact 16Digital prime lenses include 8mm/T1.9, 12mm/ T1.9, 16mm/T1.7, 25mm/T1.7, 35mm/T1.7 and 50mm/T1.9 models. Each weighs about 430g, and should be available shortly after the show. 11.E28

Doremi delivers 3D SD or HD

by Adrian Pennington Doremi is showcasing its expanding line of 3D products at IBC. Among the products featured is the V1 video disk recorder capable of recording 3D files simultaneously or as separate left and right eye streams. This supports all the SD/HD resolutions and framerates. 3D files can also be imported to the V1 HD-2K using DoremiAM software. Also showing is the GHX-3D Encoder/Decoder which premiered in April this year. This is described as an excellent bridging device to enables 2D equipment to work with 3D content. It encodes and decodes all the common 3D HD formats including line by line, side by side and checkerboard. “It is an ideal transition tool for enabling post production houses to expand their 3D services without incurring the enormous

costs of upgrading their existing recording and playback devices,” stated the company. “With 3D content becoming increasingly popular, Doremi has listened to its customer s and developed unique devices to support the trend,” it added. “We were one of the first hardwa re m a nu f a c t u re r s t o i n t e grate JPEG2000 compression and 3D capabilities into our product line.” D o re m i ’s J P E G 2 0 0 0 a n d MPEG MXF 3D playback server is the DSV-J2. This server is capable of playing left and right eye streams separately supporting all HD resolutions and framerates including 2k and 4k 3D. This device is ideal for large screen venues such as concerts, theme parks, presentation and fixed installations. 10.B10

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THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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Calrec channels Greek mythology Philips remote controls by David Davies Following its introduction of the Apollo platform earlier this year, Calrec Audio has again drawn influence from Greek mythology for its latest console, Artemis. Based on Apollo, Artemis utilises the same core technologies as Bluefin2 and Hydra2, which are said to equip the console with ‘an enormous routing and processing capacity which belies its mid-size footprint’. Using a combination of OLED displays, touchscreens and light-emitting knobs, the soft Artemis control surface provides instant visual feedback and allows the user to reconfigure the desk on the fly. Bluefin2 – the next generation of Calrec’s trademark Bluefin High Density Signal Processing platform – is said to provide substantial resources at multiple sample rates. At 48kHz, Bluefin2 gives Artemis up to 640 channel processing paths, 128 programme busses, 64 IFB/Track outputs and 32 auxiliaries. Artemis also features a second C om p re s s or/Limiter in each channel, more than 70 minutes of assignable delay, and three independent APFL systems for multiple operator use. As with all Calrec designs, t h e s e f a c i l i t i e s d o n o t s h a re resources so that they are available to the user at all times. A dedicated intergrated router

feature motion sensing by Ian McMurray Philips is highlighting its range of remote control technologies and its ability to custom design r e m o t e c o n t ro l s fo r a b ro a d range of applications. Motion sensing is a key aspect of the company’s capabilities, and Philips says that, unlike other motion sensing technologies available today, the Philips platform is ready to work as a bid i r e c t i o n a l vo i c e h a n d s e t enabling VOIP application as we l l , a n d i s i d e a l fo r s e r v i c e providers looking at enabling a set-top box as an option for their telephony services. Philips is also promoting a direct pointing motion sensing technology called UWand that, says the company, has scored

Lights up for the new Calrec console, Artemis

means that Artemis’ I/O functions can be perfor med by Calrec’s Hydra2 networking system, which uses high capacity 8192x8192 cross-pointer routers and makes available a variety of I/O units to provide analogue, AES, MADI, SDI and Dolby E formats. All use copper or fibre connectivity and can be fitted with GPIO cards. Console routers can be connected

together to form large networks, and standalone routers will also be available. As with all Calrec consoles, the inclusion of full automatic hotswap redundancy is part of the system architecture. On Artemis, all DSP, control processor, router, power supplies and connections are fully redundant. 8.B81

high in terms of intuitiveness. Since the UWand technology is optical-based, simple gestures can be used to move a cursor on the TV-screen and control all multimedia content through a rich user interface in an intuitive and natural manner. The company is also proudly presenting its thumbwheel technology which – unlike pressing a bu t t o n – m a ke s i t s i m p l e fo r users to scroll through large amounts of audio/video content like long playlists. The user can continuously vary the scrolling speed. Hard disk drives and TVs that include this technology are already on the market and several set-top box manufacturers are designing it in, says Philips. 1.A81

Netgem makes global debut by Heather McLean Netgem has chosen IBC2009 to make its international debut as the first step in a business development campaign aiming to raise the company’s profile across European and global markets. Netgem recently passed the milestone of two million installed IPTV units, mainly deployed in its home French market.

France is one of the world’s pioneering IPTV marketplaces, but Netgem believes that the international demand for marketproven IPTV based solutions will grow quickly during the next few years driven by telecoms market competitive pressure and the explosion in internet media consumption. IP521

Tandberg Television launches several ‘world firsts’ by Ian McMurray Tandberg Television is launching what the company says are world first products designed to enable more and better HD throughout the content to consumer delivery chain and pave the way for an industry-wide migration towards an all-HD television universe. Visitors to the joint Ericsson and Tandberg Television booth are seeing demonstrations of an MPEG-4 HD 4:2:2 system solution for the C&D markets; the new Tandberg MPEG-4 AVC HD encoder; and the EN8100 MPEG2 SD encoder.

24

Tandberg says that its nextgeneration MPEG-4 AVC 4:2:0 HD compression – designed from the ground up, according to the company, and using brand new technology – provides a 20-30% improvement in efficiency compared to today’s best MPEG-4 HD encoding, and will enable DTH satellite providers to carry an additional channel of premium quality HDTV per transponder. Another new product that Tandberg believes gives it leadership is an MPEG-4 HD 4:2:2 system solution for professional video contribution and distribution. This

The EN8100 cuts MPEG-2 SD bandwidth requirements by at least 15%, says Tandberg

new system includes, claims the company, the world’s first MPEG4 HD 4:2:2 encoder to offer 10-bit precision and is upgradeable to 1080p50/60 HD encoding. The third focus of Tandberg’s

IBC attention is the EN8100 MPEG-2 SD encoding system which the company says delivers a host of performance and operational benefits for DTH satellite, cable and terrestrial operators, as

well as for content aggregators and distributors. The Tandberg EN8100 is described as the industry’s next generation MPEG-2 encoder, based on in-house developed technologies and encoding algorithms. It has, says the company, been designed from the ground up to deliver revolutionary encoding performance in a high density, low power (6 channels in 1 RU) chassis. The EN8100 cuts MPEG-2 SD bandwidth requirements by at least 15% even in legacy set-top box operations. 1.D61

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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Sharing the new workflows

John Honeycutt, executive VP, Discovery Communications

The move from linear, specialist audio and video connectivity to digital files and IP transmission is transforming the architectures of broadcast companies. That, in turn,

is leading to a revolution in the way that these companies work. In a conference session at 13:30 today in the Forum, the experiences of some who have made the transition to new workflows will be shared. The session starts wit h a keynote from John Honeycutt, executive vice president in charge of media technology and operations at Discovery Communications in the US â&#x20AC;&#x201C; the worldâ&#x20AC;&#x2122;s largest non-fiction media company. Honeycutt is responsible for a huge amount of content, both in production and as finished programming, distributed to broadcasters in 170 countries. It has been a continu i n g process since its foundation 24 years ago, but Discovery has reshaped its technology infrastructure and working practices to ensure that they are in good shape for todayâ&#x20AC;&#x2122;s rapidly diversifying

media landscape. Honeycutt will touch on the creation and implementation of a corporate metadata standard, implementation of asset and workflow management tools, and the creation of a personalised media portal for use by internal employees and external production partners. He will also talk about the implementation of a content file transfer infrastructure, which to date has distributed well over 10,000 files to digital media partners around the world. Following the Discovery presentation, a panel that includes experts from BBC, Comcast, Turner, Warner Bros. and 20th Century Fox will debate the issues surrounding the implementation of digital end-to-end solutions, and how they can make the media business more effective. The session is called â&#x20AC;&#x2DC;Optimising filebased content workflow: lessons learnedâ&#x20AC;&#x2122; (13:30 in the Forum) and the emphasis is firmly centred on sharing real-world experiences.

Doordarshan: India readies for HD and 2010 Commonwealth Games

The initial brief from Doordarshan was taken last September. A TATA chassis was shipped to the UK for coach building by specialists JS Frasers. After systems integration at Gearhouseâ&#x20AC;&#x2122;s headquarters the van was shipped back to India for final works and testing before the client took delivery mid-August. The van was fitted with four Ikegami cameras expandable to six, a number of Canon box lenses,

a multiformat Snell Kahuna vision mixer, Marshall/Barco monitors, Harris Router, Crystal Vision glue, Probel video and other equipment from EVS and Trilogy Communications. Gearhouse Broadcast, managing director Eamonn Dowdall said: â&#x20AC;&#x153;Doordarshanâ&#x20AC;&#x2122;s HD OB van raises the bar for standards in Indian broadcasting and sets a benchmark for others to follow.â&#x20AC;? 10.B29



TerraBlock SAN increases performance with software by Ken Kerschbaumer Facilis Technology is demonstrating TerraBlock 4.0, what the company calls the first SAN to offer the ability to increase performance through software. The Facilis Shared File System gives facilities the option to have both collaborative multi-user write access and high-performance single-user write access. Thus, with TerraBlock 4.0, bandwidth is not sacrificed, ever. Through the use of traditional volume-level as well as multi-user write sharing, performance isnâ&#x20AC;&#x2122;t sacrificed as facilities move to more collaborative and efficient workflows. Facilities with 4:2:2 10bit HD, 4:4:4 HD and even 2k

by Ken Kerschbaumer Castis is at IBC looking to make video on demand easy with VOD, a stream server system for broadband VoD service. The company says it can be effectively used for interactive services of digital cable broadcasting, the IPTV services of main telecommunication companies, VoD service for the digital home, and more. VOD has a nationwide service system that is composed of a LSM (Local Service Management) server and a streaming server, and

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D P X p ro j e c t s c a n l eve rag e TerraBlock 4.0 while maintaining full performance. Users at Windows workstations can share multi-user write volumes, while elsewhere in the facility OSX and Linux clients can access data from the same volumes. Facilis Technology says the TerraBlock server controls the write access from each client, ensuring the integrity of the data. Fibre-attached clients are not responsible for metadata management. This increases the bandwidth ava i l abl e fo r e a c h c l i e n t a n d ensures no interruption of service due to client power cycles. 3.C01

Castis makes VoD easy

Gearhouse builds Doordarshan van by Adrian Pennington UK systems integrator Gearhouse Broadcast has completed a custom built HD outside broadcast van for Indian state broadcaster Doordarshan (DD). The van is part of a major investment programme in high definition technology by Doordarshan. The project was carried out in conjunction with leading Indian broadcast equipment reseller AGIV India.

The TerraBlock Virtual Volume 8Gbps fibre channel SAN

Â?Â?Â?Â? ­Â&#x20AC;Â&#x201A;

scalable in a gradual and smooth way at an economical cost according to a need. It can work through various networks including Ethernet, HFC and FTTH, and supports various media types. It also provides IPTV service and VoD service at the same time. Castis says a strength of the system is scalability, allowing it to expand in a modular fashion. For example, the streaming server can be increased only when additional output streams are needed without requiring expansion of the storage server. And Castis experience minimises the required time for procedure from service planning to starting a service due to easy and convenient installation and a userfriendly GUI-based management environment. The system is currently in use for HomeN and IPTV Service to KT, the largest Korean Telecommunication Company, and for Digital Home Service to SK Telecom, a major Korean Telecommunication Company and C&M Communication and Qrix, major MSOs in Korea. 2.C24a

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


KAYENNE™ VIDEO PRODUCTION CENTER

RED AND GREEN... AND EVERYTHING IN-BETWEEN.

Put an end to production missteps. With the RGB buttons in the new Kayenne Video Production Center from Grass Valley™ you can assign different colors to different M/E rows and keys, as well as functions like macros and router control. You can also configure source button colors to distinguish sources like cameras and DDRs. Whatever your workflow, more color means less hassle.

It’s Gotta Be A Grass! Visit us at IBC 2009 1.D11 For more information, see a demonstration of Kayenne’s capabilities at www.grassvalley.com/kayenne


IBC 2009, Amsterdam September 11– 15, 2009 Booth 11-C20

The first choice for digital 35mm cameras. The Fujinon PL-Mount Zoom Lens for the highest resolution.

FUJINON (EUROPE) GMBH, HALSKESTRASSE 4, 47877 WILLICH, GERMANY, TEL.: +49 (0) 21 54 9 24-0, FAX: +49 (0) 21 54 9 24-290, www.fujinon.de FUJINON CORPORATION, 1-324 UETAKE, KITAKU, SAITAMA CITY, 331-9624 SAITAMA, JAPAN, TEL.: +81 (0) 48 668 21 52, FAX: +81 (0) 48 651 85 17, www.fujinon.co.jp


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New Panasonic camcorder ships CableStar Combo switches by David Fox Panasonic is showing its latest low-cost professional camcorder the AG-HMC41E, which has just started shipping in Europe. It records AVCHD to SD memory cards, and is currently being offered with a copy of Edius Neo 2 editing software (until next March) for €2470. “Tapeless recording is being i n c re a s i n g ly u s e d a c ro s s t h e industry. This camcorder demonstrates Panasonic’s commitment to making tapeless technology as a c c e s s i bl e a s p o s s i bl e t o t h e broadest cross-section of professional users and our bundled software offering effectively lowers

SD card, HD pictures: Panasonic’s new AGHMC41E

the cost of entry even further,” explained Nela Pertl, market intelligence manager at Panasonic Broadcast and IT Systems. “For a minimum outlay, users can now experience the many workflow benefits that recording directly to SD and SDHC cards bring,” Pertl added. The AG-HMC41E can record

up to 180 minutes of high quality HD video at 1920 x 1080 on a 32GB SDHC card. It has three 1/4.1-inch progressive MOS sensors with a total of 3.05m pixels and a maximum bitrate of 24Mbps. It has a 12x Leica zoom lens, weighs less than 1kg, captures still images at 10.6 million pixels, and includes various focus-assist functions, such as facial recognition and touch-type auto-focusing, as well as professional functions such as waveform monitoring. Accessories include a removable grip and an optional removable XLR microphone adaptor. 9.D18

Dedicated to rapid tapeless production In today’s economic environment vendors must learn how to concentrate on broadcasters’ real technological expectations, says Pierre L’Hoest, CEO, EVS While many vendors place priorities on next generation technologies such 3Gbps, IP content, and multi-platform delivery, broadcasters are making their priorities those of defining more efficient workflows based on tapeless and HD transitions. This is why all product development considerations at EVS are the direct result of field requests or analysis with customers. This is a major point for us in the constant development of our products and solutions on the outside broadcast market, as well as on the studio market, where we have recently introduced a series of dedicated tapeless production solutions. When looking for modern and efficient tapeless production workflows, producers and technical managers have to insure their future technical infrastructure will be able to meet the following requirements: gain significant speed and efficiency during the production process; work on a platfor m that is fully SD/HD compatible; manage multiple camera and audio/video feeds recording with the highest level of reliability. It must be able to adapt to existing production infrastructure in terms of cameras, storage, linear and nonlinear editing tools, automation, switcher, controllers, and MAM and benefit from a system where production is perfectly integrated with post production. It must also offer the highest standard in terms of reliability and content safety; attain efficient content access and control throughout the entire production process; save time in training by having equipment that is intuitive for current staff to learn and know that service is guaranteed during and after the implementation phase. We strive to offer tapeless workflows based on the speed and

reliability of EVS’ production server combined with modular software tools that meet the above requirements. In fact, our solutions have proved to be 30-40% faster than traditional tape-based workflows. And because we are aiming to bring our field-proven production expertise to multiple broadcast and production market segments, EVS will continue to develop and introduce new hardware and software solutions to improve sports and studio production workflows. After the successful introduction of XS, the new multi-channel

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

production server for studio ingest, production, and playout, EVS is announcing the introduction of the next generation of XT[2] server at IBC 2009. This new platform, dedicated to highend OB and studio live product i o n , w i l l o ff e r i n c re a s e d bandwidth capacities, multi-codec support, and extended content reviewing functions. In addition, we are seriously working on the development of a new platform to answer specific HD replay needs for small OB and mid-tier sports production. This new server will be introduced on

by Ian McMurray Aiming squarely at the growing market for using a PC or notebook to watch live TV, Technisat recently announced the CableStar Combo HD CI. A DVB PC USB 2.0 box offering DVB-C and DVB-T TV, radio services, and standard definition and high definition programming, it features an integrated CI Slot and is ready for pay-TV. The CableStar Combo also includes an additional DVB-C/DVB-T switch, m a k i n g i t p o s s i bl e t o sw i t c h b e t we e n DV B - C a n d DV B - T without changing the cable. It is equipped with an active antenna power supply for DVB-T

so that it can be used with small active antennas like TechniSat’s DigiFlex TT2. The additional switch offered by TechniSat Digital is able to select between DVB-C and DVBT via the 5V feed voltage. Once the customer has activated the antenna in the hardware options, the channel scan for both DVB-C and DVB-T tuners can be activated and the channel list will be populated with both DVB-C and DVB-T channels. With the active a n t e n n a o p t i o n e n abl e d , t h e CableStar Combo HD CI automatically uses the 5V feed voltage for DVB-T transmissions. 1.A44

Exhibitor Opinion the market in the near future. Because being able to retrieve specific footage and share media instantly and efficiently between production operators, post production editors, production assistants, and directors is at the core of our customers’ concerns, we have developed solid capabilities in media management developed around our IPDirector solution, including metadata management, workflow control, ingest and playout scheduling and control, as well as fast editing with no rendering time waste. E V S i s c re at i n g way s t o a n swe r f u t u re b ro a d c a s t e r s ’ requirements to deliver better and more content in a faster way through a combined web and broadcast solution that gives

Pierre L’Hoest: ‘EVS is developing a new platform to answer specific HD replay needs’

broadcasters instant access to remote content located on any XT[2] server for production, review, and control actions. 8.B90

IBC 2009 Amsterdam 11–15 Sept. Hall 10 Booth D 15

Enrich your news workflow with the new Feature-Set.



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29


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Skyline announces DataMiner 6 DataMiner 6.0 also by Ian McMurray heralds the introduction of New for IBC 2009 is Datathe DataMiner Cube. This Miner 6.0 from multi-vennew user interface is, says dor network management the company, the first in systems company Skyline the industry to apply stateCommunications. Accordof-the-art user-centric ing to the company, this design principles and will new release includes two redefine the way operators major highlights, including interact with the most consolidated service mancomplex multi-vendor agement and the user-cenecosystems. tric DataMiner Cube user The DataMiner Cube is said to have a user-centric design Also on show at IBC is interface. At the heart of the new release the recently introduced DataThe company says that the new consolidated service management is the DataMiner Service Profiler, Miner CPE Manager platform, enables operators to create a com- which enables operators to model designed to address the needs of prehensive service perspective on virtually any possible service in users looking to increase visibility their multi-vendor ecosystem, any possible environment, accord- into their service quality, and to across any possible vendor and ing to the company. Skyline Com- quickly locate any degradations technology boundaries, making munications believes the solution and issues. By collecting key informaximum use of existing Data- will redefine how operators can mation from every individual Miner features and capabilities, manage services across the most deployed CPE device, DataMiner including its realtime Service complex modern-day ecosystems, CPE Manager creates and mainLevel Agreement (SLA) manage- and to significantly increase serv- t a i n s a n ex t re m e ly d e t a i l e d ment capabilities, and user-defin- ice revenues by exploiting those overview of the status of the entire abl e a u t o mation for service ecosystems more efficiently than operational ecosystem. 1.A25 ever before. provisioning and routing,

Enigmatic Mediaproxy news by Carolyn Giardina Mediaproxy, exhibiting on the Gee Broadcast Systems stand, is demonstrating version 7.5 of its flagship Enigma LogServer compliance logging system. The new platform incorporates several enhancements, created to increase long-term usability, support the expanding IPTV market and be easily adapted to the different regional regulatory requirements.

â&#x20AC;&#x153; We h ave l i s t e n e d t o c u s tomers and designed the latest hardware platform to allow for full resolution logging of up to 12 channels per server,â&#x20AC;? said Erik Otto, director of Mediaproxy. â&#x20AC;&#x153;Recorded media can be kept â&#x20AC;&#x2DC;cleanâ&#x20AC;&#x2122; without having to burn in metadata into it on encoding. Mediaproxy has developed a new tool that allows users to bake-in d at a a n d t h e s t at i o n l og o o n demand for regulatory authorities

RFO to install Netia Manreo by Ian McMurray RĂŠseau France Outre-mer (French Overseas Network, or RFO), a subsidiary of Group France Television, is installing Netiaâ&#x20AC;&#x2122;s Manreo media asset management (MAM) solution to simplify file and archive management of content at the broadcasterâ&#x20AC;&#x2122;s Paris headquarters and nine regional production centres. Manreo is being integrated with RFOâ&#x20AC;&#x2122;s acquisition, production, automation, and storage

NEW FOR IBC - SE-3000 16-Channel SD & HD 6WXGLR 6ZLWFKHU

applications to store and enrich audio, video, and still images and subsequently facilitate the publishing of content through various delivery platforms. One of the most advanced television and radio networks in the world, RFO distributes 17 television channels from its head office in Paris to French-speaking territories located tens of thousands of kilometres from one another. The broadcasterâ&#x20AC;&#x2122;s regional production facilities are connected by satellite

Vidiator short circuits mobile content delivery by Heather McLean A s m o b i l e v i d e o fo l l ow s t h e online viewing model oriented around catch-up TV and vido on demand services, Vidiator is launching its innovative mobile PVR platform at IBC2009, the Xenon Time Shifter. The Xenon Time Shifter enables viewers to take the TV experience they are used to in the home with them on their mobile phone, enabling them to not only watch live TV on their mobiles bu t a l s o t o p a u s e t h e s t re a m when required, for example to take a call, play a game or even take a photo. By hosting the PVR functions i n t h e n e t wo rk , X e n o n T i m e Shifter enables operators, broadcasters and content owners to deliver live, catch-up and VoD

se r v i c e s t o eve r y 3 G c ap abl e m o b i l e p h o n e. X e n o n T i m e Shifter is provided as a turnkey solution for broadcasters and content owners to directly translate their sticky VoD and catch-up services to the mobile screen. The company is also demonstrating its Xenon Hosting Platform (XHP), a managed service for mobile content delivery, which enables mobile operators to adapt and deliver their content to customers without the need for large investments in hardware, software and know how; and its Xenon Music Platform (XMP), a network-based MP3 player that allows steaming and download models to coexist, enabling the end user to consume music any way they choose. M122

on export. The â&#x20AC;&#x2DC;cleanâ&#x20AC;&#x2122; full resolution frames can now easily be repurposed for web contents.â&#x20AC;? He added that Mediaproxy has significantly extended its customer base in Europe and North America. â&#x20AC;&#x153;Focusing solely on complia n c e l og g i n g h a s g ive n t h e company an advantage that is reflected in our rock-solid product,â&#x20AC;? Otto said. â&#x20AC;&#x153;Some of our customers have been logging reliably for over seven years now, which highlights the strong ROI provided by the LogServer product.â&#x20AC;? 7.A39 and ADSL around the clock, thus supporting the exchange of programmes and news (both radio and TV) in realtime. RFO has already equipped its radio stations with Netiaâ&#x20AC;&#x2122;s RadioAssist digital audio software. Now, with the integration of Manreo, Netia says that RFO will gain increased productivity in the m a n ag e m e n t a n d u s e o f r i c h audio and video, which can then be easily repurposed and publ i s h e d t o mu l t i p l e p l at fo r m s including mobiles devices, IPTV, and web portals. 1.B40

On The Beach at the RAI With its lakeside location, volleyball court and friendly bar staff, The Beach at the RAI is a destination of choice for IBC attendees. At other times of the year its charm has even caught the eye of locals, keen to have a drink away from Amsterdamâ&#x20AC;&#x2122;s main attractions. Complementing the other areas in which visitors can give their grey matter a break after the buzz of the exhibition or a conference session, The Beach is the perfect place

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to chill out with glass of wine, beer or a soft drink. Itâ&#x20AC;&#x2122;s accessible underneath the walkway between Halls 7 and 8, just behind the Big Screen Auditorium. And if the sun shines, as it should do in Amsterdam this September, visitors to IBC have even been known to make use of the numerous sun loungers dott e d ab o u t T h e B e a ch â&#x20AC;&#x2122;s s a n d flecked decking â&#x20AC;&#x201C; sunbathing is welcome at IBC!

NEW FOR IBC - HS-2000 5-Channel HD-SDI & DVI-D Mobile Video Studio

Stand 7E29

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30

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Pilat Media looks to VoD by Ken Kerschbaumer Pilat Media Globalâ&#x20AC;&#x2122;s business management software solutions for content and service providers in the media industry is making the leap to meet the needs of the rapidly growing cable, satellite, IPTV,

broadband, and mobile VoD marketplaces with IBMS:OnDemand (Integrated Broadcast Management System). The system expands the companyâ&#x20AC;&#x2122;s flagship IBMS Content into a full business management

system for on-demand, cross-platform services management. It supports centralised management of multiple services to help broadcasters (networks and service providers) deploy and differentiate on-demand services that maximise content value across multiple delivery platforms. Pilat Media says the IBMS: OnDemand add-on provides the

ability to define content offers with rich multi-lingual metadata and related title associations for small to massive asset libraries. Additionally, it maintains service n av i g at i o n t re e s t o p ro m o t e viewer discovery of the content and schedules title availability. With IBMS Content these processes are supported by rights aware system checks. Viewing statis-

tics are fed back for analyses using the integrated toolset, thereby providing a central location to manage and maximise the value of all the broadcasterâ&#x20AC;&#x2122;s content services. All metadata, offers, navigation, and schedules are delivered to DRM and content delivery systems for implementation of the managed services. 3.B20

Broadcasters can select from a range of different Ecreso exciters

Ecresoâ&#x20AC;&#x2122;s new DAB/DMB transmitters by David Davies Ecreso has introduced its new range of high performance transmitters for DAB, DAB+ and DMB. As part of the newly announced WorldCast Systems group comprising Ecreso, Audemat and APT, the company is now able to supply endto-end transport, transmission and monitoring solutions for DAB and DMB applications. The new DMB range is said to provide broadcasters with a professional and affordable solution for their migration to digital radio transmission. The product line takes a modular approach to power output with each of the seven available power classes from 150W up to 2.4kW based around a basic 300W amplifier. As well as offering greater flexibility in configuration, the modular architecture ensures that, should one unit fail, the transmitter will remain on air with a significant power output. Redundant power supplies and UPS offer even greater protection and reliability. C o m menting on the IBC launch, Jean Baptiste Roux, group VP sales, said: â&#x20AC;&#x153;We see the DMB transmitter range as a natural extension of our successful FM transmitter portfolio and anticipate a high level of demand from our customer base worldwide. Our R&D department has worked hard to deliver an unrivalled combination of efficiency, modularity, re l i ab i l i ty, perfor mance and affordability that makes this range a â&#x20AC;&#x2DC;mustâ&#x20AC;&#x2122; for those establishing a DMB transmitter network.â&#x20AC;? Broadcasters can select from a range of different exciters including the Helios DMB offering support for all DAB modes, MFN or SFN network operation, ETI management as well as advanced remote control and monitoring via IP and SNMP. 8.B58 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

Convergence Enabled.

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theibcdaily

Telex powers narrow band

The TV G430 is a JPEG2000 IP video gateway

T-VIPS video gateway enables 3D broadcast by Ian McMurray In the run up to IBC, T-VIPS announced an important trial in one of this year’s hottest industry topics, 3D. T-VIPS provided a JPEG2000 IP-based contribution system for a live 3D broadcast of robotic surgical procedures in Korea between t h e N at i o nal Cancer Center (NCC) and the National Information Society Agency (NIA). It is t h e f i r s t t ime that T-VIPS’ JPEG2000 IP video gateways have been deployed for such a purpose, enabling an audience of doctors and medical students to watch a ground-breaking 3D broadcast of medical imaging in HD format. Live demonstrations of surgical techniques were transmitted in realtime 3D over an IP network

from the Korean NCC to the NIA conference site, 55km away. The JPEG2000 sign a l s between the two locations were transmitted via the Hy p e r Research Network (KOREN), an advanced IP network. The surgery was performed using the da Vinci S HD Surgical System. Built by the US-based company, Intuitive Surgical, the da Vinci S integrates HD 3 D endoscopy and state of the art robotic technology. T-VIPS’ TVG430 HD video distribution system worked alongside 3D encoders/decoders from IDC for the 3D medical imaging. T-VIPS’ Korean business partner, Digipeg, was responsible for putting the complete solution together. 1.B28

That new Black Magic... by David Fox The new Hollywood Black Magic ra n g e o f f i l t e r s i s S c h n e i d e r Optics latest set of diffusion filt e r s fo r H D d i g i t a l c a m e ra s. Building on the success of its HD Classic Soft filters with their Micro-lenslet design and the Black Frost filters using Black Micropore technology, this is a new line of diffusion filters that combines the best of both. T h e f i l ters are claimed to remove unsightly blemishes and wrinkles while providing a smooth transition in the highlight. They are available in five strengths from 1/8 to 2. The varying strengths are claimed to offer users the choice of ‘subtly diminishing the video edge to removing years off the age

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Rolling back the years: the Hollywood Black Magic filters

of a person. Pleasant softening of bright highlights helps control the exposure while maintaining rich blacks and colours.’ The Hollywood Black Magic filters are available in popular professional rectangular sizes for HD, DV, and video as well as screw-on sizes for professional DSLR photography. 11.A28

by Adrian Pennington The Telex RadioCom BTR-80N narrow band wireless intercom system provides 25kHz of modulated bandwidth and to allow more users per channel in the cramped UHF spectrum. Combining the award-winning perfor mance of the BTR-800 wireless intercom system with narrow band technology, the BTR80N is claimed to be the best-performing and most versatile wireless intercom system ever made. In addition to providing excellent audio performance, the system inherits all the standard features of the BTR-800 system including DSP digital processing

and intelligent power control. The s y s t e m o ff e r s u p t o fo u r f u l l duplex wireless TR-80N or TR82N beltpacks per base station. An unlimited number of additional beltpacks can be added in half duplex operation. Additional features include selectable transmitter power output, selectable receiver squelch control, RF metre display on base

Phillip Adams, Phabrix founder and managing director

What do you think are the key developments in, or threats to, your market sector at the current time? Key developments in our market sector are the continuing prolif-

station and beltpack displays, remote battery indicators on base station display, low battery tone indicator on beltpack, and AC or DC power input on base station. The BTR-80N system can also operate simultaneously in twowire and four-wire mode for the ultimate flexibility when linking to other systems. 10.F38 order to efficiently and effect ive ly m a n ag e t h e m o d e r n broadcast environment. In developing our instruments we have been careful to meet this requirement providing tools which are both simple and intuitive to use yet powerful enough to address the complexities present freeing up the engineer to concentrate on any underlying issues.

Exhibitor Q&A

Has IBC come at a good time for the electronic media industry? Why? IBC always comes at a good time. Let’s be honest, it’s quite a chunk out of a company’s marketing budget but there’s no disputing the fact that IBC focuses deadlines for product development and gives us a great opport u n i t y t o n e t wo rk w i t h distributors, colleagues and customers old and new. A large number of visitors to our stand are experienced users – this is great and the feedback they provide makes an important difference to our product design. IBC is also the perfect venue for our R&D staff to meet customers, exchange ideas and promote sales. For the industry as a whole it gives us a chance to really broadcast – and we’re all good at that or we wouldn’t be in this business.

Telex’s RadioCom BTR-80N: providing cramped users relief

eration of HD-SDI and now the emergent 3G-SDI standards and infrastructure. There’s a lot of 3G/HD product out there and not a lot of equipment to test it with and certainly nothing near the price/performance point of our products. We build quality laboratory standard test and measurement instruments in both handheld and rack mount versions supporting SDI signals at 3 G b p s, 1 . 4 8 5 G b p s, a n d 270Mbps. With this proliferation of new standards comes the threat of increased complexity. Today’s broadcast engineer requires a sophisticated set of tools in

Why should delegates visit your stand at IBC? Innovation, exploration, celebration – which roughly translates into come and see ground breaking technology, explore and try our new products and finally celebrate your budget going further with our keen pricing. Make sure yo u c o m e a n d s e e t h e n ew Phabrix SxE at IBC – 3G eye and jitter on a portable platform. You’ll be amazed at this technological advance – particularly if you’re an engineer! Our IBC 2008 IABM award winning Phabrix SxA, the hand held SDI generator, analyser and monitor will be showing new features including 3G level A and B operation. The new dual link Phabrix SxD will also be on display. A newcomer to the stand will be the Phabrix Rx – a rack mount version of our technology in a 2U chassis. 8.E23

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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Broadcast news: adapt or die? Conference Today It is hard to imagine television without news. It is seen as one of the most visible and critically defining characteristics. For a local station in a crowded market, the speed, vitality and accuracy of its newsgathering – not to mention the personality of the anchor – can make all the difference in winning an audience. Entire international brands have been built out of news. Just look at Al Jazeera, BBC or CNN.

News, in its traditional incarnation, is now clearly u n d e r threat. With the rapid growth of user-generated content we are now in a world where we all can be journalists – so is there a need for real journalists any more?

Perhaps more importantly, is there a business model to pay for high quality, impartial news gathering where words and pictures are carefully considered before going to air? A n d wh i l e t h e n ew s p ap e r

industry is threatened by the growth of online content, will we see the same thing happen to television news? This is a vital debate for our industry, which is why the conference session at 17:30 today in the Forum is called ‘Is the broadcasting journalist a threatened species?’ In the session, chaired by wellknown business journalist Kate

Bulkley, a panel drawn from print, TV and online will discuss future prospects. The panel includes James Baker, general manager of Current TV, the business founded by former US vice president Al Gore which encourages and relies on UGC. This is likely to be a fascinating – and potentially intense – debate, about far more than just the nightly news.

Electrosonic HD players by Ken Kerschbaumer Electrosonic’s line of HD video players are on display, including th e E S9600 two-channel JPEG2000 systems, which provide up to 2k resolution playback at 250Mbs and 4:4:4 colour space. The company says the ES9600 offers sharp and vivid images thanks to JPEG2000 file playback at up to 250Mbs. JPEG2000 is the same playback compression technology found in digital cinema th e at e r s and has signif icant advantages over MPEG. The ES9600 provides two playback channels for additional value. The two channels can be independently controlled or they can be synchronised for super-wide screen or stereoscopic displays. The dual HD-SDI or dual DVI-I connectors facilitate the playback of 3D video and 2k resolution. 3.B19

More cards for Vi desk

by David Davies Soundcraft has released more interface cards for its Vi Series d i g i t a l live sound consoles, expanding the applications of the desks into broadcast and adding easy capabilities for direct recording from the console. Using the ADAT card, it is possible to connect two ports of eight channels I/O to a recorder, so two cards would enable 32 channels of audio. SDI and Dolby E cards mean the desk can handle the de-embedding of audio channels from within SDI video streams (and re-embedding for onward transmission), and the decoding of up to eight channels of audio from a Dolby Digital or Dolby E stream, which are then available individually. 8.D60 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

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Making HDTV a reality in production and delivery Saturday Sept 12, 13.00-14.45

catching up. With US network transmission now being all-digital (their analogue switch off took place in June), there’s little excuse for poor quality images. The same rules do not apply in Europe where more and more SD channels seem to be squeezed into the

by Chris Forrester H D T V i s now mainstream. Drama, music, series and documentary are regular recipients of HDTV endorsement. News and current affairs, at least in Europe, generally have yet to be given the high-def treatment, but as studios are converted to HD, no doubt the same anxieties expressed in North America about the tellall close-up detail of HD will be addressed. Indeed, for US broadcaste r s h i g h - def is now the acknowledged ‘standard’ def- Over 50% of US households own an HD set inition. HD ownership is now claimed to be in 53% of all US available bandwidth, frequently households, up 18 percentage leaving little or no room for HD. This IBC session, part of the points over 2008, and itself up from 23% ownership in 2007. ‘ Te c h n o l og y A dva n c e m e n t ’ Ownership of 32-inch and over stream, pulls no punches in its sets has now reached 59% of US intention to address the quality of homes, up from 52% a year earlier, HD received in homes, often a says the US Cable & Telecommu- very poor reflection of the superb nications Assoc. European adop- quality of the original acquisition tion, while slower to take off, is programme. All too often viewers

Conference Today are fed programming where the bit-rate ‘tap’ has been turned down to its lowest-quality level and leading to horrible on-screen artefacts and often frustrated chief engineers. The panel will examine the problems of balancing commercial reality in terms of the bandwidth and bit-rate available, and delivering viewable programming on today’s unforgiving large-size LCD and plasma screens. Can the provider’s infrastructure re a l ly d o j u s t i c e t o t h e – often expensively acquired – HD content? And are the infrastructures being installed any more futurep ro o f t h a n t h e S D i n f ra structures that they replace? This panel, chaired by Peter Wilson (of High Definition and Digital Cinema Ltd) brings together Adi Kouadio, a project engineer at t h e E BU i n G e n eva ; Je n s Ra i n e r O h m , c h a i r o f t h e MPEG Video Subgroup, RWTH Aachen University, Institute of Communications Engineering, Germany; Ian Trow, director of Harmonic’s Broadcast Solution division; and Mauricio Vasconcellos, TV Globo’s project manager, Brazil.

New revenue models drive profits The ability to introduce new and optimised processes is what will make broadcasters and broadband operators successful, says Gerrit Cornelis, development manager, business consultant and co-founder, MediaGeniX N o b o dy w i l l d e ny t h at t h e change in the economical climate is tangible in the broadcasting world, also for some of our customers – broadcasters, telcos and platform operators. Fortunately, a large number of them are also p ro s p e r i n g . T h e i r s u c c e s s i s based on flexibility, agility and creativity. Over the past years, transition and change were the keywords for broadcast players that leveraged technological innovations. Today, embracing change is what makes it possible to actually profit from the current market conditions.

The broadcasters that are flourishing today are the ones that efficiently create new revenue models from the opportunities provided by the new technologies. As an example, we see an increasing number of customers experiencing a sharp rise in revenue from their VoD offering. Apparently, the crisis has shifted consumer behaviour from visiting movie theatres to experience movies on their own HD home cinema set. The capability of efficiently introducing new and optimised processes is what will make broad-

casters and broadband operators successful, today more than ever. And this also affects MediaGeniX – as the supplier of the channel management and content lifecycle s y s t e m t h at i s u s e d fo r t h e s e processes – in a fundamental way. We see that our VoD scheduling module, introduced last year, is being adopted very quickly by our customers and that there’s a clear tendency to move faster in getting functionality up and running. The same trend goes for other modules – like press or finance – where efficiency and accuracy have never been as important as today.

Shotoku ups its panel game for 16 cameras by David Fox Sh o t o k u B ro a d c a s t Systems is showing its latest control system, which now offers customisable layouts and H D - S D I w i d e s c re e n options. The TR-T/HD touch control screen system and Shotoku’s new generation TR-S high capacity flexible control panel can both control up to 16 cameras. The TR-T system can control both Shotoku and third-party robotic camera systems, and provides HD-SDI video capture, so that users not only see thumbnail shot images, but also live video capture in its selected camera TRT mode. The TR-T/HD control panel integrates with most HDSDI video routers for capture card and preview monitor routing. It comes with a high-resolution widescreen VGA display using new Acoustic Pulse touchscreen technology. This is claimed to provide ‘exceptional accuracy and durability over many years of intensive use without ever requiring recalibraNow that both linear and ondemand broadcasters truly feel the direct ROI of adopting new revenue models, it is clear that the coming years will be very exciting. It will be an exciting time for MediaGeniX too, as the provider of the channel management systems that ties broadcasting with the office environment. The schedule created and maintained in the WHATS’On system has always been the driver for most of the processes within a broadcaster’s workflow. With the introduction of the BXF standard, schedule changes are communicated immediately to other software systems – like MAM or automation – and the information from these systems is returned to WHATS’On instantly. This makes it possible to finally set the responsibilities as they are supposed to be: the automation plays what is scheduled, the schedulers make a finetuned schedule and the ingest team

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The fat controller: Shotoku’s TRT widescreen panel can cope with up to 16 cameras

tion’. The system also has a completely configurable screen layout displaying the 16 cameras in any order and configuration. Its TR-S High Capacity Flexible Control Panel is an upgrade to the company’s TR-8S with the addition of new panel keys, clear, bright LED illumination displays, and a high contrast LCD that indicates the current status of all cameras in the system. New set-up facilities enable key features and performance characteristics to be modified from the control panel itself. The Type-S panel can be used with all Shotoku remote pan and tilt heads. 11.G30

Exhibitor Opinion

Gerrit Cornelis: ‘Embracing change is what makes profit possible’

provides the scheduled material. And this without compromising the broadcaster’s flexibility to change the schedule, in the scheduling system, minutes before broadcast. C re at iv i t y a n d f l ex i b i l i t y thrives when repetitive – but necessary – tasks no longer require human intervention to get done. This is why MediaGeniX has been working further on automating s e c o n d a ry eve n t , t ra i l e r a n d bumper scheduling. The broadcaster simply defines the rules; WHATS’On places these items on the schedule – fully automatically. For international broadcasters, we have also invested heavily in support for multi-language and multip l at fo r m p re s s d e s c r i p t i o n s, subtitles and audio. Also this year, IBC will prove again to be the place where one could learn about new technologies and how they may be turned into a revenue stream. 3C59

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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IBC honours child alert system IBC Awards There are few things more urgent than tracing a missing child. Aware of this, the Netherlands police agency Klpd wanted a means of getting messages out via every available channel. “Long term American research shows us that, of those children who are abducted and later found dead, more than 70% are killed within the first three hours,” explained Carlo Schippers of the KLPD national missing persons bureau. “Speed is absolutely our first priority.” Dutch communications specialist Netpresenter stepped up to the

challenge and, in a co-operative project, developed Amber Alert – a single point of access to push messages across all types of media. As well as alerting radio, television and the press, Amber Alert also delivers online messages to individuals and businesses who have registered for the service to computers, as SMS and instant messages, website alerts and RSS news feeds. The first time the system was used, the child was found within 45 minutes: employees of a fast food restaurant recognised the child from the alert message on the store’s digital signage screens. “Amber Alert allows us to alert the whole nation within minutes, giving us access to millions of

extra eyes and ears in those crucial first hours,” said Schippers. In recognition of the achievements of the Dutch Amber Alert system, IBC is presenting a special award. It will be given to Carlo Schippers of KLPD and to Frank Hoen, CEO of Netpresenter and initiator of Amber Alert Netherlands, during the IBC Awards ceremony tomorrow night. “T h i s s y s t e m h a s a l re a dy received recognition amongst international police services for being the most innovative alert system in the world,” said Schippers. “This IBC special award adds to that recognition from the international media and broadcast industry.”

Racing ahead with Sound Devices by David Davies Sound Devices digital recorders were utilised recently to record effects in both surround and stereo during production of a film focused on France’s Le Mans 24hour car race. C re at e d by NFL Films on behalf of car manufacturer Audi, Truth in 24 was shot in high definition and features a surround sound mix of the event, which included several pre-event races in Florida, California and Monza. To capture the sounds of the pre-races, lead sound mixer Kyle H a r t i g a n u s e d t wo S o u n d Devices 744T recorders as his multitrack, phantom power solution. His rig consisted of two 744T recorders, allowing for access to six channels of audio. Hartigan also employed Sound Devices’ 442 mixer for the micpre’s for 3/4 inputs on the 744T that didn’t offer phantom power. Later, when in France to begin capturing pre-event footage, Hartigan started to use the new 788T digital recorder. This device was deployed in conjunction with a Holophone H2 surround microphone. He ultimately spent three weeks in Le Mans capturing both the lead-up to the race and the entire race itself. A s t h e lead sound mi xer

Plug and glow: the new LED unit plugs into the back of the Paglight

PAG plugs LED conversion by David Fox PAG has introduced a new a plugin LED unit for its 12v broadcast Paglight. This adds to the versatility of on-camera lamp, which can already be converted from tungsten halogen to HMI. The LED unit has a smooth, even output of 900 lumens, which is focusable from spot to flood, and matches daylight colour temperature. The energy-efficient LED module consumes 11W, which means longer battery run-time, particularly if used with PAG’s new 190 Watt-hour Li-Ion battery, the PAG L190e. The battery’s five-LED display provides a prediction of remaining run-time, accurate to ten minutes, as well as indicating avail-

SGT enhances Veda Trackside: Sound Devices recorders were used to capture sound effects during production of Truth in 24

throughout the entire project, Hartigan and his four-person sound team captured most effects with stereo mics to Sou n d Devices’ 744T. The 788T was used to record the sounds of cars going by and the audience, giving viewers a realistic recreation of the event in surround sound. In total, five 744Ts and one 788T were used. Hartigan commented: “Sound Devices is defi-

n i t e ly my go - t o mu l t i t ra ck recorder. Its compact design made it easy to pass off to other mixers during shift changes – the combination of the 788T and the Holophone was the ideal solution for surround, on-location recording. I used it every day, everywhere I went, even in rainstorms – I literally recorded everything both on and off the track.” 8.E72

by Ken Kerschbaumer Among the new features of Veda Automation are a comprehensive, context-sensitive playlist editing (including audio shuffling); thirdparty graphics ActiveX management; and integrated browsing. Veda Automation client is SGT’s flagship product, complementing its flexible and powerful platform to manage workflows. The company says the development team put attention on its ergonomics and the overall presentation. The application is composed of 10 modules that can be organised to meet the user’s needs and allow tailoring the workspace through a graphical tool (a config-

Hall 3 Booth C

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There are many ways to communicate last-minute schedule changes

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able capacity as a percentage. The L190e measures 175x130x43mm and will be available in V-Mount and PAGlok formats. The PAGlok L190e can be f a s t - c h a rg e d u s i n g t h e n ew PAG l o k ve r s i o n o f t h e C u b e charger, a simultaneous charger that utilises PAG’s Intelligent Parallel Charging software, for efficient, high-powered charging (100W, 16.8v at 6A). The compact and lightweight location charger is suitable for all PAGlok batteries. Other PAG products making their first appearance at IBC are the PAGlok and V-Mount battery mounts for the Sony PMW-EX3 and the PAG L95e battery. 11.C30

uration with a double screen is also possible) “At this year’s IBC, we will place special emphasis on our Ve d a s u i t e V 1 0 a n d t h e n ew g rap h i c a l Ve d a c l i e n t ,” s a i d François Chiche, VP sales and marketing of SGT. “It is a major b re a k t h ro u g h a n d s o fa r we received great and positive feedback from customers, partners and prospects.” A l l f e at u re s a re b a s e d o n SGT’s technology platform that is known for highest reliability, upgradeability and performance. It offers new BXF interfaces and powerful web services. 2.B31a

Scheduling & content lifecycle for linear & VOD broadcasters, Telco’s & Platform Operators

MediaGeniX THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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Sematron quick to deploy FlashNet integrates with Final Cut by Ian McMurray On public show for the first time is the recently-announced CF100 quick deploy terminal from Sematron. Manufactured by Holkirk Communications, the ultra light 1.0 metre, fully auto pointing antenna follows on from the success of company’s flyaway, vehicle and roof mount antennas. T h e CF100 is designed to replace the use of maritime satellite-based equipment, offering, says the company, significantly lower operating costs, higher quality of service, and exceptional bu i l d q uality – but without detracting from its transportabil-

LA adds apt-X by David Fox Audio specialist Linear Acoustic is previewing a new version of its e-squared audio distribution system, which is capable of carrying up to 16 channels of full-bandwidth audio and metadata. With this latest version, esquared is said to offer improved performance by implementing the apt-X Live codec. This provides ‘dramatically increased error resilience and substantially lower latency, while continuing to support editing or switching at any

ity and ease of use. The antenna system weighs less than 32kg when packed into its aluminium suitcase, meaning that it can be transported worldwide without IATA export restrictions. A second identical case is required for the lightweight base band transmission equipment. These are highly configurable and can be supplied to operate for video contribution, data connectivity or defence applications. Sematron says that the CF100 takes less than four minutes to setup, point and acquire the desired satellite: no tools are required. 1.A62 location in the bitstream’. The e-squared format works with all video systems, thereby eliminating decoding and re-encoding between different formats. A GPI-controlled soft-bypass mode allows the system to be installed in series with other coding systems such as Dolby E to support legacy content. A software development kit (SDK) will be provided to allow OEM customers to incorporate a software version of the e-squared decoder into non-real-time products such as transcoders or server systems. 8.D29

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

by Farah Jifri Content archive and storage management software specialists SGL has unveiled integration with Final Cut Pro (FCP), which will allow operators to archive FCP projects from the Final Cut sever directly to its FlashNet archive. SGL is also demonstrating its Open System architecture, highlighting the substantial cost and workflow benefits that it claims for its fully accessible systems. SGL’s FlashBrowse II and XML-based API, are both being shown in Europe for the first time. FlashBrowse II is a client-based web tool with powerful attributes that allow FlashNet users to capture simple metadata and archive and restore media from many different forms of archive. A web browser-based system, F l a s h B row s e I I i s p l at fo r m agnostic, making it suitable for use within a Mac, PC or Linux environment. The system enables users to search for content held in the archive and view low resolution proxy versions without restoring the original material from the archive. FlashBrowse II also allows the user to search for content in the archive and in a wide range of supported broadcast video servers.

SGL’s FlashBrowse II supports both simple and advanced archive searches

T h e l at e s t X M L I n t e r f a c e being shown by SGL is lightweight and simple to implement, enabling third-party developers to avoid complex archive awareness. The socket-based API provides a robust and agile interface to FlashNet. Using standard XML, a full set of commands equivalent to the more traditional FlashNet API (FNAPI) is supported. As well as these latest developments, SGL is demonstrate its established FlashBox system.

Based on SGL’s FlashNet content archive and storage management software, and hardware components, FlashBox provides scalable disk and tape storage and 1,000 to 5250 hours of DV25 storage in a single appliance. When combined with FlashBrowse II, FlashBox makes an entry-level storage and content m a n ag e m e n t s y s t e m t h at i s equally suited to broadcast or post production applications. 8.B28c

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Softel highlights Cyclone, MediaSphere SGO releases Mistika 4.6 by Ian McMurray UK-based Softel is taking the opportunity at IBC to showcase the company’s broad range of products for subtitling and Teletext creation, encoding, repurposing and transmission, as well as solutions for opt cuing, signal processing and interactive TV application testing and delivery. As well as a first public demonstration of vFlex HD, the company is highlighting the latest generation of Microsoft Windowsbased Cyclone Teletext systems which Softel describes as a highly dynamic and scalable management and transmission solution for traditional Teletext applications. According to the company, Cyclone leverages the latest networking and internet technologies to offer high availability, remote editing and automated updates from external data sources, costeffectively supporting highly dynamic Teletext services. Additionally, it enables easy repurposing of content to the internet and mobile devices with data export in common formats. Cyclone also interfaces with the Swift family of products to enable Teletext subtitling.

Exhibitor Q&A Juergen Nies, head of broadcasting division, Rohde & Schwarz Has IBC come at a good time for the electronic media industry? Why? Definitely. The broadcast network operator has to keep up not only with the latest technology but also with the competition. In times of tight budgets, our customers have to take the matters of cost-of-ownership and energy efficiency very seriously. For example, our high-power transmitters are able to reduce energy consumption by up to 25% thanks to new amplifier technology and optimised cooling. What do you think are the key developments in, or threats to,

by Carolyn Giardina SGO has released version 4.6 of its Mistika post production system with integrated timeline based editing, conforming, compositing, colour grading and image restoration tools. M i s t i k a ’s l at e s t u p g ra d e includes realtime native support for most standard file formats and video codecs that are widely used in post. For instance, 4k R3D files can be graded in realtime with outputs to 2k and HD without the need for rendering or conversion. The R3D camera settings are also maintained, enabling it to be changed on a clip by clip basis at any time. The colour grading tools in

Softel’s vFlex receives its first public demo at IBC

Also on show is Softel’s MediaSphere, which is designed to enable broadcasters to fully exploit the potential for increased revenues and customer loyalty, through dynamic, interactive TV applications. An interactive television playout platform, the company says that it provides highly scalable application playout with support for multiplatform and middleware.

Softel says MediaSphere features a unique parallel multiformat playout capability and provides a flexible interactive platform that also enables cost-effective, rapid, application test and deployment with MediaSphere Lab. It supports all DTT, DSAT and cable interactive formats, including MHEG, MHP and OpenTV. 1.A29

your market sector at the current time? HD digital television is becoming the engine that is driving the broadcasting industry. To see pin-sharp images on the screen, numerous viewers acquire HDcapable flat panel displays. The new DVB-T2 standard will help terrestrial broadcast to support these flat panels with HD content and to keep up with satellite HD reception. Rohde & Schwarz is already prepared for the new DVB-T2 standard. Why should delegates visit your stand at IBC? At IBC 2009, we will present our broad product portfolio for DVB-T2, the state-of-the-art standard: Compared to DVB-T transmission, capacity is at least 30% higher. For network operators and manufacturers from the electronics industry, we already

There are many ways to let your on-demand services grow

38

Mistika have been enhanced in terms of functionality and speed, and includes the ability to grade 4k DPX images. Mistika has full control of colour spaces such as the logarithmic DPX RGB 4:4:4 for film laboratories or Tiff 16 XYZ for DCM mastering. Mistika’s new version includes stereoscopic 3D tools. Reported SGO: “The system now provides a workflow for the automatic control of both eyes in all post production areas, such as colour grading, compositing in a true 3D camera environment, eye distance adjustments, image restoration, quality recovering tools and separate rendering for each eye.” 7.C30

Peter Bruce takes charge of RF Extreme’s Asia office

RF Extreme expands in Asia

offer transmitters and T&M solutions for the new standard today. Plus, we will present a new VHF high-power transmitter and our low- and mediump owe r t ra n s m i t t e r s i n t h e outdoor shelter. 8.D35

by Ian McMurray RF Extreme has announced its expansion in the Asia market w i t h t h e a d d i t i o n o f i t s n ew re g i o n a l s a l e s h e a d q u a r t e r s located in Singapore. “Since the acquisition by Vitec in May of 2007, we have had a clear objective of improving our p re s e n c e i n t h e A s i a Pa c i f i c region,” said RF Extreme President, Stephen Shpock. “Our increased visibility has resulted in n o t o n ly exc e l l e n t bu s i n e s s g row t h – n o t ably i n Ko re a , China, Hong Kong, Philippines and Vietnam – but has also warranted further expansion via a permanent presence.” To lead its expansion into the

Asia market, RF Extreme has recruited Peter Bruce, who has worked in the region for almost 15 years and has an extensive background in the broadcast equipment market. The new RF Extreme Asia headquarters is located at Vitec’s Camera Dynamics existing regional office. The company says that the creation of the Singapore regional headquarters gives RF Extreme a true local presence, allowing for dedicated customer relations during local working hours. The new headquarters also provides further support to the Vitec regional office in Beijing, China. 1.B31

Scheduling & content lifecycle for linear & VOD broadcasters, Telco’s & Platform Operators 3 Hall h C59 t Boo

MediaGeniX THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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360 has HD to the Maxx by Adrian Pennington The 360 Systems Maxx HD range of high definition video servers made its debut last March. Since then, US sales of the company’s first HD product have been brisk, the firm says. “What customers are discovering is that the Maxx HD is in a class of it’s own among high definition video servers,” reported Jim Peacher, director of broadcast sales “We included an outstanding slow motion capability that broadened the utility of the server. For applications such as play to air, sports, display for exhibitions, and HD production, nothing rivals it in terms of quality and value.” Two models are currently available in the Maxx HD series. The larger Maxx-2400 HD features two record channels, four HDSDI output channels plus SD

monitoring, eight audio channels per video channel, 12TB of internal storage, and a package of production tools. Compatible with leading automation systems, it is said to be ideal for applications such as play-to-air, satellite ingest cache, graphics store, key-and-fill with graphics and remote production server. The smaller Maxx-1200 HD provides a single record channel, three HD-SDI output channels, optional HDMI outputs, eight audio channels per output video channel, four terabytes of internal storage, and the same production tools. The ability to simultaneously record, trim, and play a live feed – even at slow-motion – makes the Maxx-1200 H D a sound choice for live sports and event production. 10.A38

The Maxx HD server can simultaneously record, play and trim a live feed

RSG Media brings Logic to Rights The Cat’s whiskers: Draka Communications’s new Patch Pro Flex Cat.7a patch cable

Top Cat, the most effectual... by David Fox Draka Communications has introduced a new Cat7 patch cable that meets the stringent streaming demands of computerised workstations for a variety of recording or broadcasting environments. The cable has been developed in close cooperation with the connector specialist, Neutrik. The new Patch Pro Flex Cat7a cable has a single, highly flexible outer jacket and an increased size inner conductor of stranded 0.14mm twisted 2-core copper

Efficiencies of graphic control

wire to increase perfor mance while reducing attenuation. The cable has a ‘unique construction’ that makes it suited for stage, studio, as well as outside broadcast applications. It is made from PIMF Plus tinned braid and a robust black outer jacket made from a flexible Polyurethane of 6.4mm diameter. This combinat i o n o ff e r s a h i g h d e g re e o f robustness as well as high resistance to extreme temperatures and weather conditions. 11.B50

Exhibitor Opinion

The automation of television master control graphics brings significant cost savings, says James Gilbert, joint managing director, Pixel Power Most sectors of our economy have been affected by the current economic cycle, especially those involving the purchase of capital goods. We’re seeing lots of uncertainty in the market, yet I believe the underlying business drivers for our customers’ purchases hold true, and we’re certainly very busy. Typically, projects already started are being funded to completion with broadcasters keen to take delivery of the cost and efficiency savings involved. Other projects may be delayed as company boards think long and hard about the length and depth of the downturn before committing

funds. Of course, equipment still needs replacing and upgrading, and especially where running costs can be cut through innovation in technology, we’re not finding it difficult to make the case for change. Where governments have provided the stimulus for recovery, for instance at state broadcasters, spend is being maintained reasonably well. On the other hand, commercial broadcasters are seeing declining advertising revenues, as they are having to fight harder to attract loyal viewers and in turn the advertising spend aimed at reaching them.

These challenges bring with them opportunities for broadcast graphics products. First, significant cost savings can be made through the automation of master control graphics. We often find that investment in this area can deliver better than a 12-month payback for our customers, so investment decisions like this are easier to take, even today. A second opportunity for cost saving comes from what is often referred to as ‘channel collapse’. A typical transmission chain consists of separate units or stations to handle the various video and audio functions. Each of these

CineMonitorHD3DView HD SDI Field Monitor Embedded tools for 3D Anaglyph, Monochrome and Shutter Glasses modes.

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James Gilbert: ‘Customers will increasingly check the credentials of their suppliers for long-term support’

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by Ken Kerschbaumer RSG Media is demonstrating RightsLogic, a suite of integrated modules dedicated to managing intellectual property by capturing deal terms and processing their associated financials from inception to final use. RightsLogic is a browser-based system dedicated to managing the entire content lifecycle. Not only can users gain visibility into what programming assets are available, when, where, and over what platform, but they can manage their third party submissions, process all financials, and guide the programme sales process, according to the developer. The company says RightsLogic seamlessly integrates the legal, programming, sales, licensing, new media, finance, marketing and distribution functions; making the organisation more agile and effective to better manage the evolving media landscape. 2.C41 yet more power to keep them cool. By combining multiple functions in one unit: master control switching, graphics unit, audio processing, audio and video DFX, downstream keyer and so on, significant efficiency and cost benefits can be found. Finally, the competition for ad revenue means that broadcasters are constantly looking for ways to create high quality, consistent channel brands and branding graphics can offer a powerful and easily managed solution to channel identity. It’s often said that successful companies maintain their marketing spend through a recession but I also believe that companies should maintain their R&D spend as well. We are spending increasing amounts on our core technology and continuing to develop technology for the next range of products. For instance, BrandM a s t e r. o u r n ew b ra n d i n g switcher being given its first European showing at IBC this year, is the result of two years effort. IBC is a great chance to get together to see the latest products and to take the time to discuss our industry issues. The key issues for broadcasters today continue to be content and delivery, the latter by the most effective platform available at the time. At present, this remains the digital terrestrial platform since some of the vaunted new business models such as ‘content to mobile’ and IPTV have not yet demonstrated a successful revenue stream. 7B 30

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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theibcdaily In Brief FilmLight shows its Baselight grading with Avid integration FilmLight is demonstrating interoperability between its Baselight colour grading system and Avid editing systems, with an offline and online workflow for both video and file-based acquisition using various of formats. The demo is enabled by Filmlight’s newly-developed Baselight Kompressor technology. Essentially colourists gain access to centrallystored media – whether on an Avid Unity Isis or Apple XSan – to grade and write clips in their native format. Able to read and exchange AAF or XML sequence information, Baselight can therefore function as a component of a collaborative workflow. This system can also be used with FinalCut Pro workgroups. “Integration is key. Workflows and formats are changing all the time, and it is necessary for tools to work well together. Above all, it should be easy and transparent for the user,” said FilmLight sales director, Mike Grieve. “This new system saves time, storage space and costs.” 7.F31

Signiant launches CDM content exchange v8.2 Signiant is demonstrating how the latest version of its CDM software enables both businesses and individuals to exchange large amounts of content quickly and easy, while maintaining enterprise level security. CDM v8.2 includes significant enhancements particularly within the Media Exchange tool, enabling organisations to set up secure relationships with third party companies to facilitate free exchange of content. Another key feature, Media Exchange Publish Point, brings the power of Signiant to individuals such as independent filmmakers to collaborate with others around the globe on an ad-hoc basis, securely and affordably. CDM v8.2 also features advanced business to business management capabilities which will enable multiple corporations to link their media automation processes. IP741

OmniTek debuts advanced audio support by Carolyn Giardina Test and measurement manufacturer OmniTek is showing new features including enhanced audio support with AES input, surround sound displays, and a full Dolby E decoding package for the OTM 1000 and OTR 1003 advanced 3Gbps video test and measurement products at this IBC. “The new audio enhancements to the OTM 1000 and OTR 1003 mean that these systems are 100% ready for use in mainstre a m broadcast signal monitoring,” said Mike Hodson, presiden t o f OmniTek. “With support for external AES-3 inputs, plus a built-in Dolby E decoder and surround display, the products are perfectly at home in OB, master control, or studio engineering environments.”

OmniTek emphasises that the OTM 1000 and OTR 1003 syst e m s p rov i d e u s e r s w i t h a n upgrade path from SD to HD to 3Gbps SDI for mats, through downloadable software packages. “We’ve already sold many of these systems to research labs for development of 3Gbps infrastructure equipment, but now the time is right for the world’s major broadcasters to take advantage of the flexibility of the OTM 1000 in regular studio applications,” Hodson related. “Audio monitoring is an absolutely critical part of the QC process, and the OTM 1000 and OTR 1003 products provide the complete toolset necessary to be able to assess broadcast signals at every level from physical layer to video and audio payloads and metadata content.”

Now with added audio support: the OmniTek OTM 1000

Also at IBC, OmniTek will demonstrate new SD, HD, and 3Gbps physical layer eye and jitter measurement functionality. The

latest versions of OmniTek XR, TQ, LAB and PQA products will all be on display at the show. 6.C10

Tieline Technology reveals its IP codec for links by David Davies New from Tieline Technology is the Bridge-IT stereo IP codec for main or backup studio-to-transmitter links, audio distribution and simple remote broadcast links. Bridge-IT has an SD card slot for failover playback of prerecorded audio, and the unit’s user-friendly menus can be fully programmed using front panel hardware that includes a keypad and LCD display, or by using a web interface. It is designed for desktop use or two units can be installed side-by-side in a purposebuilt 1RU mounting bracket. The new codec comes with a range of high performance broadcast algorithms plus optional AAC LC and AAC HE. Standard

algorithms include 16-bit 22kHz linear audio at less than 12 ms encode delay for uncompromised audio, G.711 G.722, MPEG Layer 2 and Tieline Music. The Tieline MusicPLUS algorithm also provides 22kHz mono, dual mono and stereo with 20ms encode delay at under 100kbps. Bridge-IT is said to have all the broadcast input connectors to be expected on a fully-featured codec. Simultaneous anal og u e a n d d i g i t a l A E S / E BU audio outputs are provided on XLR connectors and the device includes a 6.35mm stereo headphone output. “Tieline’s new Bridge-IT IP codec is the perfect solution for low cost, point-to-point IP audio links,” said Darren Levy, Tieline

Spanning the industry: the new Bridge-IT IP codec from Tieline

Technology’s international marketing manager. “Bridge-IT will deliver studio quality audio over a variety of IP data networks such as wired and wireless WANS, LANS, the internet, satellite IP,

German broadcasters embrace Ceiton MAM by Ken Kerschbaumer Three German broadcasters have chosen the Ceiton Techologies Workflow System Version 4 to serve as the backbone for their production control and asset management. The system was introduced at NAB and is just now available in Europe.

Leading the charge in Germany is MDR, Mitteldeutscher Rundfunk, Leipzig. MDR (Central German Broadcasting/ARD) has been using Version 3 of the system for a number of years now and is now upgrading to Version 4 to take advantage of the new features.

In Berlin RBB (Rundfunk Berlin-Brandenburg) is rolling it out in Berlin and Potsdam before the end of the year to bring RBB’s production control and accounting to the state-of-the-art. And in Cologne WDR (Westdeutscher Rundfunk), Europe’s second largest European broadcaster, is

Wi-MAX and Wi-Fi.” Among other developments, Tieline is also demonstrating a prototype of the new G5 rackmount audio codec at IBC2009. 8.E75 presently rolling out Version 4 in all 11 of its regional studios and is working on introducing it to broadcast headquarters. The company says many other requests from customers have already been received so that, despite the slackness of the economy, Ceiton will book record revenues this year and is very confident looking forward to 2010. 3.A60

Delivering next-generation audio for HD, online and on-the-go. Find us at IBC 2009, Hall 2, Booth B28 Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. All other trademarks remain the property of their respective owners. © 2009 Dolby Laboratories, Inc. All rights reserved. W09/21715

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THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Bright presents latest in file-based recording

In Brief ScheduALL for Arqiva ScheduALL recently announced that Arqiva, which provides the bulk of infrastructure behind television and radio transmission in the UK, is using ScheduALL’s ScheduLINK transmission management and optimisation software to streamline the booking and allocation of resources for ad hoc and nonpermanent satellite and transmission services around the globe. Employed in Arqiva’s occasional use and SNG business, as well as its numerous studios and OB units, ScheduLINK says that its software simplifies the coordination and provision of transmission packages, allowing the company to better determine when to own or buy a resource. 1.B39.

Compact TV Activa Multimedia’s IBC stand is focusing on Compact TV, a system for production and digital archiving that handles ingest, video editing, assets management, archiving and playout. It allows users to reduce the time of production, to increase the quality of the produced material, and to optimise the use of the archive, says the developer. The system includes tools for the contribution of video content in the formats supported via IP networks. The module is made up of a client application that supports transcoding processes and prepares content for broadcast over a network. Compact TV can also edit the video while it is being recorded or taken in and a number of people can work simultaneously on the same content. 2.A50

The ProQ DTV IFB receiver is highly compact

Digital interruptible feedback system by Ian McMurray Nucomm, part of The Vitec Group’s RF Extreme business unit, is showcasing its ProQ digital IFB (Interruptible Feedback) system. The ProQ Digital IFB system comprises the ProQ DTV IFB Receiver and ProQ Low Latency Audio Multiplexer (LLAM). The system, says the company, is ideal for providing a low latency IFB audio path to the ENG/OB users. The system provides additional features such as field tally indication and truck remote controls. Once received, the DTV signal can be monitored through a DVB-ASI output or streamed over an IP connection to a laptop or other IPenabled device for analysis or confidence monitoring. The system allows users to send audio cueing over the DTV signal and features a dual diversity UHF/VHF receiver utilising the latest sixth generation VSB demodulators. Following on from the success of the VSB-based solution in trials in the domestic USA, Nucomm

has recently announced plans to investigate options for DVB-T, DMB-T and DAB demodulators, thus allowing versions of the ProQ system to be used by customers with access to an appropriate digital broadcasting platform in many international markets. According to Nucomm, the ProQ DTV IFB receiver is ideal as an IFB solution for ENG users during DTV transmission, monitoring of DTV signals through a DVB-ASI output, and streaming video over an IP connection to a laptop or other IP-enabled device. It is highly compact, at 12.7 x 4.5 x 21.6cm, and currently features dual UHF/VHF antennas, two advanced silicon tuners and sixth generation VSB demodulators. Featuring the ability to multiplex up to eight IFB channels while only occupying 200kbps of the ATSC signal, the ProQ LLAM single-rack-unit supports up to eight GPI signals to provide functions such as tally light control. 1.B31

customers to achieve by Carolyn Giardina the best possible IBC is hosting the client and operator European launch of experience with best Bright Systems’ of breed applications BrightDrive G2 fileat the lowest total based recording sysoperational cost,” tem, incorporating said Antony Harris, the company’s BrightCEO of Bright SysClip recording techtems. nology. BrightDrive G2 is BrightDrive G2 is compatible with leadan open-architecture ing file-based media system designed to applications and file bring workflow effiformats, and can supciencies to the enterport file-based worktainment industry by flow for areas eliminating the need including commerfor localised storage cials, animation, DI, a n d e r a d i c at i n g lengthy and unpre- A bright idea: the BrightDrive dailies and visual effects. Further effidictable performance G2 is open architecture ciency gains are m a i n t e n a n c e ro u tines. With the technology, teams made with the BrightClip Accelerof operators in areas such as DI ator API now supported by many and visual effects have realtime post applications from companies access to media, meaning that including Digital Film Technolot h e y c a n s h a re a n d wo rk o n gies, DVC, da Vinci, LaserGraphics, FilmLight and Arri. media simultaneously. “The new functionality enables 7.J39

Blackmagic’s mini adventure by Carolyn Giardina Blackmagic Design is shipping three new mini converters: Mini Converter SDI to audio, Mini Converter audio to SDI, and Mini Converter optical fibre. Mini Converter SDI to audio de-embeds audio from the SDI

What's on the IBC Big Screen

For the latest visit:- www.ibc.org 2008 THESE EVENTS ARE FREE TO ALL 17.00-18.00 PS TECHNIK Digital Capturing with WEISSCAM HS2 and SI-2K Digital Cinema Camera System Friday 11th Sept 14.00-15.00 CHRISTIE Come and see the latest in control room displays. 15.30-16.30 ARRI Presents examples of where and how it’s state of the art technology has been applied.

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Enjoy the latest productions with the advanced WEISSCAM HS-2 and the “Slumdog Cam” SI-2K on IBC’s Big Screen during this session. Saturday 12th Sept 12.00-12.30 EUTELSAT A “best-of” including extracts from the Julien Clerc concert, broadcast live to cinemas across France.

13.00-14.30 ROCKET SCIENCE: ASSIMILATE & RED. 15.00-16.30 ARRI Presents examples of where and how it’s state of the art technology has been applied. 17.00-18.00 PS TECHNIK Developing the 3rd Dimension International stereographers share their experiences and philosophies with you in the ‘show and tell’ environment of the IBC Big Screen Cinema during this session.

18.30 (doors open at 18.15) SPECIAL SCREENING Monsters vs Aliens – in Stereoscopic 3D ‘Courtesy of Dreamworks Animation’ Monday 14th Sept 18.30 (doors open at 18.15) SPECIAL SCREENING Ice Age: Dawn of the Dinosaurs – in Stereoscopic 3D ‘Courtesy of 20th Century Fox’

input out to either four channels of balanced analogue audio or eightchannels of AES/EBU digital audio. Audio can be switched between analogue and digital audio. SDI input video features a loop-thru output for connection to other SDI devices. Mini Converter audio to SDI allows embedding of audio into SDI video connections. SDI loops though, and four channels of balanced analogue audio or eight channels of AES/EBU digital audio can be embedded. Any audio channel can be selected, and enabled or disabled. Full sample rate converters are included on e a c h A E S / E BU a u d i o i n p u t . According to Blackmagic, loop through SDI allows video daisy chaining with multiple devices for additional audio channels. Mini Converter optical fibre converts bidirectionally between SDI and optical fibre cable. It auto switches between SD, HD and 3Gbps SDI. Using standard LC connectors, cable runs of 25km can be achieved in HD and 45km in SD. These three Mini Converters join a product family family including: SDI to analogue, analogue to SDI, SDI to HDMI and HDMI to SDI, plus a sync generator. M i n i C o nve r t e r s i n c l u d e redundant SDI inputs, quarterinch jack audio connections and an international power supply. All new Mini Converters are now shipping and available for $495. The sync generator lists for $295. 7.B21

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

ibc2009exhibitorlisting andfloorplans

(correct as of 11 August 2009)

Halls 1, 2, 3, 4, 5 & 6 page ii • Hall 7 page vii • Hall 8 page viii • Halls 9, 10, 11 & 12 page ix Exhibitor listing starts page iv

Digital Signage Zone

The Big Screen Experience including Digital Cinema

Management Systems Integration & Consultancy Playout Automation & Server Applications Media Asset Management Post Production & New Media

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THE IBC DAILY 2009

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6C

HALL 3

GRUPPE

1.C30

1.A30 3.C59

L

3.C61

1.B35

1.C33

5.C39

1.B39

1.C35

Humax Electronics Co. Ltd 5.B40

1.36 1.D39

1.A39

1.E36

ASTRA 1.C51

2.C33 2.C40

Vislink

2.A48

2.A49

2.B49

1.D61

1.C61

arqiva

1.F71

2.A50 1.A62

2.C58

1.F73

4.B79b

4.B79c

4.B79d

4.C81

4.C85

1F

Intelsat

Cisco

1.C71

1.D71

4.C88

4.B80

4.A80

4.C87 4.C89

1.D70 4.A91

GRUPPE

4.B91

4.C98

GRUPPE

GRUPPE

GRUPPE

GRUPPE

GRUPPE

1.B79

ee

ee

1.D72

1.A78

GRUPPE

HALL 2

GRUPPE

Walkway to Halls 12-8-9-10-11

4.B79e

4.B89

1.A71

1.A76

First Floor Restaurant

4.B79a

1.B71

1.A74

2.C59

4.B78 4.A79

NDS GRUPPE

2.C57

2.A58

1B

1A A

2.C53 2.B59

4.C75

4.B81

1D

2.C51

2.C50

2.A51

4.C71

4.C74

1.D68

1.D69

1C

2.B51

For-A

2.A54

4.C70

4.C79

L

1.B61

Restaurant

4.B75

4.B70 4.A71

Harmonic inc.

2.C49

2.C48

ee 4.B71

4A

2.B40

1.A61

2.C41

2.B41

4.C67

4.C60

4.B68

Tandberg Television / Ericsson

2.C39

2.A40 2.A41

4.B61

4.B60

1.A58

2.B39 2.C42

4.C63

4.A61

2.C37

HALL 4

4.C58

4.B58

1.C55

IBM 2.A31

2.A30

WC WC

4.C59

4.B55

1.F58

1.D59

1.B51

Y

4.B56

1.F59 4.A59

Eutelsat Communications

1.A59 2.C31

The IBC Pub

1.F55

(SES ASTRA S.A.)

2C

2B

2A

2.B31

4.C55 4.C57

GRUPPE

2.A28

1.A54

1.A52

4.C53

1.F50

1.A51

4.A57

2.C29

2.B28

4.C56

4.B53

GRUPPE

2.A29

4.B54

1.D51

1.C49

1.A50

2.C25

4.A55

1.F51

1.F48

GRUPPE

2.C28

p it GRUPPE

2.C23

2.B21

4.C50

GRUPPE

1.B41

2.C24

2.B20

4.B51

GRUPPE

2.A21

2.A20

4.B50

4.C51

1.A46 2.C21

2.A24

Ceva

4C 4.A51

1.C41

2.C19

4C

2.C18

GRUPPE

2.B19

4.C48

4B

4A

1F

1.F49

GRUPPE

ee

2.A19

1.F47

1.A49

2.B18

GRUPPE

1.F40

1.D41

1.B40

GRUPPE

Microsoft

4.B49

4.C49

1.A44

2.C15

4.C44 4.C47

4.B48

1.F41

1.A41

2.C10

4.B45

GRUPPE

2.B11

4.A49

G

4.C45

4.B46 1.D38

1A

lift / Elevator

1.A40

2.C11

2.B10

2.A11 2.A18

Ceva 4.C41

5.A45

GRUPPE

2.A10

ee

5.B41

5.A41 1.E34

1.C39

Topaz Lounge (Upstairs)

5.C37

GRUPPE

3.B67

5.B38

5A

3.B61

3.B62 3.A65

5.A35

L

1.E30

1D

1B

3.B60a

3.A68

5.B30

1.A31

1.A32

1.A34

1.D35

1.C31

1.B33

1C

3.B60

3.A60

5.A31

1.C29

3.B59

3.A58

1.F33

5C

1.B31

3.C50

3.A56

Topaz Lounge (Upstairs)

1.F31

5B

3.B58

4B

3.A59

3.A54

HALL 4

1.F85

1.F81

GRUPPE GRUPPE

L7

GRUPPE GRUPPE

buizenpost

ES

1.A81

1.F89

IBC OFFICE

GRUPPE

Café D.E WC WC Reception

1.A91

1.A97 1.A99

1.B90

1.B91

1.C90

ee GRUPPE

Visitor Registration & Exhibition Entrance

OE340

1.D81

GRUPPE

kast

GRUPPE

kast

OE300

1.C81

1.B81

1.E88 GRUPPE

G WC

GRUPPE

1.A80 rolluik

Servicedesk

kast

1.E80

Open TV

1.C93

1.C95

1.D91

HALL 1

1.D93

1.D95 1.E90 1.E95

1.F90

Restaurant

ee

OE320

OE330

Taxi arrival & departure

Outdoor Exhibits Taxi Waiting Zone

Key WC

Toilet

WC+

Toilet with handrails

OE390

Colour Key

REGISTRATION

Buffet

FOOD k ee ES org.

Kiosk Emergency exit Exhibitor services IBC2009/10 Organisers office

ec L

Booth catering Lift

G

Cloakroom Cash dispencer Parking / garage entrance Fire hose, fire alarm

€ P

ADDED VALUE ATTRACTIONS

TRANSPORT

F

II

THE IBC DAILY 2009


theibcdaily

NEW

STAND 3:B67

• 3-screen delivery of interactive rich media • quantum leap for subtitling productivity • web tools and more for teletext

INTERACTIVE TV

SUBTITLING

TELETEXT

K^h^i jh ^c =Vaa &! HiVcY 7&.

THE IBC DAILY 2009

www.sysmedia.com

III


theibcdaily

ibc2009exhibitorlisting 1080DOTS.COM 2020 3D MEDIA 27M 2connect – IT 2WCOM 360 Systems Broadcast

A

DS12 3.D03 3.C20 4.C75 8.E78 10.A38

A&C 11.E10 Aastrolight 11.G61 Aaton 6.A18 Abakus 11.G29 ABE Elettronica 8.D23 Abel DRM Systems 1.E95 Abit 8.A28a Accedo Broadband IP621 Ace Marketing 6.A29 Acetel Co 3.C41 Acorde 3.A40 ACS France OE104 Actia Sodielec 8.E43 Activa Multimedia 2.A50 ACTIVE CIRCLE 2.B39c Actus 2.A20 ADB Lighting Technologies 11.B68 Adder Technology 7.B33 ADI Video Technologies 5.A03 Adobe Systems 7.H23 Adtec Digital 1.D01 Advanced Broadcast Components 8.A19 Advanced Digital Broadcast – ADB 5.B48 Advantech Wireless Broadband 1.A11 AEQ 8.C53 Aeta Audio Systems 8.D70 Agama Technologies 4.A55 AIB (Association for International Broadcasting) 11.F02 Air Sea Land Gear 11.B89 AirTies Wireless Networks IP303 AJA Video 7.F11 Ajimi 5.B17a Akamai Technologies 7.K10 Alan Dick Europe 5.C02 Albiral Display Solutions 9.E35 Albis Technologies IP612 Albrecht Elektronik 10.A40 ALFACAM Group OE401 Allegro DVT 1.F90 Alpermann+Velte 9.E28 Altech UEC 4.B50 Altera 10.A10 Altermedia 9.C44 Alticast Corp 1.C35 Amberfin 7.A08f Ambient Recording 8.D79 AMD 7.H32 Amino Technologies 5.B40 Amos – Spacecom 1.C36 AnaCom 1.F41 Ancor 2.B31h Anevia 4.C56 ANNOVA Systems 10.D15 Anritsu 1.F29 ANT Group 8.C16 Antenna Research Associates (ARA) 9.E14 Antik Technology IP632 Anton/Bauer 9.D28b Anystream 1.C31 AP ENPS 7.D31 Apace Systems 7.K27 APANTAC 8.A98 APEXSAT 2.C59 Appear TV 1.A59 APRICO Solutions/My Personal TV DIGITAL by Philips and Axel Springer 2.C58 APTX 8.A28b ArabSat 5.A19 Arbor Media 7.G15b Ardis Technologies 7.D12

IV

ARET video and audio engineering 10.D51/OE409 ARG 6.C28f Argosy 10.D55 Arion Technology 4.A79 arqiva 1.B61 ARRI 11.F21 ARRIS 1.F40 Artel Video Systems 8.E37 ASC Signal 1.E80 ASL Intercom 11.F58 Aspera 7.G11 ASSIMILATE 7.K01 ASTRA (SES ASTRA) 1.B51 ASTRO Design 11.D45 ATEME 1.D70 Atempo 7.K25 ATTO Technology 7.F41 Audemat 8.B58 Audio Developments 8.E87 Audio Ltd 8.D97 Audio-Technica 8.D78 Autocue 11.F71 Autodesk 7.D21 Autonomy Virage 1.A74 Autoscript 9.D28e Avanti Communications Group 3.C31 Avatar-M 7.A08e Aveco 3.B50 Avid 7.J20 Avinity Systems (Active Video Networks) 5.B46 Avitech International Corporation 11.E78 Aviwest 5.C25 AVL Technologies 5.A49 AVP Europa 10.E59 AVT Audio Video Technologies 8.E91 AWEX-Wallonia Foreign Trade and Investment Agency 10.D29 AWOX 2.C25 Axcera 5.C44 Axel Technology 8.E16 Axon Digital Design 10.A21/10.B21 Azden Corporation 8.B92 Azure Shine International 6.A29d

B

B&H Photo Video, Pro Audio 10.A01 B21C 3.D06 Barco 1.B33 Barix 8.A38 BBC Research & Development 3.D09 BCE – Broadcasting Center Europe 5.C41 beeTV IP603 Beijing Feiyashi Technology Development 11.B53 Beijing Gefei Tech Co 8.A86 Beijing Phylion Battery Co 11.B12 Beijing Secnovo Co 11.A61 Bel Digital Audio 9.A59 Belco 8.A72 Belden 1.C21 BES and Media Products 10.C51 Best Boy 11.G35 BESTV 4.C50 beyerdynamic 8.D61 BFE Studio und Medien Systeme 9.E30 Bigband Networks 3.A25 Binocle 11.C60b Black Box Network Services 7.A11 Blackmagic Design 7.B21 BLANKOM Digital 1.F51 BLT Italia 8.A68/OE165 Blue Order Solutions 3.C40 BlueArc Corporation 7.C11 Bluebell Opticom 3.A68 Bluefish 444 6.A19 BlueShape 9.D50 Bluestreak Technology (Canada) IP613 bmcoforum M101

BNT Priboy 1.A97 BON ELECTRO-TELECOM 11.A60 Boom Audio & Video 11.C60a BOSCH Communications Systems 10.F38 Bradley Engineering 11.B39 Breeze Technologies 4.B79d Bretagne International 5.B17/8.E29 Brick House Video 8.B61 Bridge Technologies 1.A30 Bright Systems 7.J39 BrightSign DS5 British Kinematograph Sound & Television Society (BKSTS) 8.B95 Broad Telecom (BTESA) 8.D20 Broadata Communications 8.E79 Broadband Network Systems IP712 Broadcast Bionics 8.A20 Broadcast Electronics 8.C91 Broadcast India 2010 8.F58 Broadcast International 1.F59 Broadcast Microwave Services Europe 5.B30 Broadcast Pix 7.A15 Broadcast RF 1.F73 Broadcast Solutions 8.A22 Broadcast Solutions OE130 Broadcast Traffic Systems 3.B21 Broadcast-Associes 2.B31c Broadcom Corporation 5.A10 Bron Elektronik 11.G58 Bryant Broadcast 9.D55 Building4media 7.J30 Bulcrypt 4.C98 BW Broadcast 8.E71

C

C & E Cast Co 3.A39/5.A31/5.B19/11.B70 Cabot Communications 1.F48 Caldigit 7.D03 Calibre UK 8.A28c Calrec Audio 8.B81 Cambo 11.E51 camRade 11.B40 Canford 9.E10 Canon Europe 11.E50 Carl Zeiss 11.C67 Cartoni 11.C30 Castis Co 2.C24a Cavena Image Products 2.A49 CCBN2010 8.F56 CCG 7.H47 Cedax 2.B31l CEITON technologies 3.A60 Celco 7.F45 Celeno IP551e Centron Communication (Xiamen) Co 6.A29b CET Teleport 3.C51 Chengdu KingType (KT) New Hi-tech 5.C49 Chenzhou GOSPELL Digital Technology Co 3.A30 China Farseeing Co 11.F83 China Ruige 9.C50 Christie 11.F61 Christy Media Solutions – Broadcast Recruitment Specialists 6.B22 Chyron 7.D11 Cine 60 11.B31 Cine Power International 11.F11 Cinegy 7.A31 Cinegy 7.A43 Cinetech Italiana 11.D41 CINE-TV broadcast systems 10.D28 Cintel International 7.B35 Cisco 1.D71 CityTek Co 11.A20 Civolution 5.B18 Clear-Com 9.E20b Clipway 7.G49 Clonwerk OE164 Clyde Broadcast Products 8.C01 CM M111

Cmotion 11.C25a Cobalt Digital 8.A94 Cobham Broadcast 1.F71 Cobham Satcom 4.C55 Codan 5.C29 Colem 6.C28a Commonwealth Broadcasting Association 10.A02 Communications Research Centre 3.D02 Compunicate Technologies 4.B71 Comrex 8.A17 Comtech EF Data 1.B11 COM-TECH High Freq and Broadcast 8.C25 Comtrend Corporation 4.C89 comvenient & Co KG 4.A57 Conax 1.A31 Concurrent 5.B16 Conducfil 8.E77 Cooke Optics 11.D10 Coolux 11.E80 Coreel Technologies 2.C39 Coretrust 5.B19b Coship Electronics Co 3.C35 Cotech 11.A54 Courtyard 8.E49 CP Cases 9.E41 CPAC Imaging 6.C22 CPI International 1.B41 Createcna 7.G47 Crystal Vision 2.B11 CSTB Russia 10.A03 CTE Digital Broadcast 8.C38 CTM Debrie 7.F30 Custom Consoles 8.B15 CYGNUS SYSTEMS 1.F15 CYTAGlobal 5.A41

D

D&R 8.C70 D.I.P. 7.D01 da Vinci 7.D08 Daktronics 11.E81 Dalet Digital Media Systems 8.B77 Dan Technologies Group 8.B51 Darim Vision 3.A51 DataDirect Networks 7.J19 Datavideo Technologies Europe 7.E29 DAVID Systems 7.G33 Dawson OE142 dB Broadcast 10.A28 DB Elettronica Telecomunicazioni 8.D17 DCA 7.D07 De Sisti Lighting 11.D50 decontis GmbH M201 Dedo Weigert Film 11.F30 Dega Broadcast Systems 7.G09 Denoo Technology Co 3.A01 DekTec (Dektec Digital Video) 2.A41 Delec Audio und Videotechnik 10.B31 Delta Meccanica 8.E47 Deltacast 10.D10 DEV Systemtechnik 1.D91 devolo IP311 DFT Digital Film Technology 7.E39 DHD 8.A50 DiBcom M251 dicas 1.A80 Dielectric 8.D73 Digidia 8.E29a Digigram 8.C52 Digisoft.TV IP522 Digital Rapids 7.G41/IP511 Digital TV Group 5.A45 Digital TV Labs 2.C29 Digital Vision 7.A23 Digital Zone Co 5.B19f Dimetis 3.B41 Discovery Reply 10.C41 DiscVision 4.C81

DK-Technologies DMT DNF Controls Dolby Doremi Technologies Double D Electronics Doughty Engineering DPA Microphones Draka Dreampark DSPECIALIST DTS Licensing Dtv group, University of Turku Duplidata Dutch Media Hub DVB DVC Digitalvideo Computing DVEO division of Computer Modules DVLab DVS Digital Video Systems Dynacore Technology Co + DST TL

E

e2v EBH Radio Software Echolab EchoStar Europe ECRIN Systems Eddystone Broadcast Edgeware Edirol Europe Editshare Eela Audio Egatel Egripment B Elber Elecard Electronics Research Inc (ERI) Electrosonic Electrosys Element Technica Elettronika Elgato elQuip AVM Advies BV/ Boxx/GlobalStreams/ Camlinx ELTI Elvia – Pro eMotion Engines EMS Technical Personnel Enco Systems ENENSYS Technologies Engstler Elektronik Entwicklung Ensemble Designs EnterpriseData Technologies Entone Envivio EPAK Ericsson/Tandberg Television Espial Etere ETI Software Solutions ETL Systems ETSI Euphonix Eurogrip Technics European Broadcasting Union (EBU) European Reseller Eurotek EuroTel Eutelsat eventIS Eversat Evertz Microsystems Evoxe – Newsroom EVS Exanet Exir Broadcasting Explorer Cases by GT Line Expway

8.E60 8.C49 11.F80 2.B28 10.B10 1.F58a 11.C58 8.C90 11.B50 4.B70 8.E69 8.D91 2.A24 7.J03 3.B13 1.D81 6.A14 2.C33 5.C06 7.E21 11.C74

1.A78 8.C10 10.D30 4.B54 5.C23 8.B28b 4.A59 7.K30 7.D22 8.D71 8.D11 11.D20 8.C11a 7.D20 8.E27 3.B19 8.C37 11.A52 8.D27 7.J05 10.F33 8.C30 9.D40 8.A28d 1.B09 8.B28a 5.B17b 11.G89 8.B91 4.C58 IP701 1.D72 2.C37 1.D61 5.A18 8.B89 IP421 4.B60 2.C15 7.G34 11.D80 10.D21 8.A28f 1.C33 8.B30 1.D59 4.B80 1.A52 8.B40 3.B05 8.B90 IP551d 8.D90 11.A15 M204

THE IBC DAILY 2009


theibcdaily Exterity Eyeheight eyeon Software Inc. EZ FX

IP622 2.C48 7.C21 11.A32

F

F.A.Bernhardt, FAB 2.A21 Facilis Technology 3.B03 Factum Electronics 8.C92 Fairlight 7.D10 Falcon Eyes 9.C42 Fast Forward Video 10.F35 Fiberfox 11.G59 FileCatalyst 7.J41 FILMGEAR (International) 11.F50 Filmlight 7.F31 Filmtechnic Europe Camera Support 11.E87 Fischer Connectors 11.E40 Focal Press 5.C11 Focal Professional 8.A02 Focus Enhancements 9.D41 For-A 2.A51/2.B59 Fora d.o.o. M222/IP314 Forbidden Technologies 7.A08c FORTIS 5.A31e/5.C12 Foxcom 1.B90 Fraunhofer Alliance Digital Cinema 8.C81 Front Porch Digital 7.B15 FujiFilm Recording Media 11.A21 Fujinon (Europe) 11.C20 Funke Digital TV 3.C46 Furukawa 11.A38 Fuzhou F & V photographic Equipment Co 6.A29e FX-Motion 11.G78

G

G&G Tape Check 9.E29 Gazprom Space Systems 4.C51 GD YIYING (HONG KONG) Co 11.B81 Gearhouse Broadcast 10.B29 Gee Broadcast Systems 7.A39 Gefen 7.B31 Gekko Technology 11.F75 Gemalto M211 Genelec 8.C58 General Dynamics SATCOM Technologies 1.A41 Geritel Giomar 8.A44 Ghielmetti 8.C79 Giga Communications 1.D41 Gigawave OE100 GkWare 2.C51 Glensound Electronics 8.E89 Glidecam Industries 11.G45 Global Distribution 7.C29 Global Invacom 4.B61 Global VSAT Forum 1.A76 Globalsat International Technology 3.A21c Globaltt.com 1.F33 GlobeCast 1.B40 Globecomm 5.B11 GoBackTV IP401 Goldsmiths, University of London 3.D04 GooMe Interactive 5.A01 Grass Valley 1.E02/1.D11 Guntermann & Drunck 5.C30 Guramex 9.A51

H

Haivision Systems IP702 Hamlet 9.E13/9.E21 Hans H. Plisch & Co 8.B37 Harmonic 1.C61 Harris 7.G20/7.G23/OE330 Hawkeye 5.C21 Hawk-Woods 11.A76 Headroom Broadcast 2.C57 Hego Group 6.C19 Hellas Sat Consortium 4.A71 HFR 5.A31b HHB Communications 8.E54 Hi Tech Systems 10.A49 Hiltron 4.B89 Himega Information Technology Co 3.A21b Hispasat 1.A34 Hitachi Kokusai Electric Europe 11.E79 THE IBC DAILY 2009

Hitron Technologies (SIP) IP722 HME 8.E99 HMS 8.B11 Homecast 4.A61 HoseoTelecom Co 3.B59 HTTV 1.C93 Hualin Broadcast System Engineering Co11.D11 Humax Electronics Co 5.B41

Korea Digital Convergence Association (KODICA) Kroma Telecom Kronomav Ksoft K-Tek Kupo Co Kvant-Efir

I

L

I.S.P.A. – Group 9.E12 IABM 8.F50/8.F51a/8.F52/8.F54 IBC Partnership Village 8.F51 IBC Production Village 9.A14 IBC Training Zone 7.A19 IBC TV News 9.A13 IBM 2.A30/2.A31 IdeasUnlimited.TV 8.C97 iDirect 5.A11 IDX Technology 9.E48 IEEE Broadcast Technology Society 8.F51b IET – The Institution of Engineering and Technology 8.F51c IGP 1.F58d/OE140 IHSE 8.C50 ikan Corp 9.C48 Ikegami Electronics (Europe) 11.A31 Image Engineering 10.A30 Image Systems 7.G07 IMP TELEKOM 8.E17 Impeq 3.B31 INA – Institut National Audiovisuel 10.F21 INCOM Storage 5.B14 IneoQuest 1.F52 Inlet Technologies IP513 Inmarsat 4.B58 INNODIGITAL CO 5.A31a Institut für Rundfunktechnik 10.F51 Integral Systems 1.A01 Intek Digital 5.B10 Intellect 8.A28e Intelsat Corporation 1.C71 Inter BEE/ Japan Electronics Show Association 8.B97 International Datacasting 1.C29 Interra Systems 8.E24 INTOREL 4.B68 ioko 1.D26 iPharro Media 7.B01 IPV 8.B67 Irdeto 1.D51 Iridas 7.H11 IRTE 8.B38 Isilon Systems 7.H10 Isoft Yazkim 2.A10 IT Innovation Centre 3.D05 ItalTelec 8.A13 Itelsis 8.A03 ITS Electronics 4.C87 Ivivo IP551f

J

J.L. Fisher Jampro Antennas Jiade Energy Technology Jiangsu ASD Electronics Co JK Audio JMR Electronics JOANNEUM RESEARCH Forschungsgesellschaft Jünger Audio – Studiotechnik Jutel JVC Professional Europe

K

K5600 Lighting Kaczek Visuals Trading KaonMedia KATHREIN-Werke Kings-Winchester Electronics Kino Flo/Cirro-Lite (Europe) Kinoton Kintronic Labs Kiryung Electronics Co KIT Digital

11.C51 8.B96 11.C80 6.A29c 8.E85 7.G14 3.D08 2.C49 8.A26 10.D41 11.C31 11.C25b 1.B10 8.C29 11.D79 11.D63 6.A10 8.E35 5.B19c 3.B60

Labwise L’Aigle Paris LARCAN Lasergraphics Latens LAWO LCD Solution LEA Lead Tech Design Leader Electronics Corporation Lectrosonics LEDstorm & Polystorm LEMO Connectors Level 421 IP.SNG Libec Europe LiberoVision Liberty Global Europe Linear – Italy Linotype Litepanels Liveu LMP Lux Media Plan LogicKeyboard Logiways LS telcom L-S-B Broadcast Technologies LSI Projects LUCI Luggy Lumantek Lund Halsey (Console Systems) Lupo SNC Luso Electronic Products

M

5.A31g 10.A20 11.G70 IP641 11.C71 11.G71 8.E74 5.B38 11.C11 M213 7.F01 4.B56 8.C71 11.C60c 4.C70 5.B17c 10.F28 8.A84 11.B58 11.C45 4.B81 11.C50 3.B01 1.D39 8.E19 4.C53 9.D28i 2.C23 10.F29 7.F49 2.B31k 8.E39 10.A45 11.G64a 7.G35 11.C72 IP304 2.B10 11.G41 4.C59

Macrovision 5.B49 Magix 8.A18 Magnum Semiconductor 11.G79 MainConcept 2.C50 Maluna Lighting 11.G77 Mandozzi 8.A48 Manzanita Systems 3.A24 Marian OHG 8.C03 Mariner 1.F50 Mark Roberts Motion Control 11.G21 Marko Pfaff & Co Spezialfahrzeugbau OE184 Marquis Broadcast 2.A58 Marshall Electronics 9.E40 Mart, JSC 5.C45 Marusys Co 5.B19e Masstech Group 8.B73 Masterclock 9.E16 Masterplay 8.A59 Matrox Video 7.B29 Matthews Studio Equipment 11.A70 Maxon Computer 7.G30 Mayah Communications 8.A74 MCI Studio Hamburg/Studio Hamburg MCI 11.C40 Media & Broadcast Technologies 2.B19 MEDIA BROADCAST 1.B79 Media Links 1.D38 Media Logic Gesellschaft fuer Medien Systeme 7.D14 Media-Alliance 8.B71 MediaGeniX 3.C59 MediaTVcom 2.B31d Megahertz Broadcast Systems 11.F20 Merging Technologies 6.C29 MeteoGraphics 2.C28 MICORA 2.B31m MICRODOLLY HOLLYWOOD 11.A40 Microfilms 11.E54 Micron by Audio Engineering 8.E81 Microsoft Corporation Topaz Mier Comunicaciones 8.B59

MikroM Miller Camera Support Mindspeed Miniweb Interactive Minnetonka Audio Software Europe Mirada Miranda Technologies MiraVid Mirifice MIS Mitec Telecom MITEQ/MCL MIT-xperts Mixed Signals MOBICLIP Mode-AL MOG Mole – Richardson Co Monarch Innovative Technologies Mosart Moseley MO-SYS Motorola MovieTech – ABC-Products MSA Focus International M-Three Satcom Multidyne Video & Fiber Optic Systems Murraypro Electronics MW Video Systems MWA Nova

8.E02 11.D31 10.F39 IP512 7.J01 4.C74 8.B80 IP604 2.C21 3.A18 1.F31 1.A18 3.A28 2.C19 IP321 10.F30a 7.G39 11.G50 7.K36 2.C42 3.C03 11.G48 1.F30 11.E20 3.B40 8.C11c 2.A54 10.F23 8.E05 7.J31

N

NAB Show 7.B40 Nagravision – Kudelski Group 1.D69 National Instruments 10.A24 National Semiconductor 10.B28 Nautel 8.C61 ND SatCom OE320 NDS 1.A71 NEC Electronics (Europe) 1.C27i/1.C27 NEC Microwave Tube 1.C95 Neotion 4.B53 Neptuny IP403 Net Gem IP521 NET INSIGHT 1.B27 Netris 5.C47 NetUP IP402 NeuLion IP614 NeuroTV 10.B15 Neutrik 8.C94 never.no 2.A40 Nevion 8.B70 New Times Overseas Exhibition Co 3.A21 Newtec 1.A49 NewTek 7.K11 NHK 3.D10 NICT 3.D01 Nihon Koshuha Co 8.A60 Ningbo Eimage Studio Equipment Co 11.D60 Ninsight 8.C21b NKK Switches 8.A70 NOA Audio Solutions 8.E30 Nokia Siemens Networks M153 NorCom Information Technology 3.C50 Nordija IP502 Novay 3.D07 Novella SatComs 1.F58b Novotronik 1.A54 NTSI 2.B31e NTT Electronics Corporation 1.D35 Nucomm/RF Central 1.B31 Nufront Mobile Multimedia Tech M112 Numedia 4.B75 NVIDIA 7.H37 NXP Semiconductors 1.F11 NyeTec 2.C31

O

Ocean Blue Software Ocilion IPTV Technologies Oconnor OCTOPUS Newsroom Octoshape OMB Omneon

5.A12 IP711 9.D28f 3.B58 1.A10 8.C74 8.B60

V


Photon Beard Pilat Media Pirelli Broadband Solutions Pixel Power Pixelmetrix Corporation PIXTREE plasticase PlayBox Technology Playcast Media Plugin Pavilion PnpNetwork Technologies Polecam Portaprompt Power Plus Studio Works Poznan Supercomputing and Networking Center Preco Broadcast Systems Preview GM System Primera Technology Europe PrimeTel Prism Sound ProConsultant Informatique Prodys Professional Show Professional Sound Corp Professional Videotapes Progira Radio Communication projectiondesign Promax Electronica Promise Technology Prompter People Europe

P+S Technik 11.E28/7.H01 Pace 1.B19 Pals Electronics Co 4.A51 Panasonic Broadcast & IT Systems Europe â&#x20AC;&#x201C; by invitation only 9.D18 Panasonic Professional Displays Europe DS14 Pandora International 6.A11 Panther 11.F35 Paradise Datacom 1.B35 Paris Chamber Of Commerce and Industry (CCIP) 2.B39/2.B31/11.C60/8.C21 Partners in Enterprise 6.C28b Peak Communications 1.E34 Pebble Beach Systems 8.B50 PeerTV IP551c Pekingstone (Deutschland) 7.F05 Peli Products, 9.D44 Penta Studiotechnik 8.B47 Percon 10.E51 Petrol Bags 9.D28d Phabrix 8.E23 Pharos 10.D31 Philips Home Control 1.A81 Phoenix 7 3.C21 Phonak Communications 8.A92 Photomec (London) 6.A20

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Qbit QP Reflectors Quad Logic Systems Quadrus Technology QUALCOMM â&#x20AC;&#x201C; MediaFLO Quantel Quantum Qube Cinema Quicklink Video Distribution Services Quintech Electronics

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(starts on page iv)

OmniBus Systems Omniglobe Networks Omnitek Onair Medya On-Air Systems One4Power One-Sat Open IPTV Forum Open Text OpenCube Technologies Opentech OpenTV Opera Software Optical Cable Corporation Opticomm â&#x20AC;&#x201C; Emcore Optocore Optoway Technology Opvision Oracle Corporation Orad Hi Tec Systems Orban Europe Orca Interactive Orckit Networks OSEE Technology International Osmosys Outside Broadcast MV OVERLINE â&#x20AC;&#x201C; Systems

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theibcdaily ibc2009exhibitorlisting

7.K25

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3 5 3 5

3

â&#x20AC;&#x153;How much is your content worth... 1

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State-of-the-art Video Fingerprinting Technology 5

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1

Booth 7.B01

2

   +49 6151 8509 0 +1 877 355 2031

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4

VI

2

THE IBC DAILY 2009

4 1

2

4


theibcdaily GRUPPE

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RAI Station

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Stand Nr. 8.A92 Invisible IFB system Flexible mobile communication Lightweight microphone Guiding system

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www.phonak-communications.com info@phonak.communications.com

THE IBC DAILY 2009

VII


theibcdaily Maga

Halls 9, 10, 11 & 12

OE160

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WC

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Exhibitor Services

Kiosk

Room P

10.E59

Conference

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Org Office

9.E35

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Studio

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Bar

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ISRAELI PAVILION

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Words are all we need to make it happen for you

HALL 11

w w w. m e d i a . v c s . d e

Please visit us at stand 9.D28e to find out more

Radio, TV, News: On Air with dira!

make content happen Visit VCS at IBC and see our latest solutions for radio, television and newsroom. Hall 10 Stand D20 autoscript.tv UK: +44 (0)20 8891 8900 USA: +1 (203) 926 2400

THE IBC DAILY 2009

VCS Aktiengesellschaft路 www.vcs.de

IX


theibcdaily

OpenMedia adds StoryBin for easier management DekTec by Adrian Pennington The latest version of OpenMedia, arguably the most used newsroom system in the Ger manspeaking market, is showing at the Annova Systems stand. V3.6 includes a new StoryBin, which â&#x20AC;&#x153;addresses the problem of unstructured information gathering for one topic,â&#x20AC;? explained Michael SchĂźller, CEO, Annova. â&#x20AC;&#x153;The StoryBin presents itself to the journalist as a central planning container which holds all available information that he requires for the story.â&#x20AC;? This information can be any type of media, like text, video, audio, images or email attachments. Similar to a database supported relation management system the StoryBin allows journalists to gather, process and manage topics across editorial departments. All users can contribute to or use the content in different ways â&#x20AC;&#x201C; even in

remote locations,â&#x20AC;? he added. â&#x20AC;&#x153;Questions like â&#x20AC;&#x2DC;Do I have all relevant information? Is this the latest version? How often was this topic used? Who else works on the same story?â&#x20AC;&#x2122; which are quite usual in a journalistâ&#x20AC;&#x2122;s daily work will be obsolete since the answers can be found in the StoryBin.â&#x20AC;? Accidentally issued repetitions can be omitted and the reuse of content can be controlled. The StoryBin presents the top news with background information and media clearly laid out and serves as a basis for distribution steps via TV, web or mobile phone. To quicken the proces s o f accessing content sent in by eyewitnesses, OpenMedia now structures multimedia data through a special pool for user-generated content. Incoming material can consist of emails, images and videos captured with mobile phones or imported from plat-

embraces IP transport

Annovaâ&#x20AC;&#x2122;s newsroom system now with added StoryBin

forms like Facebook or Twitter. â&#x20AC;&#x153;Through a prior approval process the content can be filtered and then either be assigned to a single department or published to everyone,â&#x20AC;? said SchĂźller. â&#x20AC;&#x153;The

same platforms can be used for distribution of news out of OpenMedia and for direct interaction with the remote correspondent on-site or the community.â&#x20AC;? 10.D15

Beat the traffic jams with TPEG and HECA data

by David Davies Fraunhofer IIS and BMT (Bayerische Medien Technik) are showcasing a live transmission c h a i n e m ploying HECA and TPEG at IBC2009. The demonstration is intended to highlight the differences between free-to-air information and premium services in this era of digital broadcasting. Named according to MPEG and JPEG standards, the Transport Protocol Experts Group (TPEG) format enables the deliv-

ery of a variety of traffic and travel information. â&#x20AC;&#x2DC;Dynamic local dataâ&#x20AC;&#x2122; about inner city traffic problems, public transport, fuel prices, weather events and more can be conveyed. TPEG-based services may also be used for internal processing in devices â&#x20AC;&#x201C; for example, the updating of navigation data for personal navigation assistants (PNAs) â&#x20AC;&#x201C; or for direct human consumption via weather reports and other transmissions.

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It is also possible to employ TPEG in exclusive premium cont e n t s e r v i c e s fo r c l o s e d u s e r groups. In these instances, service providers may wish to utilise Fraunhofer IISâ&#x20AC;&#x2122; HECA (High Efficient Conditional Access) technology, which offers an access control system specifically tailored for use within TPEG. HECA can be integrated into all kinds of receivers, from lowcost portable devices to high-end OEM terminals. It supports life-

time and time limited service subscription as well as pay-per-use models. HECA is characterised by bit-efficient administration messages and employs standardised up-to-date encryption algorithms. While tailored for TPEG, HECA is not restricted to that standard and operates independently of transmission protocols and broadcast media. It has been implemented with DAB/MOT, DRM/MOT and DRM/Subchannel. 8C81

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by Ken Kerschbaumer Earlier this year, DekTec unveiled its new DTE31xx product family of Transport-Stream over IP (TsoIP) to digital video converters, featuring Power over Ethernet (PoE) technology. The company is now extending the DTE31xx family with the introduction of a TsoIP to QAM converter, called the DTE3114. The DTE3114 is a standalone, four-channel QAM modulator, which takes in up to four TsoIP inputs and generates directly synthesised VHF/UHF outputs. A web interface allows the user to setup all control parameters and monitor the current status of the unit, or alternatively the unit can also be controlled via SNMP. Like the other family members in the DTE31xx product range, it supports SMPTE-2022 FEC for reconstruction of lost packets, an advanced algorithm to remove the inevitable jitter in IP networks, is DIN rail mounted, and requires no external power supply as it can be powered via a PoE capable switch. Up to 14 modules can be installed in 3RU rack space using the DekTec rack-mountable rail. Supporting QAM annex A, B & C, the DTE3114 is suited for use in small and large cable networks. 2.A41

Polymediaâ&#x20AC;&#x2122;s smart content by Heather McLean TXT Polymedia has an array of innovative products and solutions dedicated to broadcasters, media and telcos. At the heart of its offering is the new Polymedia Live Ingest, enabling users to acquire video contents and to encode them into multiple output formats. Po ly m e d i a S h ow i s t h e advanced video player combining standard PC player functionalities with those of Polymedia MAM, to easily and quickly manage video content, plus related advertising inputs together with e-commerce innovative functions. A demonstration of Polymediaâ&#x20AC;&#x2122;s IBC2009 Innovation Awards shortlisted project, entitled â&#x20AC;&#x2DC;Smart content repurposing system for linear and VoD TV programmes services and developed for the customer Mediasetâ&#x20AC;&#x2122;, is also available at the stand. The project represents a multiscreen approach application that provides Mediaset with a complete wo rk f l ow, e n abl i n g e ff i c i e n t video content repurposing in new media. IP301/2

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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Panchro prototype provides premium look at lower cost by David Fox Cooke Optics is showing the first working prototype of its new Panchro By Cooke lens. The PL mounted lens for 35mm film and digital production is a modern redesign of the original Cooke Pa n c h ro lenses that were renowned in the early days of Hollywood. The Panchro will be a small, lightweight, affordable lens. It sacrifices one stop of light (T2.8 compared with T2.0 for Cooke S4) and is calibrated and colour-

matched to existing Cooke lenses, making it more cost-effective when a faster lens is not crucial. The reduced size, weight and true focal length markings also make it suitable for 3D stereoscopic productions. First deliveries are

expected at the end of 2009. Cooke is also showing the /i dataLink, a small box that mounts on any camera and records the focus, zoom, iris settings and other pertinent data of each take, a l l ow i n g t h e m e t a d at a t o b e

passed on to post. /i Technology enables visual effects and digital intermediate artists to create more accurate visual effects, and saves significant time in post-production. The /i technology is now supported by Aaton, Arri, Avid,

Cinematography Electronics, CMotion, Dalsa, Mark Roberts Motion Control, The Pixel Farm, Preston Cinema Systems, RED, ServiceVision and Silicon Imaging, amongst others. 11.D10

Lens flare: the compact new Panchro By Cooke lens is a modern redesign

Belden can run HDMI cable 30m by Ian McMurray Belden now offers a complete line of cables and related products for use by the home theatre installer, including 26 AWG shielded twisted pair HDMI cables in lengths of between one and seven metres. To demonstrate what the company describes as the unique cable perfor mance properties of these HDMI cables, Belden has successfully run an unamplified 1080p60 digital video signal 30m from a generic Blu-ray Disc player to a generic 1080p60 display – with no deterioration in signal quality despite the length of the joined cables, according to the company. The secret lies, apparently, in Belden’s patented Bonded-Pair technology. Even when the cable is flexed or bent, the conductor-toconductor spacing remains constant, says Belden. This means that the impedance also remains constant, and the problems of regular twisted pairs, such as impedance variations, are minimised. 1.C21

Scopes out of thin air? Is it Black magic? Hamlet Vidscope-BX is a new software based 3G, HD and SD vectorscope, waveform and audio monitor tailored to work with Blackmagic cards or devices.

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Absolute accuracy on a Windows platform SD, HD, 3G 4:2:2 or 4:4:4 signal formats, files or live capture 6 simultaneous user configurable displays with 9 user presets Display coloured traces of your choice, on any sized monitor or dual screens Up to 16 audio channels in any audio scale Unique GMO surround sound monitoring Highly accurate gamut error diagnostics Zoom any display to full-size

You don’t need dedicated hardware with Vidscope-BX Blackmagic edition, just a dual core PC or better and a 3D graphics adapter. You only need the capture card which meets your needs, be it SDI, dual-link, 3Gb, HDMI, analog or optical. IBC 09 Launch!

Belden says its cables deliver ‘installable performance’

BX even works with HDV or DV source over Firewire Any registered trade marks or names are recognised ® 3Gb/s Y READ Awarded at IBC 2008 for the Protean Axiom 3G

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THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

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Echolab switches attention to Atem by Adrian Pennington Echolab had a sterling NAB, selling over 20 of its Atem switchers from the stand and its looking for similar business in Europe. T h e A t e m switcher is 3Gbps (1080p60) from the ground up, with scalars on every one of its 10 inputs and two outputs. It also has a built-in multiviewer with its own HDMI output. With two Atem Atem: pay attention to Echolab’s new switcher of the inputs also able to accept computer signals, the three auxiliary outputs in the switcher fits snugly into any pro- switcher’s native format, as well as d u c t i o n e nvironment. Atem two analogue auxiliary outputs includes programme, preview, and with internal down/cross conver-

sion for SD distribution. “In short, Atem represents everything Echolab has learned from its customers in 35 years — all wrapped up in a 1-M/E switcher and offered at an extremely attractive low price,” said the company. T h i s ye a r E c h o l ab ’s Overture MD switcher, available with 1 or 2 M/Es, becomes even more versatile too with the addition of 3Gbps format support to its existing range of SD, 720p, and 1080i formats over a single SDI or HDMI input. 10.D30

Innovate technology, minimise risk

As business complexity increases streamlining the planning process is vital, says Greg Hoskin, managing director, Megahertz Broadcast Systems Today’s broadcasters and content owners are increasingly looking to publish their content across multiple platforms including multic h a n n e l television, shared environments such as d-cinema and in the home; personal viewing – streaming to PC and the web and mobile devices or increasingly in public areas like digital signage at train stations, stadiums and other venues. As the media business becomes more complex, b ro a d c a s t ers are focused on streamlining their everyday operations, while seeking flexible, inteO grated approaches that allow them

to capitalise on the benefits of IT technology. To address the proliferation of channels and meet the needs of content owners, MHz offers a complete turnkey service using a dedicated team of in-house professionals. The company provides a ‘one stop shop’ approach with expertise across engineering planning, project management, design, product evaluation, through to commissioning, training and support and IT services – alongside in-house capabilities that include CAD design, wiring, coach building and cabinet making. This

approach allows us to deliver streamlined end-to-end solutions, ensuring greater flexibility of service while meeting tighter client deadlines. MHz not only design and build from new, but in these difficult economic times can deliver a significant return on investment for customers with its phased refurbishment approach. For instance customers looking to reduce the cost and increase productivity of an aging OB fleet or upgrade an SD vehicle or studio to be capable of full HD production, add Dolby 5.1 surround sound and suchlike,

Harmonic for Sky in Brazil by Ian McMurray Harmonic has announced that Sky B ra s i l S e r v i á o s, B ra z i l ’s largest DTH satellite video service provider with nearly two million subscribers, has rolled out its new HDTV service based on Harmonic’s MPEG-4 AVC (H.264) digital video delivery solutions. Using Harmonic’s DiviCom Electra 7000 encoders, ProStream 1000 stream processing platform with DiviTrackIP statistical multiplexing, and NMX Digital Service Manager, the new service is the largest HDTV broadcast offering currently available in the country. With the addition of the HD channels, Harmonic says that Sky Brasil placed a priority on selecting

Exhibitor Opinion are able to do so quickly and costefficiently. At MHz we partner with our customers to deliver on the whole s y s t e m s p ro j e c t . We wo rk t o understand our customer’s overall business strategy and specify the leading edge technology that provides the best tools to deliver the ROI quickly throughout the business chain. One such example is our M2RC technology which came out of repeated demands from customers for us to develop a cost-efficient and simple remote control system for DSNGs that would enable real operational and business benefits. F u rt h e r m o re M H z i s n o t owned or aligned to any particular m a nu f a c t u re r we m a i n t a i n s

Quality assured. In today’s crowded markets, quality still makes its mark. The automated playout system from OASYS (formerly ON-AIR Systems) provides the widest range of playout features available for a PC-based system. With modular and scalable software, you can create single or multichannel systems, from basic clip playing to full channel capabilities. OASYS provides a complete workflow solution, or can be combined easily with many third party software and hardware systems to create integrated workflows, standby facilities or add-on channels. We have over fifteen years of industry experience, but appreciate the value of our customers’ feedback and constantly incorporate their suggestions into our software.

Let us help make your TV channel stand out against the crowd. FORMERLY KNOWN AS

56

a single vendor that could provide a complete, comprehensive solution for compression, statistical multiplexing, and network management needs. Harmonic’s DiviCom Electra 7000 AVC encoders enables Sky Brasil to deliver up to four full resolution variable bitrate services and simultaneous low resolution outputs in a single 1RU unit. The modular 1RU ProStream 1000 stream processing platform handles multiplexing, scrambling, and advanced processing of the MPEG streams, while NMX Digital Service Manager offers Sky Brasil a set of tools for simple network configuration, monitoring and automated redundancy. 1.C61

OASYS Ltd a: 131-151 Great Titchfield Street, London W1W 5BB t: +44 (0) 845 0942 612 f : +44 (0) 845 0942 613 e : sales@on-air-systems.com w : on-air-systems.com

Greg Hoskin: ‘We partner with our customers to deliver on the whole systems project’

healthy, established relationships with all the major media equipment and software vendors. This independence provides our clients with a truly objective perspective for business and technical analysis, system design and equipment selection. It allows us to better understand our client’s business drivers and offer the best technological fit for their specific applic at i o n w i t h o u t f avo u r i n g a particular approach or brand. As software and IT-centric platforms become more prominent and integration and interoperability concerns propagate media businesses are looking externally to gain project engineering expertise. This is the role of system integrators in the future and MHz is well placed for this. Customers clearly see our offering as one that provides flexible solut i o n s t o m e e t t h e r i g o ro u s demands of their business, while building ROI and generating revenue streams in an ever changing and competitive landscape. To that end IBC09 will see MHz highlight its latest integrated turnkey solutions that continue to build on expertise to guide the wider digital media community through the challenges of deploying new technology while minimising the risk during these testing economic times. 11.F20

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily New wireless mic systems are on display at Azden Corp’s IBC stand

Walk the line: Ross saves you cash by placing the active components at the front, meaning that back of the rack need never be accessed

Ross 3G Fibre line makes debut at IBC Azden wireless mics launch by David Davies Along with its popular shotgun mics and portable mixers, Azden Corp is displaying its first CE approved wireless microphone systems at IBC2009. The 305 Series (single-channel) and 325 Series (discrete dualchannel) feature on-camera UHF receivers (305UPR and 325UPR) with 240 user-selectable frequencies between 794.00MHz and 8 0 5 . 9 5 MHz, and a matching choice of either body-pack/lavalier mic, handheld, or plug-in transmitters (35BT, 35HT and 35XT). All operate on AA batteries

and feature digital displays for signal strength, selected frequency and battery life. F i t t e d i n l i g h t we i g h t bu t rugged polycarbonate housings, these wireless systems come complete with cables and a sturdy, fitted carrying case. Both receivers c o m e w i t h c a m e ra h o t - s h o e mounts, headphone monitor outp u t s a n d p ivo t i n g h i g h - g a i n antennas. Systems range in retail price, depending on configuration, between €400 and €800, and are available for immediate delivery. 8.B92

by Adrian Pennington Ro s s Vi d e o h a s u nve i l e d a n openGear 3Gbps Fibre line product to compliment its existing distribution and conversion line. The Ross Fibre line offers a range of optical/electrical conversions with ultra high density offering up to 40 conversions in 2RU. “The line is designed with all active components on the front removable module making the

rear I/O passive,” said Eric Goodmurphy, marketing product manager, openGear. “This eliminates the need to ever access the back of the frame.” Fibre output launch power is 7dBm, at 1310nm using a standard optical LC connection. Input sensitivity is -19dBm, with an o p t i c a l ra n g e o f 1 2 7 0 n m t o 1610nm using an LC connection. “As part of the Fibrelaunch we

are also introducing a 3G-capable HD/SD 16 channel audio MUX/DMX,” confided Goodmurphy. “The flexible audio processor allows for invert, sum, swap, shuffle, gain, and sample rate conversion. These can be locked to house reference guaranteeing glitch-free audio embedding even on the loss of input video.” 9.D30

MediaGeniX forecasts cash flow by Ken Kerschbaumer MediaGeniX has complemented its Whats’On channel management and content lifecycle softw a r e w i t h n e w c a s h f l ow functionalities. These new additions not only facilitate the payment scheduling and the forecasting of liquidity needs in a multi-currency environment, but also watches over the broadcaster’s potential risks in relation to hedging or

exchange rate fluctuations. Due to the strong relationship between contracts, rights, cost and the use of programmes in the schedule, broadcast rights play a crucial role in the broadcaster’s cash flow situation. Michel Beke, product manager and co-founder of MediaGeniX, said: “The new cash flow functions in Whats’On are therefore an indispensable component for the analysis of the broad-

caster’s financial forecasts and potential risks.” The cash flow management functionality delivers easy reporting on the cash flow situation for a specific time period, states the developer. Whats’On not only describes the linear, ondemand and streaming rights, bu t a l s o m a n ag e s a l l re l at e d costs, invoices and payments, regardless of the currency. 3.C59

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THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

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Blankom’s Eagle has landed at IBC Digital Vision addresses by Ian McMurray Showcased on the Blankom Digital stand at IBC is the DRP 393, a professional receiver/decoder (IRD) for MPEG-4/MPEG-2 coded TV signals from the Eagle series. According to the company, the Eagle series is the first professional receiver generation on the market to implement service filtering and PID filtering. The Blankom Digital Eagle is available with different front ends for DVB-S/S2, DVB-T & DVB-C reception. With the Eagle range, for the first time Blankom Digital is offering a unit with a universal Gigabit Ethernet IP interface which can be u s e d fo r receiving as well as streaming IP data streams. The Gigabit Ethernet interface is not just a simple RJ45 connector: Blankom Digital customers can choose between an SFP module

received HD signals to standard SD resolution. Service filtering and PID filtering enable the multiple SPTS data streams required for use in the IPTV sector to be generated, and the IP traffic to be limited to the necessary minimum. This capability is further enhanced by functionality provided by two CI slots on the front of the unit. Depending on the CAM used, complete MPEG transport streams can be decoded by The Eagle Series now this means. The unit fulfils the offers service filtering and PID filtering special requirements on the broadcast sector, says the comfor copper or alternatively for pany, by means of ‘embedded fibre. The DRP 393 Eagle has an decryption’. For SNG applications SDI interface for HD and SD TV for example, this enables the Eagle signals with embedded audio to range to make ‘clear’ signals that meet the demands of the broad- have been encrypted with BISS 1 or cast sector: the interface also has BISS E freely available once more. the f lexibility of re-sca l i n g 1.F51

About time for a Stratum strategy

58

TimeLord-Net that is directly locked to the GPS satellite system is known as a Stratum-1 device and timekeeping is generally within a few microseconds of UTC. Anything taking its time reference from a Stratum-1 server will be a Stratum-2 device – and so on down the chain – where the offset from UTC will depend on things like network transport time or packet collisions, which can compound as the Stratum number increases. The TimeLord-Net can now operate as an NTP Client, getting its time reference over a computer network as well as directly from an atomic clock such as DCF, MSF or GPS. In its client mode, it uses sophisticated algorithms to compensate for network traffic, and has an internal timebase that self-calibrates and can free-run to within a couple of seconds per month. Its internal timing is

by Carolyn Giardina Digital Vision is showcasing the latest releases of its Film Master, Phoenix, Nucoda HD and DVO systems, as well as some newer developments. That includes Digital Vision D a i l i e s, wh i c h wa s f i r s t announced earlier this year and offers a colour management workflow based around the ASC CDL (American Society of Cinematographers colour decision list) for tracking colour decisions from the set through to final grade. The company’s Film Master grading and finishing system addresses the burgeoning 3D market with a stereoscopic mastering toolset. The new DVO Tracker was developed to provide automatic object tracking, which Digital Vision suggests for VFX intensive work particularly when

combined with its high dynamic range floating point processing and Open EXR support. Broadcast integration is the focus of the Nucoda HD mastering and grading system, which now includes native support for XDCAM, P2 as well as Avid DNxHD MXF and ProRes QuickTime. The company suggests that additional support for Avid Unity and ISIS, Apple XSAN, EditShare and Facillis make it appropriate for file-based workflows. Lastly, the Phoenix restoration system has some new remastering tools, including a detail preserving upscaler DVO Upscale and further development to its motion compensated retouching module, DVO Fix. The DVO tools are also available as an option on all Digital Vision software products. 7.A23

DVS highlights Venice, Clipster

Mastering time: the TimeLord-Net Master Clock/NTP Time Server from Vortex

by David Fox Network Time Protocol systems, such as those linked to most computers, can update time reasonably accurately via the internet, but not accurately enough for broadcasting. “NTP Client software is built into standard Windows and lets computers lock to NTP Time servers. Whilst these servers may themselves be accurate and their timebases close to UTC [Co-ordin at e d U n iversal Time], the received time on the computer may well be significantly different depending on network traffic and jitter may be introduced if there is a difference in successive timing updates,” explained Vortex Communications’ director, Ian Prowse. This can leave some systems seconds out, which is a problem for TV transmitters or programme handovers. An NTP server such as Vortex’s

dailies, DI and broadcast

updated with time data received from the remote server and averaged out with a very long timebase so that even when operating as a Stratum-2 device, it is still within a few milliseconds of UTC, which makes it ideal where remote studios are tied to a distant HQ. The TimeLord-Net client provides outputs of 482 time-anddate code that supports up to 15 different time zones, EBU or IRIG timecode, serial time data for time-stamping and impulses, all for local use. By converting NTP time to useable data formats it allows larger organisations to have their Master TimeLord-Net locked to GPS and distribute time data to remote sites over LAN and WAN, where a TimeLord-Net client distributes time data to local displays, computers and clocks on the wall – all showing the same time. 11.G11

by Carolyn Giardina DVS’s Venice video server has been further developed for the broadcast market, and the company’s Clipster has a new 3D mastering feature. Realtime RED workflow is also a key topic at DVS’ IBC stand. With an eye toward broadcasters, DVS has introduced a Venice product range aimed at providing fast, consistent workflows with compressed video formats. DVS reported that with Venice, different data formats could be conve r t e d a n d d i s t r i bu t e d i n production environments on-thefly. DVS’ video server also supports parallel processing of SD and HD projects. “We transferred our longstanding expertise in post production to the requirements of cutting-edge broadcasting,” said Hans-Ulrich We i d e n b r u c h , C E O o f DV S. “Venice, as presented at IBC, is a future-proof system, guaranteeing file-based broadcast workflows with maximum flexibility.” DVS is also demonstrating realtime processing of RED data

DVS’ Venice video server converts and distributes data formats on-the-fly

with Clipster. New hardware decodes and debayers RED RAW files in 4k 12-bit RGB mode. Clipster’s realtime effects can be used u p t o 4 k . T h e c o m p a ny a l s o reported that Clipster generates digital deliverables at a highspeed, enables confor ming of RED files, and provides camera parameter settings for adjustment at any time. Meanwhile, Clipster has been further developed to handle 3D projects and create 3D DCPs following the DCI spec. Clipster merges left eye and right eye image data together and creates a stereoscopic video track in the timeline that can be edited as regular video material. 7.E21

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Cyclorama lighting goes green (and a million other colours) by David Fox ADB Lighting has launched five new products for TV studio use, including the new ACL4 LED Cyclorama fixture, claimed to be the first of its kind. It uses four a dva n c e d 40W Philips Lexel RGB+White LED light sources that enable a single ACL4 to deliver the equivalent of 1250W of h a l og e n power for an a ctual power consumption of 160W. The cool-running DMX512controlled ACL4 can be floor mounted or hung and provides more than 1m shades of colour, including pure yellow and soft ambers. It also provides seven pres e t wh i t e l i g h t o p t i o n s f ro m 2700K to 6700K. It boasts smooth, even light output with no coloured shadows or visible pixels. Three reflector options add versatility. There are also new motorised studio suspensions, with the new P W S - 1 , PWS-2 and DWS-3 motorised studio hoists and a new TDM-1 motorised telescope.

The hoists offer a choice of pile or drum winding of suspension ropes, with standard overload/noload protection, or for even more safety critical applications, ADB’s Intelligent Safety System. The TDM-1 is based on ADB’s

original telescopic tube concept plus an innovative drum drive mechanism, ‘ensuring perfect linearity of movement, speed and load capacity over the entire travel of the telescope’. The performance is designed to match the posi-

tional accuracy and repeatability of modern motorised lights. Hybrid dimming is on offer with ADB’s new Eurodim Twin Tech dimmer. Nearly 100 thyristor cabinets have already been ordered, and the first sine wave dimmers are

set for delivery this year. Also making their IBC debut this year are a pair of ADB’s latest c o n t ro l d e s k s – t h e c o m p a c t Domino/XT and large-format Mentor/XT. 11.B68

RF Extreme Solutions . . . Giving you More Choices for HD Portable Links

With a wide range of proven solutions for HD portable microwave links, the RF Extreme Solutions from Nucomm and RF Central are ideal for enabling new HD services.

Cyc out: ADB Lighting’s new ALC4 LED Cyclorama light, one of five debuts

Miniweb in CE TV team by Heather McLean Miniweb and Metrological Media Innovations have collaborated to provide CE 3100 powered devices with converged internet and broadcast video services for a high quality TV experience. The collaboration integrates the Metrological Metroconnect OS and the Miniweb services platform and will be available to a range of Intel-based consumer electronics (CE) devices, including satellite, cable and terrestrial hybrid set top boxes and integrated digital TV sets. Said Eric Kim, senior vice president, Intel, Digital Home Group: “We believe that extending Intel architecture into consumer devices is one of the best routes to providing consumers with the high quality entertainment experiences that they crave. The main aim of Intel CE Media Processors is to provide the industry with the best silicon platform for innovation and to advance bringing rich internet content to the TV”. IP512 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

Nucomm ChannelMaster 7 Series HD/SD “Split Box” Transmitter/Receiver

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AJA technology drives NASCAR

Ocilion’s IPTV Hospitality Solution is set to be released early 2010

Ocilion’s new hospitality by Heather McLean Austria-based Ocilion IPTV Technologies has developed the IPTV Hospitality Solution aimed at the hospitality industry and an OEM p ro d u c t t hat can be used for inhouse networks and premium living. These two new products are being shown at this year’s IBC for the first time. The IPTV system from Ocilion includes time shift TV, PVR services, internet on TV, communication and messaging system, VoD and much more. IPTV Hospitality Solution will be released in early 2010. With this technology the different IPTV features can individually be put together depending on the needs of each hotel. “We had a very close look at the demands that

modern hotels are facing these days, and built a flexible product so every hotel can choose the services they need, depending on their customer structure,” said Markus Fochler, Ocilion’s business development director. The product comes with a special graphical user interface adaptable to each hotel’s design and with a communication interface so guests can, for instance, book hotel services, such as wellness packages or room service, directly via the TV screen by pressing a key on the remote control. IPTV Hospitality Solution will be sold through partners in international markets, with the OEM solution that will enable IPTV on smaller networks to follow. IP711

Ericsson has announced that it is bringing high-quality, interactive TV to viewers in Armenia through a deal with operator Ucom, writes Ian McMurray. Ericsson will deliver its IPTV solution including video compression and GPON technology in what the company says is the first contract of its kind. The IPTV solution for Ucom will not only give users PC-style interactivity but also access to a flexible, customised portal that offers a wide range of broadcast channels, video on demand, an electronic programme guide and personal video-recording capabilities. 1.D61 I

by Carolyn Giardina AJA Video Systems has revealed that 34 Kona 3 video capture and p l ay b a c k c a rd s a re i n u s e at NASCAR Media Group, the production and creative services company for NASCAR. Kona 3 is AJA’s uncompressed capture card for SD, HD, and dual link 4:4:4 HD for Apple Mac Pro systems. As part of its transition to HD, and in preparation for a move later this year to a new facility at the 40,000 square foot NASCAR Plaza under construction in Charlotte, North Carolina in the US, NMG made the conversion to an all-Apple ProRes workflow. NMG employs 16 Kona 3 cards to ingest 150 hours of multi-cam-

era shooting for each race. An additional 18 Kona 3 cards are used for editing playback in NMG’s 10 edit bays, as well as to handle duplication and new media, and to support field operations for the NASCAR Sprint Cup Series and NASCAR Nationwide Series. “We’re an all-AJA, all-ProRes shop,” said Jeff Lowe, NMG managing director, media and broadcast technology. “When we made the decision to switch to HD, we knew we wanted a 10-bit system, and the obvious choice was the Kona 3. My past experience with AJA convinced me that pairing a Kona and a Mac is as good as any dedicated hardware system there is in the field.”

An automatic gain for audio The stringent demands of audio compliance requires an automatic technology response, explains David GS Wood, president and chief design engineer, Ensemble Designs Mismatched audio levels of television programming have been a constant challenge for broadcasters worldwide. Audio errors of this type are regrettably common due to inconsistencies between different programme providers and between segments within a programme. This is a point of frust rat i o n fo r b o t h b ro a d c a s t engineers and for viewers. The International Telecommunication Union’s ITU-R-1770 recommendation tackles the issue of true-peak audio signal level and subjective loudness by specifying audio measurement algorithms for television broadcast. Considerations include wide dynamic range and the effect of that range on the home-viewer’s experience. Audio level management systems are needed in broadcast and satellite transmission facilities to address audio level issues. The preferable method for audio management is to adjust the overall level of the signal, rather than mask errors with compression. Signal level adjustment preserves the internal dynamics of the pro-

gramme material. Several factors are of interest when automatically adjusting audio levels; how much audio history should be analysed in the computations, how quickly audio levels should be changed, and what the high and low audio level thresholds should be. The importance of these factors varies with programme material which means that user-selectable parameters need to be available to engineers using these systems. Adjustable analysis time is useful as the user can decide just how quickly changes are made in the incoming audio. An ideal range is 0.5 seconds to 60 seconds. When set to the minimum value of 0.5 seconds, the system will respond very quickly to new audio levels in the input. This effectively controls how fast the system will ‘attack’ a detected change. Since loud audio is generally a bigger instantaneous problem than low levels, it’s recommended that analysis time is automatically compensated so that rising audio levels are attenuated more quickly

I N N O V A T I O N

Let's talk about 3 G! You will find us in Hall 11 at Booth B50 PS: Don´t forget Draka´s Happy Hour, from 17.00 every day of the IBC

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I n a dd i t i o n t o t h e Ko n a 3 video cards employed on the postproduction side of operations, NMG also uses the AJA FS1 frame sync in its field operations. The FS1 is a universal HD and SD, audio and video frame synchroniser and converter, in use in t h e 4 0 p ro d u c t i o n t r u c k s NASCAR employs. “The FS1 is very reliable,” said Steve Stum, NMG field operations managing director. “The challenge of our operation is that it runs 40 weeks a year, at a different location every week, which means that we can’t afford to buy equipment we don’t have complete confidence in.” 7.F11

Exhibitor Opinion

David Wood: ‘Audio errors are regrettably common, due to inconsistencies’

than low levels are raised. The transition time controls how rapidly adjustments occur once the system determines that a change is needed. In general, people will be aware of changes being made if the transition time is less than five seconds. Based on the history in each channel, gradual changes can be applied to prevent the audio level from dropping below or exceeding user-programmable thresholds. This automatic level control can be applied on an individual channel or stereo pair basis. Maximum and minimum level adjustments of -40 VU to +15 VU are recommended as user adjustments. Gain adjustments from 0 dB to +12 dB are ideal for choosing the maximum amount of gain to be applied in order to raise audio levels. An attenuation control can be provided to reduce audio levels, a typical range is 0 dB to -12 dB. An automatic audio gain control system that provides all of the above controls in combination can meet the needs of today’s broadcaster for audio compliance issues. 8.B91

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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Jünger Audio addresses satellite audio needs by Ken Kerschbaumer Jünger Audio is showing its range of new ESDI cards at IBC. Designed specifically for satellite digital rebroadcasters, the ESDI card provides a solution for controlling s loudness for all incoming signals.

Each SDI stream runs independently and the signals don’t need to be locked to a house reference. The ESDI card combines one SDI interface with one DSP unit that automatically handles individual audio loudness processing.

It is designed for digital satellite TV, where SDI based incoming signals don’t match a uniform synchronisation and have widely varying levels. The basic version comes with an SD-SDI interface and offers 4-channels of Level

Supporters

Magic processing. Upgrade to HD-SDI and to 8-channel Level Magic Surround are available by software licence key. E a c h E S D I c a rd C 8 4 8 6 receives one TV channel through its SDI interface and then

IBC2009

instantly processes that channel before re-transmitting it to the encoder. With ESDI in place, there is no need for synchronisation and no change in the spectral ra n g e – j u s t we l l c o n t ro l l e d dynamics regardless the type or quality of the input. Jünger Audio’s C8000 frames allow users to stack up to 16 different cards, thus providing 16 SDI channels. Thanks to the system’s embedded Level Magic algorithm, users don’t need to worry about synchronising incoming sources before re-transmission or concern themselves with level issues because the system automatically handles the loudness control of all digital audio signals. 2.C49

IBC thanks our supporters for providing the technology that powers the IBC experience Going solo: the Samma Solo VT migrator

Front Porch reveals its DivaSolo

Conference: 10 – 14 September Exhibition: 11 – 15 September RAI, Amsterdam

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www.ibc.org

by Carolyn Giardina Front Porch Digital’s DivaSolo is making its international debut at the RAI this year. DivaSolo is a compact, turnkey system for migrating legacy videotape to content storage on data tape. The system combines three Front Porch technologies. Samma Solo performs largescale, realtime videotape migration to multiple essence formats; DivaWorks combines an LTO4based data tape library with Front Porch Digital’s flagship product, DIVArchive, for managing storage and security of digital files; while DivaDirector enables metadata management and the search, proxy browsing, and management of stored digital content from user desktops. During IBC, Front Porch is also highlighting Unicode support for the entire family of Samma products including Samma Solo. With Unicode support, Samma Solo offers local language support in any country in the world. Front Porch has also made some feature enhancements to its DIVArchive content storage management system. These enhancements include direct integration with Apple Final Cut Pro and Final Cut Studio environments. With this connectivity, DIVArchive is aimed at postproduction or newsroom environments requiring direct interface to Avid Interplay or Apple Final Cut Pro/Server platforms. DIVArchive also now includes the DivaProtect option as part of the base product. 7.B15

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Digital Rapids shares its expertise IneoQuest quality iPhone app by Heather McLean D i g i t a l Rapids is sharing its expertise with attendees both at its stands and in free sessions in the IBC Training Zone. Digital Rapids systems has also been chosen to power the encoding of content for the IBC TV News website and mobile delivery for the sixth consecutive year. For the first time, IBC TV News in ‘09 features live streaming of news updates on

the web, complementing their on demand news clips. Digital Rapids’ TouchStream portable live streaming appliance is also featured alongside the Datpresenter rich media webcasting service and software from Datmedia on its stand in the IBC IPTV Zone. Clive Vickery, managing director for EMEA and Asia at Digital Rapids, commented: “We

believe it’s important to offer IBC attendees more than just the chance to experience our technology and products. Robust, versatile and efficient solutions are as i m p o r t a n t a s eve r w i t h c u s tomers’ shrinking budgets and increasing audience expectations, but technology is just part of what media organisations need to meet these challenges.” IP511

FOR-A framerate converter does it all by Ken Kerschbaumer FOR-A is focusing on ‘Imagination to Creation’ at IBC with a demonstration of new virtual studio technology and the European debut of the FRC-8000 multiformat framerate converter. It is equipped with a new image processing board for HD and SD format conversion. The feature-rich unit uses FOR-A’s vector motion compensation technology to perform high quality integrated up, down, and cross-conversion. The FRC-8000’s algorithms perform conversion tasks in two steps, first analysing the pixels comprising each video frame to predict how they will move on screen, followed by conversion based on the number

FOR-A’s FRC-8000 multi-format framerate converter

of lines required at output. Other features include one-touch setup, multichannel audio conversion, and optional two-channel Dolby E encoding and decoding. “Innovation and imagination are inseparable concepts for this industry,” said Peter Jones, General Manager, FOR-A (UK) Ltd.

“If our customers imagine it as a possibility, we’re dedicated to making it a reality through new and innovative products. The IBC convention provides FOR-A with an excellent opportunity to showcase our latest innovations to the global electronic media marketplace.” 2.A51/B59

iVMS provides ‘one tap access’ to video quality verification on the iPhone

by Ian McMurray I n e o Q u e s t Te c h n o l og i e s i s demonstrating its iVMS mobile iPhone application. The company says its innovation is the industry’s first application for remote digital video quality verification and troubleshooting, designed to assist service providers with reducing operational expenses and enhancing the TV viewer experience. IneoQuest is also showcasing its technology for improving Quality of Service and maximising video test and measurement. The iVMS mobile iPhone application provides executives and network operation managers with one tap access to the realtime status of a programme’s video

quality, says the company, as well as detailed analytics and historical information on programming, to improve the immediate and longterm viability and performance of the network. Here at IBC, IneoQuest is demonstrating to visitors a live iPhone to showcase the application at work, including live video snapshots of a programme line-up as if in the network operations centre itself; access to the Programme Availability metric to deter mine each programme’s video quality over a 24-hour period; and realtime measurement of each programme, including m e d i a d e l ive r y i n d ex ( M D I ) across the network. 1.F52

Media Sharing Platforms GlobeCast and NETIA take your tapeless media further, with top-notch workflow tools and a global delivery network.

See us in Hall 1 Stand 1 B40 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

63


theibcdaily

Digital Rapids shares its expertise IneoQuest quality iPhone app by Heather McLean D i g i t a l Rapids is sharing its expertise with attendees both at its stands and in free sessions in the IBC Training Zone. Digital Rapids systems has also been chosen to power the encoding of content for the IBC TV News website and mobile delivery for the sixth consecutive year. For the first time, IBC TV News in ‘09 features live streaming of news updates on

the web, complementing their on demand news clips. Digital Rapids’ TouchStream portable live streaming appliance is also featured alongside the Datpresenter rich media webcasting service and software from Datmedia on its stand in the IBC IPTV Zone. Clive Vickery, managing director for EMEA and Asia at Digital Rapids, commented: “We

believe it’s important to offer IBC attendees more than just the chance to experience our technology and products. Robust, versatile and efficient solutions are as i m p o r t a n t a s eve r w i t h c u s tomers’ shrinking budgets and increasing audience expectations, but technology is just part of what media organisations need to meet these challenges.” IP511

FOR-A framerate converter does it all by Ken Kerschbaumer FOR-A is focusing on ‘Imagination to Creation’ at IBC with a demonstration of new virtual studio technology and the European debut of the FRC-8000 multiformat framerate converter. It is equipped with a new image processing board for HD and SD format conversion. The feature-rich unit uses FOR-A’s vector motion compensation technology to perform high quality integrated up, down, and cross-conversion. The FRC-8000’s algorithms perform conversion tasks in two steps, first analysing the pixels comprising each video frame to predict how they will move on screen, followed by conversion based on the number

FOR-A’s FRC-8000 multi-format framerate converter

of lines required at output. Other features include one-touch setup, multichannel audio conversion, and optional two-channel Dolby E encoding and decoding. “Innovation and imagination are inseparable concepts for this industry,” said Peter Jones, General Manager, FOR-A (UK) Ltd.

“If our customers imagine it as a possibility, we’re dedicated to making it a reality through new and innovative products. The IBC convention provides FOR-A with an excellent opportunity to showcase our latest innovations to the global electronic media marketplace.” 2.A51/B59

iVMS provides ‘one tap access’ to video quality verification on the iPhone

by Ian McMurray I n e o Q u e s t Te c h n o l og i e s i s demonstrating its iVMS mobile iPhone application. The company says its innovation is the industry’s first application for remote digital video quality verification and troubleshooting, designed to assist service providers with reducing operational expenses and enhancing the TV viewer experience. IneoQuest is also showcasing its technology for improving Quality of Service and maximising video test and measurement. The iVMS mobile iPhone application provides executives and network operation managers with one tap access to the realtime status of a programme’s video

quality, says the company, as well as detailed analytics and historical information on programming, to improve the immediate and longterm viability and performance of the network. Here at IBC, IneoQuest is demonstrating to visitors a live iPhone to showcase the application at work, including live video snapshots of a programme line-up as if in the network operations centre itself; access to the Programme Availability metric to deter mine each programme’s video quality over a 24-hour period; and realtime measurement of each programme, including m e d i a d e l ive r y i n d ex ( M D I ) across the network. 1.F52

Media Sharing Platforms GlobeCast and NETIA take your tapeless media further, with top-notch workflow tools and a global delivery network.

See us in Hall 1 Stand 1 B40 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

63


theibcdaily

DTG does everything by the book by Ian McMurray Refresh current contacts, meet new people and interact with the industry at large: those must be three key reasons for any comp a ny t o e x h i b i t at I B C, a n d they’re certainly key to DTG’s participation. DTG (Digital Television Group) is the industry association for digital TV in the UK, and feels that it is essential that it has a strong and constant presence at a show that is so focused on the industry. A t t h e D TG S u m m i t i n M a r c h t h i s y e a r, t h e G ro u p launched D-Book 6 – the detailed interoperability specification for the launch of high definition digital terrestrial television services (Freeview H D ) . D - B o o k 6 re p re s e n t s a landmark in broadcasting, says the DTG, enabling the launch of an initial four high definition channels on the Freeview platform by late this year. DTG Testing, the Group’s interoperability test house, will be delivering the test and conformance regime for Freeview HD,

D-Book 6 represents a landmark in broadcasting, says DTG

bu i l d i n g o n t h e e x p e r i e n c e gained on the Freeview, Freesat and Freeview New Zealand platforms. According to the Group, testing against D-Book 6 will mark a step change in market compliance: the DTG says that it can now utilise eight years of test suite development as a foundation to ensure that Freeview HD receivers will meet levels of com-

LEDs are king of ROI

Brian Larter, worldwide managing director Autoscript, says the green shoots of recovery require an environmentally-LED approach The economic crisis has given the sector its stiffest challenge for decades, one from which no broadcaster, media company or supplier is immune. What’s more it has come at a time when unprecedented environmental pressures are forcing everyone to think responsibility about their energy consumption. The understandable temptation is to negate investment in green technologies and concentrate on short term financial survival. But it’s a short-sighted approach when a more positive response to both global issues is one that recognises that one impacts another. An energy-saving strategy is not only ethical but one which can demonstrably shave zeros from a

company’s bottom line. For manufacturers it means re-examining the use of raw materials to produce products with longer life cycles and greater energy efficiency. For customers it means equipment that guarantees a watertight return on investment. At Autoscript we want to be leaders in this movement. We took stock of the situation 18 months ago and decided to invest in LED technology as a replacement for environmentally hazardous cold cathode f luorescent lam p s (CCFLs). Previously when production teams and technicians faced the need to upgrade or buy into oncamera prompting systems they

IBC 2009

Stand 10.F28

64

pliance achieved previously only on vertical or lower volume proprietary standard platforms. DTG is showcasing the test and confor mance regime for Freeview HD services at IBC 2009 – just six months after the publication of D-Book 6. A s p a r t o f D TG Te s t i n g ’s progress towards becoming the wo rl d ’s o n ly I S O / I E C 1 7 0 2 5 accredited DTT test centre, the Group is showing IBC delegates how, through working in partnership with broadcast consultants Mirifice, it will be bringing increased automation to its test and conformance process. This it says will result in streamlining of its testing processes, further reduction of lead times for manufacturers and increased consistency of test results. D TG i s a l s o u s i n g I B C t o publicise an event on the technical development of 3DTV which w i l l t a ke p l a c e i n L o n d o n i n Autumn 2009, building on the consultation the Group carried out on 3D earlier this year. 5.A45 had no choice other than CCFLs. Now, as LED displays move from consumer gadgets like music players and mobile phones into professional use, they do. LED backlights are growing rapidly in large-area (10-inches plus) TFT LCD displays. Not only do they deliver higher contrast levels and an overall improved picture quality the LED unit uses significantly less power than existing TFTs, increasing a monitor’s efficiency, which is particularly important for teleprompter monitors powered from a camera head. Indeed according to DisplaySearch global sales of large-area ten-inch plus TFT (thin-film transistor) LCD displays reached 10.6 million in Q1 2009, up 63% on the same quarter 2008 and a whopping 780% year on year. According to the shipment plans of large-screen TFT LCD makers LED backlight panel shipments are expected to reach 104.5 million units in 2009. Autoscript is part of that movement, vowing to replace our existing fluorescent

The Buffalo LT-H90DTV is widely available in Japan

Espial Evo Client for Buffalo by Ian McMurray Espial, the Canadian provider of TV software, recently announced that its Evo Client middleware had been licensed by Buffalo Inc for Buffalo’s hybrid set-top box that provides digital TV and ondemand services. The Buffalo set-top box delivers a range of digital broadcast television channels from satellite and terrestrial signals, and it is planned that it will also provide on-demand and interactive services over IP using open industry

Exhibitor Opinion

Brian Larter: “An energy-saving strategy can demonstrably shave zeros from the bottom line”

backlit TFT range with the new technology, including a two-year warranty, at no extra cost. Among the first takers are BBC Cambridge which is housing several 15” LED displays as part of a suite of prompting solutions designed for its new broadcasting

standards. The Buffalo LT-H90DTV settop box is widely available today in electronics retail stores across Japan. Espial and Buffalo are also cooperating to introduce a set-top box based on the LT-H90DTV to broader distribution channels across Japan. Japan, like many other countries, is rapidly transitioning from analogue to digital TV to meet the 2011 regulatory deadline to end analogue TV services. 5.A18 headquarters which goes live later this year; and Egyptian Radio and Television Union (ERTU) which has received multiple 15” LED monitors in an upgrade to its studios this summer. In a recession people don’t stop investing, they perhaps consider that investment more wisely. We’re finding that business for us is brisk because of new technology and established products and services that are proven to deliver that return on investment. Clients understand they are buying into products of proven durability and into a company backed by all the resources of the Vitec Group which is financially secure and here for their needs today, tomorrow and beyond. There’s a bright future for LED because more than ever before customers across the spectrum need value, reliability and longevity. One thing is certain: when the recovery comes, the industry of the future will look very different to the way it was. 9.D28e

NEW THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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The Foundry shows post-buyout

A night at l’Opera: the HD OB unit from l’Opera, equipped with Harris infrastructure, on display throughout IBC

OB upgrades major for Harris by Dick Hobbs According to estimates by Harris, in Europe alone there are at least 100 modern outside broadcast trucks which are currently standard definition only, and thus ready to be upgraded to HD. The company acknowledges this may be an underestimate. Once SNG trucks are included in the count the figure moves into the thousands. While each will require a new infrastructure, including monitoring, routing and video processing, this can now easily be accomplished inside the same physical space in the vehicle, making an upgrade a much more economical proposition than replacing the truck.

To demonstrate its ability to provide the necessary equipment and expertise for the outside broadcast market, Harris has brought to IBC an HD truck from Italian provider l’Opera, which is on display in the outside exhibits area. “Harris is the only vendor that can provide all the backbone for a truck,” said product manager, Jochen Kuhnen. “Our Predator and QVM multiviewers have the lowest latency in the market, making monitoring of a lot of HD sources practical. And for SNG we also have the ability to provide contribution-quality compression codecs and network drivers to get the best quality signal back.” 7.G20

EBH celebrates 25 years by David Davies As well as marking its 25th anniversary at this year’s IBC, EBH Radio Software is showcasing a host of brand new product releases. The latest development concerns EBH’s music scheduler Repertoire, which now includes 21 new features including new scheduling rules and analysis tools. Th e c ompany has also reworked its newsroom software FastNews so that it can be used directly without the need to interface with studio automation software. The result, says EBH, is a ‘complete solution’ for radionewsrooms. EBH is also showcasing its ROSI DJ automation software for

OB vans, TV studios and , o f course, for radio automation. The ‘junior package’ is also said to be relevant to small commercial radio stations, hospitals and noncommercial projects. Other new developments being highlighted by EBH include the ROSI Broadcast One key point module for on-the-spot recording by presenters; ROSI internet, a combination of Repertoire and ROSI Broadcast that can b e applied to a variety of scheduling, application and background music scenarios; and AutoCast. The latter is a workflow management and staff planning tool, which is being presented with a complete new production suite. 8.C10

by Carolyn Giardina On the heels of a management buyout in June, now British-owned, The Foundry is showcasing V6 of its Nuke compositing software and launching compositing application NukeX. Plug-in developments include a possible fix for CMOS chip rolling shutter problems. Nuke 6.0 includes a re-written paint and roto toolset as well as the company’s keyer, Keylight. This version is being released as The Foundry expands the product line with NukeX, which the company says is designed to build on Nuke with new lens tools, 3D camera tracking as well as image and motion analysis.

Nuke and NukeX are scriptcompatible, with Nuke capable of viewing and rendering nodes created using the extended NukeX toolset. In other IBC news, The Foundry is launching RollingShutter, a new product available on After Effects and Nuke that was developed as a possible fix for CMOS chip rolling shutter problems. The company explains that RollingShutter aims to compensate for skewing in a scene, in order to improve the look and enable trackers to work on affected footage. Addressing 3D, The Foundry has released Ocula2, which has new capabilities for manipulating

aspects of live action stereoscopic footage such as vertical alignment and interocular shift, as well as the ability to replicate paint and roto shapes applied to one eye directly onto the second. Ocula is currently being put through its paces by Weta Digital and Framestore on James Cameron’s sci-fi feature 3D Avatar. Tinderbox 4 is now available on Nuke. This plug-in includes organic effects such as snow, rain, fire and water as well as unique looks dubbed ‘cartoon,’ ‘security’ and ‘InfiniteZoom.’ The Foundry has also been working with Avid so that Furnace for OFX will work on V10.2 of Avid DS. 7.F28

Social networking meets broadcasting by Ian McMurray MySpace, Facebook, Bebo, Twitter... Love them or loathe them, there’s no gainsaying the increasing influence of social networking – it seems we just can’t tell everyone enough about ourselves. Recognising both the trend and its relationship with the TV viewing experience, Belgian company Zappware is launching social networking features for its iView for Operators suite. Zappware is running a demonstration that shows how the new add-on allows a TV viewer to connect with friends and family to see what they are watching on their

iView for Operators now allows TV experiences to be shared

TVs, exchange favourite lists of TV programmes and VoD movies, recommend TV programmes or VoD movies to one another, send VoD

movie gifts to their friends and lock their TV screens onto one another to watch the same content. 4.B51

Dicas debuts encoding algorithm by Ian McMurray Managing bandwidth is a source of constant concern to broadcasters and providers of WebTV, MobileTV and IPTV services. German company dicas – which specialises in MPEG-4 AVC/H.264 encoding – has recently announced what the company refers to as a revolutionary, quality-enhancing algorithm. Called dicasVICO, the company describes it as an algorithm that delivers high quality video comparable to anything currently encoded using H.264 - but does so at a 30% lower bitrate.

dicasVICO optimises the distribution of bits among the image sections of a video picture during the encoding process. Unlike most current encoders, the dicas algorithm is not based on commonly used statistical measurements but on the properties of the human visual system, taking advantage of the variable susceptibility of the eye/brain combination to various optical phenomena. For example, the human brain hardly notices errors occurring in high-frequency sections – fast movements, fine-textured pat-

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terns and so on – whereas it is very aware of errors within regular structures or slow-motion sections. T h e d e g re e o f e n c o d i n g applied by dicasVICO relates to the picture’s visual complexity and, according to the company, perception tests show that this approach has an enormous posit ive i m p a c t o n h ow a v i d e o stream is perceived by a viewer: the stream with the dicasVICO algorithm applied, says dicas, appears to be much clearer and more brilliant. 1.A80

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See us at IBC 2009, booth 10.A21

World’s fastest Multiviewer one field delay

Modular, low latency and linear expandable Multi Image Processor 16 inputs in 1RU 32 inputs in 2RU 72 inputs in 4RU For more specifications see www.axon.tv

www.axon.tv Committed.


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Technology to meet expectations There is no excuse if customers receive anything less than the highest quality experience, says Oddbjorn Bergem, chief executive officer, Nevion

Peli is claiming its Remote Area Lighting Systems (RALS) will revolutionise the work of broadcast professionals, writes Adrian Pennington. These battery-powered portable area lighting units use LED technology, which has the ability to illuminate a large work area without the fuel consumption, noise and air pollution associated with industrial diesel generator-powered lighting towers that use energy-sapping light bulb technology. Models 9430, 9450B, 9460 and 9470 are on the stand. 9.D44

Sentry monitors content Mixed Signals is demonstrating its Sentry digital content monitor. In addition to Sentry’s ability to detect frozen video, loss of audio or black screens, Sentry can also capture additional subscriber impacting issues like macroblocking and tiling, as well as audio level issues while evaluating the real impact of all issues on the subscriber’s viewing and listening experience. The company says Sentry helps video service providers ensure subscribers are getting the best

quality of experience (QoE) with its new Audio and Video QoE Scoring System. This new scoring system indicates the satisfaction level of the TV viewer by ‘scoring’ impairments. Another feature recently added to Sentry is its alert triggered stream capture capability which automatically records the video and audio errors in video service providers’ programming so they can know precisely how these errors manifest themselves. 2.C19

I’m sitting in my comfortable chair looking forward to a great evening. Good friends, good beer and the football match of the year. I’ve invested in a high quality fibre connection from my triple-play provider, newest HD projector and a huge screen. The match begins. Silence. Excitement. Disappointment! What the heck is this? Nothing wrong with the content of the match but the grass looks like it’s made of Lego. HD seems more like Horrible Definition than High Definition. And no, I have not screwed up my equipment setting. How long will our customers accept this? Surely I’m not the only one irritated by paying for premium content delivered with far from acceptable quality. The old saying about ‘the weakest link in the chain’ is, in my opinion, more important than ever. Cameras are getting there. Projectors and TV sets are already there. How come we destroy everything on the way between them? There is plenty of bandwidth out there. That’s no excuse to destroy the quality. Content providers insist upon maintaining

Exhibitor Opinion

Oddbjorn Bergem: ‘Quality video delivery and transport options are available now’

the integrity and quality of their video and telecoms cannot fill up their SDH pipes with traditional phone traffic. In addition, there is quite a bit of unused fibre installed during the dotcom boom. To take advantage of this available capacity, IP transport is emerging while still in the early stages of implementation, the technology is gradually getting there for high quality contribution applications. Ok, so

you cannot afford to pay for that bandwidth. What about looking at compression techniques that are made for high quality links? Trying to squeeze an HD channel into 6Mbps is like serving a birthday cake through a garden hose. It will come out but that’s about it. While technology is continually improving, there are quality video delivery and transport options available now. For contribution quality transport over any network infrastructure there are solutions that satisfy content providers and carriers’ demand for quality and bandwidth optimisation. ASI over IP with multipoint distribution, pointto-point transport, JPEG 2000 and MPEG-2 transport stream multiplexing and compression solutions, HD/SD over 270 Mbps, IP and SDH/SONET are just a sampling of how Nevion is removing the plastic from the diamonds. It’s time to forget the garden hose and look at what new technology can give your customers in terms of real high definition experiences. So sit back, relax and watch where video is moving. 8.B70

New for IBC2009 The Innovation Arena The IBC Innovation Arena is a new feature for smaller companies to showcase exciting new content, services, applications and products and demonstrate clever ways of solving problems and projects at the leading edge of new industry trends.

Companies involved include:

Categories of Innovations being showcased and judged (Dragon's Den style) are:

The companies will be available to showcase their innovations and network in the Ruby Lounge during Friday 11 and Saturday 12 September. They will be presenting their ideas in the Innovation Arena conference session on Saturday at 09:00. Each company has a five minute 'elevator pitch' with Q&A to follow.

• • • •

Consumer Oriented Innovation Agents of Change Technology to the Rescue

Diagonal View • Far Blue Images • FLMedia • Instant Effects • Metaio • NewMedia Solutions Pte Ltd • Oregan Networks • ShoZu • Videoplaza • Vuzix • Ymogen Limited

Innovation for Tomorrow

A winner will be declared for each of the categories for an "I Caught Their Eye" certificate at the end of the Innovation Arena conference session on Saturday 12 September at 09:00.

IBC2009

the content creation • management • delivery

experience

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All-in-one spot/flood LED

projectiondesign debuts Norwegian projector manufacturer projectiondesign makes its IBC debut this year, demonstrating the cineo32 post production-specific projector. The cineo32 features the new VIDI lamp technology from Philips that reduces artefacts in the displayed image. “In an effort to create a product that’s a perfect fit for the post production environment, we’ve worked very closely with the technical managers of leading post houses,” said Anders Lokke, international marketing and communications manager at projectiondesign. “Their valuable feedback has been incorporated into the cineo32 projector and will significantly benefit the post community in high definition, digital cinematography, VFX, colour correction and graphics work.” The cineo32 is a single-chip 1080p DLP projector offering high contrast and colour uniformity. It features full 10-bit resolution, a guaranteed REC 709 colour space for accuracy and incorporates the latest version of BrilliantColor, developed by Texas Instruments, for improved performance. This allows the user to calibrate the projector to produce a perfectly accurate image, either through external 1D and 3D LUT generation or through its unique RealColor colour management suite. An HD-SDI and SDI optional input module is available. The projector comes with a wide range of precision projection optics, and is also portable, enabling it to be used with the on-set viewing of digital dailies or rushes. To cater for the increasing use of 3D, the projector is available in 2D and 3D stereoscopic versions. 2.C18

by David Fox Litepanels new 1x1 Bi-Focus, is claimed to be the first LED light fixture capable of variable spot and flood focusing. It is thin, portable, cool to touch, and uses relatively little energy. It features two independent sets of daylight colour-balanced (5600K) LED bulbs set in the 30 x 30cm square of the fixture: one set of flood bulbs plus one of spots. By fading between the two, user can set variable flood or spot output. It has 1152 LED bulbs (twice the number of a standard 1x1), so it can project the same total light output however it is set u p. Adjustment of the spot/flood setting is by a new integrated DMX controller, or by turning the manual control dial on its back. It also offers infinite dimming from 100% to zero with minimal change in colour temperature, and

The Studio Transmitter Link comprises Streamit’s SAS250 and SIR150

Streamit launches its Studio Transmitter Link Switching focus: Litepanels new 1x1 Bi-Focus

brightness can be controlled using a built-in dimmer dial on the back or by the DMX controller. The Bi-Focus runs on battery or AC power, including an optional 1.75 hour onboard battery pack. 9.D28i

DekTec debuts USB modulator by Ken Kerschbaumer DekTec has introduced the world’s first truly portable USB modulator, the DTU215, at IBC. The device is the USB-2 equivalent of DekTec’s DTA115 multistandard modulator for the PCI Bus and, like the DTA115, it supports a long list of modulation standards including DVB-C, DVBT/H, QAM-A/B/C, ISDB-T, ATSC, DTMB and the new DVBT2 standard. Other features include an all channel up-converter, an output level that can be varied between -49.5 and -18.0dBm, and a MER

better than 38dB. Finally thanks to use of the latest technology the DTU215 is fully bus-powered, meaning no external power supply is required. Paired with StreamXpress, DekTec’s highly rated TransportStream Player, the DTU215 will prove to be a versatile modulator ideal for taking demos at customer sites and exhibitions. Also note that support for the DTU215 is included in the SDK, providing users with the tools to create custom or OEM applications. 2.A41

by Ian McMurray C abl e a n d s at e l l i t e n e t wo rk providers are discovering standard IP connections as reliable feed-in links to their networks. Addressing this trend is Streamit, and the company is launching its Studio Transmitter Link solution at IBC. The broadcast industry has a huge need for reliable but more affordable data connections. Audio-over-IP solutions fulfil this need but require specific functions to become really successful. The Streamit STL solution, says the company, addresses these broadcast requirements. The SAS250 is the IP-Audio transmitter of the solution. It has XLR inputs and encodes in open source codec Ogg Vorbis. This gives an excellent audio quality with low bandwidth consumption, according to Streamit. Like the

by David Davies You/Com is highlighting the increasing popularity of the Parrot communication device for

SETTING AN UNPRECEDENTED LEVEL OF INTERCOM FLEXIBILITY Clear-Com ConcertTM

• New breed of Intercom-over-IP software powered by I.V.Core technology • Intelligent audio routing decision engine optimizes bandwidth utilization • Utilizes low bit rate wide band Codec's for enhanced audio clarity and quality • Forward error recovery and noise reduction algorithms to provide high-clarity and low-noise voice communication

Tempest ® 2.4GHz Digital Wireless System

• Operates worldwide in the license-free ISM frequency band • Antenna, Time and Frequency diversity yields superior outdoor performance • T-Desk software allows remote control of base and beltpacks over LAN • 2xTX Transmission Voice Data Redundancy provides for reliable communications • Intelligent RF design ensures minimal interference with Wi-Fi networks

Visit Clear-Com at Booth # 9.E20b

www.clearcom.com

IP COMMUNICATIONS

SIR150 receiver, the SAS250 is rack mountable. It also offers a stereo headphone output. The receiver part of the solution is the SIR150. It is, claims Streamit, the only hardware internet radio in the world with standard XLR connectors, playing Ogg Vorbis, AAC+, WMA, and MP3. In the event of network or power failures, the SIR150 reconnects automatically or falls back to a SD memory card with prestored content. A network user interface allows remote control and configuration of the SIR150. Both devices feature an RS232 connector for RDS data transmission. Optional configuration, management and monitoring of the SIR150 receiver(s) can be achieved through the Streamit webservice, Channelservice.fm 5.A14

You/Com publicising Parrot

© 2009, Vitec Group Communications, LLC. All rights reserved. ® Clear-Com is a registered trademark of The Vitec Group plc.

In Brief

reporters at this year’s IBC. Use of t h e a l l - i n - o n e - u n i t e n abl e s reporters to ‘do away with the hassle of carrying around recorders, reporter-phones, PCs and endless numbers of cables’. O r i e n t e d t owa rd s ra d i o reporters who need to be live onair from location and who also often have to make a recording beforehand, the Parrot is based on t h e i n t eg rat i o n o f w i re l e s s telecommunication and flash recorder technology. According to You/Com: ‘in both cases (live and file) all the reporter needs are his microphone, mobile phone and Parrot – nothing more, nothing less! The Parrot does it all, no other equipment needed.’ The unit – which includes professional connectors for microphone (XLR) and headphones (6.3mm jack) – is now in use with a number of high-profile broadcasters, including WDR in Germany, RTE in Ireland, and Radio 538 in the Netherlands, among many others. 8.E75

DIGITAL WIRELESS With adopters including RTE and WDR, You/Com’s Parrot is in full flight

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Meet the Mayah codec family by David Davies Mayah is providing IBC2009 visitors with the opportunity to see and experience its latest family of audio codecs, C11. Encompassing 14 different models, the C11 audio codecs incorporate a compact 1RU design and have been devised to satisfy all broadcast, telecom, recording studio and voice artist realtime audio transmission requirements. In addition to providing audio-overIP based strictly on the EBU standard for SIP/RTP contribution applications using Ethernet or 3G networks, the C11 family also supports ISDN, POTS and ASI net-

work interfaces. In the advanced models, audio logging or playback to/from a local storage media is available, along with the possibility of switching the analogue line inputs to high quality microphone inputs with 48V phantom power.

The specification of the C11 models also includes support for a u d i o fo r m at s i n c l u d i n g G.711/G.722, MPEG-1 Layer 2/Layer 3, MPEG-4 AAC and HE-AACv2, as well as AAC ELD and Linear audio. APT-X, 4SB

A D P C M a n d Tra n s p a re n t AES/EBU signal transmission over IP are offered as options. Other developments being showcased by Mayah at IBC2009 include Sporty, the new portable reporter codec for live reporters, radio interviewers and commentators; and Flashman II, the new portable audio recorder/codec. 8.A74

On show today, C11 is the newest generation of Mayah audio codec

The inventor of compact routing just keeps innovating

GlobeCast: sports focus

by Ian McMurray In addition to sharing its IBC stand with daughter company Netia to demonstrate the progression of content from contribution to playout and delivery using a broad selection of products and services, GlobeCast has its sports contribution team on hand to discuss upcoming sporting events such as the South African World Cup, Vancouver Winter Olympics, Asian Games and Commonwealth Games, taking place around the world in 2010. GlobeCast is planning services for rightsholders and non-rightsholders to bring these special events from the stadiums to the rest of the world. GlobeCast’s IP contribution tool, Content Exchange, which has recently become available to Mac users, will also be on view as part of the media sharing and delivery demonstration – a demonstration which, the company says, highlights the group’s new position as an integrator of broadcast technology and a leading service provider. Sharing the spotlight are GlobeCast’s new fibre links and satellite capacity. GlobeCast has new direct access to major cities with the expansion of its next-generation global fibre ring into Jordan Media City (JMC) in Amman and Munich in Germany. Blue chip broadcasters and smaller channels alike will also be interested in discovering GlobeCast’s newest DTH satellite platforms on ASIASAT 3S for Middle East, South East Asia and Pacific region and Astra 4A (Sirius 4) for delivery to sub-Saharan Africa as well as its prime capacity over Europe via Eurobird 9A and Eurobird 1. GlobeCast can deliver European content to multiple platforms anywhere in the world and vice versa, and has on hand representatives who are ready to discuss opportunities for broadcasters looking to reach ethnic communities throughout the continent or European communities abroad. 1.B40 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

VikinX routing solutions

Nevion invented the first compact router in 1997. Years later, we were the first to introduce compact routing for 3G-SDI. And now, the evolution continues with our VikinX line of modular and compact routers for analog video/audio, SD and HDTV. Offered in the widest range of matrix sizes available, VikinX Sublime routers are defined by simple design and low power consumption, the greenest in the industry. And now, new Sublime routers introduced at IBC2009 offer full integration with Nevion’s new Multicon control platform for control of routers, signal processing, distribution, and third-party equipment. In large or small broadcast environments, VikinX Sublime routers are the most reliable and cost-effective in today’s marketplace. Come see us at IBC, stand 8.B70 Find out what VikinX routing solutions can do for your business. + 47 33 489 999

5IF "NFSJDBT t Asia Pacific t Europe and Africa t Middle East 71


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Latens unleashes ECO warrior on IBC by Ian McMurray Latens ECO Cable Gateway is a single platform that offers a content delivery framework combined with content protection technology. According to the company, it restores the cable operator’s position as a high value content aggregator by creating a fully IP-based environment, allowing operators to offer next generation services across a home network with whole home digital video recording (DVR), while taking advantage of the cost savings associated with low cost, high performance IP STBs.

New services could include Extended TV, video on demand, the integration of YouTube, Flickr and Twitter and other popular internet sites, and web-enabled DVR remote control. Importantly, says the company, Latens ECO Cable Gateway uses existing cable infrastructure, and nor mal cable services are not affected. This enables cable operators to employ a simple digital transition on a home-by-home basis as cable gateways a re deployed. All content is protected by

MediaBench for Louise by Ken Kerschbaumer ProConsultant Informatique is showcasing its Louise system, including new MediaBench technology to improve nonlinear workflows. Louise provides an intelligent architecture for managing and scheduling programme assets and for simplifying workflows in tapeless environments where content is for multi-platform distribution. “Louise is the foundation upon which we continue to build. Our research and development direction has always been to organically grow the Louise capabilities; sup-

porting the initiatives of our customers not just for today, but tomorrow and years to come,” said Hervé Obed, founder, ProConsultant Informatique. Louise provides global governance of rights and scheduling as well as automated control of media retrieval, conversions and other processes. Coupled with Louise, the new MediaBench module enhances productivity and streamlines content creation and distribution for platforms including VoD, web and mobile services. “Louise enhancements we

Latens’ software-based conditional access, which not only offers a very high level of security but can be dynamically renewed to prevent the loss of revenue in the event of hacking – which, says the company, is a far simpler, effective and more affordable alternative to older card-based systems. Latens claims that its ECO Cable Gateway also reduces integration, development and operational costs, as middleware and conditional access are combined within a single software platform. 4.B56 showcase at IBC are serving two purposes for our clients who face new challenges in a tapeless, multiplatform world,” said Obed. “One, we are increasing the value of their assets by offering a simple way for operators to produce multi-platform media and packages in a much easier, time-saving manner. “And two, we are providing the infrastructure to manage and deliver these packages to any platform with a click of a button. A fast, simple yet sophisticated technology that adds efficiency and doesn’t require customers to throw out their current infrastructure or add extraneous systems to gain the benefits,” Obed added. 2.B21

The Latens ECO Cable Gateway uses existing cabling infrastructure

Entry level intercom by Adrian Pennington Riedel is presenting its new Artist 5000 series intercom control panels in the RAI. It provides the full functionality of Riedel’s digital matrix intercom panels at an entry-price level. The panels are available in two versions either with marker strips or with eight character, high-contrast LCD displays, which show the label for each talk key. The control panels with LCD-display are also equipped with a ‘shift’page, essentially doubling the number of keys to 16.

The universal enclosure makes the panel suitable for rack-mount, wall-mount and desktop operation. Connection to any Artist or Performer matrix is relayed digitally via a standard AES3 signal on Cat5 cable. In addition, this allows the user to route panels through any third party digital audio device. The panels feature an integrated loudspeaker, a gooseneck microphone and LED indication for ‘shift’page mode, headset mode and microphone activation. 10.A41

Get Extra for Free at IBC2009 • • • • • •

FREE access to the IBC Big Screen Experience in the Auditorium - watch manufacturers’ demonstrations, special events and screenings, and the Monday night movie which is Ice Age 3: Dawn of the Dinosaurs FREE training in the Production Village in Hall 9 with professional training sessions and a whole host of camera technology on display FREE Post Production training in Hall 7 with expert training staff exploring the latest desktop techniques from Adobe and Apple using the new version of Final Cut Pro FREE entry to the Mobile Zone and IPTV Zone in Hall 12 FREE entry to the Digital Signage Zone located in the Park Foyer at the entrance to Hall 8

• • • • •

FREE entry to the IBC Business Briefings in Room O take part in live debates, business analysis and discuss case studies FREE entry to the IBC What Caught My Eye sessions in Room O, where experts explore the best of IBC for you FREE entry to the prestigious IBC Awards Ceremony in the Auditorium on Sunday 13 September at 18:30 FREE entry to the Games Arena in Hall 11 where you can play PS3 pods & interactive touch table games and win exciting prizes! Experience the latest developments in broadcast technology in the New Technology Campus in Hall 3

FREE access to the Business Club Lounge in the Park Foyer

IBC2009 the content creation • management • delivery

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EchoStar showcases a year’s worth of developments by Ian McMurray Since the relaunch of its European business at IBC2008, EchoStar Europe has developed and launched new STB and DVR platforms for the cable and IPTV markets. In parallel, the company has continued to develop its incumbent satellite business, supplying a number of new and cost-effective HD platforms. It has also integrated Slingbox technology from SlingMedia into its product portfolio. Product highlights at IBC09 include fully integrated Slin-

gLoaded technology to enable operators to deliver the benefits of home networking and place-shifting to consumers in a single, userfriendly product for m at . I n partnership with SlingMedia, EchoStar Europe is demonstrating its latest SlingLoaded platform which the company says delivers the benefits of market-tested, place-shifting and home-networking technology to the STB/DVR. Also featured is a new range of cable product platforms, from digital converter set-top boxes to

The HDC-600 supports VoD and DVR

fully-functioning digital video re c o rd e r s. T h e c o m p a ny i s demonstrating its HD HDC-600 series product. Available with either a DOCSIS-enabled or an IP-based high-speed, high-band-

width return channel, the product supports both broadcast and twoway/interactive cable services, such as video on demand, in addition to DVR. Also highlighted on the

EchoStar stand is the HDX-600 series HD, IPTV DVR designed to provide operators with a cost effective, hybrid set-top box with digital video recording. Available with either an integrated hard disk drive, or as a stand alone set-top box (HDX-400) with an upgrade path to DVR via plug in HDD, the company says that the unit offers a great deal of flexibility to IPTV operators wishing to offer personalised digital television services to their customers. 4.B54

Four-way charger speeds ahead for Anton/Bauer by David Fox Anton/Bauer is showing a new, faster battery charger at IBC. The TM4 is a four position, charge module-based, fast charger capable of charging up to four batteries at once. It is up to twice as fast as Anton/Bauer’s TWQ charger. It also doubles as an AC power supply, with a 70W supply via a 4pin XLR connection. The power supply can be used simultaneously with the charger, allowing three batteries to be charged while operating from AC mains. “For dealing with fast-break-

ing news stories, remote coverage of events and video production when the video camera must run from a battery, the engineers at Anton/Bauer created the TM4 to provide quick-turnaround battery charging,” said Michael Accardi, president of Anton/Bauer. “As modern video cameras are literally power-hungry computers with a lens attached, having a quick and reliable battery charging system increases user confidence by ensuring that abundant battery power is always ready for any capture situation.”

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

The TM4 will fully charge a Dionic 160 battery in 3.5 hours, a Dionic 90 in three hours, a HyTRON 100 or 140 in two hours, a ProPac Series in one hour, the HyTRON 50 in two hours, and one hour for the TrimPac Series. The TM4 operates off a 100-240v AC supply (50/60Hz), and has an individual charge position status LED for each battery, while the internal battery management software can be updated from a remote location using a specialised USB-compatible programming cable. 9.D28b

Charge coupled: Anton/Bauer’s latest TM4 battery charger

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Transmission for the 21st century New media visions The broadcasting industry must mature beyond laboriously integrating ‘best of breed’ components toward more powerful solutions, argues Ian Fletcher, CTO, OmniBus Systems Are you broadcasting from the last century? If you’re running a traditional transmission chain, you definitely are. The hardware-based, multi-vendor broadcast transmission chain costs you more, does less for you, and requires more maintenance than it should. Look at nearly every other aspect of broadcasting: the tools broadcasters use have changed radically in the past two decades. So what’s different about transmission? Nothing, but... like the integrated, computer-based tools that have swept through post, audio, and editing, making the old ways obsolete, OmniBus iTX makes the conventional approach to transmission so last century. If there’s a single reason why that statement is true, it’s because iTX does more than any other transmission system. More than any conventional, hardware-based transmission system, and of course much, much more than limited ‘channel-in-a-box’ products. In fact, when cutting-edge broadcasters want to develop breakthrough services that are impossible to implement with conventional means, they turn to iTX as the only platform capable of delivering. iTX is powering hundreds of prime-time premium channels for major broadcasters, and some of the most innovative

services, including the industry’s first 1080p24 movie broadcasting service. It’s iTX that powers the world’s largest IPTV operation at one of the USA’s biggest names in broadcasting. You can replace your entire traditional transmission chain with iTX in any broadcast application, and achieve higher standards of production, respond faster, integrate far better with data systems – and work more flexibly and efficiently. Because iTX is a comprehensive platform embracing in one software application all the functionality required for a sophisticated transmission operation, it’s far easier to maintain and operate than a multi-vendor transmission chain, and delivers enhanced reliability and redundancy. But as a software platform, it’s also highly extendable with third-party plugins and add-ons for breakthrough capabilities in realtime graphics, data integration, compliance and monitoring, and more. From the inception of OmniBus we made it our business to glue the disparate links of the conventional transmission chain together but, as we’ve grown as a company, it has become obvious that this was not the way to achieve reliable and manageable systems – especially in the context of today’s industry, with rapidly changing conditions.

Exhibitor Opinion

Ian Fletcher: ‘OmniBus iTX makes the conventional approach to transmission so last century’

You now expect an edit suite to use a computer running powerful software tools, rather than an array of mixers, keyers, DVEs and a bank of monitors. Similarly, the conventional hardware-based, multi-vendor transmission room is changing. As one broadcaster expressed it recently ‘the industry must mature beyond selecting ‘best of breed’ components from different vendors and then laboriously integrating them into a workable transmission chain.’ This is no longer the best solution. There is an alternative: a far more powerful, flexible and agile transmission platform, which broadcasters can use to deploy new services unlimited by the restrictions of the conventional technology. If you want to see what 21st century broadcasting really looks like, it’s time you saw iTX. 8.D41

Today’s trio of free Business Briefings from Exterity, IBM and Oracle will give you fresh insight into the latest developments in IPTV, customer centricity and newsroom convergence. From 11:00, each session will be chaired by strategic communications consultant Ian Volans, who has almost 25 years’ experience in the mobile and telecoms sectors. Exterity’s Colin Farquhar kicks-off the morning session, discussing everything from the benefits of IPTV to how to leverage the power of new technology, including video-on-demand (VOD), live cameras and digital signage. Exterity’s aim is to help organisations maximise the value o f T V a n d v i d e o c o n t e n t by delivering it over a building or campus IP local area network (LAN) to TVs, PCs, and AV display equipment. N ex t , M i g g e H o ff m a n n Korzen, of leading business soft-

ware company Oracle, will show the importance of combining the two most critical components in today’s media marketplace: understanding and insight into custo m e r s a n d t h e t a rg e t i n g o f appropriate and timely content offerings. Using case studies, such as Sirius XM, the session will illustrate how media companies can create a competitive edge in retaining and attracting customers to their platforms in this highly dynamic industry. And just before lunch, IBM’s David Lane – having led IBM’s multi-media and multi-channel solutions for converged newsroom, advertising sales, advertising management and end-consumer engagements – will explore the leading-edge technologies being used to increase the effectiveness and efficiency of the newsroom. L o c at e d i n Ro o m O, I B C Business Briefings are open to all visitors.

Telcos were influential in design of MVP, says RGB by Ian McMurray RGB Network’s Modular Video Processor (MVP) is the manufacturer’s first product built specifically to meet the advanced video delivery needs of telecom carriers. The MVP is pitched as a complete IPTV solution that enables telcos to deliver high-quality, IPbased video services. It combines

www.octopus-news.com RGB Networks’ MVP supports MPEG-2, as well as MPEG-4/H.264

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support for MPEG-2 and MPEG4/H.264 advanced processing, grooming, switching and digital ad insertion. Key features include concurrent support for the MPEG-2 and MPEG-4/H.264 video standards; targeted advertising insertion; high-density grooming, re-multiplexing, transrating and aggregation; quality-of-service; reliable video delivery; and exceptional overall reliability. The MVP’s support for both MPEG-4/H.264 and MPEG-2 is significant. MPEG-4/H.264’s bandwidth efficiency, enables the delivery of up to twice the programming without increasing bandwidth. Many operators have already deployed an MPEG-2 infrastructure, so the MVP’s support for both standards enables telcos with existing MPEG-2 deployments to continue delivering MPEG-2 services as they transition. 5.C14

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Don’t miss MISTV for asset management systems by Ken Kerschbaumer MIS heads to IBC with 14 years experience in the international market servicing 19 clients in 10 countries. The company’s main product station management system, MISTV, offers a programme and

media library that includes capabilities like acquisition, own production, detailed programme description, and library amortisation. It also handles programme planning and long-term visual and text planning, self promo-

tion, daily plans and playlist with strong support for parallel events. Lastly, it helps with sales for both TV and the internet. Advertising sales management can handle long-term deals, campaigns, inventory management, auto-

mated booking, ratings, invoici n g , a n d a n i n t e g rat e d C R M module. Internet sales capabilities support available sites and pages management, delivery analysis, online interfaces with external delivery system. 3.A18

IBC2009 Awards Roll out the red carpet!

Sunday night at IBC and the RAI Centre is abuzz with one of the event's highlights: the annual IBC Awards ceremony. Starting with a champagne reception, this fast-paced event recognises those who have made a real contribution to the industry in 2009.

•• ••

The IBC Awards is made up of four categories: IBC Innovation Awards IBC International Honour of Excellence IBC Exhibition Design Awards IBC Conference Award

This year's awards event takes place on:

Sunday, 13 September at 18.30 in the Auditorium

IBC2009 Conference 10 - 14 September Exhibition 11 - 15 September RAI Amsterdam

the content creation • management • delivery

experience

www.ibc.org 76

Exhibitor Q&A Jacques Delacoux, CEO, Transvideo Has IBC come at a good time for the electronic media industry? Why? Yes because of the maturity of HD operators requesting pragmatic tools on set to visualise and make the right d e c i s i o n at t h e r i g h t moment. Also the 3D market is ripe for exploitation as shooting m e t h o d s a n d n ew e q u i p ment come to the fore. We are very active in this domain with the CineMonitorHD3DView family, giving the right tools to stereographers. Also, it is e s s e n t i a l t o h ave a s o l i d technical exhibition in Europe, considering that NAB is increasingly much of a local US-focused exhibition. What do you think are the key developments in, or threats to, your market sector at the current time? In filmmaking, it is the use of RAW formats and the possibility to get post-production LUTs and provide a realistic picture on set to different operators. Also the embedding of metadata in the data stream as information about lenses for instance, can be useful in different post production specialisms such as virtual reality, 3D and special effects. Why should delegates visit your stand at IBC? To see the CineMonitorHD ‘evolution’ and the TitanHD wireless system. The CineMonitorHD evolution is a range of field monitors for HD production and digital filmmaking. The new tools include high resolution wave fo r m s, h i s t og rap h i c r e p r e s e n t at i o n a n d v e c torscope. Some new tools, such as the focus helper and the Cooke i/lens interface provide unprecedented control over the picture.The TitanHD is a new MiMo transmission system, carrying 10bits uncompressed HD video with two audio channels (embedded or analogue). Its range is about 80 metres outside, 30 metres inside. There is no latency in the transmission and the product is perfectly suitable for Digital Cinematography. We will also exhibit the latest evolution of the Cine M o n i t o r H D 3 D Vi e w demonstrated with different stereoscopic rigs. 11.F31

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Integrated playout holds the key

Exhibitor Opinion

Integrated multichannel playout is a proven path to successful television, argues Harold Vermeulen, founder and managing director, PubliTronic Targeting local audiences with tailored content and branding is the future of successful multi-channel broadcasting and yet using conventional playout, this model is often prohibitively expensive thanks to the heightened complexity it introduces to the workflow and the increased human effort needed. Integrated playout on the other hand offers thematic and multi-channel broadcasters a far better way of making their brand of television. By abandoning the conventional approach of making of television in two or more disparate steps, integrated playout holds the key to radically simplifying and improving content preparation

and playout workflow. Skipping conventional workflows via more tightly integrated channel operations, media handling and broadcast technology also g ive s broadcasters flexibility to increase channel density without increasing OPEX or CAPEX. The conventional workflow process, whereby complex programming is assembled by hand in the playout area, is fatally flawed. It is the only place where all the disparate workf lows c o m e together and where operators can monitor ‘final’ programmes and identify errors. However operators cannot rectify problems themselves so are forced to push back to the system responsible. Issues

like this create unnecessary complexity and enormous pressure for the time critical resolution of problems by the source. By decreasing the use of disparate technology systems and streamlining workflows broadcasters can move their whole playout process forward by days and run a much leaner playout operation – often saving at least one third on human resources. Integ rat e d p l ayo u t a l s o h e l p s t o greatly reduce cycle times for program changes, avoiding repetition and allowing broadcasters to get their content to air more smoothly than conventional models. To deliver the performance requirements of modern, highly

‘What caught my eye’ session In today’s What Caught My Eye session, from 9:30 in Room O, Dr Chrichton Limbert, head of production modernisation at the BBC, will be talking about the technology currently available to ease the problems of managing

content from shooting through post production to delivery. While that delivery can be across multiple platforms, how can we be sure we keep the different versions in step? In a word: workflow.

Dr Limbert has a wealth of experience in cutting through the jargon and getting straight to the heart of getting things done in the broadcasting world. This is the second of three What Caught My Eye sessions;

Harold Vermeulen: ‘Conventional workflow is fatally flawed’

branded channels, the integrated playout server has had to become cleverer and more powerful. It has to consistently deal with 5-10 elements for every event, including content, multi language audio, promotions, secondary events, etc each asks an industry expert to search the show floor for innovative products and technology and present their findings in a vivid, hour-long session. Join Dr Limbert for his witty and inimitable viewpoint on what is new and relevant to help the content provider when faced with the complexity of our multi-platform world.

and make sure all the various multi stream content, graphics, editing, audio elements are ready at the right time and in the right order. Historically, this has been the biggest criticism of the socalled ‘channel in a box’ type solutions but PubliTronic’s delivery engine is so much more capable and stable than any other solution having been proven in more than 600 channels worldwide. At PubliTronic we believe the future will prove that the benefits of integrated playout aren’t just limited to cost efficiency, rather that integrated playout is a more reliable, capable and conceptually superior infrastructure for delivering broadcast workflow. Our NEXUS playout servers and Cobalt automation software provides the perfect blend of features, performance and reliability. To talk to us about your playout challenges and see NEXUS/Cobalt in action please visit us at IBC. 2.B18

IBC e-Zone

The incredibly useful e-Zone comprises seven computer stations, WiFi access and a lounge a re a w i t h t abl e s a n d c h a i r s. Located in Hall 10, next to the JVC Professional’s stand, the eZone is sure to be a busy and popular attraction.

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THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

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Raising benchmark for contribution video

Contribution and distribution is moving inexorably toward HD 1080p with MPEG-4 AVC at its core, says Roger Bolton, EVP compression systems, Tandberg Television, part of the Ericsson group The migration towards an all-HD TV universe has begun. HD will become the new SD in the same way that colour television eventually superseded black and white. A l re a dy, DTH operators are competing for high-value subs c r i b e r s o n t h e b a s i s o f h ow many HDTV channels they offer and how good their pictures look. Major content creators are starting to capture and archive content in the best quality HDTV that is realistic today. While DTH broadcasting for H D i s s t ill dominated by 1080i/720p formats, we are starting to see a trend in the contribut i on m a rket towards the recording, storage and transport of video in HD 1080p format. This will set a new benchmark for the quality of professional video and eventually create a de facto standard for HD contribution content. This migration towards HD 1080p will impact all of the companies that transport professional video, especially over bandwidth-limited networks. In the direct-to-home transmission market, all pieces of the

Exhibitor Opinion

Roger Bolton: â&#x20AC;&#x2DC;1080p will set a new benchmark for professional videoâ&#x20AC;&#x2122;

MPEG-4 AVC jigsaw fell into place around the middle of the decade: complete system solutions, interoperable encoders and decoders and widely available consumer premises equipment. There

was a generational leap in technology to MPEG-4 AVC encoders and single-chip decoders that could handle SD and HD, demodulate DVB-S2 (for satellite) and in many cases provide DVR functionality. Contribution network operators have been waiting for the stars to align in the same way. Meanwhile, the pressure for change continues to build. The MPEG-2 standard, despite its continued relevance in this market, is limited in the absolute video quality it can deliver in realistic bitrates. MPEG-4 AVC contains â&#x20AC;&#x2DC;fidelity extensionsâ&#x20AC;&#x2122; covering support for 1080p video and 10-bit sampling and it is these additional capabilities that will allow broadcasters to keep up with consumer demand for better looking HDTV. We believe that the technolog y t h at w i l l d r ive t h e C & D upgrade cycle is MPEG-4 AVC with 4:2:2, 1080p support and 10-bit. This is the realistic benchmark for contribution video that is ultimately destined for a massmarket DTH audience. Tandberg Television is the

long-standing market leader for video compression in the contribution, distribution and DTH markets. At IBC this year we will launch a number of world firsts designed to enable more and better HD throughout the content to consumer delivery chain. We are p ro u d t o b e i n t ro d u c i n g t h e worldâ&#x20AC;&#x2122;s first MPEG-4 AVC HD 4:2:2 system solution for C&D at IBC, opening up the migration from MPEG-2 4:2:2 to MPEG-4 AVC 4:2:2 for professional video. We believe the 2010 Winter Olympics and 2010 FIFA World Cup Finals will be the last superevents where the majority of HD video contribution is compressed as MPEG-2 4:2:2. When the London summer games open in 2012 the C&D market will be in the midst of a generational transformation with MPEG-4 4:2:2 1080p 10-bit at the centre. For network operators, whatever lies ahead, the keys to success are future-proofing, flexibility, interoperability and standards. 1.D61

Never.no says yes to latest multiplatform by Ken Kerschbaumer At IBC2009, never.no is showcasing enhancements in its technolog y ap p l i c at i o n s t h at a l l ow existing and aspiring broadcasters of all types to engage viewers and consumers in the media experience, both on the internet and on traditional on-air television. Topping the list is Community TV. Using web 2.0 applications, the suite of television and internet broadcast applications provide complete high-quality broadcast integration of content submitted by users. New upgrades improve template management, paging, and filtering to support handling of metadata attached to videos, and enable content contributors to add web links and embedded video to the platformâ&#x20AC;&#x2122;s CommunitySite component. Also new is an integrated scheduler for the site owner. Community TV is available in an enterprise version and through Software as a Service (SaaS). 2.A40

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THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily Manufacturers meet for innovation This evening at 18:00 in the Park Foyer, near Hall 8, there is a reception hosted by IABM, one of IBC’s partners and the body that represents broadcast and media technology suppliers worldwide. As well as giving IABM members and other manufacturers the chance to network, it will also see the presentation of the IABM Awards for Design & Innovation.

These recognise new products that offer real advances in the broadcast and media technology industry. There are five awards in total: the highly acclaimed Peter Wayne Award and four further Awards for Excellence. Shortlisted finalists are judged here at IBC by a panel of international experts who spend time looking at demonstrations of each product.

fischer connectors ultralight

Oconnor: a head for visual effects by David Fox Oconnor Engineering’s new 120EXe encoded heavy-duty fluid head is designed to provide high-precision pan and tilt position information for visual effects production on feature films and commercials. It is being shown at IBC by Mo-Sys, which has it working with its latest camera motion capture system and is the worldwide distributor. The 120EXe provides pan and tilt information via an external 19-pin Fischer connector, which feeds a companion encoder box from Mo-Sys, which outputs high-resolution pan and tilt data of 1.8 million counts per revolution, suitable for film and HD formats. When the 120EXe is coupled to the Mo-Sys Motion Logger, it becomes a powerful motion capture system for use in post production. It can also be used with the new Mo-Sys 3D Inserter for realtime pre-

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Doremi repackages 4k server into IMB for DLP by Adrian Pennington Doremi Cinema is repackaging its current 4k server technology into a 4k integrated media block (IMB) for DLP Cinema. This will secure a full solution for Texas Instruments’ and their OEM’s upcoming 2k and 4k projectors. Doremi has been working with TI’s DLP Cinema team for over a year to ensure compatibility of Doremi’s IMB with its next generation electronics. The IMB utilises Doremi’s patent pending 4k media block technology which allows Doremi to capitalise on its 2k knowledge and technology by only adding the 4k portion to the back end of the processing. This eliminates the need to design a whole new media block which would add a significant amount of time to any production release.

Engineering samples of Doremi’s IMB will be made available to TI’s OEMs for integration into their next generation projectors in Q3 2009 with production models available in the first half of 2010. “Our ability to provide exhibitors with a 4k road map is vital,” stated Michael Archer, vice president, Doremi Cinema. “We give them the opportunity to utilise a single server manufacturer across the multiplex. Exhibitors can mix and match 2k and 4k technology while keeping the same external server hardware, SMS and TMS. They also benefit from all the features available on Doremi servers, such as closed captioning, server-generated subtitles and live event playback,” Archer explained. 10.B10

Mirifice automates set-top testing by Ken Kerschbaumer Set-top box manufacturers looking to improve the time to market for new products will want to visit the Mirifice stand. The company’s MiriATE system automates set-top box testing, reducing timeto-market. According to the company, manufacturers use MiriATE to improve device q u a l i t y a n d re l i ab i l i t y wh i l e s e r v i c e providers use MiriATE to improve the services delivered to consumers via the settop box. Automation improves testing effic i e n c y a n d t e s t i n g c ap a c i t y, by concurrently testing multiple devices on a

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

50% lighter than typical metal connectors

24 hour basis, seven days a week. MiriATE interprets the devices’ video and audio output, while controlling inputs, performing tests in the same way as a human would, but faster, more reliably, more consistently and with a rigorous, repeatable audit trail. Mirifice says its corporate mission is to improve the quality and reliability of settop boxes with the MiriATE automated testing system and the MiriMON advanced ‘live’ performance monitoring system. Mirifice also provides specialist consultancy in software, systems and testing. 2.C21



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Newsrooms embrace tapeless workflows

Today’s newsrooms are rapidly becoming tapeless from acquisition through to playout and archive. Analyst Douglas I Sheer charts the impact of the new technology on today’s global operations Just a few decades ago, newsgathering was a very laborious task and was accomplished on film – generally 16 mm – and filing stories was, at best, a nail biter. In those days, crews would race back to headquarters to get the cans of film there in time to edit on a flatbed table and hope that it was i n t i m e fo r the evening news broadcast. By the mid-1970s, tape using camcorders arrived, like Ikegami and RCA and others, offered a hefty but more instantaneous solution. It still required lugging tape cassettes back to the station, editing them on primitive editing decks and that meant – then t h in k i n g through the linear progress of the story as it was assembled. With the advent of non-linear editing, mainly from Av i d , ove r 20 years ago, the process got considerably simpler. But, this still left station shelves cluttered with tape boxes. Despite tape robotics, it wasn’t until the advent of the newsroom computer, video server and the related mass storage systems of today that it became possible to easily reach into archives and source old footage and blend it seamlessly into rapidly created news sports or weather clips. That was also enhanced when camcorder manufactures began to offer removable or disk-based media and hard drive recording.

Camcorders using tape/non-tape formats (source Professional Camcorders World 2008)

With those tapeless workflows came the opportunity to have a file-based movement from one stage of the process to another. Camcorders also became lighter and more capable of longer field recording times.

Mobile contribution

Mobile contribution has been a boon to globalised collection and sharing of clips, and with the internet’s second wave, better enables rich media processing, and news, sports and weather are becoming blends of camcorder footage, archival materials, ‘live’ feeds, mobile phone videos, audio clips and text materials, e-mails, scanned stills or maps and more. Manufacturers like Av i d , Quantel, Harris/Leitch, the Grass

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Valley Group have made the use of integrated news systems more practical and virtually brought about the end of the use of tape for news. Now, from capture to viewer, the end-to-end process is becoming an increasingly filebased and seamless one. Another driver of this trend is that most of the multiple platforms on which viewers see their news, weather or sports updates, are – from conventional TV, laptops, mobile phones and PDAs, digital signage displays, stadiums, airline seatbacks – are flowing through computer or internet network pathways, lending a logic to the material being able to flow via re-purpose-able methods to multip l e p l at fo r m s. F u r t h e r m o re, because the capture-to-viewing cycle has become so immediate, so urgent, and archives so tethered in, that the ability to browse and find clips has become a pressing 24/7 phenomenon. Previously, where the model was Capture/Submit and later Edit/Share and then Archive, now i t ’s become instead Capture/Edit/Submit/Share and Archive. That practice means that

it has become very likely that once the camcorders capture the original footage, that footage is most likely top be edited in the filed, then sent to the station or network and then put on air and later archived. Because that has become the method, manufacturers have sought to tie their field camcorders in with like formats or codec-using editing gear to make the flows smoother between field and air. Matching native formats and codec types, though some sometimes previously unlikely partners h i p s, has p ro d u c e d a software-oriented ability to handoff materials from point to point along the workflow, in a seemingly flawless manner. An example of this is the combination of Apple Final Cut Pro with QuickTime and QuickTime friendly editing systems (not necessarily FCP) to permit an end-to-end solution. A broad range of components and steps along the workflow including: camcorders, encoders and d e c o d e r s ( o r t ra n s - c o d e r s ) , s e r ve r s, s t o rag e s y s t e m s, prompters and other gear have all been chained to this purpose.

Camcorders in news

DIS Consulting’ News Workflow Wo rl d 2 0 0 8 ( p u bl i s h e d l a s t March) delves into the range of items discussed in this article. I not only calculated the number so units of different news workflow related kit, but also the order of flow of those sub-systems. Camcorders in news are counted in our separate Professional Camcorders World 2008 (published last February). The NWW survey found that although there is not a standard workflow order found globally in news, the tools are very similar and the working model or best

practices in news have much in common, worldwide. According to the report, most news operations are committed to tapeless and that means primarily removable media or disk-based solutions or hard drive using models. A benefit, by the way, is that these camcorders are lighter, have greater on-board storage and run longer on their batteries than previous tape-based models. A s a re s u l t o f t h i s g re at e r portability and the tendency to edit in the field, more of this process has been externalised from the station environment. This could change again, however, once wi-fi methods are improved and permit the sending of bigger files from point-to-point. In the future, it may become more desirable to have the editor at the station, and return that decision to a more centralised hub. Not every story is located conveniently near a satellite facility or reachable by an SNG truck. Much of news, as it is read on the air now, is made up of text and that fact is evidenced by the development and use of systems like the Avid/Pathfire/Telestream package. Customers using the Pathfire Digital Media Gateway (DMG) to receive news stories from central distribution hubs can now use Telestream’s FlipFactory to automatically transcode and deliver (flip) media to an Avid editing system or Avid Unity storage. Telestream offers various FlipFactory models to accommodate different workflow needs, depending on the editing and onair systems used. Also, FlipFactory allows ingest of media from other devices such as servers, edit systems, laptops running ClipMail MPEG delivery appliances. This combination and others like it, allow for control of type faces and fonts and integration with rich media elements in a blended final product. Doug Sheer is CEO and chief analyst of DIS Consulting Corporation of New York: Doug@DISresearch.com

JK unveils ‘simplest digital hybrid yet’ by David Davies Among several new items being shown by JK Audio at IBC2009 is innkeeper LTD, a desktop digital hybrid providing talk show quality phone connections. According to the company, innkeeper LTD allows the user to send line level signals into the phone line while maintaining excellent separation between their voice and the caller. The balanced XLR output jack contains only the caller’s voice. “Innkeeper LTD is our simplest digital hybrid yet,” said JK Audio president, Joe Klinger. “This little time-saver is perfect for simple talk shows, IFB feeds, and remote monitoring over analogue phone lines.”

LTD not limited: JK's desktop digital hybrid offers talk show quality

The digital hybrid device connects audio signals to a standard analogue telephone line without the transmit/receiver crosstalk common to analogue hybrids. JK Audio says that the device’s Digital Signal Processor (DSP) continuously monitors both the phone line and audio signals to deliver excellent separation. The proprietary, dual-convergence echo canceller algorithm can achieve excellent separation, typically exceeding 50dB, without any set-up and without sending a noise

burst down the line. An auxiliary telephone is only required to place outgoing calls. The auxiliary telephone is disconnected when the user presses the Call button, and reconnected when the Drop button is pressed. The Remote jack allows connection to a JK Audio Guest Module, allowing remote control and dialling without an auxiliary telephone. Innkeeper LTD features AutoAnswer/Auto Disconnect for use in IFB and monitoring applications. Other possible uses include telephone interviews, talk shows, PA interface and conference room full duplex applications. The RA2 rackmount accessory holds two innkeeper LTDs in 1RU. 8.E85

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


theibcdaily

Is the broadcast journalist a threatened species? Saturday Sept 12, 17.30-18.30

by Chris Forrester On the one hand, news is seen as a defining characteristic of television, whether it is creating the identity of a local station in a crowded market or one of the great trusted international brands like Al Jazeera, BBC or CNN. And on the other hand there is the rapid growth of user-generated content (UGC) and the world where anyone with a cellphone is a potential video journalist or Twitter reporter. The past year has seen UGC playing a major role in newsgathering, out of Iran during the election riots, and even in London where allegations of police abuse gained credence because of citizen journalism. The panel will discuss whether

there is a need for real journalism any more? Is there a business model to pay for high quality, impartial newsgathering? We are already seeing the rapid and devastating decline of the newspaper industry: will the same happen to television news? And

what of the question that is frequently levelled at overseas news bureaux where a hard-working staffer is more or less fixed in front of the camera and not able to visit the streets to update the core news event? T h e p a n e l i n c l u d e s Vi r

Sanghvi, editorial director of the Hindustan Times. He is joined by James Baker of Current TV â&#x20AC;&#x201C; a business founded by former vice president Al Gore which encourages and relies upon user-generated content. Sarfraz Mansoor, a journalist

Conference Today from The Guardian, London, as well as former Financial Times and The Times journalist Ray Snoddy, now a broadcast media c o m m e n t at o r, c o m p l e t e t h e panel, which will be moderated by bu s i n e s s j o u r n a l i s t K at e Bulkley.

Broadcast media commentator Ray Snoddy is on the panel

ForeTV is here at IBC!

by Ken Kerschbaumer MSA Focus brings IBC attendees ForeTV, an end-to-end, integrated broadcast management system that handles all aspects of the transmission timeline from rights and asset management, acquisitions, scheduling, ad-sales and playlist generation, to inventory and performance analysis, reporting and post-transmission reconciliation. ForeTV also provides a solution to the growing number of multisite organisations with, for example, centralised invoicing, media management or acquisitions, local day-to-day workflow and scheduling. These sites may span a single country, continent or even the world, so remote working via secure connections, web interfaces, database synchronisation and the problems of differing timezones, currencies and languages all have to be taken into account. In developing a system, capable of coping with a demanding new broadcast environment the features associated with more traditional broadcast techniques have been improved, streamlined and evolved. Fo re TV is built on the Microsoft.NET framework and uses industry standard Windows native technologies. 3B40 THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

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3G investment will pay

Exhibitor Opinion

Erroll Dietz, vice president, high-speed product division, National Semiconductor Corp argues that studios should plan now for 3Gbps SDI upgrades Production studios worldwide are transitioning to digital infrastructure and now planning their 2010 capital expenditures. In the process, they are investigating SMPTE 424 (3Gbps HD-SDI) as the future proof technology that prepares their studio for video formats to come. It is reasonable to question the affordability of future proofing in a down economy. Do the benefits gained from establishing foundations for the future make 3Gbps a wise investment today? One point of view comes from the engineers that were first to install a HD digital infrastructure based around SMPTE 292

(1.5Gbps HD-SDI), and now realise their investments are not state of the art. They are facing the prospect of rebuilding their infrastructure just installed within the past few years. With the advent of 3Gbps SDI, there is a valid concern about how fast the next changes are going to arrive as well. The next change on the horizon is SMPTE 435, which specifies a serial data rate of roughly 10.6Gbps supporting 4k images at 4:4:4. This is a big departure from previously doubling data rates from 1.5 to 3Gbps. The impetus for 10Gbps has more to do with big-screen Hollywood production and presentation

Erroll Dietz: ‘The next change is SMPTE 435, which specifies a serial data rate of 10.6Gbps’

rather than television broadcast production. It is important for motion picture studios to gain this differentiation in a market where they are competing with home the-

aters for the ultimate entertainment experience. But it will probably not be important for the majority of studios that are competing in the IPTV, mobile TV, satellite/cable, streaming, and broadcast markets for years to come. A studio planner needs only to examine the benefits gained from 3Gbps SDI to see the wisdom of making the change now. Here are a few examples of near-term and long-term benefits for adopting 3Gbps links to produce and store the highest quality images possible. A near-term benefit is simplified workflow and signal management. Migrating to 3Gbps enables producing and transporting 1080p50 content without requiring SMPTE 372 dual link (two independent 1.5Gbps links), effectively halving the signals to manage. In addition, 3Gbps simplifies workflow because it is easier to down-convert 1080p to any emission format. Another workflow advantage

is that 1080p50/60 progressive format is a superior format for compression compared to interlaced format because progressive provides the compression engine with all the content’s spatial-context in one field. A longer-term benefit for the studio is 3DTV market-leader advantage. The fact that 3D is already on the big screens this summer means that it is not far away from the home theatre. In addition, SMPTE has initiated a task force for bringing 3D to the home. Investing in 3Gbps SDI technology today will enable studios to be first to market with 3D. Since video-delivery format is an evolving market today, it is important to produce the highest quality video to adapt to market demand. Considering the whole, a 2010 CAPEX plan that includes 3Gbps SDI would favourably position your studio for future options. 10.B28

Broad range of media solutions showcased by Motorola by Ian McMurray Motorola is demonstrating the company’s latest advances in the delivery of personal media experiences to consumers in their home and beyond, showing its latest product advances that it says enable operators to deliver

new, advanced video services to make more from their content and optimise their networks in today’s challenging commercial environment. According to the company, visitors are finding out how to easy it is to build campaigns to

deliver content and engage cust o m e r s a c ro s s t h re e s c re e n s : mobile, TV and PC. Motorola’s latest set-tops and accessories are on display, including new environmentally friendly products, and demonstrations are showing how the multiscreen

home is powered by smart gateways and connectivity options; remotely managed to ensure quality of service. Also being demonstrated is Motorola’s range of encoders and its complete headend solution. The company is also featuring

a demonstration of its sports entertainment TuVista application which the company says shows how service providers can engage customers with interactive video and promotions at and beyond the stadium. 1.F30

IBC2009 Training Zones Production Training

Post Production Training

• • • •

Hall 7, Friday 11 to Tuesday 15 September Cutting edge, hands-on training from industry professionals Latest video products from Adobe to Apple, including Final Cut Pro, Motion and Color Get real, hands-on experience with the latest tools under the watchful gaze of expert trainers Schedule of exhibitor led sessions

IBC2009

the content creation • management • delivery

experience

Conference 10 - 14 September Exhibition 11 - 15 September RAI Amsterdam

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•• • • •

Hall 9, Friday 11 to Tuesday 15 September Training led by experienced professionals Comprehensive display of broadcast and digital cinema cameras Focal point of the village is a hands-on studio where you can touch, feel and experience the state-of-the-art technology Engage and network with potential buyers and users in a high quality environment Schedule of exhibitor led sessions

To find out more about the sessions available go to:

www.ibc.org/training

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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IBC debut for StereoBrain by Ian McMurray With stereo 3D very much at the top of the IBC agenda, there’s interest at the Inition stand, where the company is presenting the latest version of its StereoBrain Processor, a 3D HD video processing unit created for stereoscopic 3D production, both post and broadcast. Developed jointly with NuMedia, Inition says that the StereoBrain has been helping to transform the 3D production process since its launch at NAB earlier this year. The StereoBrain (SB-1) is designed to allow live viewing of a stereoscopic camera pair or other genlocked 3D video source on any of the current breed of 3D televisions. This enables live 3D monitoring or 3D viewing in post production environments from any 3D pair of HD-SDI sources. According to Inition, 3D viewing in post often wasn’t possible or affordable before the StereoBrain Processor. Existing video hardware is not designed to handle 3D images, but the ability to view and m a n i p u late 3D pairs of HD sources is an essential tool for 3D production. A number of the units were used during the live broadcast of Keane from Abbey Road Studios in April (three for flipping one

The StereoBrain Processor makes 3D viewing in the post production environment possible and affordable

channel from the three mirror rigs, two for live and preview monitoring on 3D TVs and one for mobile monitoring on the camera floor). At IBC, the StereoBrain is being demonstrated in the live monitoring environment with a 3D camera system and in the post production set-up on the Iridas stand (7.H11). Future models of the StereoBrain Processor will launch in Q1 2010 and the company says that they will support a range of sophisticated 3D v i d e o p ro c e s s i n g f u n c t i o n s including the ability to shift convergence live and additional features to align and monitor stereoscopic 3D sources. 4.C70

Harris goes dual screen by Dick Hobbs Research shows that there is a rapidly growing trend for audiences to be using multiple devices at the same time. It is now common for someone to have a lapt o p c o m p u t e r i n u s e wh i l e watching television. The ability to link the two could bring benefits for both broadcaster and viewer. That is the idea behind a new product from Harris, Dynacast. This delivers web content to the computer alongside the television, but in a timed, linear fashion. It is a convenient way to add more information linked to the

main broadcast. The television coverage of a golf tournament, for example, would focus on the players and their shots, with Dynacast adding detailed hole plans, statistics and player backgrounds. Because the information on the laptop is linked to the television coverage and delivered at the right time, it keeps the audience focussed on the programme a n d r e t a i n s c o n t ro l fo r t h e broadcaster. The producer can create click through opportunities which are relevant. There might be a social networking element, for example, which encourages viewers to chat

online with their friends, talking about the programme. It represents another revenue opportunity for the broadcaster, not least because the duration and nature of the advertising on the web channel may not be constrained by the same legal framewo rk a s t h e b ro a d c a s t commercials. By allowing the viewer to click through, the broadc a s t e r c re at e s a n i m m e d i at e response channel to advertising. Harris Dynacast can work with live or recorded content, including video on demand. It may change the role of live television event production, by adding another stream of content, information driven, alongside the image driven main service. 7.G20

Multidyne bites the SilverBullet by Ken Kerschbaumer MultiDyne Video & Fiber Optic Systems is introducing the SilverBullet Mini 3G HD/SDI fiber optic link to its European users at I B C 2 0 0 9 . T h i s t wo - p a r t , transceiver/receiver solution, designed for the transmission of SDI and HD-SDI TV signals over a single-mode fiber optic cable, maintains the signal quality that broadcasters demand – 19.4Mbps to 3Gbps.

T h e t i ny t r a n s m i t t e r a n d receiver modules are portable, lightweight solutions for remote productions. Using LED indicators to digitally display critical system diagnostic information including the power on, HD/SDI signal presence and received optical power levels, the SilverBullet eliminates the need for the weight of additional test equipment. With error free pathological pattern operation, low system jitter

and embedded audio support, the SilverBullet provides a typical link distance of up to 30km (18.6 miles). The SilverBullet is compatible with any DC voltage from 5 to 16 volts with a four pin XLR. The jack also provides for SNMP monitoring, a critical component to network management. It also includes a 100 to 240 VAC universal power supply. 2.A54

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IBC virgin Netgem shows off new MD Netris introduces iCode by Heather McLean Netgem is taking part in IBC for the first time this year, showcasing both its IPTV products and its n ew m a naging director, Christophe Aulnette. Aulnette commented: “IBC offers a perfect platform to present our IPTV user experience and the services we are running for companies such as FetchTV in the UK and Elisa in Finland. The true value of a successful IPTV solution lies in the software that drives it. It is this software, plus the user interface and end user experience that is delivers to the customer via the IPTV terminal, that is the key ingredient for the success of IPTV as a mass market, mainstream service.” With a 13 year track record, Netgem is an IPTV technology provider of both software and hardware to telecoms and cable operators looking to develop and introduce IPTV services. Aulnette’s appointment to a position previously held by Joseph H a dd a d , chair man and cofounder of Netgem, reflects the

Netgem makes debut at IBC 2009

company’s desire to develop its business within the global IPTV market, by leveraging its hardware and software technology assets and by building upon its successes in its domestic market. With a clear objective to make Netgem a key IPTV technology provider, Aulnette understands the need and desire of telecom operators to differentiate and add value to their broadband offerings, in a highly competitive marke t . “ Wi t h t h e g row t h o f

Nautel showcases NV Series

Nautel is exhibiting a range of radio transmission products, including the NV Series

by David Davies Nautel is exhibiting a host of radio transmission products at IBC2009, including new offerings in low power FM and digital transmission. Following the recent introduct i o n o f wh at t h e c o m p a ny describes as “the broadcast industry’s most complete line of solid state FM transmitters,” Nautel now offers eight NV series models with output power ranging from 3.5kW to 44kW: the NV3.5, NV5, NV7.5, NV10, NV15, NV20, NV30 and the flagship NV40. These products are said to offer cost-effective solutions for sta-

tions operating at virtually any FM power output level. All NV Series transmitters are digitalready, offer advanced instrumentation and include an integral digital exciter. New for low power FM is the VS Series of ultra compact transmitters occupying only two, three or four rack units including the exciter. The VS300, VS1 and VS2.5 are for broadcasters operating on 300, 1000 or 2500 watts. The VS products have b e e n designed for reliable operation under harsh conditions and are said to be the first FM transmitters in the industry to incorporate

broadband penetration and the boom in media consumption over the internet, the time has never been better for telecom operators around the world to invest in IPTV services. The French market illustrates the value creation that a well executed IPTV strategy can bring to broadband operators. I am therefore delighted to be joining Netgem, and contribute to deliver its unique expertise in the global marketplace,” he said. IP521 internet audio I/O and Axia Livewire support. Customers using the Axia Livewire protocol w i l l b e abl e t o c o n n e c t t h e i r livewire networks directly to a VS Series transmitter with a single RJ-45 cable; no intermediary connections or D/A conversions will be required. Other new developments on display include the NX25 transmitter. Nautel is also undertaking live demonstrations of HD Radio and DRM+ transmitters. “We are excited to offer these new products that will address the specific transmission needs of broadcasters,” said Peter Conlon, N a u t e l p re s i d e n t a n d C E O. “Throughout the world, broadcasters continue to endorse our solutions and are helping to position Nautel as the supplier of choice in the radio industry. We will work diligently with customers to provide the best and most reliable transmission solutions available. With Nautel, you can truly expect more.” 8.C61

RBM’s new CEO at IBC

by Ken Kerschbaumer Red Bee Media’s new CEO, US executive Bill Patrizio, is at IBC discussing the company’s line of products that create, enhance, promote and deliver digital media for content. Clients include the BBC, Channel 4, ESPN, Virgin Media and MTV. After an early career marketing leading global brands including Kellogg and Seagram, Patrizio led the post-merger integration of Universal Studios following its

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acquisition by Seagram. “I am very excited about the o p p o r t u n i t y w i t h Re d B e e Media, which occupies a strong and unique position in the broadcasting sector,” Patrizio said on his appointment. “It has developed strongly both in the UK and offshore and is strategically well placed for continued growth and exceptional service to its clients. It will be terrific to work with the management team and take Red Bee

Bill Patrizio, Red Bee Media CEO

Media to the next stage of its development,” Patrizio continued. 3.B51

by Ian McMurray Netris and JSC Central Teleg rap h , t h e Ru s s i a n s e r v i c e provider, have introduced iCode, a new QWERTY.TV user interface which Netris says will make navigation and film selection easier for VoD users. IPSoft iVision IPTV middleware is the underlying enabler for the QWERTY.TV service management system. The IPSoft platform delivers a full range of interactive services (TV, video, communication) to a range of broadbandconnected user devices, and one of the basic functions of IPSoft iVision is the generation and enabling of the user interface. iCode allows the user to get to the film’s order page quickly by pushing four nu m e r i c bu t t o n s o n t h e T V remote control. The numbers are

the ID of a film that can be made available in the service provider’s authorised catalogue or on the internet site. According to the company, this function is another step forward to improve VoD services: Netris says that today, service providers’ VoD libraries have thousands of films and sometimes the lack of an easy way to search prevents the subscriber from using the service because a standard TV screen can’t contain as much useful information as a PC monitor. The new iCode feature is now available in several IPSoft iVision IPTV middleware versions in commercial use. In the future, says the company, this function will be included in the basic version of IPSoft iVision IPTV middleware. 5.C47

The IBC focus for RF Central – part of The Vitec Group’s RF Extreme business unit – is the RFX-RMR-X6-II-D six-way COFDM diversity receiver, which now features an internal SD/HD Decoder, writes Ian McMurray. Described by the company as representing the latest in maximum ratio combining technology, RF Central says that the RMR-X6-II family offers superior diversity reception with new cutting-edge features, including on screen display of stream data, Ethernet monitoring for remote control access and IP encapsulation for internet broadcast. The unit is available either as a standalone COFDM receiver with ASI output or with an integral SD/HD decoder to enable decoding locally. Designed to be rugged, flexible and forwardthinking, the RMR-X6-II-D features a straightforward front panel, compact chassis and OLED graphic display. 1.B31

OpenTV makes ads relevant by Ian McMurray In today’s time-shifted, ad-skipping, fast-forwarding world, network operators and advertisers face new challenges in getting their ads across to their audience. Exhibitor OpenTV says that it provides the technology and knowhow to address these challenges, not only by assisting operators with the scheduling and placement of ads through campaign management solutions, but also by making ads more relevant to the viewer through interactive and targeted advertising technologies. That’s only one of the topics, however, that the OpenTV executive team is talking about on its IBC stand. The company is also showcasing its latest middleware technology, a digital TV platform that features advanced PVR, web

connectivity and complete search capabilities. OpenTV is also talking about a range of IPTV solutions for both the traditional telco IPTV deployments and hybrid deployments, where cable and satellite operators are extending their services or reach using IPTV. OpenTV says that it provides a suite of infrastructure products to author, manage and deploy advanced TV services. They enable operators to easily create and control applications, gather viewing data, and enhance the viewer experience by targeting personalised content. Solution components are designed to be cost-effectively combined at the head-end level and easily integrated within the device, says the company. 1.C81

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


Multi-Standards, Multi-Technologies, One Solution End-to-End DVB-T2 Transmission Solution T2 High End Modulator T2 Professional Demodulator T2 Gateway

IBC 2009 Stand 2.B51


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Phabrix ships portable 3G analyser by Farah Jifri Test and measurement specialists Phabrix is now shipping its SxE portable 3G-SDI, HD-SDI, and SD-SDI analyser with eye and jitter measurement. The handheld platform device has all the features of Phabrix’s existing SxA system with a combined generator, analyser and monitor enabling the user to generate at o n e s t a n d a rd a n d a n a ly s e at another. With AES support and 1 6 c h a n n e l s o f a u d i o, t h e

Phabrix SxE has already generated a significant amount of interest the company says, with several customers putting in preorders for the product. The Phabrix SxE offers automatic measurements, multiple eyes, dedicated jitter screen, histograms and decade filters all at an affordable price point. According to the manufacturer, the new SxE is particularly geared up to meet the needs of O B c o m p a n i e s, e n abl i n g e ye

PrimeTel launches interactive advertising by Heather McLean PrimeTel, the biggest private telecommunications company in Cyprus, has launched interactive advertising on its PrimeTV IPTV platform. This innovation permits companies to promote their products and services on PrimeTel’s platform, giving the viewer an interactive, explanatory and detailed presentation whilst providing a far more exciting experience compared to standard linear advertising. The new service allows advertising elements to be seamlessly integrated into user interface. By a single press of a button on the remote control, viewers can watch relevant video-clips, see advertising leaflets, locate the nearest shop and even book an appointment.

PrimeTel is the first telecommunications company to introduce this type of advertising in Cyprus. The company claims this move will change the status of current advertising techniques on the island. PrimeTV is state of the art, commercially deployed IPTV middleware with support for features such as TV zapping, VoD, user interface in multiple languages, multicast EPG, caller ID on screen, network PVR and pause-live TV. The user experience i s enhanced by a wealth of interactive applications, such as internet videos, interactive music video jukebox, photo gallery with USB upload functionality, social networking, interactive advertising, games, email, chat and RSS news. IP601

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measurements and error detection on cables as well as cable length parameters. IBC also sees the release of Phabrix’s SxD dual-link version of the range targeted at high-end post facilities and studios. The unit offers 3G Level A and Level B s u p p o r t . P h i l i p A d a m s, Phabrix’s founder and managing director said: “The Phabrix SxE is a key technological advance for the broadcast industry and for Phabrix. We’ve a lot to shout

The new handheld SxE unit from Phabrix

about on our stand this year with the Phabrix SxE, Phabrix SxA

and Phabrix SxD all available.” 8.E23

Newsgathering gets the x-factor Technology and broadcast reportage go hand in hand but can vendors keep pace with the demands of news organisations? Drew Brandy, head of land mobile services Inmarsat poses the question Exhibitor Opinion

Drew Brandy: ‘Broadcasters have been pushing for faster guaranteed data rates’

There can be little doubt that the role of mobile satellite communications has continued to underpin news gathering from around the globe – with broadcasts spanning celebrity news to reports on conflicts and humanitarian crises. So whether it’s blogging from Basra or uploading pictures from Peru, many thousands of broadcast media reports around the world continue to go out as live coverage or as store-and-forward, audio or video. News is now 24/7 and delivered in an ever greater variety of mediums. It’s moved out of the living room and onto our laptops, our phones, PDAs and all m a n n e r o f re m o t e h a n d h e l d

devices. News in high resolution video images, words or text is ubiquitous and our appetite for it is insatiable. The proliferation of mobile technology combined with the demand for realtime information has led to the dramatic and rapid expansion of news channels. Innovations in mobile broadband have influenced newsgathering techniques, with Inmarsat at the foref ro n t o f t h i s t e c h n o l og y i n providing a global network infras t ru c t u re. T h e e m e rg e n c e o f highly portable satellite terminals for broadcast has provided a powerful capability for reporters in the field, enabling them to send live footage from remote locations without the need for terrestrial infrastructure or SNG trucks. However, just as technology is always moving forward, so too are the demands placed upon it. Inmarsat’s BGAN (Broadband Global Area Network) was originally launched with a range of capabilities designed to address the unique requirements of global news agencies: a guaranteed or ‘streaming’ data rate of 256kbps and broadcast quality voice. The broadcast industry has since been pushing for faster guaranteed data rates. Inmarsat has responded to this key requirement through the global launch of BGAN X-Stream, offering broadcast-quality video with minimum s t re a m i n g I P d at a rat e s o f 384kbps, and an estimated top end of 450kbps. BGAN X-Stream enables agencies and networks to rely on a single global solution for their broadcasting needs, no matter where the story breaks. A lot has changed in the world of satellite broadcast – and the latest streaming video services may be a defining moment for news agencies faced with ever higher demands for immediate, uninterrupted images of events taking place around the globe. 4.B68

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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Ocean Blue on a voyage by Ian McMurray O c e a n B l u e S o f t wa r e h a s announced a suite of digital TV s o f t wa r e wh i c h s u p p o r t s MHEG-5 and enables the delivery of Phase 2 Freeview Australia set-top boxes. The company has launched Freeview Australia-compliant versions of its Voyager MHEG-5, Sunrise HD and Surfsoft PVR software. These packages respectively enable interactive red button services; SD and HD channel decoding and the recording of DTT programmes. Fr e e v i e w Au s t r a l i a wa s launched in April, and STBs have been widely criticised by the country’s media for not supporting MHEG-5, greatly limiting the number of interactive features accessible to subscribers. Ocean Blue S o f t wa r e ’s announcement directly addresses these issues. The Freeview Australia compliant software from Ocean Blue is based on the company’s existing extensively deployed platforms. They can be provided as standalone plug-ins or for an integrated solution. 5.A12

Integrate real and virtual worlds on set by David Fox Mo-Sys’ new 3D Inserter is a realtime compositor that allows any production doing blue- or greenscreen work to pre-visualise the computer graphic effects on location and do the compositing as they are filming. It means that cast and crew can see how the end result will look as they are shooting any effects, making it a lot simpler for everyone to achieve the best result. Any computer models that are to be used in a shot are loaded prior to filming, so that users can see the live action, already composited, in the digital environment. Once a shot is completed, the time-coded pre-composition is sent for offline editing and motion and metadata goes to post production.

It means that post production can work on effects shots without the expensive, tedious process of manually tracking the virtual camera data for each shot, speeding up the process considerably. As editors can see what the shots will look like during their offline edit, they can then produce an EDL that will ensure that only the shots they need will be rendered. A prototype version of 3Di was used on the sci-fi series Sanctuary, where it allowed them bring in an effects-heavy shoot in within low budgets and time constraints. It has also been used on a ten-part comedy series in Denmark. Mo-Sys will also be showing the newly encoded Oconnor 120 Exe fluid head, which can work with 3Di. The encoding was joint venture between the two companies,

Instant feedback: the Mo-Sys 3D Inserter workflow

and Mo-Sys has worldwide distribution rights for the head. The 120 Exe can also be used with Mo-Sys

Root6 shows file-based dailies workflow by Carolyn Giardina Root6 Technology is introducing an automated digital film dailies workflow using its ContentAgent universal file re-purposing platform. The latest version 2.5 software release enables digital film, including RED files, to be ingested,

transcoded and written to Blu-ray disc. Blu-ray file support includes Blu-ray specification MPEG-2 and H.264/MPEG-4 AVC. Ro o t 6 re p o r t e d t h at t h e authoring tool also now includes support for ‘circle takes’, as clips can be marked in the burn disc tab as circle takes and can then be

presented on a separate circle take menu. F i l e s m ay b e b ra n d e d i f required as individual personalised copies for the director or DoP. Following the technology integration with disc publisher Rimage, labelling and duplication is automated within the entire

Motion Logger, which turns it into a camera motion capture system. 11.G48 process. Once the workflow is established using ContentAgent’s graphic process-tree creation tool, it may be repeated by non-technical operators. Add the company’s proprietary Platinum Engine for transcode p ro c e s s i n g , a n d t h e n ew 2 . 5 release supports file-based workflows with support for XDCAM, XDCAM/EX and P2 formats too. 7.C10

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THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

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Finding a 3D silver bullet Greer fears format wars ahead “By the end of the year you are going to see every major consumer el e c t ro n ics company make announcements about 3D products,” RealD president Joshua Greer said. “But it is going to take a few years for this to settle down on standards. “There is not one silver bullet that will solve 3D in the home,” he added. “It is going to take a lot of leadership. We are going to see participation from gaming, alternative content. I think the landscape for 3D in the home will be more diverse (than theatrical).”

by Carolyn Giardina

RealD is one of the companies that aims to grab this burgeoning market. It has developed a technology called ‘Pod’ for delivering 3D to the home over a standard HD channel. “We sell it to our professional community right now, I think the goal is to basically take the core technology and embed it in set-top boxes and Blu-ray players and make it ubiquitous over the next couple years,” Greer related. RealD is also delivering passive and shutter glasses for use in the home. Greer reported that RealD does participate in standards groups

Joshua Greer: “It is going to take a lot of leadership”

through organisations such as SMPTE, the Blu-ray Disc Association and Consumer Electronics Association. Still, when asked if he anticipated a format war, he admit-

ted: “Probably. I hope not”. “Whether the standard will come from the standard community or the marketplace and then ratified, we’ll have to see,” Greer said, but he admits that he suspects this will come from the marketplace. “There are very large CE companies that will just go for it – flood the market with five or 10 million displays, then you have essentially built a de facto format. I don’t think there will be just one unfortunately. I think there will be several initially.” He added: “One of the challenges (in the standards efforts) is who is responsible for what. There are a lot of different aspects of 3D – mastering issues, transport issues, eyewear issues. … Groups like SMPTE will be extremely helpful in clarifying those issues.”

A Magic moment from AVT European Pay-radio revives by David Davies AVT Audio Video Technologies is showcasing a new monitoring decoder – among many other products – at this year’s IBC. The newly introduced Magic AD1 ETI Decoder enables the ETI output signal of an Ensemble Multiplexer (for example, the VDL D-Vaudax Multiplexer) to be monitored. Magic AD1 ETI provides a G.703/G.704 interface as well as analogue and digital audio interfaces, and supports ETI-NI and ETI-NA. Simultaneous monitoring of all DAB and DAB+ audio data streams is possible, as is the display of the service organisation and all sub-channels (audio and data). An external alarm indication is possible via two relay outputs and six TTL outputs. Magic AD1 ETI also features an integrated protocol storage, which provides additional information about errors that have occurred in the ETI data stream.

The Magic AD1 ETI systems can be configured via the front keypad and the illuminated display, or alternatively with user-friendly Windows PC Software. Optionally, SNMP can be activated to integrate the monitoring decoder into a network management system. Other products under the spotlight this year include the Magic POTS telephone hybrid system. Consisting of a master and up to three slave units, the system enables the use of 16 POTS line interfaces and up to 12 audio interfaces. Each of the 16 caller lines has its own echo canceller, expander and automatic gain control. The system can be operated and configured via the Magic Touch software. Optionally, the Magic Touch LAN and Magic Screener software modules are available to connect remote workstations via LAN. 8.E91

AVT is showing its newly launched Magic AD1 ETI Decoder

IP revolutionises newsgathering by Ian McMurray As more wireless and fibre broadband services become available, Vislink News and Entertainment believes that IP connectivity will revolutionise news again, and m o re n ews vehicles will link directly into IP networks. With this in mind, Vislink is showing a newly completed suite of IP-enabled newsgathering

products at IBC that will allow broadcasters to send encoded live video or pre-recorded video over IP networks. The company’s satellite news gathering solutions, including the DVE5100 encoder and encoder/ modulator (exciter) an d i t s IRD5100 integrated receiver decoder can now encapsulate preencoded ASI streams into IP for

SeaChange for Australian TV by Ian McMurray SeaChange International has announced that Australia’s Premier Media Group (PMG) is b ro a d c a sting in HD using SeaChange digital video systems. As part of one of SeaChange’s largest server installations to date

in the country, Fox Sports HD is among the seven total channels that Australian subscription television network operator PMG is broadcasting on a massive new SeaChange playout platform at its Sydney playout centre. I n a dd i t i o n t o Fox S p o rt s

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009

by Chris Forrester Pay-radio, at least in North America, has attracted 18m subscribers despite a near financial meltdown last year of its business. Outside the USA it has been bad news resulting in the recent bankruptcy of Worldspace, the one international pay-radio player. That situation is changing, and fast. At the end of August, John Malone’s Liberty Media bought up key rights owned by Worldspace (now in Chapter 11) which could see Worldspace’s two most important assets, its orbiting satellites, become a most useful vehicle for another of John Malone’s investments – Sirius Satellite Radio (in which Malone is potentially a 40% owner). Should Sirius decide to launch an international pay-radio service the two satellites could play a crucial role. Of course, it may be that Malone – always a savvy investor – might just want to tap into the accumulated losses and taxation advantages that sit within Worldspace. But another player, this time

based in Europe, is also interested in pay-radio, and has just acquired another key Worldspace asset in the shape of its former European CEO. Benoit Chereau has been hired by Ondas Media to be its head of business development. Ondas already has firm agreements with Renault, Nissan and others. Up for grabs is a similar deal that Worldspace had with Fiat of Italy. Ondas Media’s CEO, Dave K r u e g e r, s p e a k i n g at I B C, summed up the situation. “Benoit has a huge passion for satellite radio and knows where the key relationships are, with media companies, with the car trade and with industrial connections.” Two we e k s ag o O n d a s announced another important relationship, with Saudi Arabia’s Rotana Group, a broadcaster with a clutch of music and video channels already on air to Arab audiences. While not an investor in Ondas, Rotana is ultimately controlled by Prince Alwaleed bin Ta l a l , a n d K ru eg e r s ay s t h e prince’s “prestigious position in his home region only helps us”.

transmission from an OB to the studio and can decapsulate one of up to four pre-encapsulated ASI s i g n a l s f ro m a n i n c o m i n g I P stream. These IP capabilities are in addition to the current features of the DVE5000 and IRD5000. Vislink’s MRC microwave products are also IP enabled. The AMG2100 and ASG2100 are described by the company as smart mobile and studio gateways that employ wireless broadband and microwave links for connec-

tivity between an ENG/OB vehicle to a studio. This combination can support a large fleet of vehic l e s s i mu l t a n e o u s ly. Wh e n equipped with an MTX5000 transmitter, a vehicle can transmit live video directly along with prerecorded files via IP. These produ c t s c o m e w i t h s o f t wa re fo r remote control and will, according to the company, be able to manage transport of news to the studio in a workflow. 1.A61

HD, PMG is using its SeaChange Broadcast MediaLibrary/MediaClient (BML/MCL) playout platform to air 1, 2 and 3, Fox Sports N e w s, F u e l T V, a n d H ow To Channel. The BML video servers, says SeaChange, costefficiently provide fault-resilient storage of any type of media file; while highly flexible SeaChange MCL codecs easily fit with any

device in a broadcast operation’s workflow and support any video output, from standard definition and HD play-to-air to broadband streams. The configuration for Premier Media Group includes two 10TB SeaChange BML nearline storage servers that feed a total of 30 MCL6000 series software codecs. 1.E30

Conference Analysis

In Brief India two for AP Day & Night News and ABN Andhra Jyothi have both signed up to use AP ENPS. Day & Night News, based in Chandigarh, will be the first ENPS site in India’s Punjab region, near the Pakistani border. The regional news channel which provides news in Punjabi, Hindi and English will take 33 workstation licences for full system ENPS, Final Cut Pro, Building 4 Media automation and unnamed graphics system. The second Indian signing is with ABN Andhra Jyothi, a regional news station in Hyderabad launched by the well-known regional newspaper group. Installation of 20 ENPS workstations and system training has already been completed, with dry operation runs currently underway. The two new signings bring ENPS’s Indian client list up to 15 operating in 25 newsrooms across the country. 7.D31

High density fibre Newly introduced from Evertz is the 3405FR-BNC platform, which offers broadcasters a new option for costeffective fibre products. The 3405FRBNC fibre SFP frame supports a wide range of products to allow broadcasters to interconnect facilities or departments with high flexibility and a low cost point and is on view at the Evertz stand. The 3405FR also offers dual SFP transmitters, dual SFP receivers, and multiplexers allowing for bulk transport of 3Gbps, HD-SDI, SD-SDI and DVB-ASI video signals. The frame has a number of options to connect to devices within the facility, such as BNC, mini-DIN or XLINK connectors. 8.B40

Philips leans back Philips and CyberLink are jointly demonstrating CyberLink’s home media hub, PowerCinema7 and Phillips’ new uWand remote touch pointer technology. Philips’ uWand provides a ‘remote touch’ interface to deliver what the company describes as intuitive ‘lean back’ control and is CyberLink’s preferred interface to PowerCinema 7 for ‘netbook’ PCs. Using the new uWand pointer and 3D control technology, consumers sitting on a sofa can interact with screen menus and objects as if they were actually touching them, says Philips. The uWand is being shown controlling PowerCinema 7 for netbooks, a solution designed to complement the trend that sees consumers accessing multimedia content on a TV, via a dedicated purpose-designed PC. PowerCinema 7 for netbooks, which was optimised for use with uWand, acts as the central hub for users to manage and manipulate content. The uWand 3D pointer is being demonstrated on a PC platform for the first time at IBC and is, according to Philips, a new technology that supersedes and upgrades the functionality of traditional remote controls. A small infrared camera embedded in the handheld device gives uWand ‘remote touch’ capabilities that enable users to navigate on-screen applications by pointing, clicking and using fluid 3D gestures. 1.A81

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IPTV beyond experimental stage by Heather McLean T h e I P T V market is moving beyond the experimental stage, according to Ted Malone, senior director and product manager for the TV, video and music platform business at Microsoft. Malone pointed to research from Screen Digest that states that IPTV penetration is at approximately 24 million homes worldwide, or roughly 7% global share of digital TV households, as evidence of this maturing market. Quoting research from Screen Digest, Malone added: “In mature markets, it has even unseated entrenched players. IPTV penetration

Ted Malone: “IPTV has unseated entrenched players”

in Hong Kong is 57%, and in France it’s 27%. In many parts of Western Europe, IPTV services are being priced aggressively to help hold onto broadband customers. In North America, ARPU for IPTV services is over €39, putting it squarely in line with HDTV ARPU from digital cable or satellite providers.” Another study from iSuppli predicts IPTV growth to over 100 million households in less than five years, added Malone. He concluded: “IPTV is clearly helping telco providers compete, attract, retain and monetise, all key to the success of service providers.” Topaz Lounge

Dolby displays winning ways by Ken Kerschbaumer Dolby Laboratories’ DP600 programme optimiser has hit the IBC show on a winning streak after claiming a Primetime Emmy Engineering Award from the Academy of Television Arts & Sciences last month. The presentation of the award took place during a ceremony held at the Renaissance Hotel in Los Angeles last month. The DP600 is an innovative audio platform that provides a file-based workflow solution for faster-than-realtime loudness correction, audio creation, conversion, and upmixing. It is specifically designed for use in cable, satellite, IPTV, terrestrial TV, radio, and post pro-

ETI testing library goes live by Adrian Pennington The industry body for digital radio and mobile TV broadcasting, WorldDMB, has today launched the WorldDMB ETI Library. “After the release of the WorldDMB Receiver Profiles at IBC08 we identified the need for a centralised database of multiplex information,” explained Letty Zambrano, project office director for WorldDMB. WorldDMB and its members are striving to ensure harmonised digital radio and mobile TV receivers for markets across Europe and the world. By identifying and compiling the different multiplex solutions, the Library assists receiver manufacturers in testing their products ensuring they include the minimum set of function requirements set out in the WorldDMB Receiver Profiles, making them compatible on a panEuropean and worldwide basis. A centralised database is especially important for receiver manufacturers producing products

destined for multiple markets, specifically the car industry where receivers must be harmonised for cross border use. “For the industry the WorldDMB ETI Library, the first of its kind, will provide content for trials and demonstrations as well as allowing users and broadcasters to share their experiences and produce best case scenarios,” added Zambrano. “It brings together, in a user friendly format, files containing country snapshots of DAB, DAB+ and DMB content from different markets, streams configured with multiplexing equipment from specific manufacturers as well as files which can be used for demonstration and testing purposes.” All of the files in the Library can be used without the need for complex multiplexing equipment and are compatible with lab measurement systems allowing a simple solution for manufacturers and those emerging markets wishing to carry out smaller lab tests. 10.D21

NDS launches pay-as-you-go

Guard system, operators can offer flexible pre-paid options such as pay-per-view, pay-per-time, payper-channel, pay-per-bouquet or pay-per-subscription, depending on their package preference. According to NDS, the VideoGuard Pre-Paid solution requires minimal changes to the operator head-end infrastructure and is fully compatible with existing NDS products. Operators can also choose from a wide variety of payment options for their customers, including pre-entitled scratch cards and smart cards, e-vouchers activated via mobile text messaging, web portals, instant messaging or IVR lines. 1.A71

Dolby’s award-winning DP600 will be at the Dolby stand

duction facilities, and it was the DP600’s innovative approach to tackling the challenges of new automated workflow environments that earned it the Emmy. “On behalf of everyone at Dolby involved in the creation of the Dolby DP600, I would like to thank the Academy for this prestigious award,” said Mike Rockwell,

Dolby’s executive vice president of products and technologies. “Loudness continues to be a m a j o r i s s u e i n t h e b ro a d c a s t industry and our main goal with the DP600 was to create a product that would automatically address this issue in an intelligent and adaptive manner while maintaining the original artistic intent for listeners.” The DP600 includes intelligent audio analysis and an automated loudness normalisation engine, along with the ability to encode, decode, convert, and transcode between Dolby formats, including Dolby Digital, Dolby Digital Plus, Dolby Pulse, and Dolby E bitstreams; as well as PCM, MPEG-1 LII, AAC, HE AAC, and HE A AC v. 2 . I t a l s o f e at u re s a newly designed algorithm for upmixing 2-channel audio for 5.1-channel delivery. 2.B28

by Ian McMurray NDS has announced the availability of its conditional access ( C A ) a dd - o n m o d u l e, N D S VideoGuard Pre-Paid. This offering will, says the company, enable operators in both emerging and mature markets to provide cust o m e r s w i t h m o re p ay m e n t options at minimal cost. BrandID Europe supplies the backoffice payment component with its CHKView solution together with a full range of scratch card and e-voucher options. Based on VideoGuard CA, NDS VideoGuard Pre-Paid allows

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IDX Technology is the European Distributor for the new Hocus Focus wireless remote follow focus system debuting at IBC, writes Adrian Pennington. The Hocus Focus system is designed to allow precise wireless operation of the focus ring on 35mm SLR and broadcast lenses from up to 200m away. Explained Rob Waters, EMEA sales manager for IDX: “The system allows the follow focus function to become more efficient and ultra-precise, especially in situations where manual focus control becomes difficult or even impossible if, for example, the camera is mounted on steadicam, crane or jib arm equipment. A remote operator can mark designated focus points on the transmitter’s acrylic marking ring and pull the focus wheel.” The system consists of a transmitter and receiver unit, motor unit and three interchangeable lens gears. The transmitter can attach to the operator directly through an integrated belt clip or lanyard point when not in use, while the receiver can be fixed to the camera. 9.E48

pay-TV operators to reach new market segments with pay-as-yougo TV services. With this offering, subscribers can purchase and store credit for future viewing options or for immediate activation. Once they decide to purchase content, the set amount will be debited from their stored credit. VideoGuard Pre-Paid then sends the entitlement rights from the operator’s head-end directly to the individual’s smart card inside their set-top box and allows the viewer access to the chosen content. By deploying this particular add-on module with the Video-

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


Because the latest developments in the evolution of the mc² 66 are based on valuable feedback from audio engineers worldwide, we would very much like to thank: Jens, Rudi, Mathias, Otto, Koen, Xiaopei, Giuseppe, Tómas, Anna, Bernhard, Engelbert, Carsten, Mick, Salih, Zoltan, Matti, Ahmed, Dominik, Josef, Helmut, Reinhard, Kunitaka, Walter, Jochen, Edmund, Gerhard, Maria, Pascal, Risto, Felix, Georges, Alfred, Bruno, Seok Beom, Yong-Soo, Marko, Doug, Oldrich, Remco, Hubert, Askan, David, Hans-Joachim, Kang Hoon, Fritz, Marc, Karl-Heinz, Pekka, Rolf, Sylvia, Franz, Gregor, Alexander, Claudia, Abdelaziz, Jerzy, Keith, Marianna, Nils, Steffen, Patrik, Erik, Taniguchi, Willi, Rudolf, Simon, Thomas, Bardo, Ernst, Anthony, Dieter, Jean-Paul, Edgar, Igor, Bertold, Gottfried, Jan-Eike, Harald, Kazuyuki, Martin, Johannes, Björn, Craig, Anton, Frank, Gábor, Yong-Seok, Stefano, Ties-Christian, Ullrich, Jacob, Christoph, Gaëtan, Flip, Hans-Reinhold, Eckhard, Albrecht, Bettina, Eddy, Juha, Hideto, Wilfried, Petra, Zhang, Steve, Jean-Philippe, Stefan, Ralf, Michele, Susumu, Riikka, Yvonne, Vinnie, Mats, Yutaka, Anders, Clemens, Eighsyn, Georg, Janusz, Karin, Gerold, Topaciuk, Daniel, Curt, Jan, Andreas, Dirk, Lars-Göran, Calvin, Joachim, Maximilian, Mark, Sascha, Werner, Yinong, Laurent, Tsuyoshi, Kay, Jeroen, Mario, Robin, Max, Roman, Ken, Daisuke, André, Burkhard, Axel, Oliver, Takeo, Jürgen, Maciej, György, Hermann, Rainer, Stephan, Wolfgang, Hans, Jörg, Alwin, Chen Chen, Gernot, Helge, Ben, Martin, Rüdiger, Per, Shinji, Winfried, Klaus, Christian, Markus, Volker, Erich, Kari, Friedemann, Alois, Peter, Rolf-Rüdiger, Yuri, Olaf, Ladislav, Horst, Jose, Matthias, Dietmar, Hans-Herrmann, Emil, Ole, Ulla, Ingbert, Tobias, Guido, Ian, Bernd, Michael, Udo, Johann, Ulrich, Reiner, Seppo, Jay, Dennis, Barry, Fredrik, Kojiro, Elke, Thierry, Manfred, Erinn, Gerd, Hans-Jürgen, Tim, Raymond, Monika, Koos, Paulo, Jorge, Reinhold, Norbert, Ryan, Manolo, Uwe, Bart, Tom, Fred, Heike, Marcus, Richard, Luigi, Philipp, Toon, Herbert, Claudio, Karl, Friedrich, Ichirou, Roger, Antonio, Gerald, Bruce, Miran, Robert, Greg, Bob, Erwin, Günter, Ralph, Alessandro, Ludwig, Huub, Tony, Manuel, Carlos, Eric, Olav, Heinz, Francis, Sven, Istvan, Wilhelm, Benjamin. Inspired by your needs – the new mc²66.

Experience the new mc²66 live at IBC 2009 Amsterdam, September 11– 15, Hall 8, Booth C71

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theibcdaily In Brief IRTE looks to DTV Italian manufacturer IRTE SPA is exhibiting its brand new product line for digital TV networks. The TU-30 digital TV transmitter has been built around the multi-standard Teamcast modulator core with full SFN and N+1 capabilities to support multiple MUXes. Visitors to the stand will be able to see the NewLink ASI digital microwave link which features 160 Mbps and higher capacity and an 8channel integrated multiplexer. Optional features include a high-power transmitter for over the water and/or long distance hops applications and 1+1 hitless switch. In addition, IRTE will demo its new IRTE COFDM Digilink II compact mobile link with analogue and digital video input, onboard MPEG2 encoder, external power booster, diversity receiver and battery operated ENG stations for non-line-of-site applications in 2.5GHz band. IBC has also seen IRTE and Harris Broadcast ink an agreement to renew the existing dealership contract for the MAXIVA ULX and UAX series of digital transmitters. 8.B38

App Store for IPTV Accedo Broadband has introduced the Accedo App Store for IPTV. The App Store functionality allows consumers to access their favourite IPTV applications directly in the living room with a remote control. The user interface and branding of the store can be completely customised to seamlessly blend in with service provider and broadcaster user interfaces. “We’re excited about the launch the Accedo IPTV App Store,” said Michael Lantz, CEO, Accedo Broadband. “We believe it is a great added value for consumers all over the world to get access to additional applications for their IPTV service.” The App Store follows Accedo’s multiplatform strategy and is available for integration with all major IPTV middlewares and platforms. Applications can be made available to end users free of charge, as a subscription or a one off fee. IP621

Platinum saves Watts According to Harris, choosing the right router can save you massive amounts of energy consumption, not to mention rack space. The company has shipped more than 900 of its Platinum routers. Harris claims the latest version to be the world’s first to incorporate 16-channel internal audio embedding, de-embedding and processing. A fully configured 512 x 512 Platinum router occupies 32RU and consumes around 4.4kW of power. According to Harris’s calculations, to achieve the same level of functionality with external audio embedding and processing would require 234RU of rack space and more than 15kW of power. As well as the elimination of external devices, Harris claims to have trimmed the performance of each board inside the router. It only slices 3W per board off the power requirement, but in a large router that can be a saving of 400W or more. Intelligent circuitry in the router controller powers down boards not in use. 7.G20

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Developing a ‘DCP for the home’ Hollywood unites for new Master Format

Howard Lukk: ‘Found it prudent to get companies together to form a consensus’

A new consortium of entertainment industry businesses has work underway toward development of an Interoperable Master Format (IMF).

From its mission to its structure, the effort can be likened to the Hollywood studios’ Digital Cinema Initiatives, which created the Digital Cinema Package (DCP) as

Mobile TV: The final frontier by Heather McLean In order for the converging mobile media industry to keep pace with evolving consumer expectations, the industry needs to put in place service offerings that employ the best mobile, broadcast and web technologies, claimed Qualcomm MediaFLO’s senior vice president and general manager, Neville Meijers. Meijers said that converged mobile services, combined with desirable content, can deliver an appealing breadth and depth of services that will accelerate market growth and ensure greater success for the industry. “Since the introduction of the VCR, consumers have demonstrated they value control over what they watch, and when,” said Meijers. “Time shifting, VoD, and portable media players have further whetted their appetite for that control. Mobile media has the potential to deliver over streamed, downloaded, on demand and live, whenever and wherever the viewer chooses, adapting media access to consumer interests and lifestyles, and not the other way around.” The number of people watching TV on their mobiles will increase to 54 million worldwide by the end

by Carolyn Giardina a delivery master for digital cinema. This new effort aims to create a sort of ‘DCP for the home’ – essentially a delivery master that would be used to create all home deliverables in B2B applications. Hosted by the nonprofit Entertainment Technology Centre at the University of Southern California, the new consortium includes key studios Fox, Disney, Paramount, Sony Pictures, Warner Bros. and NBC/Universal. Additional ETC members such as Technicolor and Deluxe will be involved, and a group of nonmember companies will also have a role in the process, which is starting with technology and management committees. Pixar Animation Studios’ D i re c t o r o f M e d i a S y s t e m s Howard Lukk – who incidentially served as director of technology alised, interactive experiences to encourage user adoption. They provide instant gratification for live, time-sensitive content and can be employed to deliver simulcast and time-shifted mobile content including popular full length programming, clipcasted media such as the day’s top YouTube videos, and always on, broadcast IP data services such as news, weather, sports highlights and stock tickers.

of this year, according to recent research conducted by In-Stat. The content types most likely to be viewed are news and sports. Meijers said that mobility encourages immediacy, and live events and breaking news frequently act as catalysts for consumer awareness and demand for mobile TV; in 2008, FLO TV’s dedicated Olympics channel was the most watched channel on the AT&T Mobile TV service. “As the FIFA World Cup and 2012 Olympics approach, attention is again turning to how mobile network operators can make the most of these opportunities by delivering an engaging and quality user The fourth screen gives end users what they want, experience without where they want it, says MediaFLO causing their networks “Paired with 3G streaming to suffer,” Meijers said. Meijers added that dedicated video and content side loaded via broadcast mobile media platforms WiFi or USB, broadcast mobile are the ideal medium for the deliv- media services provide immense ery of high-quality, scalable content variety and a return path mobile media services to large for interactive applications for audiences. “These platforms pro- voting, rating, chatting, and mvide a mix of content well beyond commerce,” Meijers concluded. linear TV, supporting person- M101

It’s a carry-on for SIS Live RouteCase

by Ian McMurray SIS Live has launched its latest compact Flyaway Kit – RouteCase. It was built, says the company, to answer the need for a powerful and affordable unit that fits into a carry-on flight case and supports the production needs of live event staging, sporting events, business seminars, presentations and news-gathering. Designed, according to SIS Live, as a true plug and play field

unit built to withstand demanding environments, RouteCase is claimed to be rugged yet easy to use. Brick House Video’s broadcast specification Callisto Micro vision mixer serves as the heart of the unit, enabling a fast and reliable means of mixing video and audio in the field. The unit can handle asynchronous inputs in a mixed format environment, with simultaneous SDI and analogue outputs for streaming and uplinks,

and extensive monitoring facilities. The compact unit measures 41cm x 32cm x 17cm and incorporates the essential features necessary for live production, including a wireless camera link and quadsplit monitoring. Designed to be simple to set-up and operate, RouteCase offers three full channels of audio/video processing with mains/battery operation, talkback and remote control 1.C55

for DCI when it developed its dcinema specification – is chairing the technology committee. “We found it prudent to get companies together to form a consensus,” Lukk said of the IMF effort. “Each company is wrestling with having to make multiple versions of movies, including different languages. We’re finding it a challenge to make, keep and keep track of assets.” T h e g ro u p i s l o o k i n g t o develop a file-based specification that could be provided to standards setting bodies for formalisation as a standard. Lukk explained that the consortium has so far agreed that uncompressed content should be supported. He added that the group is looking into codecs and compression schemes. The IMF effort includes leveraging what was learned from creating the DCP. It also involves using the DCI and American Society of Cinematographers’ Standard Evaluation Material (StEM) as a test package.

Pace keeps up with Rovi by Ian McMurray Rovi recently announced that Pace is using the Rovi Connected Platform solution to enhance its next-generation set-top boxes for c abl e o p e r at o r s a n d s e r v i c e providers throughout the Americas. This deal expands on an existing relationship between Rovi and Pace. In 2007, Pace and Rovi (then Macrovision) collaborated on a multiroom digital home experience using Digital Living Netwo r k Alliance ( D L NA ) s p e c i f i c at i o n s. P a c e a d d e d DLNA capabilities to its set-top box and server products by integrating Rovi’s media player and media server software with existing Pace software to show how digital content could be accessed and viewed from any room in the home. The Connected Platform is designed to provide scalable and extensible technologies that support an array of applications and network environments. The solution includes an extensive package of standards-based development t o o l s a n d re f e re n c e d e s i g n s, enabling CE manufacturers to customise advanced digital home entertainment products. The Connected Platform consists of a source code development kit (SDK), player and server software applications and a customisabl e, e a s y - t o - n av i g at e u s e r interface. Operating system and chip-agnostic, the solution assists CE device manufacturers to select which components and feature add-ons they want. 5.B49

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


JVC lets you view the finer detail in 3D.

To see today’s hidden image, focus your eyes beyond the page so you’re looking ‘through’ the image. When the two dots at the top become three, hold your focus, then look down at the image to see what appears.

Find the hidden magic image, then visit JVC stand 10.D41 with your answer to enter a prize draw for an HD camcorder. Visit JVC stand 10.D41 or at the Production Village with your answer for the chance to enter a prize draw. Then see exactly how we bring images to life in 3D, with mindblowing pictures on our GD-463D10 LCD 3D monitor.

www.jvcpro.eu © 2009 JVC Professional Europe Ltd. Magic image created by 3D Images Ltd. www.3dimages.co.uk. The winner will be notified by email before the end of September 2009.


theibcdaily In Brief Pilat Media adapts Visitors to the Pilat Media stand will be offered a chance to better respond to changes in the marketplace thanks to IBMS:Adapt, an advanced customisation, business logic, and workflow management system. The Integrated Broadcast Management System (IBMS) enables users, system administrators, and in-house developers to interact with and customise the IBMS user interface, business logic, and workflow capabilities. The platform includes a complete palette of tools to provide maximum control over customisation and workflow management, including a customisation designer, diagnostic utilities, a graphical workflow designer, and a workflow management console. Also on display is IBMS:OnTarget, an advanced advertising campaign management system that helps broadcasters take advantage of advertisers’ increasing expectations for a TV experience that supports targeted and measurable advertising similar to that provided in Internet services. The module allows for the sale of TV commercial inventory using profile-based targeting across live broadcast, on-demand content, and recorded programming. More importantly, it provides content and multichannel service providers with the ability to sell advertising based upon set-top box segmentation capabilities instead of being limited to geographic and network-based demographics. 3.B20

Christy Media grows UK-based broadcast recruitment company Christy Media Solutions is exhibiting at IBC to network with businesses looking for new employees and candidates searching for new opportunities. Christy Media works with a variety of broadcasters, facilities, manufacturers and systems integrators supporting their staffing needs across the UK, Europe and the Middle East. Since establishing itself in 2003, Christy Media now works with leading companies from the broadcast sector including BSkyB, MTV and Sony. “The heavy emphasis we have always placed on building relationships has lead to frequent repeat business with our clients even in these challenging economic times,” said Christian Magill, the company’s sales director. 6.B22

Compass finds viewers Compass, Orca’s content discovery solution that enables subscribers and operators to fully benefit from the contentrich world of interactive television, is on display at IBC. With Compass, subscribers receive personalised recommendations tailored to their individual preferences, enabling them to quickly find desirable TV content. These optimised recommendations, produced from a blend of multiple content recommendation engines, ensure that premium and niche content is easily accessible to all. Orca says Compass transforms TV viewing into a fun, easy and fulfilling experience and enables service providers to open the door to a whole new world of content for subscriber enjoyment, building customer satisfaction and loyalty. 2.B40

94

High def in Europe to double by 2012 HDTV take up “much faster than expected” SES Astra delivered some blistering news on HDTV consumer sales and HD channel launches. Alexander Oudendijk, Astra’s CCO, used IBC to report that their own forecasts and expectations on new channel launches were being overtaken by events. “Every year we are having to increase our own expectations. We now expect to be carrying 85 HD channels by

year end and are confident that we’ll be broadcasting 100 channels by the end of next year, and hopefully more.” However, Oudendijk also said that industry expectations were that the number of HD channels over Europe would double by 2012 (to about 420), and would reach 1,300 channels by 2018. “This is excellent news,” he said,

by Chris Forrester “but remember there are some 6,700 standard definition channels broadcasting in Europe today.” He said almost 100 million ‘HD Ready’ sets had been sold in Europe in the period from 2005 to mid-June this year, and this represented another substantial overachievement compared with earlier forecasts. “Today, more than 3 million homes are viewing HDTV on

Astra. The largest number are in the UK (1.58m), followed by Germany (630,000), France (370,000) and smaller markets totalling almost 500,000.” Oudendijk told journalists that 74% of European viewing homes would be ‘HD Ready’ by 2013, and that Europe would have 50 million HD homes by 2013, with satellite being the largest delivery platform (followed by cable, DTT and IPTV). 1.B51

AB’s battery health check

Tom Lattie: “Each of its constituent products can work independently”

MediaPrism to delivery by Ian McMurray New for IBC is MediaPrism from Harmonic. which is described by the company as a comprehensive solution for converged video delivery. “A key differentiator for MediaPrism,” said Tom Lattie, the company’s director for broadcast and new media solutions , “is its completeness. Other companies just don’t have a collection of workflow tools with the live and on demand pieces and the same ability to tie it all together.” MediaPrism is designed to support a variety of emerging mobile and internet delivery for mats including Microsoft Silverlight, Apple adaptive HTTP Live Streaming and Adobe Flash in addition to legacy mobile video formats, existing broadcast TV and videoon-demand services.

Key elements of the MediaPrism suite include Harmonic’s CLEARcut offline and LIVEcut realtime content preparation solutions, making it possible for service providers to capture and prepare assets for multi-screen viewing. New for MediaPrism is Harmonic’s ProStream 5000 file-based universal transcoder, a carrier-grade Flash memory-based server. Harmonic is also debuting its StreamLiner 3000 video streaming servers. “The other beauty of MediaPrism, as well as its completeness,” said Lattie, “is that each of its constituent products can work independently of each other, allowing customers to choose just those that they want. That make MediaPrism especially flexible.” 1C61

MAM focus for Netia

by Ian McMurray Netia has integrated its Manreo MAM solution with its RadioAssist suite of digital audio software programs to provide users instant access to all types of media, whether archived or online. Media ranging from audio and video to images and text is available for immediate review and can subsequently be restored for repurposing and delivery to broadcast and/or broadband/ mobile channels. Manreo is designed to maximise productivity gains in asset management and the use of rich media, which in turn can be repurposed and published to platforms such as web portals and mobile

devices. The solution is said to support all industry-standard formats, ingesting content, generating browse proxies, enriching media through speech-to-text functionality, and providing easy access to media. The integration of Netia’s Manreo MAM system with Radio-Assist supports three publishing models to help users optimise the workflow in providing media to the right audience in the right format. A convenient tab allows the operator to publish audioonly content and metadata; audio and associated media, such as video, text, and images; or a group of items for automatic conversion and publishing to multiple destinations. 1.B40

by David Fox Anton/Bauer’s new AB-BMS (Battery Management System) includes software that will keep a complete record of how each battery is being used and will email you if it needs attention. It comes with a USB to Anton/Bauer Gold Mount bracket, to allow batteries to connect to the PC running the software. The system downloads all the battery data, and the software automatically tracks how each battery is used. Users can set a ‘trip point’ that will send an e-mail warning as the battery approaches 60% or 70% of its capacity. “When high pressure breaking news events are overwhelming ENG crews, the last thing the operator needs to worry about is current battery charge and overall battery reliability,” said Joe Murtha, Anton/Bauer’s engineering manager. The AB-BMS will keep users informed about much charge is left and give them the details they need about overall battery health. It “delivers all essential information about the battery and the interaction with the particular

Managing expectations: Anton/Bauer’s new Battery Management System

camera giving the operator high confidence going into a critical capture situation.” The software calculates how long a given battery will run a given camera based on an included database of professional video cameras and their respective load rating. Information on the battery, such as its temperature, voltage, present capacity, learned capacity, nameplate capacity and serial number are also displayed. A graphical representation of the battery’s RealTime fuel gauge also appears on the screen displaying the percentage of capacity and remaining runtime. 9.D28b

MediaGeniX automates bumpers and sponsors by Ken Kerschbaumer MediaGeniX, exclusively specialised in integrated software ap p l i c at i o n s fo r b ro a d c a s t planning, has complemented its Whats’On channel management and content lifecycle software w i t h a u t o m at e d bu m p e r a n d sponsor planning functionalities. Generally, broadcasters schedule their bumpers and sponsor clips by manually placing the many clips by hand either in the scheduling system or, even worse, in the playout automation. The Whats’On advanced trailer and interstitial planning module, which already includes auto-scheduling for trailers, now also includes an auto-scheduling tool for bumpers and sponsor clips. The new bumper and sponsor planning tool allows planners to define the marketing rules that specify which item must be planned where.

The branding rules, the special events of the day parts and other context of the schedule are combined with copy rotation, frequency and target audience, in order to select the perfect clip for every position in the schedule. Michel Beke, product manager and co-founder of MediaGeniX, said that adding sponsoring in the schedule is a popular way to generate additional revenue. “The scheduling of sponsor clips has always been a laborious manual process that relies on e-mails and telephone conversations. Our new rule-based sponsor and bumper planning tool will allow for a very efficient scheduling of even the most complex sponsorship packages. The user can configure the rules very easily in order to schedule, for example, an entire month of sponsor clips with a single press of a button.” 3.C59

THE IBC DAILY SATURDAY 12 SEPTEMBER 2009


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IBC Daily 2009 D2  

Saturday edition of the IBC Daily 2009

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