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The official newspaper of IBC


Sky 3D’s Gerry O’Sullivan – See page 8

And the winner is‌

Tonight sees the IBC Awards Ceremony in the Auditorium and all are welcome. Page 10

Digital cinematography

A unique opportunity to hear about the latest research by the world’s leading practitioners Page 12

Allocating spectrum

Broadcasters may lose out on spectrum to other services. A conference today adresses how to achieve a fair allocation for all. Page 14

D-cinema developments

Today at 15:45, the European Digital Cinema Forum (EDCF) and the Society of Motion Picture and Television Engineers (SMPTE) will look at some of the technical challenges of d-cinema in post production Page 16

Tapeless takes charge by David Fox For the first time, sales of non-tape cameras have taken a majority of camcorder sales in the European professional and broadcast market with sensors of 1/3-inch or larger. The latest figures, for the quarter from April to June 2009, reveal that 50.84% of sales from all manufacturers selling in the EU went to tapeless systems. This included 7.29% of hybrid camcorders that could record tape and tapeless (although sales of such cameras have been declining steadily since last year when they reached a peak of 24.23% of the market). Sales of fully tapeless systems have trebled over the same period, according to figures from Futuresource Consulting.

How are UK post production and studio businesses adapting in the face of recession, dwindling advertising revenues and smaller production budgets? Discover the results of a poll Page 18

Is it easy being green?

How realistic are the G8 targets of an 80% reduction in CO2 by 2050 – and what are the implications for the broadcast industry? Page 20

Can you see the ball? Exhibitor listing

Complete with stand numbers and floor plans for the entire RAI Centre Page 33 Published on behalf of the IBC Partnership by United Business Media Limited

Jaume Rey: “Everybody in the industry knows that solid state is the future�

solid state they will be left behind. Because access to finance is so hard, investments must last longer. So, what’s the point in choosing a

IABM rewards Innovation

Riders on the storm

Issues regarding HD on a mobile Page 22

Panasonic appears to have been the biggest winner from this. Its HPX301 camcorder, introduced at NAB, has taken one third of the market for tapeless shoulder-mounted, 1 / 3 -inch or 1/2-inch sensors under â‚Ź10,000, in just one quarter. It already has an 85% share of broadcasters that have gone tapeless. “Everybody in the industry knows that solid state is the future. There is no question about it,â€? said Jaume Rey, its director, Provideo & Broadcast IT Systems, Europe. He believes that the rapid change in broadcasters’ purchase requirement is largely due to the recession. “People are very careful about spending money and are worried that if they don’t buy

tape-based format when I know tape is declining?� He talked to a broadcaster last year that had just invested in a lot of SD camcorders, who justified the purchase by the fact that they would be replaced in three years; now he doubts that any CFO would allow such a short-term choice. Hybrid systems may have seemed a good interim measure, but he believes that their rapid decline is because broadcasters no longer want to “stay on a bridge. They either stay tape or go tapeless.� By going tapeless he maintains that broadcasters will benefit not only from a faster, more efficient workflow, but also help the environment through lower power consumption – Rey will deliver the keynote at today’s session: ‘What is the cost of not being green?’ Room L, 15.30. 9.D18

Centre: Michael Driscoll, CEO, Winchester Electronics, accepts the IABM award

by Adrian Pennington The IABM has announced the winners of its Design and Innovation Awards for 2009, includi n g t h e c ove t e d I A B M Pe t e r Wayne Award for Design and Innovation. Winchester Electron-

ics collected this accolade for its Fiber Optic Video Jack. “We are excited and honoured t o h ave wo n t h i s p re s t i g i o u s award and the opportunity to substantiate our leadership in the design, development and deployment of interconnect technology globally,� said Michael Driscoll, CEO and President, Winchester Electronics. The four IABM Awards for E xc e l l e n c e we re awa rd e d t o Appear TV, JVC, Ocean Blue Software and Phabrix. With almost 80 entrants, the competition for the awards is mounting year-on-year and is an indication of the growing importance of the IABM to the broadcast and media technology industry. The IABM has nearly 300 member companies, who collectively represent more than 80% of the global revenue for the broadcast and media technology product business.

Huge Studer order: Studer has received its largest ever single order, the console manufacturer announced yesterday. The BBC will take delivery of around 85 Studer OnAir digital audio mixing consoles – different configurations of the modular 3000 system, in fact – over the next two years. Some will be deployed in the second phase of the rebuilding of the Portland Place London HQ, where more than 50 studios are to be built for use by the BBC’s World Service and News divisions. In addition, at the new MediaCityUK broadcast centre in Manchester, the BBC will be installing 25 OnAir consoles to provide state-of-the-art digital studios for the Corporation’s domestic radio services such as BBC 5 Live. Pictured: Studer Professional Audio Sales Director, Andrew Hills (left) and Product Manager, Axel Kern. – Dave Robinson 8.D60



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DVB Project stresses its standards pre-eminence by George Jarrett The pre-eminence of the DVB in the art of setting standards is in evidence on three fronts at IBC – DVB-T2, the arrival of DVB-C2 as the technical saviour of the cable business, and the sensible decision to give GEM priority over the original MHP document. Peter Siebert, executive director of the DVB Project Office, started with DVB-T2. “The standard is now one year old, and we have the complete equipment chain of gateways, modulators and de-modulators, measurement kit and set-top boxes,� he said. “We have the chip sets from Sony for the de-modulator, and broadcasters have definite plans for rolling T2 out. The UK will have done so by the end of the year. “The licence scheme has also been finalised, so vendors know precisely how much they have to pay for implementing T2. The ETSI standard has also been published, so everything is there for a successful roll out,� he added. T h e s pec for DVB-C2 was finalised in mid April, and it gives

Peter Siebert: “Cable operators have a problem: they are running out of capacity�

cable companies so much more flexibility regarding the data rate per channel, plus services with different protection levels within a single channel. “DVB-C was published back in 1994, and it still works very nicely. Having a second generation does not mean it is defunct,� said Siebert. “The spec for DVB-C2 has been finalised and the validation of the standard is being tested,

checking that what is written is unique, and there are no hidden flaws. “In parallel we are working on the implementation guidelines, and the chip set vendors are starting to facilitate it. Within the last week, nine of Europe’s top cable operators, covering 35 million homes, signed a welcoming document,� he added. “Those cable operators have one problem – they are running out of capacity. Within five years they are expected to choke for it – and it is their HD services that are testing them.� GEM (Globally Executable MHP) has been extended to cover IPTV. “MHP came first, and then GEM only referenced part of the standard,� said Siebert. “We reversed the priority of the documents so that GEM is now the master. This makes it easier for other groups to use what they want from the feature set of MHP. “There are about 40 million MHP GEM enabled devices in t h e m a rke t , a n d fo r t h e t i m e being we have a complete standard,� he added.

TVNZ transitions with TSL

TSL CEO David Phillips (left) and Peter Ennis, Broadcast Technology Manager, TVNZ

by Adrian Pennington Television New Zealand (TVNZ), the country’s largest media organisation, has contracted TSL to design, procure and install a new file-based workflow and media asset management system at its broadcast facility in Auckland. “This agreement is the

latest step in our journey to become fully digitised,�explained Peter Ennis, broadcast technology manager, TVNZ. “Following an extensive review of the technical infrastructure required to accelerate our move to a fully digital broadcast operation, we have embarked on a major infrastructure transition programme. “Because of the multiple platforms we are required to address, it’s essential to move to a modern file-based workflow and asset management system that can deliver the efficiencies required in this new environment. We believe TSL’s expertise will ensure the successful delivery of this complex integration project on time and on budget, that will allow us to transfor m our work practices and workflows throughout TVNZ.� The TSL-designed system

includes technology from Vizrt, Harris, Snell, Omneon, Miranda and Axon. The ability to interface with, and migrate from, legacy equipment is also a significant aspect of the overall transformation. TSL CEO David Phillips added: “What makes this project different than most is that we have also assumed the role of risk manager, which is a significant step-change to the traditional responsibilities of a systems integrator. This approach enables the client to focus its resources on day-to-day operations while the SI assumes full responsibility for any potential liability in the transition to a new way of working. It is important to point out that this is a collaborative effort with thirdparty suppliers in whom we have placed our confidence and trust.� 10.B41

Rapid deals on stream by Carolyn Giardina Digital Rapids has announced two big deals at IBC. In the first, Lanlink, a Swedish systems integrator for the TV broadcast industry, revealed that it is installing Digital Rapids technology as part of a complete compliance monitoring and archiving system for Sweden’s public broadcaster SVT. This includes 27 channels of Digital Rapids’ StreamZ Encoders and 20 channels of Broadcast Manager live streaming encoding management tool, along with a custom management system from Lanlink. “They are currently sending VHS tapes to the Royal Library for archiving. Now they will be using files,� said Lanlink manager Peter Lilja (pictured left with Digial Rapids Product Manager, Peter Kavanagh), reporting that installation is underway and SVT is expected to begin using the new workflow in January.

Separately, Digital Rapids VP Asia, Nick Fitzgerald, reported that Digital Rapids technology was chosen as part of a deal to deploy Beijing telco’s mobile network. The company will provide the headend for streaming live content to mobile devices and encoding the films to uplink to the VoD services. That includes four channels and VoD of StreamZ Live Encoders with Broadcast Manager for monitoring of streams and redundancy. The mobile content will include news, sports and entertainment. The network launches in October, and is expected to quickly grow to reach one million subscribers. “We have done 100 channels of streaming of the Olympics in China, but this involves use in the mobile market and strengthens our market position,� Fitzgerald said. 7.G41

Virgin signs with Bridge: The VideoBridge system has been selected to provide the monitoring solution for Virgin Media’s digital broadcast TV platform. Virgin Media will roll out an all-IP broadcast installation at its 54 headends and four core IP sites to complement its existing VoD IP infrastructure. Bridge Technologies will provide the VideoBridge IP probes, servers, and software to ensure comprehensive continuous remote monitoring and fault analysis throughout Virgin Media’s broadcast TV IP infrastructure. Pictured on Stand 1.A30, Bridge Technologies Chairman Simen Frostad (left) and Alistair Crook, head of TV operations, Virgin Media.

4RANSFORMING THE 6IDEO %XPERIENCE Š2009 Cisco Systems Inc. All Rights Reserved.








New camera tests on Blu-ray Best picture assessment opportunity for years The American Society of Cinematographers (ASC) and The British Society of Cinematographers (BSC) will both release Bluray copies of their respective camera test projects before Christmas. Both societies share the full morning in the Auditorium today in what amounts to the most definitive picture assessment opportunity camera users will get in many years. The principal BSC speakers will

be president Sue Gibson and freelance DOP John Daly, and they will show less than 60 minutes of the 90 minutes of material seen in London and Bristol. “To do that we have had to cut out the exteriors, but they are done and available,” said BSC team member Martin Hammond. “A lot of people were pleased that the BSC did the full range of cameras (and stock) down to the EX3, and we have had a lot

by George Jarrett of praise for the planning and thought put into our purpose-built sets, and the fact we shot across all the camera formats.” The ASC speaking team will be ASC president Michael Goi, project producer Lori McCreary, co-founder of Revelations Entertainment, and David Stump, chairman of the ASC’s camera sub committee. The ASC used ready-made sets

Conference Today u s e d fo r s h o o t i n g D e sp e ra t e Housewives, and only used Kodak stock. Its film camera was the Arri 435, and the digital contenders were the Arri D21, Panasonic 3700, Sony F35 and F23, the Red One and the Viper. These had to be 4:4:4 colour capable. The ASC wa ive d t h e re q u i re m e n t fo r re c o rd i n g u n c o m p re s s e d t o accommodate the Red One. “We have distilled it down to the four most telling set-ups,” said Stump. “So we have arranged the film elements to come first and then each digital camera by itself.

Triple Vision gives 3D in 2D Omneon partners VGTRK

From another dimension: Mayhew with the V3 Thales Angenieux lens

by David Fox A pseudo-3D image can be created using a unique lens system. It can offer broadcasters a way of giving a more dimensional, almost 3D look, to their conventional 2D broadcasts, making the picture really stand out. “It’s all done in the lens,” explained Chris Mayhew, president Vision III Imaging. “It doesn’t require anything special to look at it. It is a dimensionally enhanced image, but it can be distributed by any medium that can show video.” It works very well on a mobile like the iPhone. Even out of focus shots appear to have a dimension.

“We are exploiting a phenomena in our optical system, which takes parallax information and presents it over time, in a manner that is perceived by the brain as dimensional.” True 3D presents the parallax information simultaneously. The lens has a special iris that moves in a circle, giving a different point of view on the plane of focus, pre-formatting the light before it hits the sensor, so that recording and post can be done as usual. Vision III has partnered with Thales Angenieux to offer ENG lenses that can produce the effect, and is also selling its own PLmount MOE lenses for Red and similar cameras. “You can turn the effect up or down, or off. We see it as a creative tool, as it can be different for every shot. The idea is to make a very appealing, realistic picture.” A commercial shot with it will “look distinctly different from everything either side of it, without viewers realising why”. 11.F40


t h e ex i s t i n g s y s t e m s we h ave installed. This deal takes our relationship one step further,” said Alexey Zemskiy, deputy general director and head of production and technology at VGTRK. “The presence of local support was another important factor for us.” Under the terms of the agreement, Omneon will provide extra support and services, technology transfer and product roadmap visibility to enable VGTRK to rollout Omneon products across their regional studios. 8.B60

Left to right: Igor Orlov, VGTRK; Alexey Zemskiy, VGTRK; Dennis Maynard, Omeon; Suresh Vasudevan, Omneon; and Reiner Frenken, Omneon Russia sales manager

by Farah Jifri Omneon has inked a strategic partnership agreement with Russian State Television and Radio Company (VGTRK) that will see Omneon nominated as the broadcaster’s preferred Media Server and Active Storage vendor. The agreement follows on from and builds on multiple installations of

Omneon’s Spectrum server at VGTRK’s main playout facility, as well as at a number of its stations including RTR Sports and Cultura TV. Omneon has also supplied Media Servers to 11 of the broadcaster’s regional stations. “We have a long-standing relationship with Omneon and they have proved their reliability with

Priceless chance to learn IBC visitors can get training for free at the Production Village in Hall 9, with hourly seminars in the main training room, as well as clinics for smaller groups and even one-to-one sessions with all the trainers. To d ay ’s s e s s i o n s : L a rg e Group Training – 10.00 Lighting on the run; 12.00 Picking the right high-end camera for the job; 13.00 Audio – Simple Sound Advice; 14.00 The Art of Soft Lighting; 15.00 Workflows on location; 16.00 What we see: Foundations of Colour Science; 1 7 . 0 0 C a m e r a s u p p o r t fo r budget shooting. Small Groups On Set – 13.00 Practical Operational Tricks; 14.00 Film vs HD; 15.00 Practical Shooting Interviews; 16.00 Lighting solutions clinic; 17.00 Technical Clinic. “There will also be plenty of opportunity to get a one-to-one session with any of the trainers (bookable at the reception desk in

EDITORIAL Editor Fergal Ringrose

Managing Editors Adrian Pennington, Andy Stout Production Editor Simon Croft Reporters Kate Bulkley, Bob Charlton, David Davies, Chris Forrester, David Fox, Carolyn Giardina, Dick Hobbs, George Jarrett, Farah Jifri, Ken Kerschbaumer, Heather McLean, Ian McMurray, David Robinson Photographers James Cumpsty, Richard Ecclestone, Chris Taylor IBC Chief Operating Officer Michael Crimp IBC Audience Marketing Manager Saima Parviez

Production Village

Best stand design winners: With 1200 exhibitors all clamouring for the visitors’ attention, attractive stand design is important. IBC traditionally honours the best of the best with its Exhibition Design Awards. The picture shows Tangent Devices (8.B11), this year’s winner in the small/medium category. Winner of the best large stand for 2009 was Humax Electronics (5.B41), and the shell scheme winner was Broadcast Bionics (8.A20).

Then we will show a split screen with the film shots. “Our purpose was to take a snap shot of how all these cameras fit into the de facto common m o t i o n p i c t u re wo rk f l ow o f today,” he added. A follow up panel session will feature all the above speakers plus moderator Howard Lukk, director of media systems with Pixar. “Having been involved in t h e S T E M a n d D i s n e y ’s T h e Other Project, I am interested to see this next snap shot of the digital cameras,” he said. “It is not about film versus digital any more. Digital is a tool in the toolbox. The more tools the better.”


Group Sales Manager Steve Grice Tel: +44 (0)20 7921 8307 Email: Business Development Manager Alex Hall Tel: +44 (0)20 7921 8305 US Sales Michael Mitchell Tel: +1 (631) 673 3199 Email:

ART & PRODUCTION Frack Voiffray, SCV Audio France, and Peter Brinkman,, Holland, take an audio clinic with Christina Fox

Production Manager Stephen Miller Ad Production Christopher Gardner Page Design Avant Garde (Croydon) Ltd At the Show Dawn Boultwood, Hazel Croft, Tanya Warren Publisher Joe Hosken

Hall 9, as all of our sessions are), and we are more than happy to continue answering questions after our sessions – especially if it involves a drink at the bar in the Village,” said Christina Fox, who specialises in training video journalists, researchers and others on low budget cameras for UrbanFox.TV. There are also manufacturerspecific training sessions from Arri, Clear-Com, JVC, Litepanels, P+S Technik, Panasonic. Phabrix, and Sachtler. Hall 9

Printed by Partnion Marc van Riet 0031 61362 4321 Published on behalf of the IBC Partnership by United Business Media Ltd, Ludgate House 245 Blackfriars Road, London SE1 9UR Tel: +44 (0)20 7921 8000

© The International Broadcasting Convention 2009. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher.




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FLO Forum ‘bullish’ on prospects for mobile TV by Heather McLean The FLO Forum is more confident than ever before that mobile TV will take the bull by the horns ove r t h e n ext 12 months. Dr Kamil Grajski, president of the FLO Forum, stated with confidence at the IBC FLO Forum ro u n d t abl e that he expected mobile TV to make more progress this year, based on the growing consumption of mobile video by users in markets where it has already been deployed. This fact alone strengthens the business case that European m o b i l e o p e r at o r s h av e b e e n looking for, Grajski explained, both in ter ms of increased demand for the services, and monetisation issues. Additionally, the service has evolved to the point where countries such as the US, where mobile TV is now commonplace, are seeing mobile TV technology such as MediaFLO evolving to use in

other areas, from mobiles, to signage on buses and in-car TVs. “The ecosystem is broadening,” said Grajski. “We’re now looking at digital signage using the mobile TV network to deliver over a distributed network, and off of these additional services we a re s e e i n g o t h e r t y p e s o f device come into play. We are more bullish on mobile TV than we ever have been.” Gert-Jan Panken, director of mobile alliance at Irdeto, added: “We are convinced there is going to be a strong consumption of mobile TV content on mobile devices in Europe, as that’s what we’re seeing in markets where this is already deployed. “Everyone’s talking about TV, but particularly in Asia we’re seeing this technology used for traffic services; MediaFLO is very good for getting large amounts of information out to vast numbers of people,” continued Panken.

Audio annoyance addressed

Patrick Harshman (L) and Peter Poers, Junger: Setting the quality benchmark

by Ian McMurray & Dave Robinson Jünger Audio is taking its Level Magic automated audio level control technology to broadcast, cable, satellite and telco customers through a unique integration with Harmonic’s Divicom Electra and Ion encoders. What’s more, Ian Jones (centre) and his HHB team are focusing on newcomers to his UK distribution portfolio at IBC – specifically Wohler audio monitoring systems, and the SoundField UPM-15 5.1 surround processor – as well as familiar names including Dolby, Digidesign, Roland, Genelec and HHB’s own lines of media recorders and players, writes Dave Robinson. 8.E54


Miranda Technologies has launched ALC – Automatic Loudness Control – to eliminate loudness variation between programme segments (typically in commercial breaks), which also incorporates Level Magic technology. By using Level Magic technology within Harmonic’s encoder,

Ascent tackles ITN archive

Gert-Jan Panken: “We are convinced there is going to be strong consumption”

Thanasis Iatroiu, president and co-founder at Media Excel, stated: “MediaFLO has interactivity and networking built in, and now we’re starting to see these aspects coming out. I think we’re going to see a tremendous expansion in areas we haven’t even yet thought about; more and more applications will grow as we think of mobile TV.” service providers do not need to invest in a separate chassis for audio levelling, and can more easily scale their services. This combined architecture eliminates the need to process audio channels at the baseband level, meeti n g t h e n e e d s o f t h e l at e s t IP-centric headends, and reduci n g c ap i t a l a n d o p e r at i o n a l expenditures for operators. “Jünger Audio sets the quality benchmark in audio levelling technology, and together we are able to more cost-effectively address this very challenging issue for service providers,” said Patrick Harshman, CEO of Harmonic. Meanwhile, the first Miranda products available with ALC are t h e D e n s i t é X V P fa m i ly o f 3Gbps/HD/SD signal processors. “There’s a big demand worldwide for much more effective loudness control,” said Jean-Marc d’Anjou, VP of infrastructure at Miranda. “ B y p a r t n e r i n g w i t h Jü n g e r Audio, our Automatic Loudness Control can eradicate loudness problems, [especially] annoying loudness jumps during commercials, very convincingly.” 1.C61.

by Adrian Pennington ITN Source, the world’s largest editorial archive, is embarking on a significant project to digitise 40,000 hours of mainly filmed materials with Ascent Media. ITN Source has already digitised over 10,000 hours over the last few years and in doing so realised that content was “five or six times more likely to be used if digitised” rather than sitting on the shelf. The footage dates from 1955 to 1985 and includes reels of the Vietnam War and The Beatles. “If we performed the digitisation of the 40,000 hours ourselves it would take six years,” said Asha Oberoi, content director, ITN Source (pictured, centre, with Ascent Media’s Adrian Bull and Roger Harlow). “With the model Ascent have devised it will take 18 months to two years.” Footage will be telecined at Ascent using Flashscan and after restoration will be made immedi-

ately available for browse online in proxy form. An order for specific footage will automatically generate a high-res digital version to be sent directly to the customer and a file to replace the proxy in the archive. The project will integrate asset management systems at ITN Source, ITV and Ascent Media and begins in two weeks. “This is about getting return on investment from our greatest asset,” said Oberoi. “We need to commercialise our content and if we don’t do it now for some of our archive – it will disappear for ever.”

Third C100 HD-S for TF1: Solid State Logic (SSL) announced the sale of a third C100 HD-S digital broadcast audio console to prestigious French Broadcaster TF1 at IBC (Philippe Guerinet SSL (left) and Herve Pavard TF1), writes Dave Robinson. With two SSL C100 HD-S consoles delivered in January 2009 the selection of a third C100 as part of the refurbishment project of Regie 2 at TF1 Boulogne was a ‘natural choice’ for TF1, says SSL. The new 40-fader console joins the existing desks in a multi-studio facility that will see all three consoles linked by TF1’s already installed SSL MORSE asset sharing system. Director of International Sales at SSL, Philippe Guerinet, commented, “We are very proud to be the preferred console supplier for this project and look forward to a long and close relationship with the team at TF1.” 8.D83

Gigawave in pole position by David Fox Wireless specialist Gigawave has added to its motorsport package with a tiny, new on-board HD 1080i camera, with a 2/3-inch sensor and very wide angle lens (3.5mm), plus a hand-held controller. “This is the first time Gigawave has produced its own cameras,” explained marcoms manager David Earl, and it has tried to make it as easy as possible to control without disturbing the race team. The new Gigascope handheld telemetry unit that goes with it allows users to set up each camera without having to plug in to make changes. It includes a low-power microwave transmitter/receiver, so that users can check the pictures. A racing car can have two or three cameras, so the unit allows you to switch them remotely. Gigawave systems are being used for Moto GP motorcycle raci n g, A 1 G P, FA I G T a n d t h e

David Earl: “The first time we have produced our own cameras”

Superleague Formula, for which it h a s i n s t a l l e d a n ew p o rt abl e receive unit that can access up to eight antennae and combine the SD or HD signals from each to create the best possible pictures. There can be 20-plus channels in one unit (as it uses for Moto GP). “This is pretty much state of the art. It’s essentially a diversity receiver, but with maximum ratio combining,” Earl explained. Outside Exhibits (near Hall 1)


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theibcdaily In Brief Avatar at IBC There is a unique opportunity tonight to get a preview of the most eagerly awaited movie for years. As part of tonight’s IBC Awards Ceremony, 16 minutes of extracts from Avatar will be shown, in stereoscopic 3D. This stunning movie, set to be released in December, is the latest project from James Cameron, who won the IBC International Honour for Excellence in 2003. As a remarkable pioneer of technique and technology, Cameron takes us to a new world beyond imagination, creating a remarkable experience for any audience. This screening is courtesy of 20th Century Fox Film Corporation.

Nagravision secures Abertis Access Just ahead of IBC, Nagravision announced that its Nagra Media Access conditional access (CA) system had been selected to secure the TDT Premium payTV digital terrestrial television (DTT) horizontal platform operated by Spain’s leading audiovisual network operator, Abertis Telecom. Nagra Media Access is being integrated into TDT Premium set-top boxes and conditional access modules (CAMs) to support the new platform. The certified DTT set-top boxes and CAM modules will be compliant with the technical specifications for DTT CA-enabled receivers agreed within the Spanish Digital TV Forum by the main industry stakeholders to create an open platform for all broadcasters. The set-top boxes and CAMs will be sold to consumers via retail channels as well as through TV installers. The first set-top boxes and CAMs integrated with Nagra Media Access will be available on retail shelves by the beginning of September. In order to assure the availability of these devices in the market by that date, Nagravision says that it has closely collaborated with numerous iDTV, set-top boxes and CAM manufacturers. 1D69

OpenTV Core3 Engineered to enable technology choice by operators, OpenTV Core3 is said to combine a top-to-bottom open architecture with a unique design that simplifies the integration and deployment of everything from complex user interfaces to consumer services and application widgets. “Core3 is not just another middleware platform – it is a generational shift in middleware innovation,” said Ben Bennett, OpenTV’s chief executive officer. “With Core3, OpenTV is reasserting its commitment to operator choice by providing a unique middleware architecture that is not only the most open and modular, but also embraces the latest industry standard for application development.” According to the company, OpenTV Core3 addresses the new challenges brought on by the explosion of digital content. OpenTV says that Core3’s open authoring environment builds on the reliability and experience of previous OpenTV middleware releases, developed over the last 13 years, by further accelerating the deployment of third-party applications and support for HTML/JavaScript and Adobe Flash as well as industry standards demanded by the marketplace. 1.C81


BSkyB: “Stop reading about 3D, and watch it!” Conference Analysis by Chris Forrester BSkyB will launch its dedicated 3D channel next year, and Gerry O’Sullivan, Sky’s director of strategic product development, asked delegates to IBC to stop reading about TV and to start watching. He urged delegates to see the special BSkyB demo, which showcased opera, ballet, and more modern music as well as documentary, movies and sport. “But let me immediately dispel a few urban myths that have been thrown up about 3D,” he said, during the ‘Who pays? Winners and losers in the new broadcast economy’ session. “You don’t have to stand on your head, or be exactly 1.2m away from the screen. Nor is it the old Hollywood movies of 30 or 40 years ago. It does not give you a headache. “Our HD transmissions require no new technology. The SKY+HD

Gerry O’Sullivan: “Let me immediately dispel a few urban myths about 3D”

infrastructure carries the signal end-to-end, and we simply piggyback 3D onto our HD investment. Stop reading about 3D, and start watching,” O’Sullivan advised. “The winners in this business are those who invest in content and continue to invest in innovation. The only way you can do both is to have a sustainable business model. If you don’t have a sustainable model and you cannot fund innovation then you are going to find life can be very difficult.”

EditShare acquires Geevs and Lightworks by Carolyn Giardina EditShare has bought Geevs broadcast servers and the Lightworks nonlinear editing family. The privately-owned companies did not reveal the details of the transaction. “EditShare is growing rapidly and to meet the needs of our expanding customer base, we need to broaden our offering,” said Tara Montford, co-managing director of EditShare EMEA. “Acquiring this techno l og y enables us to bring mature and proven technology into the EditShare Complete Collaboration

product line very quickly. We are looking forward to integrating these new assets with EditShare technology, further advancing our workflow engineered systems.” Co-managing director James Richings said customers could expect to see more closely integrated products and a more collaborative workflow within six months. Geevs servers offer broadcasters, post production facilities and content producers a range of capabilities including SD/HD multichannel ingest, playout automation and file server man-

O’Sullivan said that 2009, despite all the doom and gloom, would see UK pay-TV subscribers top 50% of all TV homes. “Remember the sceptics who said pay-TV wouldn’t last?” O’Sullivan asked. “Well, to get to 12.5 million pay-TV viewers in the UK is a massive achievement. Subscription revenues are now larger than the total TV advertising revenues. That tells a story on its own. The problem is with broadcasters who are totally reliant on advertising income, and they undoubtedly have some challenges ahead.” O’Sullivan said that for payTV broadcasters it was crucial to have a one-to-one relationship with the customer. “We are not a broadcaster who simply sends signals out. We have very direct relationships with our viewer. We have millions of conversations with them every year, and they have a ve r y g o o d way o f t e l l i n g u s whether they are satisfied with us or not!”

agement for largescale deployments. Lightworks is one of the earliest nonlinear editing platfo r m s a n d h a s g o n e t h ro u g h several acquisitions over the years. Its most well known user is Acade my Awa rd - w i n n i n g e d i t o r Thelma Schoonmaker. EditShare Complete Collaboration products include shared storage, its storage series and XStreme series, all of which enable editors and compositors to share media and work collaboratively regardless of platform or application. Richings said all Geevs and L i g h t wo rk s p ro d u c t s wo u l d re m a i n o n t h e m a rke t , a n d employees will also stay with the company, including Gee Broadcast leader, Keith Gee. EditShare 7.D22 Gee Broadcast Systems 7.A39

Playbox makes Digital Signage play by Farah Jifri Celebrating 10 years in the broadcast business, Playbox Technology is showing Digital Signage the company’s new platform which provides a path in digital signage for broadcasters. With straightforward multiscreen HD playout, as well as broadcast quality graphics and an easy-touse interface, PlayBox DS comes 3D-ready. It offers system-wide synchronisation to enable playback of stereoscopic files for 3D displays. PlayBox DS software can host 3D objects created on a 3D graphics package for detailed interactive displays. Also on view is Playbox’s entrylevel µPlay video and graphics playout

package. The all-in-one software is aimed at smaller channels, and applications such as IPTV, local cable TV, on-campus applications and corporate TV. PlayBox is also showing its Edge Server automated remote playout offering that enables the full operation and monitoring of remote broadcast playout. The system can make use of the public internet as the link for all content delivery, control and monitoring. Edge Server is fully customisable and offers a choice of single and multi-channel operation as well as full equipment redundancy. T h e re m o t e s y s t e m a l s o enables the complete localisation

of content branding, including commercials, station IDs, multil i n g u a l a u d i o, s u b t i t l e s a n d graphics. PlayBox is showing demos of its Metus MAM system. It can organise and manage the assets of single or multichannel operations, and is available as a stand-alone solution or integrated with PlayBox ingest, playout and branding systems. The new NewsAir newsroom computer system integrates with PlayBox Technology playout capabilities to offer a high cost-performance ratio and is geared up for newsroom operations. 8.B31

Florian Camerer: “The situation is now unbearable for the consumer”

EBU switch from peak to loudness by George Jarrett P/Loud, the EBU’s largest project group, is expected to finish its work early in 2010 with the publication of five documents covering its full loudness spec, practical guidelines, metering, loudness range, and distribution. “Our main goal is to switch the paradigm from peak to loudness,” said group chairman Florian Camerer from ORF. “It is important to switch because of all the differences in broadcasting, both within channels during commercials playout and between channels,” he added. “There are similar groups to P/Loud in the US, Australia and Japan, and we have representatives from all three within our membership of over 100 broadcasters and vendors,” Camerer added. P/Loud has based its work on the ITU loudness measurement standard 1770, which came into effect three years ago. The key elements are R2LB and K-Weighting. “It is a very simple weighing curve. It is just a high pass with a little shelving curve,” said Camerer. “There are new issues coming out under the heading of LKFS – Loudness, K-Weighting, and Full Scale. Sound designers will be talking in future of ‘minis LKFS’.” The promise is of a new standard and a relative element, but what guideline does P/Loud follow? “We look at the average loudness of one programme. It has to be one number,” said Camerer. “And the same number for every programme in the future. “Why did the peak crisis happen? In Europe we had peak normalisation as standard, and we had permitted a maximum level,” he added. “We still have peak and the standard quasi peak meter has a reaction time of 10ms. This means it misses many peaks.” At the same time peak has ruled, we have had an understanding of FM modulation with the equivalent of 30kHz of FM deviation. “The maximum on a TV channel is 50kHz, and suddenly commercial broadcasters cut off the transients and shifted from 30kHz to the top of the range, making them 4db louder,” said Camerer. “Then all the competition switched up to 50kHz and the loudness war started. The situation is now unbearable for the consumer, so the only way out is to abandon peak and go to loudness. Multiple vendors have implemented 1770. 10.D21



Datavideo intros new switcher five user set-up, title overlay and DVI-D connection for presentation software. The integrated audio mixer with balanced XLR connectors allows up to four channels microphone or line audio inputs.

The HS-2000 also includes a multi-image video output via Datavideo’s TLM-1700, a 17-inch HD/SD monitor; and a six way ITC-100 Intercom System with five ITC-100SL belt pack units. Datavideo HS-2000 comes

with an integrated PD-1 power distribution centre for connecting all the integrated equipment f ro m a s i n g l e s o c ke t . I t i s designed for use in a studio, on location or in the field where one can use the technology with a 12V generator or battery. The Datavideo SE-2000 video and audio switcher is designed to enable the user to switch between

video and audio sources and blend digital content on the fly, even without external genlock, thanks to the built in time base corrector. T h e D at av i d e o H S - 2 0 0 0 Mobile Video Studio will be available next month with a list price of €7,200. The SE-2000, also available in the same time-frame, will list for €4,300. 7.E29

Beswitched: the HS-2000 switcher

by Carolyn Giardina Datavideo is expanding its line of digital switchers and mobile video studios products. The new Datavideo HS-2000 is a compact, 1920 x 1080 broadcast quality HD-SDI mobile video studio, which can be used as a flyaway kit. It is designed around the also new Datavideo SE-2000 five channel 10-bit HD-SDI, HD component and DVI video and audio switcher. Features include 14 prestored logos, digital clock display,

ASL brings intercom to the tabletop by David Fox Utrecht-based ASL Intercom has added four new tabletop-format speaker stations to its expanding Digital Intercom line. The DS 830 Speaker Station, an eight-channel unit mounted in a 3RU cabinet, will be the first to ship, following its introduction at IBC, with the other three (16, 24 and 32 channel units) being i n t ro d u c e d ove r t h e n ex t s i x months or so. “Many theatres and concert halls have expressed a strong preference for the groundbreaking technologies in our new digital system,” claimed Susan McLohon, ASL’s director of sales and marketing. “They are pleased that they can specify either tabletop enclosures or 1RU rack mount units, or even select optional 19inch rack mounting of the new 3RU tabletop versions.” D S 8 3 0 f e at u re s i n c l u d e : instant talk and listen access for eight user groups; and customisation via the eight soft function keys (programmable functions i n c l u d e c a l l t o t a l k , s p e a ke r on/off, remote mic kill (all or group), PTP receive disable, and stage announce). Users can also do text messaging and person-toperson calling to any speaker station or belt pack unit in the system. The four speaker stations also have adjustable button illumination, GPIO connections, programme input, and an extension speaker jack. 11.F58 THE IBC DAILY SUNDAY 13 SEPTEMBER 2009


theibcdaily In Brief

And the winner is... IBC Awards

ARG launches Media Combiner 1900E ARG ElectroDesign is presenting the Media Combiner 1900E multiprogramme transport stream and data network adapter with a new IP network interface. The technology is designed for signal distribution, including satellite back-haul and DTT applications, for broadcasters and content distributors. Shown for the first time at IBC, the IP network interface was developed to provide transparent DVB-ASI signal distribution over Fast Ethernet or GigE IP networks. The Media Combiner 1900E also features an E1 access card for DAB distribution, and supports network interfaces including E3, DS3 and STM-1. Existing users would be able to change their current network interface to Fast Ethernet or GigE. “Our customers demand cost-effective, transparent technology that provides outstanding sustainable performance and ease of use,” said Mike Footer, ARG’s director of sales and marketing. 6.C28f

MBT gives Liberty Media Broadcast Technologies has given graphics professionals more freedom with the Liberty suite. The system builds a comprehensive graphic workflow for any production or transmission scheme. For news and sports applications, Liberty is interfaced via MOS 2.8.3 to potentially any NRCS. For master control room applications, Liberty is interfaced to most of today automation systems from dedicated API to VDCP. ‘Live auto-promos’ is achieved with the integration of MBT’s Phoenix Automation suite to Liberty. A key feature is the SG panel, allowing users to manually proceed late changes or nominal workflows. A wide option of custom panels such as SMS crawls, information tickers, voting results, table are available. The system also has templates designed on graphic devices. A template corresponds to any combination from a single logo to complex scenes with multiple objects. 2.B19

Tonight sees the IBC Awards Ceremony – and all are welcome. The show starts at 18:15 in the Auditorium. In a packed and exciting programme, one of the highlights will surely be a live link to New York to see the International Honour for Excellence, IBC’s highest award, presented to the Metropolitan Opera. We will also get the chance to see excerpts from some of the stunning productions which have gained the Met this honour. Centrepiece of the ceremony will be the presentation of the four IBC Innovation Awards: for the most innovative use of technology in content creation, management and delivery, plus the Judge’s Prize.

These are the awards which celebrate the collaboration between equipment suppliers and their customers, and it is the end users who will be called on stage to collect the trophies. Another technological innovation to be celebrated tonight will be the Amber Alert system now in use by the Netherlands Police (Klpd) to help them track lost and kidnapped children. Together with the system’s developer Netpresenter, the Klpd is receiving a special award from IBC. The three awards for best stand design and the prize for the most stimulating conference paper round out the ceremony. A l l v i s i t o r s a re i nv i t e d t o attend the IBC Awards Ceremony. Space is limited, so please take your seats in plenty of time: the action starts at 18.15 in the Auditorium.

The Amber Alert system now in use by the Netherlands Police helps them track lost children

MTV’s new Amsterdam workflow by Adrian Pennington MTV Networks Europe North (MTVN) has relocated to a new facility at Amsterdam’s Mediawharf, creating an integrated infrastructure and workflow to drastically reduce the cost of end to end channel management. To improve productivity in channel presentation and to manage operations from the desktop, MTVN selected the three-way integration of MediaGenix’s What’sOn for scheduling and channel management; Pharos’ Mediator for content management and workflow; and PubliTronic’s NEXUS/Cobalt for automated playout, graphics and channel branding. Better technology integration from Publitronic and process improvement by Pharos h a s reduced MTVN’s multi-language content preparation by days. Tight integration between processes and subsystems now allows automated validation of scheduling and content, with only the exceptions raised automatically to channel managers. This has significantly reduced the turnaround times for programme changes.

Publitronic and Pharos technologies have reduced MTVN’s multi-language content preparation by days in its newly-opened facility at Amsterdam’s Mediawharf

“Rather than assembling television as a last minute technical exercise in playout, MTVN’s scheduling and material preparation is now at a more productive place upstream in the workflow,” said Pharos marketing director, Russell Grute. “Channel operations are no longer just a virtual planning process – they now have full own-

ership of content preparation to create and drive their channels. Pharos Mediator brings channel managers closer to their content. It includes desktop search and browse tools, so that they can be sure what they are seeing is the correct programme, promo or commercial version for Publitronic Nexus to deliver safely.” 10.D31

K-Tek’s new Kwiksock is much smaller than a traditional, bulky, full-size windscreen for reducing microphone wind noise, writes David Fox. It can also fit inside an existing Zeppelin to provide an additional layer of wind protection for really stormy conditions. It is fleece lined with a short-hair faux fur exterior, and rolls up tightly to pack into a small bag or pocket. Each one comes with a carrying pouch. It is available in short, medium and long sizes, and either 21mm or 19mm diameters to fit most shotgun microphones. It costs about $55. 11.C71

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.

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Contribution & distribution Low latency newsgathering and event coverage with the Ellipse contribution encoders and ProView IRDs

Compression & multiplexing New, ground-breaking Electra 8000 HD/SD MPEG-2/MPEG-4 AVC encoder improves performance by 20%, supports multi-rate outputs and integrated up/down conversion

Multi-screen video delivery MediaPrism live and on-demand converged video solution suite including StreamLiner video/ad servers, ProStream 4000 and Rhozet Carbon Coder transcoding, Armada intelligent asset distribution

IBC stand #1.C61

Š 2009 Harmonic Inc. All rights reserved.

theibcdaily In Brief Primera’s SDK for Mac The new SDK can be used with any of Primera’s DP- or XR-series Disc Publishers, which automate the process of burning and printing CDs, DVDs and Blu-ray Discs. The PTBurn SDK for Mac includes the ability to burn and print natively on Mac OS X 10.5 or higher; a bundled print layout application that allows merged text and other data; native Mac frameworks that can be linked in to new or existing Mac application; and source code for a Cocoa-based burn and print application. “Mac users represent a large and growing segment of our customer base,” said Mark D. Strobel, VP of sales and marketing at Primera. “Our SDK provides all the tools necessary for developers to support our awardwinning Disc Publishers natively from Mac applications.” PTBurn for Mac is available now for download. 7.H05

EditShare, Automatic Duck shared launch EditShare and Automatic Duck have teamed up in an effort to improve workflow for post production facilities and editing workgroups that want to collaborate on shared media files across disparate editing platforms. Time saving and convenience were the key drivers for the new system. EditShare’s Universal Media File technology – a feature in the company’s Flow system – allows a single media file to be used simultaneously by Apple and Avid editors, while Automatic Duck’s Pro Import FCP and Pro Export FCP allow editors to translate bidirectionally between Avid and Final Cut Pro sequences. With the new partnership, the companies will create a method for Automatic Duck to understand EditShare’s Universal Media Files and retrieve information from the Flow database. The user would require the new version 1.5 of EditShare Flow and the Automatic Duck’s Pro Import FCP and Pro Export FCP. This will make it possible for editors in a mixed Avid and Final Cut environment to seamlessly switch back and forth between the two applications, using a common pool of media files, with timelines intact. This technique will eliminate processes such as exporting and transcoding. 7.D22 & 7.K21


Charting a course through digital cinematography Conference Today IBC has always been at the forefront of the debate on how digital technology is transforming the business of making mov i e s. Today’s conference session at 09:30 provides a unique opportunity to hear about the lat e s t research by the world’s leading practitioners. Both the American Society of Cinematographers (ASC) and the British Society of Cinematographers (BSC) have recently completed major projects to review all of the acquisition tools available to movie-makers. And while each has reported on the results of their work, never before have both bodies come together in one place. Where once there was film now there is a multitude of camera formats. The ASC used all its Hollywood experience to create some challenging set-ups at which the merits and limitations of each

A must-see for anyone interested in the future of high-quality TV production

could be compared with the gold standard of film. What are the technical and creative strengths of each? Can general conclusions be reached? Rather than repeat the effort, the BSC developed a complementary programme that also looked at the workflows involved in each

format, to reach an over-arching view on the way in which they fit into a practical production workflow. Do the different workflows for long-form projects like movies, high intensity jobs like television drama or short-form commercials affect the choice? The experts behind both the

Hamlet looks 3Gbps in the eye by Adrian Pennington Flexiscope, the first portable test and measurement device at 3Gbps to be shipped, is the centre of attention on the Hamlet booth at IBC. The latest module, which includes crucial eye pattern display, is already in use by engineers across the globe. “Our customers, in the telecoms industry as well as broadcast, told us they nee d e d eye-pattern monitoring as it is the quickest way to see how stable a digital circuit is, and they told us that they needed to build 3Gbpsready infrastructures today,” explained Hamlet director Steve Nunney. “Our flexible platform meant we could add both the functionality and the 3Gbps bandwidth far faster than manufacturers who had to develop it from scratch.” The Hamlet test and measurement system is based around a common digital platform used in Flexiscope, its smaller cousin MicroFlex, the on-screen display

MonitorScope and the fixed installation appliance LCDScope. A number of identity modules are now available, which can be used in any of the tools, to provide specific test capability and signal generation. MatchCam, another highly practical option is being demonstrated. It’s described as a simple and fast way to align cameras by capturing a vector display from the reference camera inside the Flexiscope or other device, and then matching other cameras to it. “It provides a foolproof way to set up multiple cameras,” said Nunney. “As broadcasters and production companies begin to experiment with stereoscopic 3D, Hamlet has tools available to ensure that the two streams are precisely matched throughout the chain from camera to delivery.” 9.E13/9.E21

The Hamlet system is based on a common digital platform

ASC and BSC projects are bringing their results to this very special double conference session. It is being held in the Auditorium, which means they will be demonstrating their results on the stateo f - t h e - a r t I B C B i g S c re e n , probably the finest large screen digital cinema display around. It’s an opportunity to understand not just the relative merits of image capture at the leading edge, but also all the implications of workflow from raw digital camera images to finished post. All this makes the session a must-see for anyone interested in the future of movies and highquality television production. And to encourage as many people as possible to attend, IBC is offering this double session for the price of just one. So if you have a Flexibook Pass the whole morning will cost you one coupon. If you have an exhibition only pass, you can buy a session ticket at the conference registration area. The session runs from 09:30 to 13:00 in the Auditorium. Quantity and quality: more equals better for MicroPro

MicroPro has twice the light

by David Fox Litepanels’ new MicroPro oncamera light fixture, outputs twice the light as its previous Micro. It also provides a broader source, giving it a more HD-friendly quality of light. The compact MicroPro offers “luminous, soft, directional lighting” and produces about 1.5 hours of continuous output from six standard or rechargeable AA batteries or more than five hours using Lithium Ion AA cells. Power c a n b e s u p p l i e d o p t i o n a l ly through a 5-12v input jack. 9.D28i


One workflow. From Lens to Post.

Ki Ki Pro is an all new way of connecting production and post. Finally, shoot on the same codec as you edit with, Apple ProRes 422, built natively into Ki Pro’s stand-alone, portable hardware. With its extensive analog and digital connectivity, virtually any video and audio source can be fed into Ki Pro. It also includes AJA’s powerful 10-bit realtime up/down/cross-conversion, enabling instantaneous recording of SD or HD from any camera format. Record pristine ProRes media to a removable Storage Module with built-in FireWire 800, or to 34mm ExpressCard Flash — both instantly mount on your OSX desktop for immediate editing and file access. Ki Pro is tough and rugged, yet small and portable, designed for real production environments. Powered through an industry standard 4-pin XLR, you have flexible AC and battery options. Use Ki Pro on a table, or mate it between your camera and tripod via a bulletproof optional aluminum cage, complete with sliding baseplate and accomodation for 15mm rods. Visit our website to discover the full details of how Ki Pro will change your world.

K i

P r o.

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Visit AJA Stand 7.F11, IBC 2009

Record natively to Apple’s ProRes 422 codec for full raster 10-bit 4:2:2 HD and SD. Record to a removable Storage Module with built-in FireWire 800 or 34mm ExpressCard Flash. Built-in WiFi and Ethernet for complete control via a web-browser, or your iPhone. Connect any digital camera via SDI or HDMI, or any analog camera. Convert in realtime from SD to HD, or 720 to/from 1080. Ki Pro is your hub for all types of sources, regardless of format or connectivity.

theibcdaily In Brief Clipster supports RED Munich-based camera equipment rental company Ludwig Kameraverleih and its affiliate, soundLab Postproduktion, are the first German companies to install a realtime file-based RED workflow with DVS’ Clipster. Ludwig Kameraverleih uses the RED data for TV production and employs Clipster for realtime processing of RED Raw. RED data is transferred directly on set via USB to Clipster, enabling the crew to view the images for instance in RGB 4:4:4 12 bit, and run instant quality control. The dailies are generated as DnxHD 220Mbps 10-bit 4:4:4 in realtime. SoundLab Postproduktion generates broadcast material out of the Raw material. Finished TV projects are recorded from Clipster directly onto an HDCAM SR. The DVS system is designed to allow the user to adjust RED camera parameters and colour correct in realtime. For film applications, once the EDL (ALE/XML) is created in offline editing, it can be transferred to Clipster for online conforming of the Raw data. A split screen allows the operators to compare the 4k Raw 12-bit material with the offline editing. Within Clipster, primary colour correction as well as scaling are processed in realtime. 7.E21

iPhone programs PVR An example of the hundreds of new uses being found for the iPhone can be found on the stand of Belgian company Zappware, which is taking the opportunity presented by IBC to launch a ‘Remote TV’ iPhone application that allows viewers to remotely programme their personal video recorder and consult the EPG or VoD catalogue. Visitors are being treated to a demonstration that shows how the iPhone can enable programming of a PVR; building lists of favourite programmes or VoD assets; consulting the EPG; schedule reminders; browsing the VoD catalogue; and ordering VoD assets. The iPhone add-on is part of Zappware’s iView for Operators services suite. This suite contains services such as VoD, EPG, and harddisk or network-based PVR. These services are targeted at operators, who can enrich the media experience of viewers and generate new revenues. 4.B51


Allocating Spectrum: Fair access for all Conference Today

Sunday Sept 13, 11.00-12.30 by Chris Forrester Digital broadcasting and the reallocation of broadcasting spectrum is a major issue for many countries around the world. The next ITU World Radio Congress will be held in 2011. Broadcasters may lose out on spectrum to other services with considerable pressure from governments to price this reallocation of bandwidth beyond the pockets of many broadcasters. During the transition, broadcasters must support analogue and digital transmissions. What will happen when analogue is switched off and consumers clamour for more HD channels? DVBT2 might be an answer for some, while others – especially in some emerging markets – are looking carefully at adopting MPEG-4

compression and leap-frogging MPEG-2 for transmission. These plans need careful cross-border co-ordination, not always easy under today’s economic pressures. This IBC panel, part of The Business of Broadcasting stream, is chaired by Alan Downie, a UKbased consulting engineer with than 30 years experience in broadcast engineering, 20 of those being with the BBC, covering radio, television and transmission. Downie works with the Commonwealth Broadcasting Association and has run many training courses on broadcast engineering in Africa, India, the Caribbean and South America. Downie’s panel is drawn from the regulatory side of the fence as well as from users. Greg Bensberg, a highly-regarded principal advisor on broadcasting at the UK’s Ofcom, which has managed the analogue switch-off in the UK, but not without a degree of controversy. He is joined by Gregory

Francis, MD at Access Partnership, which supports some of the world’s largest network operators, governments, and equipment manufacturers in developing and executing market access strategies. Active in policy forums across five continents, he has assembled an internationally recognised team with a track record of changing telecommunications law and regulation. Francis has also successfully obtained spectrum access and telecommunications operating licences on business-friendly terms in some of the world’s most challenging jurisdictions, and has secured international spectrum rights from the ITU. Lis Grete Moller is a senior consultant for the Danish Broadcasting Corp (DR Medler). Her main activities include distribution and spectrum strategy and planning and implementation of DAB and DVB-T networks. She is active in various EBU groups and is vice chairman of the Spectrum

Management Committee. During the development of DVB-T Grete was involved in European and Nordic research projects and chaired the DVB group that wrote the DVB-T specification. Lis Grete has been a member of the DVB Steering Board since 2007. Darko Ratkaj, a senior engineer at the EBU, represents the EBU. For more than 16 years he has been active in the area of radio spectrum management. He worked for several years as a senior advisor in the national telecom administration in Croatia. Thereafter, Darko spent eight years as a member of the European Radiocommunications Office (ERO) in Copenhagen where his responsibilities included frequency manag e m e n t and spectrum engineering in support to CEPT/ECC. Darko was deeply involved in the CEPT activities concerning the introduction of digital broadcasting in Europe. He took an active part in the CEPT and ITUR broadcast planning conferences (Maastricht 2002, RRC-04 and RRC-06).

Setting the sails for success When economies are tough, it is the innovative players that emerge successfully to forge the future says Joel Ledlow, CEO ScheduALL Exhibitor Opinion When economies are hard it is the company who becomes more thoughtful about their operation, their customers’ satisfaction, and their ability to take on more projects more profitably that catches new wind and sails to victory. This is why so many organisations are betting on ScheduALL. With a 20 year track record as the leading Enterprise Resource Management (ERM) solution provider to broadcast and media companies around the world, ScheduALL delivers comprehensive resource utilisation, margin analysis, and reporting tools that streamline operations, drive greater efficiencies and improve ROI. ScheduALL sits at the intersection of personnel, facilities, equip-

ment, and media assets providing greater visibility and control of your overall operation. Interacting with file based workflows, ScheduALL is the mission critical application for effective management when content requires human intervention to shape, manipulate, or edit prior to distribution. It provides intuitive quoting, project planning, resource allocation, cost and margin analysis, invoicing, and realtime reporting functionality; ensuring projects are engaged with the right resources at the right margins every time. Connecting disparate workgroups and reducing human error, managers can easily track resource availability, bookings, personnel shifts, and maintenance schedules to enable appropriate staff to contribute to project bidding, invoici n g , p ro m o t i o n s, a n d m e d i a

The workflow: ‘speed, precision, and interoperability are key differentiators’

management within a single application. This approach significantly reduces overtime costs, scheduling conflicts, double bookings, and the infamous double entry. ScheduALL’s open architect u re a l s o wo rk s w i t h l a rg e r accounting, ERP, HR systems, and third party applications, to gain even greater efficiencies across the enterprise. Speed, precision, and interoperability are key

differentiators in highly competitive markets. ScheduALL’s business processes deliver consistent wins by maximising resource utilisation, providing robust margin and project reporting, and accelerating revenue streams across the enterprise. To learn more about our winning formula at IBC, stop by to schedule an appointment or demo. 1.B39



Developments in d-cinema Conference Today IBC has always been at the forefront of debating 3D as part of its highly regarded digital cinema thread. Today at 15:45, the Europ e a n D i g i tal Cinema For um ( E D C F ) and the Society of Motion Picture and Television Engineers (SMPTE) will look at some of the technical challenges of d-cinema in post production. SMPTE is already working on standards for digital 3D HD delivery. In today’s free session it will reflect on this work as part of developing the case for how it might be broadcast, as well as suggesting what stereoscopic technol-

Exhibitor Q&A Thorsten Vogel, sales and marketing manager China/Russia, Spinner

ogy might work in the home. David Monk, CEO of t h e European Digital Cinema Forum, will chair the session. He is a regular contributor to conferences around the world on the topics of Visual Perception 3D Imaging and Digital Cinema Deployment. Meanwhile, Oscar-winning engineer Ray Feeney, a SMPTE fellow and co-chairman of the Academy of Motion Picture Arts and Sciences’ Science and Technology Council, will discuss the work of The Academy’s ‘Image Interchange Format’. This topic covers many aspects of standardised digital workflow including metadata, colour encoding and archival requirements. Has IBC come at a good time for the electronic media industry? Why? Yes. IBC is a key event for showcasing new products and getting background information about the technologies and markets of the broadcast industry. Although the sector faces hardship at the moment, it is essential to be upto-date with the latest technologies. Many broadcast projects have passed the planning phase and are ready for roll out. What do you think are the key developments in, or threats to, your market sector at the current time? Mobile TV has arrived. Especially in China and other Asian countries it is growing at a breath-taking speed. We are looking forward to consolidating our leading mar-

Contributing to the discussion on metadata will be Andy Maltz, director at The Academy Science and Technology Council, and David Stump, chairman of the Camera Subcommittee of the American Society of Cinematographers Technical Committee. This must-attend session will also look at some of the latest developments in the field of Subtitles for 3D Movies, with contributions from Doremi’s business development executive, Patrick Zucchetta and Philippe Gerard, CTO of 3Dlized. The EDCF/SMPTE D-Cinema Technical and Post Production Workshop takes place today from 15:45 to 17:15 in Room L. ket share in China’s broadcast industry through the national roll out of CMMB and DMB-TH coverage this year. MediaFLO is pursuing the UK market. Spinner is ready to provide the sector with the suitable RF products. Why should delegates visit your stand at IBC? Spinner is presenting two brandnew L-band mask filters with dielectric resonators. This technology permits a very compact design with superb electrical values. One of these filters is suitable for MediaFLO, the other one is designed for the DAB and T-DMB standard. In addition, Spinner is showcasing a selection of its sophisticated products for RF combining, filtering and switching. 8.B27

Gefen is suggesting a way to eliminate messy power cords behind an audio/video rack, using its Power Rack 54 and 58 products, writes Carolyn Giardina. Both come in a rack mountable enclosure equipped with four or eight 5-volt power supplies. Each product uses one 24-volt power supply to streamline cords and centralise power distribution. “The Power Rack 54 and 58 are designed to complement Gefen’s HD video extension systems over Cat5 and Cat6 cables,” said Hagai Gefen, president and CEO of Gefen. “Both alleviate cable congestion in the rack area.” In addition, both Power Racks offer a grounding wire for safety. 7.B31


Cinematographer David Stump has insight from the coal face

A light on the TILEs by David Fox Gekko Technology is showing its new kelvin TILE LED lights at I B C, fo l l ow i n g i t s r e c e n t acquisition of the business from Element Labs. The TILE is an LED-based lighting system using a combination of red, green, blue, cyan, amber and white LED elements in a 16x15 matrix to generate full-spectrum white light specifically for film and video prod u c t i o n . U n l i ke t r a d i t i o n a l luminaires, the colour temperature of of the kelvin TILE is claimed to remain consistent throughout the full range of intensity variation. “The kelvin TILE is a compact soft light giving directors or cameramen total control over colour temperature from 2200 to 6500 Kelvin with resets at 3000 and 5500K,” explained Gekko Technology founder and MD, David Amphlett. “It is a soft-light companion to the focusable Gekko kedo which we showed in prototype at the NAB 2009 convention. Being LED-based, it is highly robust, has a long working life and will not cook the performers. It is designed for general soft-light applications including conceal-

The matrix: Gekko’s new kelvin TILE white light is made up of a 16x15 matrix of different coloured LEDs

ment of wrinkles and shadows.” Measuring 301x301x99mm (WHD), each TILE delivers up to 419 Lux at 5500K or 273 Lux at 3000K (at 1m) with a power consumption of 85W. Beam angle is 108ß at 50% intensity. The TILE weighs about 4kg and can be supplied with an omni mount, single o r d o u bl e yo ke m o u n t , a n d removable barndoors. The TILE can be controlled locally, via DMX or using the kelvin Paintbox control software. In addition to complete calibrated control of white light, the Paintbox provides independent control of up to eight individual tiles, allowing lighting parameters to be saved, recalled and cloned. In RGB mode, the Paintbox provides access to a wide palette of colour lighting effects included washes, sweeps and strobes, as well as adjustable green biasing. Lighting parameters can be saved, recalled and cloned. 11.F75


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



Learn more about GF series at Ikegami Electronics (Europe) GmbH HQ : Ikegami Strasse 1, 41460, Neuss, GERMANY Tel.+49-(0)2131 1230 UK Branch : Tel.+44-(0)1932-769700 Denmark Office : Tel.+45-(0)3880-9903

Tapeless • Wireless • Seamless

theibcdaily In Brief

Riders on the storm

Politicians and various financial experts continue to tell us that we are over the worst and the international economy is showing signs of recovery. But what do members of post production body UK Screen think? Gaynor Davenport, chief executive, UK Screen Association has polled them

Crystal Vision’s smart 3G HD switch range Crystal Vision has released its 3G HD modular switching range of products, with three routing switches each designed to provide a space-saving solution to three different applications and available at a price to also justify use with HD and SD sources. The SW803 3G is an 8x3 crosspoint routing switch that works with 3Gbps, HD and SDI and is perfect as a secondary matrix for small studio uses, and is particularly suited to any small routing applications already using other Crystal Vision boards, such as providing a selection of backgrounds for a chroma keyer. The SW221 3G provides simple and affordable 2x2 switching between two 3Gbps, HD or SDI signals and is ideal for use either as an emergency transmission switch to avoid broken equipment or to manually bypass products requiring maintenance on a 24-hour station. An automatic switch away from a faulty source is triggered on loss of input or invalid video, while there is the choice of switching between the two feeds either immediately or in the vertical blanking period to enable a clean switch. Lastly, Smart Switch 3G is ideal for securing the video output in systems that need high reliability. It provides intelligent 2x2 switching to a backup signal source by monitoring two 3Gbps, HD or SDI video inputs with up to four groups of embedded audio and switching between the sources if a specified fault condition arises. 2.B11


How are UK post production and studio businesses adapting their in the face of recession, dwindling advertising revenues and smaller production budgets? On t h e whole, better than you’d think with a remarkably pragmatic and positive attitude “The usual time and budgetary constraints have become tighter and clients are looking for more economical ways to fulfil their post production needs without the loss of quality – it’s a hard brief to fill,” says Adam Luckwell, MD of Unit. Luckwell is upbeat, believing the answer lies in efficient processes and newer technology. “Final Cut Pro and other software based post production tools combined with a modern digital infrastructure and workflow, provide time and cost improvements and enable forward thinking companies like Unit to operate within recent budgetary constraints, without impacting on quality,” he says. Bryn Roberts, MD of Barcud Derwen is also optimistic: “Budgets are really tight but there’s a move towards more production out of London. Our post production company ARC in Glasgow is attracting more interest from production companies traditionally based in London.” Interestingly, Sohonet CEO Dave Scammell has noticed the desire to drive costs savings “has translated to moving work around much more and a surge in distributed and collaborative working”. Nicky Sargent, MD of The Farm Group agrees that this is a way forward. “Manipulation of media is where it’s at and we have brilliant staff who are involved with producers at the pre-production stage who write code to meet the needs of the job.” But how are the facility companies dealing with reduced rates?

Gaynor Davenport: ‘Our industry is equipped and ready to remain the best in the world’

Sara Hill: ‘We’ve been more focused on bulk deals… rather than the traditional model of a deal for each production’

“ B l u e h a s t a ke n a d i ff e re n t approach to business this year,” says the facility’s broadcast comm e rc i a l d i re c t o r, S a ra H i l l . “We’ve been more focused on bulk deals with clients, rather than the traditional model of a deal for each production. It helps us to stabilise our business and plan for the future, if we have guaranteed work for the year ahead. Likewise clients benefit from more flexible rates and building closer relationships with the creative teams.” Envy MD Dave Cadle believes ‘traditional’ values are still applicable: “To be successful, you have to be out there, you have to hit the ground running, you have to have a great brand, serious talent and achieve the best performance for your clients, then you can make something happen.” N i c ky S a rg e n t h a s a lway s believed in people: “We’re as busy as ever to be honest but tellingly, we are turning away more work than we’d like to. It’s heartbreaking but people don’t always have the budgets to pay for proper facilities. The usual

comment is that we should come d ow n b e c a u s e t e c h n o l og y i s cheaper but my wage bill is three times more than my kit repayments. We are and always will be a people business and this is what the rates are for.” So, while post production seems to be adapting to these challenging times, how are other sectors of the industry getting on? “We’ve had an outstanding year,” enthuses the MD of Hireworks, Lawrie Read. “People are using the flexibility of hire companies to put kit into cheaper dry hire premises, rather than paying for a post production facility and with wider and faster broadband available, images and audio can be shared more easily.” “Fountain Studios has continued to invest during the past 18 months,” states MD Mariana Spater. “We’ve made the studios fully HD capable in that period, including a state of the art Calrec 5.1 sound desk. This enables us to reach new customers, and our levels of business continue to grow.” Read is equally enthusiastic

about spending: “We invested over £1m in the latest HD capable kit and this combined with a quality of service that stands up in the good financial times as well as the bad has seen us go from strength to strength.” Technology is moving forward quickly and many are committing to tapeless workflows. “We’ve increased the number of our Baselight suites and upgraded our edit suites to cope with new formats,” says Hill. “It means more capital investment, but the returns come in. Developing the expertise ahead of our competitors means clients turn to us for help with new technology as we try to stay ahead of the game.” So, across the sector companies are adjusting pretty well, but what about the future? Sargent is bullish: “Significantly, a lot of facilities will survive because they have assets and they can borrow on these. Some production companies are realising this and we hear that a few are being linked with facilities in order to grow their own assets.” Scammell believes that our facilities can be stronger: “Greater emphasis on transferring material around the world means that London facilities are in a good position to capture more high profile overseas work.” Others sense that the strongest companies emerging from the current economic climate will be the ones that can be flexible and light on their feet. But it is Cadle who has one of the most inventive approaches for the future of facilities. “Envy has taken the post p ro d u c t i o n i n d u s t ry o n a n d turned it on its head by nature of its shareholding workforce,” he says. “We are not beholden to investors and venture capital, which wouldn’t recognise a post house from a post office.” It would be foolish to presume that the unwelcome times are behind us, but it seems that our industry as a whole is equipped and ready to remain the best in the world. “The work’s still out there but it’s cheaper and UK facilities will adapt, with imagination and stoicism, as they have always done,” says Sargant. “As an industry, we’re always changing and evolving so this is just another phase to us.”


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

Enrich your news workflow with the new Feature-Set.

EventCalendar StoryBin 4More – Video Content Management



OpenMedia – The advanced News Management

theibcdaily In Brief SatLink expands HD TX SatLink Communications has announced that it has expanded its high definition transmission capabilities to up to 12 simultaneous HD streams including encoding, decoding and multiplexing the feeds. The company says that this investment makes SatLink the first operator in the region to possess complete end-to-end HD teleport facilities with 12 simultaneous feeds. According to SatLink, the new HD systems comply with the standards of top global sports rights holders and add a new layer of technologically advanced services for occasional and permanent users of SatLink’s strategically positioned teleport that connects Asia, Europe, Africa and the Middle East. SatLink’s expanded capabilities include the encoding, encrypting and multiplexing of the multiple HD feeds. The system also enables the insertion of different languages into the streams prior to retransmission and distribution, as well as down conversion of high definition to standard definition and vice versa. 4.C40

Orbiter goes flat out TK-3’s latest camera seat, the Orbiter 750 hybrid, is the synthesis of two existing lowshooters, the Orbiter 500 superflat and the Orbiter 500 ultraflat, combining the benefits of both in one unit. The user’s working position can be switched in height from ultraflat to superflat. It can be used in critical camera positions, such as beside the net in a tennis court or as the centre pitch camera for soccer, where space is limited and views must be unrestricted. It is an all-in-one device, but the mounting height of the camera and the swivelling seat can be quickly adapted from the lowest possible height above ground to the comfortable and ergonomic working position of the Orbiter 500 superflat. It has a full 360° range, and allows trouble-free movement due to its central cable feed. Both camera and seat can move independently. Horizontal pan and tilt are not mechanical but on the same axis. The seat is not directly connected to the camera column, so no vibrations are transmitted from the operator to the camera. It is also quicker to set up than the 500 models, as it only needs to be positioned and levelled. 11.A51

Is it easy being green? At the recent G8 Summit the leaders of the most economically significant nations of the world all agreed to reduce CO2 emissions by 80% by 2050. If we are to meet this hugely challenging target we are all going to have to push environmental considerations to the top of our list of priorities. For many businesses this is already happening. Energy efficiency is an important part of designing and selecting new products. Big power consuming devices like transmitters have seen dramatic improvements in operational performance recently. At

Jaume Rey, Panasonic: ‘Is being seen to be green good enough?’

commercial benefits in being green or is it just a cost centre?

A range of gripping possibilities from Kupo by David Fox Kupo Grip has a comprehensive range of new products on show at this IBC, including: a Handy Stand; Toothy convi clamp with Half Coupler; Grip head with Half Coupler; K-lok; B&B CEE form connector; Rubber Distribution Box; Gattle Leather heat resistance glove; and more. Of particular interest are its Snake Ar m series products and the Max Arm. The Snake Arm is a new 39cm grip extension for mounting cameras or lights. The ends come

with 16mm studs with 3/8-inch and 1/4-inch threads. It is made with 99.7% pure aluminium rod with a soft covering, which allows considerable flexibility (bending to any position you want), while m a i n t a i n i n g s t ab i l i t y wh i l e mounting. Kupo Grip’s Max Arm is a new design with many uses. It has a quick, large lock knob that is easier to grip. The longer (19cm) arms are designed for a wide range of conditions. The system has teeth to stop it rotating and coming loose.

Maximising potential: Kupo’s new Max Arm

The pins at the end of the arms come with multi milling flats that avoid rotating and fit quickly. It

weighs 1kg and can take a maximum load of 5kg. 11.G71

Bryant shows its fibre and clarity at IBC09 by Adrian Pennington In business since 1980 – which means they must be doing a lot right – the UK’s Bryant Broadcast is now manufacturing fi b re HDTV camera cables designed to compete with lower cost imports. The firm’s commercial grade composite SMPTE 311M, singlemode fibre optic and copper hybrid camera cables can multiplex audio and video signals and power and are manufactured using Furukawa TV-OM-AMS SMPTE specification cable, terminated with Lemo SMPTE 304M connectors. The Lemo 3K.93C connector has been fully tested, is TUV approved and is used in interna-

There are many ways to maximise the performance of your schedule


the other extreme, set-top box developers have recognised that the saving of just a watt or two by turning off parts of the circuitry when not in use can pay real dividends across an installed base of millions of units. Of course, reducing energy consumption reduces energy costs. But are green products more costly to develop and manufacture? Do the energy implicat i o n s o f n ew m at e r i a l s a n d manufacturing methods offset the savings in operation? Apart from being seen to be doing the right thing, are there

Can we be kind to the planet and kind to our balance sheet at the same time? To debate the issues IBC has brought together a panel from across the industry, including IT and broadcast equipment vendors, professional users and environm e n t a l ex p e r t s. Fo l l ow i n g a keynote address from Jaume Rey of Panasonic, the panel will talk about some of the successful strategic initiatives that have already been implemented. If you want to find out how to achieve environmentally responsible practices without compromising quality – or losing the competitive edge – then this session at 15:30 in Room O, will have at least some of the answers.

tional events transmissions and in applications such as the Sony BVP9500 super slow motion camera to CCU. “The face of each F2 fibre contact in the connector goes through a precise, multi-stage, laboratory standard polishing process in our factory,” explained Bryant’s Bob Hart. “This process achieves excellent optical clarity and alignment, thereby reducing return loss and minimising insertion loss.” Furakawa’s TV-OM-AMS cable is manufactured to the American SMPTE standard “as opposed to their more expensive Japanese ARIB version which we also stock,” said Hart. The Bryant Broadcast/

Every Bryant UK-built cable can be supplied reeled on the SCD-FO skeleton drum, if required

Furakawa SMPTE terminated camera cable’s performance “is proven superior to most other supplier’s standard SMPTE offerings,” noted Hart. “It exceeds the physi-

cal, electrical and optical requirements of the specification while still providing a considerable cost saving over their ARIB cables.” Every Bryant UK-built cable c o m e s c o m p l e t e w i t h r u bb e r boots, gaiters, dust caps and clear heat shrink for identification and can be supplied reeled on the Bryant SCD-FO skeleton drum if required. As a Lemo UK, Fischer and Neutrik Opticalcon approved optical termination house, Bryant can not only manufacture but also rebuild most makes of SMPTE camera cables avoiding the costs of sending imported cables back to the USA or Asia for repair. 9.D55

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



FFV joins the HD elite by Adrian Pennington For high-end recording and playb a c k , Fast Forward Video’s Omega HD DVR, showing today, can record either SD or HD video with JPEG2000 compression and up to 100Mbps. “Using the Omega HD recorder, users can simultaneously record, play, and store multiple SD and HD video files and create video clips, loops, and playlists using the simple-touch front-panel or RS-422 controls,” said the company. “These features make the Omega HD an ideal solution for graphics, key and fill, station automation, commercial insertion, and instant replay applications.” A common fixture in mobile broadcasting vehicles for key and

fill applications, the device can also provide a powerful alternative to high-end instant replay servers such as the EVS XT[2], says FFV. “It is fully compatible with EVS controllers, providing exceptional image quality at less than half the

cost per channel,” it claims. Because FFV’s Elite HD and Omega HD drives are removable and interchangeable, operators can incorporate camera footage captured by the Elite HD into key and fill and other applications for playout by the Omega HD – simply swapping the standard 2.5inch drives between the two units. 10.F35

FFV’s Omega HD DVR is packed with features

32 distribution points over 10km radius are possible with GI FibreMDU LNB

Global Invacom in radical changes 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. // Photo : Peter Muller - Getty Images VU DU TOIT

by Ian McMurray According to Global Invacom, the GI FibreMDU optical output LNB radically changes how satellite signals are dealt with compared with conventional Universal LNBs. Able to convert all four universal IF bands (H/H, H/L, V/H, V/L) to a single optical output and with its optical output of +7 dBm making it capable of supplying all converted signals to 32 distribution points over a 10 kilometre radius, the unit uses patented technology to frequency-stack both horizontal and vertical polarities, creating a single IF frequency range of 950MHz-5.45GHz. The newly-created single band is then frequency modulated optically and output using a 1310nm laser internal to the optical output LNB. Powered separately, the Optical LNB takes the required <450mA from a standard 12v supply utilising a standard female F type connector. Fibre connection is made via a standard FC/PC connector feeding the distribution network on single mode fibre optic cable. 4.B61


Visit us at IBC

Stand A51 Hall 1



Can you see the ball? Conference Today

Sunday Sept 13, 11.00-12.30 by Chris Forrester This IBC session (‘Can you see the ball: HD content on a handheld screen?’) is not just about putting soccer onto handhelds, but promises to take an up-to-date look at all that’s happening in broadband wireless transmission of programming as far as TV and other video content is concerned. The session is produced by the Broadband

Wireless Association (BWA) and is chaired by Stephen Lowe, the BWA’s chairman. Everyone agrees that sport looks wonderful in high definition – but sports fans want to see live images wherever they are, and that may mean catching content on our handheld screens. How can we reconcile these two? Indeed, will we be able to see the ball? This panel session will debate some of the critical questions, not least the enthusiasm – or otherwise – of telcos to carry this prog ra m m i n g . T h e ex p e r t s w i l l debate which scalable compres-

sion technology will be most appropriate? Or does the right scheme not exist and we have to

Surprise audio level changes are an issue for Exhibitor Opinion all broadcasters and but Peter Poers, managing The industry knows how to deal director Jünger Audio, proposes a solution with level control because it has

Peter Poers: ‘Loudness and level are two different things’

With much broader content offerings and so many different viewing and listening tools (from TV and internet to mobile devices and

been doing it for years, but it will now have to learn to control audio material by using loudness measurement. Engineers have to understand that loudness and level are two different things. If the audio material is aligned to equivalent loudness, the level might vary wildly – and that’s going to really confuse all those people who have been trained to look for proper levelling. The newly defined ITU BS 1770 norm is a first step towards Loudness nor malisation and ATSC in the US and the PLOUD g ro u p h o s t e d by t h e E BU i n Europe are both working on recommendations for loudness control. However, given the politics involved, one does wonder if we’ll ever reach a consensus here. In any case loudness topics will defi-

Hybrid networks a focus for ADB by Ian McMurray Getting your entertainment from any source in the world and delivering it to any room in your home is, it is widely believed, the ultimate goal for consumers – and manufacturers believe it’s the next significant trend in television. The requirement, of course, is to

bring together the wide area network – the web, broadcast TV and so on – with a local area network (wired or wireless) and to do so in a way that is not only simple and intuitive for consumers, but is also reliable – especially as upgrades and additions change the software mix.

nitely be debated during IBC’s various conferences. At Jünger Audio for many years we were well aware of those issues, and have been developing our own solution. Level Magic is a sophisticated adaptive loudness control algorithm that is incorporated into a number of different products matching all major AV formats (analogue, digital, SD and HD/SDI) and applications (TV, ingest, production, transmission, radio, IPTV, sat, cable etc.) . These range from stand-alone units for two or four channels, through to our C8000 modular fame-based system targeted at larger broadcasters and play out centres. The Level Magic Processor responsible for this Automatic Non Destructive Normalisation process works with a Multi-Loop simultaneous combination of slow changes (AGC), fast changes (Transient Processing) and Look Ahead peak limiter management. With the migration to HDTV services the problem of loudness becomes even more relevant as the

audio for most digital HD services is transmitted in multichannel coded format; and today we often see a remarkable difference in loudness between PCM stereo tracks and related 5.1 coded AC-3 streams. The C8000 frame based Level Magic solution has received a series of new additions which offer an integrated workflow solution for managing Dolby coded 5.1 audio signals in production, ingest and playout. Jünger Audio’s aim at IBC is to offer broadcasters and all types of content providers, the keys to understand and control the loudness issues ahead. This is especially the case with 5.1 and Dolby processing where they will be required to understand integrated workflow solutions incorporating adequate format conversions, signal monitoring, processing includi n g p rogra m m e m e t a d at a management, up and downmix and smart 5.1/2.0 fail over switching. All of which will of course be shown on our booth. 2C49

consumers want the simplicity and reliability of the TV, and therefore the technology and network complexity must be hidden from them. A D B a l s o p o i n t s o u t t h at hybrid technology is complex from a software management perspective. The IP software stack has to be implemented in parallel with other software such as MHP middleware, DRMs and DLNA implementation of home networking. The company says that one of

its strengths is managing this complex group of software components to ensure the set-top-box is optimised for the growing range of tasks it has to perform. ADB is also cognisant of the fact that the set-top box of the future needs to be more powerful yet consume less power. Consumers, it is argued, are increasingly sensitive to both cost of ownership and minimising their carbon footprint. 5.B48

Squeezing an HD Superbowl onto mobile requires cunning compression

Loudness control need not be a pitch DVDs), what used to be seen as an annoying side effect has become a major concern. Audiences are complaining, to the extent that even governments are getting involved by bringing in guidelines to control audio loudness. Even without complaints, there are strong commercial reasons (heavy content and technology competition) why broadcasters, and re-broadcasters, should be giving customers good quality audio and an overall pleasant viewing experience in order to stop viewers from simply switching channel or – much worse – providers. As the production and broadcast industries start to embrace loudness control they are going to face some important challenges.

develop a new one? Can we match the HD approach – wide views, letting the viewer’s eyes roam –

the tight close-up demanded by a palm-sized screen? What metadata might we need to ensure safe passage of content through networks of mixed technology? These are issues which affect producers and directors of content every bit as much as the engineers designing the networks to carry them. This debate is an ideal opportunity to ensure that the s o l u t i o n a n swe r s eve r yo n e ’s requirements. L owe ’s p a n e l l i s t s i n c l u d e Simon Fell, formerly ITV’s Director of Future Technologies, and an acknowledged expert on high definition. He will be joined by Mike Short, O2’s VP-Technology, and chairman of the Mobile Data Assoc.

Exhibitor Advanced Digital Broadcast (ADB) is talking to visitors about its vision of what it takes to rise to these challenges. There is a need, says the company, to merge networks into hybrid platforms that enable true two-way interaction with the home – but this convergence must be seamless:

Hall 3 Booth C


There are many ways to communicate last-minute schedule changes


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



Luci software for mobile goes HD by Carolyn Giardina High definition versions of Luci mobile broadcast software are being launched at this IBC. Luci software provides recording and delivery of audio and video. With increased hardware c ap ab i l i t i es from a range of mobile smartphones, including picture quality enhancement, Technica del Arte has developed HD versions of Luci AV and Luci Live Two packages. Luci AV is designed so that reporters can shoot audio and video in studio quality on a mobile device. The programmeâ&#x20AC;&#x2122;s split screen interface enables simultaneous, non-destructive editing of the audio and video content, before clips are assembled into a list for uploading to a studio FTP site or

website. The HD version offers 480p 30fps picture quality. Luci Live Two is developed for radio reporting by offering twoway live, broadcast quality audio streaming to any professional IP codec. The software is designed to allow recording, or playback of pre-recorded wav files during a live broadcast and supports output codecs including MP2, AAC and AAC-HE/Hev2, as well as uncompressed 24-bit/96kHz. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re delighted to be bringing next-generation Luci technology to IBC,â&#x20AC;? said Luci Sales Director, Paul Wishart. â&#x20AC;&#x153;Since last yearâ&#x20AC;&#x2122;s show, both Luci AV and Luci Live Two have begun to seriously establish themselves in the market. The addition of HD capability now offers even more potential for

A HD wireless breakthrough Transmitting high data rate HD video signals through limited RF bandwidth is being overcome explains Rainer Horn, managing director, Broadcast Microwave Services (BMS) Europe Exhibitor Opinion

Luci AV allows reporters to shoot audio and video on a mobile device

journalists to send the highest quality news content from anywh e re i n t h e wo rl d , h oweve r remote the location.â&#x20AC;? 7.G35

Anystream Agility 2G makes Euro debut by Ian McMurray Described by the company as the next generation of automated video production and management solutions for digital video media, Agility 2G enhancements include increased reliability with no single point of failure, with automated fail-over and recovery safeguards, while improved scalability is said to deliver two to three times more throughput. G rab N etworks says that Agility 2Gâ&#x20AC;&#x2122;s usability and flexibility has also been further improved through a new consolidated UI t h at c a n easily to adapt to dynamic business requirements. Also on show on the Grab Networks stand is Anystream

Anystream Agility2G is used for online video publishing by media companies

Velocityâ&#x20AC;&#x2122;s Modular Business Workflow and Distribution Connectors, which the company says enable content providers and own-

ers to customise their on-demand workflows with a la carte options to further automate the creation and distribution of content. Based on rules for content rights, Anystream Velocity dynamically automates the production, packaging and publishing of video and metadata assets to mobile, web and TV platforms. Responding to the need for fast and secure content delivery, Grab Networks is showing how the Olympics were powered, how Anystream Velocity allows customers to control what, when and how content packages are delivered and tracked to service operators and digital storefront partners. 1.C31

Wireless video links have become widely accepted as a critical part of live event productions. Having at least one wireless camera link available is essential for major sports, news and entertainment events. Wireless camera links provide stunning pictures and a special perspective for directors and their audience. The technical challenges that were overcome to enable the transmission of standard definition wireless video have now successfully been transitioned to high definition systems, enabling robust transmission of wireless HD video from untethered cameras. The biggest hurdle to overcome for HD video is how to transmit high data rate HD video signals through limited RF bandwidth. BMS committed to staying within an 8MHz channel for HD transmission and has achieved this difficult goal. Our transmitters and receivers use optimised RF designs which allow the use of higher modulation modes to transmit a higher data rate. BMS has maintained the ability to service customersâ&#x20AC;&#x2122; world wide needs by making these produ c t s at f re q u e n c i e s b e t we e n 400MHz and 7500 MHz. This allows our customers a selection of frequencies that are available in most countries as well as alterna-





2009 TitanHD

CineMonitorHD evolution 24

HD Wireless system 10 bits uncompressed Analog and embedded audio MiMo OFDM No latency


Rainer Horn: â&#x20AC;&#x2DC;wireless video links are a critical part of live event productionsâ&#x20AC;&#x2122;

tives to the congested 2GHz band. The production industry called for smaller, lighter, low current, energy efficient video transmitters, requiring the latest technologies. The newest transmitters are single chip solutions utilising state of the art low power FPGAâ&#x20AC;&#x2122;s (Field Programmable Gate Arrays). FPGA solutions also allow us the flexibility to tailor certain parameters to customers needs. Software based encoders can be reprogrammed to be a decoder; compression algorithms can be switched; monitoring is made easier; custom change requests can be implemented by software. MPEG-2 algorithms are currently the preferred compression method, but expect video production to switch to H.264 over the next few years. The change to H.264 will be supported through firmware upgrades to BMS products. Other applications, such as the film industry, have an increasing demand for small, lightweight and cost efficient monitor transmitters. BMS has released the NT2423HD, currently the smallest HD transmitter available in the world. BMS provides complete solutions for microwave systems from a single wireless link to full citywide coverage using microwave receiver diversity networks via ASI switching, plus the ability to customise products for specialised applications. Our systems are designed and manufactured at factories in Germany and US and are sold direct from the factory or through a worldwide network of business partners. Customer and market orientated research and development, in house manufacturing and more than 25 years of experience gives us the opportunity to react quickly and be flexible to the demands of special TV productions. This is the third year we will be exhibiting as BMS Europe since the acquisition of Tandberg AVS by BMS from Tandberg Television in 2007. 5.B30


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, 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,


Turn it up to 11! IBC Masterclass Spinal Tap – the acclaimed spoof documentary of a rock band on tour – is such a popular cult movie that it may come as a surprise to know that it was first released 25 years ago. To mark the anniversary, the band got back together to tour, and of course create a new film, Unwigged & Unplugged. So to mark the occasion of 25 years of Spinal Tap, IBC is showing a very special masterclass. Live on stage at IBC will be producer/director of the new movie Jim Gabour, and also one of its stars, Harry Shearer. He may have first come to fame as Spinal Tap bass player Derek Smalls, but Shearer is now per-

haps best known as the multivoiced mainstay of The Simpsons. Mr Burns, Ned Flanders, Principal Skinner and Scratchy are just some of the 21 (at the last count) Shearer characters. Like the original Spinal Tap movie, Unwigged & Unplugged is a documentary focusing on the onstage and offstage life of the band. It was shot at a real concert in Milwaukee, the last gig of the band’s recent three month tour. Jim Gabour shot the music with eight HD cameras – all the theatre would allow – and finished the film and audio remix at Crawford Communications in Atlanta, while the band was on the UK leg of its tour. “Everything is a complete send-up done with a totally straight face,” Gabour is reported

Wifi access in the e-Zone New to IBC2009 is the helpful e-Zone. Providing WiFi access for attendees and their laptops, the zone comprises seven computer stations along with a lounge area with tables and chairs. Located in Hall 10, next to the JVC Professional’s stand, the e-Zone is sure to be a busy and popular attraction.

CCT120 is dish of the day Harry Shearer – setting off metal detectors at IBC. Possibly.

to have said. Keeping a straight face: the making of Unwigged & Unplugged, Spinal Tap’s 25th anniversary movie is at 13:30 in the Forum. This is sure to be an extremely popular session, so make sure you are there early to get your seat.

BCE encourages tapelessness by Ian McMurray One of the key drivers behind digital cinema was unquestionably the ability to make distribution faster, more secure and less expens ive b e c a use it provided the opportunity to avoid the use of physical media such as tape. The cost for each celluloid tape was around $1,500 – and a copy was needed for each cinema. The estimated annual saving to the movie industry in moving away f ro m t ap e distribution and towards digital distribution has been put at between $900 million and $2.8bn. Of course, it’s not just the

movie industry that needs to move content quickly, securely and cheaply. Here at IBC, Broadcasting Center Europe (BCE) is talking to visitors about the broad range of services the company can offer to companies looking to streamline their content distribution operations. BCE says that it was first to create a digital content hub in Europe – a hub to which distributors 20th Century Fox, Sony and CBS are now connected. Channels, broadcasters and VoD platforms can connect to BCE’s hub and, says the company, obtain their content immediately. BCE points out that being

tapeless improves companies’ ability to react quickly in a market that is constantly and rapidly evolving: that it improves workflow between companies; that it reduces infrastructure costs; and that it delivers greater security. Security is, of course, a key customer concern, and BCE addresses this with its ‘Movie2Me’ service. Movie2Me splits content into an unlimited number of files and each of these files is sent in separated encrypted virtual tracks: each part of the content is unusable alone, and a private key is needed to recompose the file on receipt. 5.C41

by Ian McMurray It is, without a doubt, a mobile world – and that applies equally to satellite terminals. At IBC, SWEDISH – now Rockwell Collins Sweden – is taking the opportunity to show off the CCT120 satellite ter minal it launched last quarter. Capable of delivering high definition, broadcast quality video from the field, the Drive-Away CCT120 delivers up to 17Mbps MPEG-4 AVC HD with only a 50W transceiver. Th i s h i g h p e r fo r m a n c e i s achieved via SWE-DISH’s highg a i n , d u a l - o p t i c s G re g o r i a n antenna. System performance is also enhanced by a high linear power SSPA and the low feed losses achieved by SWE-DISH’s antenna design. The system allows for a higher-powered 180W configuration that can achieve even greater throughput throughout a wider footprint. According to the company, the Drive-Away CCT120 enables mobile news gathering teams to broadcast from anywhere in the world using Ku band, transmitting live news, sports and other events in HD format. The system provides a flexible solution that, due to its specialised design, small

SWE-DISH’s CCT120 is designed to be operational within minutes

s i z e a n d l ow we i g h t , c a n b e m o u n t e d o n a ny ve h i c l e i n a broadcaster’s fleet, says SWEDISH. The Drive-Away CCT120 is fully enclosed during transport, and is designed to deploy quickly with a point-and-shoot antenna control that enables transmission to begin within minutes. As with all SWE-DISH’s CommuniCase Technology (CCT) p ro d u c t s, t h e D r ive - Away CCT120 features multiple modules, a plug-in modem, an antenna system, a controller, and a transceiver, all of which can easily be configured and used with current a n d f u t u re S W E - D I S H C C T products, says the company. 1.A39

MAX room

by David Fox Matthews Studio Equipment has added to its MAX and MiniMAX ranges of lighting stands with MAXine. Like its predecessors, it uses a patented design that get the fixtures up and out from the main supporting column. The lightweight aluminium structure (6kg) will support a 4.5kg fixture at a height of 2.1m and a horizontal reach of 1.8m. MAXine can go as high as 3.9m and will drop to 40cm below the horizontal. As there are no tubes protruding at the rear, MAXine can be set up very close to a wall. Also new are Matthews’ Monitor Mounts. These are CNC machined from 6061T-6 aluminium billet, which is claimed to make them the strongest, most versatile and compact monitor mount. This mount will apparently support any size monitor to a maximum weight of 30kg. They can be used with light stands, C-stands, or any other mounting device with a 5/8-inch baby pin, and will fold flat to the monitor for storage and transportation. 11.A70



See us in Hall 8, B80



Rethink infrastructure control Now you can have instant control of complex routing and signal processing infrastructures from a single panel. Our RCP-200 allows much faster and more accurate control of key tasks, like incoming feed processing. Its rich, graphical interface features two touch screens for rapid device selection, and guided adjustment. It’s time to rethink what’s possible.

Rethink what’s possible

w w


DiBcom’s chipset ready for multi-standards now Making its debut at this year’s IBC is the compact 2k & HD SSD Boxxster LE Recorder from DVC, writes Farah Jifri. Boxxster LE is the first model of DVC’s new Linux-based uncompressed disc recorder and HD server product line with Solid State Disk (SSD ) technology and is, the company says, a reliable option for large screen and multiscreen projection. As Boxxster LE supports all common broadcast protocols as Sony 9pin, Louth and Odetics it is also an affordable solution for 720p or 1080i broadcast playout. The product is being exhibited at the MikroM stand. 8.E02

Gazprom satellite capacity by Ian McMurray Visitors to IBC looking for satellite capacity will almost certainly b e h e a d i n g to the stand of Gazprom Space Systems. Formerly Gascom, the non-governmental satellite operator was established in 1992 by Gazprom, Energia and Gazprombank, and now has a fleet of three satellites in orbit. Yamal 100 and Yamal 201 are both located in 90E and primarily serve the Russia/CIS market. The high capacity Yamal 202 satellite operates in 49E with a semi-global service zone, and is dedicated to Gazprom’s international business. The company says that it has more than 200 clients in Russia and abroad, with a quarter of its profit coming from the international market. The Yamal satel-

Yamal 202 is Gazprom’s international satellite

lites carry some 90 TV channels. Gazprom is talking to IBC visitors about the services it can offer, as well as outlining its plans through 2015, by which time the company expects to have quadrupled its available capacity. New Yamal 300 and Yamal 400 satellites are under construction, and these feature more powerful transponders which will allow Gazprom to provide new services including DTH. 4.C51

The compact new Lowel Blender is an on-camera/portable light that combines two sets of LED lights (daylight and tungsten), allowing users to blend between them to get the right colour temperature in situations where there are multiple light sources writes David Fox. There are two rotary controls, so that you can have lighting that is all tungsten, all daylight, or a mix of the two to make your shot look more naturally lit. The compact lamphead is 10x7.5x7.5cm and can be powered by camera batteries or its own AC supply. It comes with a selection of front diffusers for softening the blended output. 11.E30

by Heather McLean At a time when questions relating to the deployment of new broadcasting services are on everyone’s lips, DiBcom has lifted the veil on the availability of its multi-standard chipsets. “As a market leader, we owe it to ourselves to be extremely reactive and 100% prepared for the future deployments of broadcast m o b i l e T V o r d i g i t a l ra d i o throughout Europe. Combining several standards on the same chipset enables manufacturers to offer totally multi-functional mobile devices, which are becoming more and more open to all onair signals,” declared Yannick Lévy, CEO of DiBcom. Mobile phone operators in the UK have been looking to mobile TV as a new way of generating revenue in the face of fierce competition within their core markets of voice calls and text messaging. Certain operators have been using their existing 3G mobile networks to transmit video to individual handsets. Ultimately, however, the industry wants to broadcast a pared-down version of traditional TV through one nationwide network that any handset with the right equipment can receive, said Lévy. In 2005, O2 carried out a trial

using the DVB-H standard. While there is currently no spectrum in the UK that could be used to broadcast the signal, the five major UK networks are looking to form a consortium to bid for part of the airwaves to be freed up by the switch off of the analogue TV signal. Having originated in Europe, DVB is a set of internationally accepted standards for digital television. Since July 2007, the European Commission has been encouraging member states and key players within the sector to support and accelerate the deployment of mobile TV throughout Europe and advocates the use of DVB-H and DVB-SH as a European norm for the reception of broadcast mobile TV. The technology lets mobiles, which have special requirements because of screen size and battery life, handle TV signals in realtime. It also allows broadcasters to send the same signals to multiple handsets. H oweve r, a s a n e m e rg i n g industry, Lévy claimed mobile TV in the UK will require a willingness of operators, regulators, broadcasters and handset suppliers to strike new deals and therefore faces the same dilemmas as other countries such as France where, despite political mobilisa-

tion, the key players have, as yet, been unable to agree on a viable business model. The alternative DVB-SH standard, which is also supported by DiBcom’s chipsets, is currently under consideration as it provides a cheaper alternative to DVB-H network costs and offers universal satellite coverage. The DVB-SH standard also has the advantage of complementing the other DVB standards because new powerful satellite technologies represent an ideal way of broadcasting video media. DVB-SH therefore fills a current void in the marketplace. DA B, DA B + a n d T- D M B enable the reception of digital ra d i o A t p re s e n t , t h e re i s a renewed momentum behind digital radio throughout Europe due mainly to considerable support amongst public broadcasters, radio broadcasters, regulators and g ove r n m e n t s. T h e U K h a s adopted DAB for commercial purposes, but a new and more interactive format featuring written information, images or videos b ro a d c a s t o n t h e s c re e n o f a mobile phone for example as planned by DAB+ and T-DMB, could enrich the audio content of traditional radios, stated Lévy. M251

Automation gets Abit more compact by Farah Jifri UK playout automation company Abit is showing its new, compact automation system for the first time at IBC this year. The cost-effective system is capable of providing workflow and playout automation for up to three transmission channels. It offers the same application software in a much smaller, nonredundant platform. Richard Thomas, software development director, Abit, said: “ Th e m a i n b e n e f i t o f t h i s approach is that Abit will continue to develop and maintain a single source of software configured to run on its existing systems, which allows customers for the new com-

pact system to take advantage of future product enhancements if required. This includes access to our latest Linux-based dual redundant automation system for clients interested in the compact platform.” Abit is demonstrating software with a range of features such as logical linkage of channels, media transfer from file servers and control of transmission servers in parallel with branding equipment. According to the company, the approach of controlling diverse workflow paths in parallel allows easy last minute changes to the playout schedule. Algorithms ensure that the changes can be successfully implemented after or

during the material transfer from a storage device to the transmission system. The placement of branding and infill material is also automatically recalculated on a frame-accurate basis in accordance with the new schedule. “Our investment in the new system underlines our ongoing commitment to create the most flexible automation solutions possible for both our high-profile and smaller broadcast clients across Europe,” added Thomas. “We anticipate the system power, size and cost are matched to the future needs of broadcasters and will prove a popular addition to our product offering at IBC.” 8.A28a

Mirada promotes London facilities by Ian McMurray Audiovisual content interaction specialist Mirada is promoting the company’s Wapping Broadcast broadcast and studio facilities. Launched in April, Wapping Broadcast offers three studios, two galleries, two edit suites, Master Control Room transmission, as well as return path and playout facilities. In addition to the facili-


ties, Mirada says that content producers also benefit from comprehensive 24/7 support by fully qualified operational staff along with in-house transmission and transfer facilities. The company has alre a dy announced deals with TwoWay Media, Gala and the BBC, for whom the company is the preferred partner to provide return

path (interactive) services for BBC interactive campaigns for Comic Relief, Sports Relief and Children In Need live shows. Wapping Broadcast has so far handled over £4 million worth of donations. Other customers include industry heavyweights such as ITV, Channel 4, UKTV, BBC and other major UK broadcasters 4.C74 THE IBC DAILY SUNDAY 13 SEPTEMBER 2009


Securing assets: Hold onto your rights Conference Today

Sunday Sept 13, 09.00-10.30 by Chris Forrester Content is the media you own, wh e t h e r i n splendid HD or reduced and compressed in a file format suitable for reception on a handheld device. Broadcasters need to identify their content with enough metadata tags to make it searchable, identifiable and useful. But that content only becomes a true asset when you can locate it a n d o ff e r it to others, with absolute security over the rights. Without all these technology fundamentals in place there is no business value. But beyond this, once the asset is distributed to the public, how can rights be protected. Or does it matter? This IBC session, part of The Business of Broadcasting stream, looks closely at the techniques now available as part of the overall

Regardless of whether it’s HD or compressed, content is money, delegates will be reminded

requirement to mark and identify content. Chaired by Keith Nicholas, now an independent consultant, but with a long track record of working with some of the best names in the business (including the BBC, TVI, and more recently at the Walt Disney Co as director

of broadcast operations). Latterly he has been acting as head of Broadcast Technology at MTV. Nicholas’ panel includes Jeremy Bancroft, a director of Media Asset Capital, a specialist consulting practice providing professional advice to media companies, in the areas of technology

strategy, business transformation and mergers and acquisitions activities. Previously, he was MD at OmniBus Systems, president of US subsidiary OmniBus Systems Inc, and marketing director at broadcast MAM vendor, Blue Order. Joining Bancroft will be Asha

Oberoi, content director at ITN Source, described as the gateway to the largest collection of moving image libraries in the world, and housing one million hours of iconic video content captured over three centuries. Ved Sen is also on the panel. A consultant and entrepreneur working in the area of Digital Convergence, Media and Technology Sen is a founder of ThinkP L A N K a n d a n a s s o c i at e consultant at CVL. He spent eight years in Bangalore, working on web applications and offshore applications, mostly with publishing, broadcast and retail clients, before moving to London in 2003. After an 18 month sting as VP strategy of an interactive television services firm which was sold in 2006, he set up ThinkPLANK to bridge the gap between business and technology within the media and entertainment business. Simon Fell will also participate. Formerly director of future technologies for ITV he worked at ITV since 1991, and during his time at the network saw the merger of Carlton and Granada franchises, as well as the introduction of HDTV onto the ITV system.

QVC UK makes money-saving robotic upgrade by David Fox QVC, the UK’s largest shopping channel, has extended its robotic controlled camera operation with equipment from Shotoku Broadcast Systems. Its customised multi-camera c o n t ro l p a n e l s, p a n a n d t i l t heads and height drives have been integrated into QVC UK’s B at t e r s e a B ro a d c a s t C e n t re w i t h o u t h av i n g t o g o t o t h e ex p e n s e o f re p l a c i n g l e g a c y equipment. “Having investigated a number of solutions, I was satisfied

that Shotoku’s robotic systems were accurate enough for our ex t re m e ly f i n e m ove s, t o u g h enough for our 17-hour-a-day live environment, and intuitive enough for our busy operators to use without trouble,” explained David Tidd, QVC UK’s Broadcast Project Leader. QVC has been using remotecontrolled cameras as an extension of its manual operation for many years, but Shotoku’s techn o l og y h a s a l l ow e d QVC t o move to robotic-based operat i o n , a n d re t a i n o n e m a nu a l

Cache-A addresses archiving by Carolyn Giardina Cache-A Corp is introducing its Prime-Cache and Pro-Cache archiving appliances on Global Distribution’s stand. Global Distribution is Cache-A’s European distributor in every county except France, where AV2P distributes.

Both new products we re designed so that professionals can create ‘source masters’ in acquisition workflows when using memory card or disk-based cameras. They also provide storage with access during production. Both Cache-A’s Prime-Cache

camera in each studio, without any loss of existing equipment. The upgrade included the installation of two Shotoku TR-16T touch-screen panels in QVC’s production galleries. The TR-T enables a single o p e rat o r t o c o n t ro l u p t o 1 6 cameras, and can be used with Shotoku and third-party robotic c a m e r a s. I n a d d i t i o n , s i x Shotoku T1-12 height drive units were mounted on QVC’s manual pedestals to extend the range of shots available. 11.G30

Shop tactics: QVC’s newly installed robotics systems from Shotoku

and rack-mountable Pro-Cache products write data on LTO-4 tape cartridges using the TAR format. The cost per GB is approximately €0.04, and the archive life is estimated to be 30 years. The company says a single PrimeCache or Pro-Cache system can manage a 200TB archive with media for less than €15,000. Operating system-independent,

both Prime-Cache and Pro-Cache can be deployed into Windows, MacOS and Unix environments to provide direct access to data with simultaneous multi-user access and volume sharing. They plug into a standard Ethernet network and the company reported that they provide high speed archiving at greater than 50MBps. 7.C29

Cache me if you can: the Pro-Cache archiving appliance uses LTO-4 tape

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




Multimedia maestro conducts session NDS focuses on ads accurately targeted Today, in the second of three What Caught My Eye sessions, multimedia, multicultural journalist Marlene Edmunds will explore the innovations shaping multimedia content (09:30 to 10:30 in Room O). Today’s technology brings wonderful opportunities but still has some limitations, and the smart producer will take creative advantage of both. What is going to lead to new creativity, new markets and new revenue opportunities? Edmunds will be casting her eye around IBC’s exhibition floor to see what innovations will help you answer these questions. With more than 25 years’ experience in reporting on all aspects of the global media landscape, Edmunds is also an expert in emergent cutting-edge media territories such as Korea. She is an experienced lecturer in the areas of

A prized jargon-free session, What Caught My Eye is free

writing and communications and has taught at the University of Amsterdam and at the Oslo Business School. The free What Caught My Eye sessions recruit industry experts to

series of 3D video players goes up to 4k. Also budgets are squeezed, crunch or no crunch, so delivering affordability, including running 3D on 2D equipment, is always important. No one can exist by standing still – otherwise we’d all be watching 30-line black and white TV!

Exhibitor Q&A Patrick Zucchetta, EMEA business development, Doremi Technologies Has IBC come at a good time for the electronic media industry? Why? IBC is a great meeting place for new and existing customers from the d-cinema and broadcast and professional/AV markets to see our latest developments and discuss future needs. We develop and manufacture compressed and uncompressed video servers and players operating up to 4k, as well as converters for baseband and file-based content. Dcinema products feature the market-leading DCI player and mastering systems.

What do you think are the key developments in, or threats to, your market sector at the current time? There are no threats, only opportunities. 3D is becoming mainstream, not only in d-cinema but broadcast, gaming and scientific applications. Our cinema players are 3D capable and our new

X marks the spot for Miteq by Ian McMurray Miteq is showcasing the company’s new medium power Xband antenna-mount solid state power amplifier (SSPA) and transmitter product line. The PA-H Model series was designed for out-


canvass innovative products and technology from the show floor and present their findings in a lively, jargon-free session – and if you’re pushed for time, it’s only an hour long.

door SSPA applications typical of satellite uplink applications. The company says that these ruggedised antenna-mount SSPA systems were built and t e s t e d t o m e e t t h e r i g o ro u s requirements of extreme out-

Why should delegates visit your stand at IBC? Doremi is a leader in practical and affordable SD, HD and large format video and digital cinema 3D recorders, players and converters (hardware and software). This is the place to see the future in action – including 4k at 1:1 on a 4k screen and the GHX-3D that allows 3D recordi n g a n d p l ay b a ck o n 2 D machines. 10.B10 door environmental conditions. They incorporate amplifier modu l e s e n g i n e e r e d u s i n g wh at Miteq describes as state-of-theart GaAs FET technology, a high efficiency power supply and a microprocessor-based monitor and control system. The systems provide for overtemperature, over-current and high output VSWR safety protec-

by Ian McMurray John Wanamaker, the founder of one of the first department stores in the USA, lives in history as the man who said “I know that half of what I spend on advertising is wasted. The trouble is, I don’t know which half.” The better equipped a broadcaster is to address that issue, the more likely it is to win business. NDS is demonstrating its solution for addressable advertising, which it describes as the science of delivering the right ad to the right TV screen at the right time and in the right context. This end-to-end system, which utilises a digital video recorder (DVR) to store and deliver advertising inventory, is said by the company to increase per-spot ad revenues and, for the first time, links advertisers directly with the people most likely to be interested

in the specific products or services they are promoting. NDS is also demonstrating its Audience Measurement System, which the company describes as a sophisticated tool that ensures verifiable advertising accountability and applies usage statistics to the creation of successful ad campaigns. Also a focus for NDS is user interfaces. According to the comp a ny, o p e rat o r s a re o ff e r i n g increased numbers of channels and services to attract subscribers, with the result that user interfaces are becoming increasingly complex to build, deploy and manage. Two new products, NDS EPG Fra m ewo rk a n d N D S E P G Designer, not only simplify EPG creation and management, says the company but put the power to adapt the EPG firmly in the hands of the operator. 1.A71

Brussels-based Fx-Motion is offering extended trials of its Furio remote controlled dolly, which has been widely used on such hit music shows as Star Academy in France, Serbia and elsewhere, Britain’s Got Talent and the X-Factor, writes David Fox. The trial system comes with the dolly, a touchscreen controlled joystick desk, 20m straight track, a pan/tilt remote head, a telescopic lift system, flight cases and cables. The compact Furio offers up to five degrees of freedom (track, lift, tilt, pan, and roll), has servo controlled motors for smooth operation, full digital networked control, and all moves are fully programmable and repeatable. 11.G78

t i o n . S t at u s a n d c o n t ro l i s a c h i eve d v i a t h e re m o t e RS422/485 bus or Ethernet interface port. An event log is continuously updated with time-stamped records of significant events. At IBC, Miteq is offering solidstate power amplifiers in C- and Ku - b a n d s, a s we l l a s ra c k mounted configurations. 1.A18

The PA-H series SSPA has been ruggedised for extreme environments



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

v a



OE Area

v v


Mobile Zone & IPTV Zone




Studio Systems Content Production Telecine & Film Audio & Radio Displays

Mobile Cable & Satellite Service Providers & Broadcasters T


OE Area

b Entrance +


Transmitters & Set Top Boxes iTV IPTV Home Systems & Broadband




7 7





Halls 1, 2, 3, 4, 5 & 6 Flyover




8 9 10-11 GRUPPE


















































HALL 6 6.C29



HALLee 5




6.C28ai 6.C28a

1.B09 1.B01





1.F11 1.F15





ee 1.F21


1.F30 3.C51











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Grass Valley



Dienst Dienst

3.A31 3.A36




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Kaon Media

Qualcomm MediaFLO

ee 5.C02






lift / elevator


WC WC 1.A11








6.A29 1.A01




ee 6.C20





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New Technology Campus






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Humax Electronics Co. Ltd 5.B40

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





First Floor Restaurant





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1A A

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Harmonic inc.



ee 4.B71









Tandberg Television / Ericsson


2.A40 2.A41




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IBM 2.A31










1.F59 4.A59

Eutelsat Communications

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The IBC Pub







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lift / Elevator




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Ceva 4.C41






5.A41 1.E34


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


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


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&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 & 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&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


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


theibcdaily Exterity Eyeheight eyeon Software Inc. EZ FX

IP622 2.C48 7.C21 11.A32


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 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 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


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.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.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


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


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


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 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


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


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

7.G16 7.G14













7.H10 7.G15







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1.A99 3.A41












S3 Satcom S4M â&#x20AC;&#x201C; Solutions for Media

ee 7.H05










7.D12 7.D10











7.G01 7.G03


AJA Video 7.D11






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8.C20 8.B28ai 8.A11 8.A04 8.D75 8.B94 3.B51 7.K29 11.A41 8.E73 11.G51 1.F58c



R.V.R. Elettronica Radica Broadcast Systems Radio Frequency Systems Radioscape Broadcast RaLex Solutions Rascular Technology Red Bee Media Redbyte Design Reflecmedia Reinhardt Rescue Tape â&#x20AC;&#x201C; Harbor Products Research Concepts

















1.F55 4.B79b 7.A08g 7.J43 3.B30 7.A21 7.G29 7.J07 7.A08d 1.F85







7.A08b 7.A08c

3.D12 8.B16 8.C60 7.H05 IP601 8.E98 2.B21 1.C30 8.B02 8.D95 9.D59 4.A91 2.C18 8.A31 7.K18 11.G69

RGB Networks 5.C14 Rhozet, a business unit of Harmonic 7.J11 Riedel Communications 10.A41 Rimage Europe 7.G15a RIZ â&#x20AC;&#x201C; Transmitters Co 8.D24 RO.VE.R 8.D28 Rohde & Schwarz 8.D35 Root6 Technology 7.C10 Rorke Data/Bell Micro 8.A39 Rosenberger â&#x20AC;&#x201C; OSI Fiber-Optics 11.D73 Ross Video 9.D30 Rovi Corporation formerly known as Magravision 5.B49 RRSat Global Communications Network 1.A40 RSG Media Systems 2.C41 RT Software 3.A59 RTI/Lipsner Smith 6.A21 RTS 10.F38a RTS (Royal Television Society) 8.F51d RTW 8.E76 Rubberduck Media Lab M221 Ruckus Wireless IP322 Russian House 11.A71 Russian Satellite Communications Co 10.A37 Ruwido Austria 1.D68 Rycote Microphone Windshields 8.E93 RYMSA 8.E26




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







Hall 7


8.D41 4.B79a 6.C10 8.A16 7.A08a 1.A03 4.B79c IP501 7.F07 7.J49 5.B19d 1.C81 3.C11 3.A36 2.C53 8.D03 8.B12 8.A40 3.A65 7.H21 8.D93 2.B40 4.B91 9.A57 5.A21 9.C40 10.A32

M224 8.B41 2.B49 11.G40 2.B18


(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

ProSKope ProTelevision Technologies Provys Pro-X Publitronic

11.F51 3.B20 5.A35 7.B30 1.B24 5.B19g 11.G31 8.B31 IP551a 7.K21 5.A31d 10.C49 8.A90 11.B60


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8.E81 8.E85






8.E79 8.D79 8.E78









8.C76 8.B77

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8.E71 8.C70



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RAI Station


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










theibcdaily Sachtler 9.D28h SADiE 8.E96 SAGEM COMMUNICATIONS 4.A80 SALZBRENNER STAGETEC MEDIAGROUP 8.C80 Sam Woo Electronics Co 8.E97/11.G33 Samsung Electronics Co 1.B81 San Solutions 3.A09 SAPEC 1.F21 Sat-Comm 1.B71 Satlink Communications 4.C60 Satlynx 4.B55 Satmission OE134 ScheduALL 1.B39 Schill & Co 11.C61 Schneider Optics 11.A28 Schoeps Mikrofone 8.E90 Schulze-Brakel 8.D77 Screen Service 8.C41 Screen Subtitling Systems 1.C49 Screenkeys 8.A80 SCTE 8.F51e SeaChange International 1.E30 SELECOM 8.C21a Sematron 1.A62 Sencore 1.C51 Sennheiser Electronic 8.C51 Service2Media M113 Servicevision BIS 11.E57 SGL 8.B28c SGO 7.C30 SGT 2.B31a Shantou Nanguang Photographic Equipment Co 11.B57 Sharpstream 8.B28aii Shenick Network Systems IP312 Shenzhen Advanced Video Info-Tech Co (AVIT) 1.F89 Shenzhen MTC Co 5.C19 Shenzhen Skyworth Digital Technology Co 4.C79 Shenzhen Sowell Technology 3.A54 Shenzhen State Micro Technology Co (SMiT) 1.A50 Shenzhen Tiger Information Technology Exploitation Co 3.A58 SHOOT THE BOSS 2.B31i Shotoku Broadcast Systems 11.G30 SI media 8.B93 Sichuan Changhong Network Technologies Co 6.A29a Sichuan Jiuzhou Electric Group Co 3.C10 Siemens 7.J18 Signiant IP741 Signum Bildtechnik 7.E31 Silicon Philosophies – CINEMA CRAFT 7.H09 Silverstone Technology 7.G16 Sintec Media 2.B41

SIRA Sistemi Radio 8.C31 SIS LIVE 1.C55/OE300 Skyline Communications 1.A25 Slik Corporation 11.A30 SMART COM IP704 SmartLabs IP332 SmartWi 5.C39 SMPTE 8.F51f Snap TV IP434 Softel 1.A29 Softlab – NSK 7.K41 Softlights 11.C77 SoftNI Corporation 1.A19 Softron Media Services 3.A48 Solid State Logic 8.D83 Sonic Solutions 7.J38 Sonifex 8.E61 Sonnet Technologies 7.G01 sono Studiotechnik 8.C76 Sonodyne International 8.B63 Sound Devices 8.E72 Soundfield 8.A30 Soundminer 6.C20 Spectra Specialist Engineering 11.E31 Spectracom 8.A54 Spice Design Consultants 6.C28ai SpinetiX DS2 Spinner 8.B27 Square Box Media Solutions 7.A08gi ST Electronics (Satcom & Sensor systems) 5.C17 ST Video-Film Equipment 11.D70a Stardom Storage Solutions 8.A15 Starfish Technologies 2.A28 Starline Computer 7.G03 Steenbeck 7.H40 STMicroelectronics 1.E36 STP SA System Technology Partner 8.C78 Strategy & Technology 1.A21 Stream Labs 8.A21 Streambox 7.J40 Streamcity 4.B79f Streamezzo M202 Streamit 5.A14 Studer/Harman Pro 8.D60 Studio Plus 11.A10 Suitcase TV 2.C10 Sumavision Technologies Co 5.C48 Superior Electric 8.B18 Surface Heating Systems (Kirkcaldy) 1.F49 SVS Satellite Systems 4.C85 Swedish Microwave 1.A91 SWE-DISH Satellite Systems 1.A39 SWIT Electronics Co 11.F59 Switchcraft 9.E50 Symmetricom 5.C15 SysMedia 3.B67

The Leader in Systems Integration and Professional Audio, Monitoring and Power Management Products



TAC Systems TAMUZ Monitors Tangent Devices Tata Elxsi TeamCast Technisat Digital Technocrane Technodigital Technologies TechnoTrend Goerler Technovia Tedial Tektronix Telecast Fiber Systems Telemetrics Telenor Satellite Broadcasting Telergy Telesat Telescopic – Techno-Jib Telespazio Telestream Television Research Institute Telex Telikou China Telmaco TELMEC BROADCASTING Telos Systems Telsat TEMIX Tera DP Teranex Systems Terrasat Communications Thales Angenieux The Foundry The Harding FPA The Israel Export & International Corporation Institute The Pixel Farm ThinkAnalytics Tiffen International Tiger Technology TK-3 TMD Ltd Toner Cable Equipment UK ToolsOnAir TRANSRADIO SenderSysteme Berlin Transtel Communication Transvideo Tredess 2010 Triada-TV Trilogy Communications Trinnov Audio Tripleplay Services TriVis Weather Graphix

8.E13 10.B48 7.B11 1.E90 2.B51 1.A44 11.F41 1.A46 1.A58 6.C28bi 8.C28 8.C75 10.B39 11.D71 1.C41 4.C67 1.C39 11.E83 4.C88 7.C19 5.C37 10.F38b 11.C78 8.E41 8.B21 8.D29 8.C11b 1.B20 3.A05 8.B10 1.F81 11.F40 7.F28 6.C28b IP551 6.C18 1.D93 11.E30 7.G05 11.A51 2.A19 1.A32 7.J47 8.D30 7.A08b 11.F31 8.E10 8.D31 10.A29 8.B14 IP411 3.A50

Troll Systems Corporation 1.C90 True Lens Services 11.G65 TSL 10.B41 Turksat 5.C35 TV Genius IP611 TV ONE 7.F10 TV1.EU 7.G21 TVBEurope 11.F04 TVC (TV and Communication Systems) OE124 Tvinci IP551b T-VIPS 1.B28 TVLogic Co 11.B70a TV Skyline 11.C21 TXT Polymedia IP301


UBIT Co 5.A31c UDcast 2.B31b UK Pavilion c/o Tradefair 4.B79/6.C28/7.A08/ 8.A28/8.B28/10.F30/11.G64 Ultimatte Corporation 7.B10 Unique Broadband Systems M232 Universal Electronics 1.B21 Utah Scientific 2.B20


V4X 2.B31j VAD Video-Audio-Design 8.D94 Vaddio 11.E59 Van Oostvoorn & Zn 5.B05 VariZoom 11.C70 VCS 10.D20 VDL 8.A96 Vecima Networks 1.D95 Vect Technology (Nanjing Etai Trading Co) 11.C75 Vector 3 7.C01 Verimatrix 5.B45 Veritair Aviation 8.E11 Vestel 2.C40 Viaccess 1.A51 Vialite by PPM 4.C63 Vianeos 2.B31f VIDEAUDI SYNCHRONOS 2.B31g Video Rescue 6.C28d VideoPropulsion 1.B91/IP531 Videssence 11.A78 Vidiator Technology M122 VidiGo – Delta Solutions 7.H30 vidIP 2.B39b Viewcast IP323 Vigintos Elektronika 8.E21 Vinten Radamec 9.E20a Visio Light 11.G75 Vision Research 11.G74 VISIWARE IP721

Vislink News and Entertainment Visual Research I Vitec Group Vitec Multimedia Vivesta VIXS Systems Vocas Systems Volicon Vortex Communications V-shine Co VSN (VIDEO STREAM NETWORKS)

1.A61 3.A39a 9.D28/9.E20 2.A18 2.A48 5.B29 11.D30 7.H35 11.G11 6.C11 7.J10


Ward-Beck Systems WASP3D Wave Science Technology WaveStream Corporation WB Walton Enterprises Weather Central WeatherOne weComm Well Buying Industrial Co WellAV Technologies Wellen & Noethen Westcountry Broadcast Wheatstone Corporation Whisper Power Widevine Technologies WIGE MEDIA Wind River Wisi Communications GmbH & Co Wisycom WIZnet Work Microwave Working Easy Wowza Media Systems wTVision – Software for TV Wuxi Huaxin Radar Engineering Co Wyplay


X Frame Software XCRYPT INC XD Productions XenData Xform Systems Xilinx Xytech Systems Yellowtec Yifang Digital Technology Co You/Com Audio BV Zappware Zero Creative Zhengzhou KEMA Power Supply Co Zunzheng Digital Video Technology Co

8.E31 3.B62 8.A42 1.B01 1.F47 3.B61 2.C11 M133 8.D01 4.C71 10.A31 8.C05 8.E20 OE166 IP313 11.C81 6.B20 IP503 8.D89 5.A31f 5.B15 11.A50 IP331 3.C61 3.A20 IP404 7.D05 5.B19a 2.B39a 9.E31 3.B11 10.B30 7.A41 8.A51 3.A21a 8.E75 4.B51 DS6 11.A81 11.A79

Visit us @ Stand no. 11.E28 Stand no. 7.H01

Stand No.

Product Shows at IBC Big Screen S I-2K and WEISSCAM HS-2

3D Stereo Rigs

Review and discuss projects shot with the past year

Review project shot on P+S Technik 3D Stereo Rigs

Friday Sept.11th at 17:00 pm

Saturday Sept.12th at 17:00 pm

11.E28 7.H01 | THE IBC DAILY 2009

theibcdaily Maga

Halls 9, 10, 11 & 12
















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JVC Professional Europe









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IBC Production Village IBC TV News




ee Training area




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Passage to halls 12E & 1-7 F04



Mobile Zone

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Hitachi Kokusai Electric Europe GmbH



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Fujinon (Europe) GmbH






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Words are all we need to make it happen for you


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 UK: +44 (0)20 8891 8900 USA: +1 (203) 926 2400


VCS Aktiengesellschaft路



Ruwido focuses on user Camera body armour by Ian McMurray The focus for Austrian company ruwido at this years’ IBC is on the new forms of interaction techniques that will be used in the living room in the near future and the company is presenting solutions and products that it says will be closer to the user. Ruwido has several goals – a more intuitive approach to the IPTV system; bringing people closer to the product; and bringing people closer together – and is demonstrating a social communication solution that allows people to communicate while watching TV. Ruwido provides a usability lab which is devoted to the development of interaction solutions with an excellent user experience. Following user-centred design and development, ruwido says that the user experience lab helps customers to develop their interaction solutions in an iterative process. Individually adapted methods allow the company to understand the real needs of the users and help to understand the usage of the final product.

ruwido’s tau remote combines intuitive use and aesthetic appeal

Street tough: don’t mess with Peli

by Adrian Pennington Following the acquisition of Hardigg Industries last December, Spain’s protective case and lighting accessory supplier Peli Produ c t s, i s p re s e n t i n g a d ive r s e portfolio of battle-hardened kit. The user experience lab at ruwido is currently investigating the latest trends in the IPTV market including cross-media usage, especially the combination of home and car entertainment. The company is investigating new forms of interaction technologies that it says will be beyond a simple key-press on a traditional remote control: new forms of entertainment will tie together home entertainment and IPTV. 1.D68

Marquis Medway integrates by Ken Kerschbaumer Marquis Broadcast is offering a range of media integration products designed for the data-intensive and challenging requirements of today’s fast-paced environments. M a rq u i s’ interoperability engine is known as Medway, a sophisticated media transfer and format conversion tool that delivers a transparent and cost-effec-

tive connection between multiple broadcast content platforms. Medway transfers media and metadata at faster than realtime speeds, transcoding if required, enabling the whole production process to be maintained in a digital environment. It also improves the production quality and efficiency of workflows. 2.A58

Built with engineering-grade polymers, Peli Cases are, says the manufacturer, ‘the toughest on the market’. There are over 40 models for the protection of sensitive equipment. They are watertight and also feature an automatic

The seamless experience

Only by using intelligent software control can you can create a true converged video solution explains Rick Ford, vice president European operations, BigBand Networks Exhibitor Opinion Consumers are demanding new ways to enjoy video. Where once they would watch linear channels on a television receiver, now they want to shift the content to a time to that suits them, and to a device that is convenient at that time. Conversely, there is an expectation that they will be able to pull content from a range of sources onto the television screen: they expect a rich media experience. If they can take a video on a mobile phone and with a single click publish it on YouTube, why can they

not watch YouTube – or iPlayer, or a Hollywood archive, or Al Jazeera online – on their television screen with the same single click of a button. So much of the talk at IBC this year is about creating the seamless experience, of delivering multiple services onto multiple devices. Cable operators migrating to digital platforms, and to IP delivery, are in an ideal position to deliver it, pushing direct broadcast, multicast and unicast services across a common network. BigBand Networks has been working on a converged video delivery platform. We call it Con-

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pressure equalisation valve that keeps moisture out and prevents vacuum lock so the case is easier to open at altitude. Engineered for extreme industrial applications, its Storm Cases are built from Pelican’s patented HPX high perfor mance resin which makes them lightweight, and virtually indestructible. New this year are Peli Hardigg rack mount cases which offer light to medium duty protection for hard drives and servers. “They have significantly better shock performance than the competition,” claims Peli. Removable lids on both ends allow rapid access to rear connections and front controls. 9.D44 verged Video Exchange or CVEx which is designed to provide the service provider with a way of bringing multicast and unicast services together. Such a video unification strategy gives operators a common interface, allowing them to rapidly roll out services to traditional MPEG set-top boxes and next generation IP devices, including PCs, TVs and ultimately mobile devices. While maintaining quality of service, this will allow bandwidth across the networks to be pooled and reallocated dynamically as needed. One of the important benefits of IP-linked services is the ability to know your audience, providing targeted content and much more accurate demographics to advertisers. So this new converged platform has to include subscriber and video service measurement tools which again cross platforms to provide a common overview. The result should be a platform for service providers with a single control plane managing multiple s e rv i c e s i n c l u d i n g v i d e o o n demand, switched digital video and IPTV as well as linear transmission. By eliminating the silo approach it should ensure greatly simplified operation, better bandwidth and spectrum use, and a more compelling service. From the consumer’s point of view, it will allow the seamless experience where a single, network-based service guide takes them to the content they want without troubling them about where it comes from. Making the transition to next generation networks capable of seamless video delivery to multiple networks opens up tremendous complexity. It is only by unifying the approach, through an intelligent software control plane, that you can create a true converged video solution. And it is only through such a converged solution that users will have a practical and agile solution that consistently delivers a quality video experience to multiple devices, whether wired or wireless, legacy or next generation IP, fixed or mobile. Come along to BigBand Networks and see CVEx in action. 3.A19


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Pace makes record sales

Weisscam offers RAW speed of up to 4,000fps by David Fox P+S Technik is demonstrating the recently released Weisscam HS-2 high-speed camera. It can shoot at up to 4,000 frames per second, using a full-size Super35 CMOS Sensor with a global shutter, and record uncompressed. Users can shoot in HD or RAW modes, or both. The HD stream offers YcbCr in 4:2:2 or 4:4:4, and users can choose between linear standard curves like ITU-R 709 or a log curve for a higher contrast range within the HD-SDI image. The RAW stream is a 12-bit uncompressed Weisscam RAW file and offers the freedom to debayer in post. It has a fast bootup time that makes it ready to shoot in less than seven seconds. For recording, the add-on DigiMag DM-2 is an uncom-

pressed, compact HD-SDI single and dual-link recorder, which can also work with other digital cinema cameras such as the Arriflex D20/21, Sony F35, Grass Valley Viper, Phantom HD or standard HDTV cameras (like So ny ’s F900). The external Weisscam DeBayerBox can do realtime debayering of the stored RAW data on the DM-2, outputting a standard HD YcbCr. The camera, which was developed by DoP Stefan Weiss, uses P+S Technik’s Interchangeable Mount System, which allows users to attach almost any lens (PL mount, Nikon F, Panavision, etc). The optional Weisscam HandUnit HU-2 can fully control the camera and image processing and can be connected by cable or wireless. 11.E28

Exhibitor Q&A Giovanni Soldi, managing director, Media-Alliance Has IBC come at a good time for the electronic media industry? Why? Yes, it is definitively good time. Content management is becoming a crucial aspect for television and this year finally it is possible for everyone to see the first working solutions. This is also the perfect time for the introduction of new storage technologies which will boost a true migration to tapeless digital television. We shall introduce the first tape archive replace-

ment based on hard disk (DiskArchive). This technology will have a great impact on future archiving systems for any broadcaster or any company managing media in the world.

Up to speed: the Weisscam with its inventor, Stefan Weiss

What do you think are the key developments in, or threats to, your market sector at the current time? Our sector is media management and we are a software house. We believe that the main focus is now on workflow and metadata management, content and storage processing and life-cycle. An additional very important thread is language: many TV stations are broadcasting to various multi-racial and multi-language a u d i e n c e s ; t h e re fo re i t w i l l become increasingly important to have software solutions able to run in multiple languages.

Why should delegates visit your stand at IBC? Because we are introducing a very innovative solution for media management, called MediaXplorer. This is the first solut i o n wh e re i t i s p o s s i bl e t o completely customise the database framework and metadata schema as well as the language. MediaXplorer easily enables workflow management, content processing and life-cycle. MediaXplorer is unique and we hope that many potential clients will have the chance to see it. Last, but not least, we are the first company in the world to show a DiskArchive solution. 8.D91

What's on the IBC Big Screen

For the latest visit:- 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.


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’

by Ian McMurray Good news all round for Pace. The company said that, in the first half of 2009, it achieved record financial performance, with unit shipments more than tripling and revenue more than doubling to £526.5 million. At the same time, Pace announced that German pay-TV operator Sky had selected Pace’s HD technology for its set-top box deployments in Germany and Austria. This deployment of Pace settop boxes, rolling out from August 2009, will support Sky’s HD expansion plans across its territories. Pace has been a set-top box technology partner of Sky, formerly Premiere, for a number of years and Pace says that the new DS830 gives Sky the full flexibility to roll-out HD services with support for both MPEG2 and MPEG-4. At the front-end, and demonstrated on the stand today, is the fully DVB-compliant DS830NP, which includes one DVB-S2 tuner and a demodulator. 1B19

Waterfront: Bright, DFT by Carolyn Giardina Bright Systems and DFT Digital Film Technology have reported t h at Wat e r f ro n t S t u d i o s ’ C ap e t ow n h e a d q u a r t e r s h a s installed a BrightDrive recording system and two Bones Dailies systems. Together, the new systems offer a collaborative dailies management and transfer process. Waterfront Studios’ BrightDrive is specified for 3 x 2k or HD4:4:4 streams from one 14.4TB online workspace. Operators are able to scan film via a Spirit DataCine and Bones Dailies directly onto the BrightDrive. The media is then available to all operators for best light colour correction, audio syncing, logging and laying off to SD tape, DVD, file-based video (Avid DNXHD or FCP QuickTime) and HD master tape simultaneously as digital dailies. “At Waterfront Studios, we acknowledge that South Africa has become a destination preferred by many international filmmakers by ensuring we provide our clients with world-class tools for their creative projects,” said Paul Merrington, facility manager at Waterfront. “The combination of BrightDrive with Bones Dailies and Spirit DataCine allows us to offer a reliable and powerful digital workflow that uses the most advanced digital technology designed specifically for the challenges of the film and video industry.” 7.J39/7.E390



From portable HD video transmitters through to fixed system installations, Gigawave customers enjoy the benefits of proven performance and support worldwide. Visit us at outside exhibition area OE100, located just outside the main entrance to Hall 1. T: +44 (0)1787 223300

F: +44 (0)1787 222002



Converging on divergence The technical challenges in uniting disparate content management and production engines for multiplatform delivery are being solved says Andrew Lambourne, CEO, SysMedia Exhibitor Opinion In today’s multiplatform world everything is changing. The terms ‘broadcaster’, ‘viewer’ and ‘content’ no longer have their traditional meanings: instead, originators seek to entice consumers with a commodity that is becoming ever more diverse. What’s more, the devices on which that commodity is consumed themselves vary enormously in terms of portability and capability. A TV, a PC and a mobile phone are three quite different ‘screens’ used in three quite different ways by different audience subsets for different purposes. This causes the first dilemma – how to make sure

that the delivered package hits the right device in the right way without making costs prohibitive. The second dilemma is this: of what should the delivered package consist? In the words of Datamonitor, ‘The global broadcast market is expected to experience significant revenue growth from US$284.1 billion in 2007 t o US$326.2bn by 2010. However growth is only expected to be secured through revenue diversification from value-add and bundled services, including internet service provision, HD content, ondemand solutions, interactive applications and multiplatform distribution.’ It’s clear that to secure revenue, the mix must be right – and

Andrew Lambourne: ‘The future lies in reaching audiences over all devices’

the mix has to be targeted for both the device and the intended consumer. The world’s most successful TV platforms like BSkyB and PCCW – as well as over-the-top video services like the BBC’s iPlayer and Hulu – have long since proven the business case for launching interactive services and online video con-

tent. As consumers interact with different media and consume content in new ways, the future lies in reaching audiences over all devices – and this is dramatically changing the way content is produced, how advertising budgets are spent and how content is monetised. The problem until now has been delivering multiplatform, threescreen content provision – TV, PC and mobile – as there have been significant technical challenges in uniting disparate content management and production engines. Making three-screen content generation a reality, SysMedia has extended its successful and globally deployed Plasma Gold interactive platform from DTT, cable, satellite and IPTV set-top boxes, to mobile phones and PCs in one highly cost effective solution. At IBC09, SysMedia is highlighting a brand new concept in the management of interactive content that breaks down the technology barriers that have impeded launching services for operators and content owners over the last decade. O p e rat o r s a re n o l o n g e r

restricted to having to select technology compatible with their own platform infrastructure – Plasma Gold’s technology enables interactivity on virtually all middleware browsers, IP-set-top boxes and mobile browsers – including Smartphones and iPhones. In this way it allows for the widest distribution of content, including streaming video on all devices. At its core, it has always had the concept of a story-based paradigm: gather the multimedia objects that a particular story requires in total, and deliver subsets to different device types as need and capability requires. To remain competitive, companies need to utilise effective technology to aid in production and multiplatform distribution of valueadd services. Content providers can now launch new differentiating services with widest audience reach over all devices, and deliver compelling revenue generating services in fastest time. Cutting production costs with tools like Plasma Gold makes this easy and affordable. 3.B67

One-way VoD system from Tandberg ‘is industry first’ Actus displays new AdWatch by Ian McMurray Tandberg Television is debuting what it describes as the cable industry’s first one-way VoD system at IBC. Aimed at cable operators who either have a one-way HFC network or a deployed population of one-way set top boxes (STBs), the new Tandberg platform enables the introduction of on-demand services, without the additional investment in new STBs. The new one-way system uses a consumer mobile phone to first provision and then order ondemand assets such as movies and catch up TV content. The information on available content can be communicated to consumers via multiple routes, most obvi-

ously using an onscreen catalogue, but for STBs which might not even have a middleware, barker channels, SMS adverts and even a printed magazine can be used. Operators wishing to work in a one-way environment have been traditionally been limited to a payper-view system, says Tandberg, with perhaps only 20 assets available at any one time, and with fixed starting times. The company says that this new platfor m means that a n unlimited number of assets can be offered, as well as adding innovative applications such as Startover TV, Network PVR and targeted ad-insertion on even the most limited set-top box. 1.D61

Orca delivers for IPTV by Ken Kerschbaumer On show from Orca is RiGHTv, a leading IPTV middleware platform for delivering interactive TV services. RiGHTv empowers operators to offer a full array of IPTV services, including live TV, VoD,

PVR and content discovery, that drive new revenues and increase subscriber loyalty. Successfully deployed by diverse broadband network operators and triple-play serv i c e providers worldwide, from green-

New Tandberg platform enables new services without investment in STBs

f i e l d p l aye r s t o e s t abl i s h e d n at i o n a l t e l c o s, O rc a s ay s RiGHTv is an innovative, flexible and robust middleware solution for building, managing and maintaining IPTV services. Advanced functions can be implemented across a wide range of set-top boxes and RiGHTv features a highly customisable, scalable and

open architecture. With a robust set of documented APIs and a plug-in architecture for external interfaces, RiGHTv provides operators and their preferred systems integrators enhanced flexibility and control over the design, installation and integration of a complete IPTV solution. 2.B40

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by Ken Kerschbaumer Attendees looking for media recording and analysis tools – including detection of repeating content, and converting linear broadcast into VoD clips in multiple frame sizes for web and mobile uses – should visit Actus Digital. The company’s stand features AdWatch, a system that automatically detects recurring content including ads and promotions while keeping track of the quality of video and audio levels. The system works by tracking video and audio sequences in the TV and radio signal and custom reports can be generated for each advertising client’s needs. Also on display is TvWebber, a system that automatically transform linear broadcasts into Video On Demand clips for the web and mobile use. Using an integrated EPG, the system uploads programmes to any location with nonlocalised commercials removed and new ones inserted. 2.A20

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Streamit couples stability with low cost AmberFin by Ian McMurray With the launch of the new SAS250 IP-audio transmitter, Streamit says that it is meeting increasing demand from many radio stations for stable and reliable low cost internet transmitters. It is, according to the company, the world’s first embedded encoder that uses the open source Ogg Vorbis codec. S t re a mit believes that the broadcast industry is finally realising that standard internet connections can be a valuable add-on to existing infrastructure. To meet

quality levels, the company says, a PC with a software encoder is simply not reliable and stable enough. The SAS250 is design e d t o address this requirement: it is, according to Streamit, easy to install, flexible to use and costs a fraction of traditional solutions. To maximise audio quality, the SAS250 offers XLR inputs and encodes in Ogg Vorbis. This open source codec gives an excellent audio quality, says the company, with low bandwidth consumption. A rack mount kit is available, as is a

The SAS250 encodes in Ogg Vorbis for optimum audio quality

stereo headphone output. The RS232 port is used to transmit RDS data in parallel to the audio stream. Streamit says that the SAS250 is an ideal solution for small local radio stations that have just one stream to the internet or for larger

It’s six of the best from Blackmagic by Carolyn Giardina Blackmagic Design is offering six new optical fibre products as part of its IBC lineup. Ultrascope, a PC-based 3Gbps SDI and optical fibre SDI waveform monitor scope is designed for editors and colourists and lists for €535. DeckLink Optical Fibre is a 10-bit SD/HD broadcast capture card with both optical fibre SDI a n d re g ular SDI. It swi tches between SD and HD, includes RS-422, an internal SD keyer, reference and eight channels of

audio. This lists for €385. HDLink Optical Fibre is a 3Gbps optical fibre SDI and conventional SDI monitoring system for SDI, HD and 2k monitors, with 3D LUTs and six channels of analogue audio out. Blackmagic recommends this product for large television stations and post production houses, as well as DSNG trucks for live shots. It is priced at €615. The new Mini Converter Optical Fibre is a bi-directional converter that simultane o u s ly converts from SDI to optical fibre,

previews iCR v5.0

and vice versa. It lists for €385. Blackmagic has eight new card-based converter products, including two new optical fibre cards. All OpenGear Converters sell for €385. Also at its IBC stand, Blackmagic is showing its new DVI Extender, designed to extend a computer’s video monitor via an SDI connection so computer resolution monitoring can be routed and distributed in television and post production facilities using SDI BNC cables. This allows more than one

stations that want to encode their programmes and transmit them to transmitter sites. Streamit customers include Diesel, GANT, Tally Weijl, Burger King, Triumph and NedTrain. 5.A14 monitor to be connected to the computer and – if used with a SDI router such as the Blackmagic’s Enterprise Videohub – up to 288 computer monitors could all connected to the one computer. DVI Extender lists for €305. Two new Videohub routers complete Blackmagic’s IBC lineup. They are Studio Videohub, a compact 16x32 model for 3845; and the Enterprise Videohub, a 144x288 model for large broadcast and post facilities that lists for €22,995. Both have 3Gbps SDI, built-in deck control routing, redundant power, switchable SD, HD, and re-clocking. 7.B21

by Carolyn Giardina AmberFin iCR v5.0 is a new softwa re re l e a s e t h at i n t ro d u c e s JPEG2000 workflow and enables the application of closed captioning for US and European broadcast delivery requirements during the transcoding process. There is also support for MXF AS02. The technology offers HD/SD ingest, video conversion, transcoding, integrated quality control, automation and asset management integration, and the ability to work with standard storage. “ We h ave s e e n i n c re a s e d demand for AmberFin iCR software, based on the quality of the images produced and the assurance that AmberFin’s automatic QC removes human error, therefore reducing the need for content to be reworked,” said Jeremy Deaner, CEO of AmberFin. “By working closely with our customer b a s e, we h ave t h e fo re s i g h t required to update AmberFin iCR in line with market requirements.” 7.A08F

International Systems Integration

Meet us at

Stand 8.B51

ATG Broadcast is an independent broadcast system integrator supplying functional and costeffective media technology solutions from initial project consultancy and design through to installation and post-installation support.

• Consultancy • Workflow Design • Project Planning • Systems Installation

• Commissioning • Documentation • Training • Systems Support

ATG Broadcast is part of Dan Technologies’ Systems Integration Division (Danmon Systems Group, ATG Broadcast and Hiltron Communications)




The appliance of science

Exhibitor Opinion

Service providers must answer key questions like ‘what happens when TV and internet finally merge’ now urges Nick Fielibert, CTO & principal engineer, Cisco Service Provider Video Technology Group What is the next major technology innovation that will reshape the industry? What will happen when the line between TV entertainment and the internet disappears? And, how will service providers transform a service model that was designed for static, one-way video delivery into a platform for delivering rich, personalised, social, and interactive media experiences? Analysts can debate these questions, but service providers must answer them – and answer them now. Here is what we know: The basic delivery of TV services is no longer enough. Today’s consumers want a richer, higher-quality media experience, and they want access to more kinds of content

than ever before. They want to enjoy the same kind of interactivity, personalisation, mobility, and control with their video entertainment that they have com e t o expect from the internet. And they want the ability to access any type of content they choose, whenever and wherever they choose, over a variety of devices and screens. They want the ‘Connected Life’, but delivering the ‘Connected Life’ is challenging. It requires a world of new technological capabilities, and a re-architecting of the service network to accommodate exponential traffic growth and special demands of video. At Cisco, we defined a new class of network, one that is not only video-ready

but video and device-aware – this is what we call a medianet. Experts predict that more than 4 billion video streams per month will be delivered through internetenabled set-top boxes by 2012. Video is integral to almost every major service offering today – digital cable, IPTV, video communications, or viewing television on a handset. Service providers need to deal with the huge demand for bandwidth as people watch videos on YouTube and BBC iPlayer. Broadcasters, telcos and cable operators alike need to address the production, contribution and distribution of high-definition video programming over their network infrastructures as well as dealing

Nick Fielibert: ‘Service providers need to deal with the huge demand for bandwidth’

with the new competitive landscape that has emerged. Those service providers that can meet these challenges – by making the transition from conventional service provider to true ‘experience provider’ through evolving their network into a medianet – stand to grow market share, increase average revenue per

user, improve customer loyalty, and stand out from their competitors. We believe that these true ‘experience providers’ have an unprecedented opportunity to cement their place as market leaders in the next generation of groundbreaking media services. In the long run, with the increasing loads on networks and the expanding role of video, and other web 2.0 technologies in both the business and entertainment segment of the industry, service providers will, in our opinion, return to being a very solid growth market. There are many options open for multi-channel service providers, content producers, broadcasters and satellite operators and IBC is the ideal venue to discuss with industry peers the complexities of video services and architectural implications to make decisions on what technology to choose. It certainly is the biggest industry event spanning the full value chain from content production over content contribution to content distribution to the home. 1.D71

MoCA is the focus for Broadcom Graphics playout in a flash by Ian McMurray Some day, it would be nice to think we might have power over wireless. In the meantime, we’ve got Power over Ethernet. We’ve got voice – and video – over IP. We’ve got PowerLine, which sees a home’s electricity infrastructure used as a network carrier. Could the next big thing be MoCA? MoCA – the alliance formed in 2004 to promote the use of coax as a transmission medium for multimedia – is a focus for Broadcom at this year’s IBC. Earlier this year, the company announced the industry’s first MoCA-integrated SoC solutions for HD STB and gateway applications, and Broadcom’s home networking reference design platform for STB and broadband access products has now received MoCA Certification. The company says that, as MoCA becomes more integrated into a wide variety of devices including STBs, TVs, Blu-ray players, broadband access solutions and beyond, its diverse prodI

MoCA promotes the use of coax for multimedia

uct line will pave the way for broad deployment with multiple silicon solutions. Broadcom says that its MoCAintegrated solutions provide a very power-efficient home networking ecosystem, capable of shutting down unused system components in realtime while remaining aware of network events. According to the company, there are several operators in the USA who are on record as deploy-

ing MoCA-enabled networks in 2009 including Verizon, Time Warner Cable, Cox Communications and Bright House Networks. These deployments are testimony, says Broadcom, to the advantages of MoCA – namely performance and reliability. Broadcom also includes support for DLNA to facilitate the easy sharing of digital content between DLNA-enabled devices. 5.A10

by Farah Jifri SI media is showing off two new products in the form of its MediaCG and MediaStation systems. MediaCG is a new integrated system for graphics creation and playout. The system comprises two software modules: MediaCGEdit and MediaCG-Play. The former is an editing package allowing users to create graphics such as idents and ‘coming next’ events, while MediaCG-Play is a software engine that enables the graphics files to be played out to air. Both these modules are closely integrated with the SI media platform and allow users to easily manage the creation and playout

Multidyne DVI-I transport by Ken Kerschbaumer MultiDyne Video & Fiber Optic Systems has introduced its DVI6000, designed for the transport of DVI-I, RGB-HV and DVI-D over one fibre. Multidyne says a key break-


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of graphics without adding additional hardware devices. MediaStation is what the company refers to as an ‘all-in-one’ s o f t wa re m o d u l e t h at b r i n g s together the various functions needed to oversee a complete broadcasting workflow; from content capture and manage through to transmission. Media Station is pitched as an entry-level solution designed to meet the needs of small to sized broadcasters. S I m e d i a i s a l s o s h ow i n g enhancements to some of its existing products including MediaList, Media Play, MAM-Mediastore and MediaNewsPlay. 8.B9

through for the DVI-6000 lies in its ability to offer SMPTE compliant data transport, converting all formats into a SMPTE compliant 3Gbps optical and electrical transport stream. This 3G data stream can be distributed through any standard 3Gbps HD/SDI routing switcher. The DVI-6000 also enables cross-conversion from RGB, DVI and VGA to a 3G HD-SDI transport, with loop-through DVI-I inputs and dual DVI-I outputs featuring a throughput bandwidth of 3.75Gbps for non-SMPTE or 2.97Gbps for SMPTE. With an operating distance of up to 40k, the DVI-6000 gives users the freedom of moving a monitor away from a source. It also connects video walls and control rooms with remote video processing equipment while continuing to maintain the highest video quality. 2.A54



Of modulation and beyond

Jünger Audio in Dolby 5.1

Exhibitor Opinion

The transition to digital terrestrial television is unstoppable says Serge Mal, executive vice president and general manager, Teamcast Despite the international recession, the transition to terrestrial digital television is growing. Some countries in Europe or the USA are going to complete their analogue to digital transition while other countries in Asia or Latin America, which are just beginning a phase of tests on digital technologies, could also experiment with hybrid solutions combining satellite and terrestrial, and take into account new usage models, and new services, such as the new services defined by IPTV, mobile TV and internet download. This, combined with the economic crisis, generates a certain delay in the decision-making on the digital deployment of some countries, because broadcasters are sometimes reluctant to invest massively in this period of doubt. This delay should be eliminated by the benefit that governments should take from the release of some national frequency bands and the digital dividend: as for colour television, the transition to digital is inevitable. DTT is without question, the largest vector of transition. The

first generation of standards (DVBT, ISDBT, ATSC and DTMB) will be deployed even if we can expect a longer period of deployment to implement them. However, we can identify new trends in infrastructure sharing between operators, new applications of technology migration and new financial rules in order to establish smooth transitions and to minimise the Capex and Opex of some operators. Paradoxically, the demand will increase for low cost solutions in countries starting deployment or completing their geographic coverage of digital low power, or for inquiries about second generation standards such as DVB T2, incorporating HDTV and ‘In band’ mobile TV to minimise infrastructure costs. In this spirit, TeamCast is clearly establishing itself as a solution provider, not just an OEM modulator provider, of new costeffective and technological architectures. Indeed, it is no longer enough to offer our universal modules but also to help our partners and customers build solutions for a sustainable upward compatibility

Serge Mal: ‘TeamCast is establishing itself as a solutions provider’

between technical, economic imperatives and new usages models. TeamCast continues its technological innovation and offers facilities providing native transitions from the analogue world to the digital world with its dual (PAL / DVBT) technology, but also from the world’s first digital generation to the second generation through mixed technologies (DVB T/T2 or CMMB / DTMB). A major player in the promotion of digital standards at the international level, TeamCast plans to strengthens its actions among standardisation bodies. We aim to multiply our international technology partnerships and builds new solutions with leaders in network technologies to complete their IP technologies. In other words: TeamCast – Modulation and Beyond. 2.B51

by Ken Kerschbaumer Dynamics processing specialist Jünger Audio is displaying a complete suite of DSP and interface cards for its ground-breaking C8000 Level Magic automated audio loudness control system for production and broadcast. The company is showing Level Magic in a complete set-up that offers a fully integrated workflow solution for managing surround sound and Dolby coded 5.1 audio signals in production, ingest and playout. Peter Pörs, managing director of Jünger Audio, said: “Our aim is to offer an outstanding integrated workflow solution that incorporates signal acquisition, monitoring, processing and smart 5.1/2.0

fail over switching, including programme metadata management. These new additions to the C8000 Level Magic system will provide our customers with a solution for managing 5.1 audio and Dolby coded streaming that is far more effective than anything else on the market.” The latest addition to the range is the C8086-8, an 8-channel DSP card that incorporates a new Dolby Metadata Generator option. This is designed for use with the modular frame C8000 system, which provides audio processing for a wide variety of application including audio production, broadcasting, distribution, rebroadcasting and audio for video. 2.C49

Jünger Audio’s new control suite for Dolby 5.1 manages surround sound audio streams

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BigBand vIP Pass makes a cable smarter

Mobile production centre: Grass Valley’s new Kayenne switcher

MTG mobilises with Kayenne by David Fox The Mobile Television Group, which operates one of America’s largest HD OB fleets, recently became the first to use the new Grass Valley Kayenne multiformat Video Production Centre switcher on air for live sports production. The company installed one of the first Kayenne product i o n m o d els in its new 16m expanding 25HDX truck, which produced its first Major League Baseball game in HD in late July. The truck also carries ten Grass Valley LDK 8000 Elite HD cameras, which can operate in both the 720p and 1080i. “We have always relied on Grass Valley production switchers for our mobile trucks because

they perfor m better than any other switcher on the market and our operators are very familiar with how they work. And the Grass Valley LDK 8000 Elite HD camera is second to none in terms of image quality,” said Philip G a r v i n , ow n e r / m a n ag e r o f Mobile TV Group. The new Kayenne Series offers a wide range of configurable mainframes that can include from 1.5 to 4.5 mix/effects; pl u s a newly-designed panel with definable colour change RGB buttons and a menu navigation system optimised for touchscreen use. All the frame and panel modules, including the redundant power supplies, are hot-swappable. 1.D11

by Ken Kerschbaumer BigBand Networks has its new IP video delivery product suite for the cable industry, vIP Pass, on its s t a n d . T h e v I P Pa s s s u i t e i s designed to capitalise on existing infrastructure and deliver a smart three screen solution via DOCSIS 3.0 modems. B i g B a n d s ay s v I P Pa s s ‘wraps’ video in DOCSIS, the industry’s signaling standard, to deliver quality video streams to IP-enabled cable modems without transiting a CMTS. This

allows service providers to deliver video to the ‘three screens’ consumers want most – TVs, PCs and mobile devices – while saving valuable CMTS bandwidth for voice and data. “We created vIP Pass in direct response to our customers’ need to meet the huge demand for high quality video services, which are growing at unprecedented rates across the network,” said David Heard, BigBand’s chief operating officer. “The suite enables our digital

video networking platforms to become an efficient DOCSIS 3.0 standards-based IP video delivery system,” Heard continued. “Operators can now deliver quality video experiences to a w i d e va r i e t y o f c o n s u m e r devices, generate new revenue streams, and be more competitive with a solution that could save them hundreds of millions of dollars in capital expenditures which is especially important in the current economic climate.” 3.A19

Vitec Multimedia adds to converter range The two HD-SDI outputs can be simultaneously used with the same or different resolution (ie 1080p and 720p) and OSD Status provides all Vitec Multimedia’s MC-2E converter is said to make video conversion reliable and easy s t at u s i n fo r m at i o n ( i e The MediaConverter MC-2E video signal detected, resolution, by Ken Kerschbaumer Early this year, Vitec Multimedia makes advanced, bidirectional etc.) which are overlaid on the acquired world wide exclusive video conversion affordable, reli- output signal. Additional features include manufacturing, marketing and able and easy, according to Vitec. It distribution rights of media con- converts DV to analogue, analogue upgradability through USB conve r t e r M C - 2 E f ro m F O C U S to DV, and analogue or DV to nector, a power supply with lockEnhancements. At the same time SDI. Additional features include abl e c o n n e c t o r, H D & S D Vitec Multimedia is developing a NLE system compatibility, audio auto-adaptation video formats, new product line of HD convert- conversion, time base corrector, and 3Gb/s HD-SDI output on ers with its new flagship product and timecode conversion and con- BNC connector. 2A18 trol along with genlock. Extensor HDMI2SDI.

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


the content creation • management • delivery


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


•• • • •

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:


theibcdaily Do mousetraps catch bears? Only a fresh injection of engineering skills will ultimately make your innovative technology work observes David Phillips, CEO, TSL Exhibitor Opinion

College that will be used by trainee broadcast engineers to acquire and develop the aforementioned cre-

ative and technical skills necessary to flourish in the industry. Ravensbourne is recognised as one of the UK’s premier training grounds for the next generation of broadcast technology talent, who will not only learn by using the systems we design but no doubt develop ingenious new ways to perform what are already complex tasks. TSL is also the Technical

Design Consultant for MediaCityUK, one of the largest media and creative industry projects in Europe and the UK’s first purpose-built, HD-based media city on a 200 acre site at Salford Quays. So, while promoting our own SI expertise at IBC as well as our professional products range, we’ll be spending almost as much time scouring the exhibition halls for

viable technology; and we’ll be doing that with the wisdom of experience coupled with the fresh, hungry eyes of new talent. After all, in the event that someone has come up with a ‘unique, streamlined, cost-effective bear-catching mousetrap solution’, we owe it to our clients to evaluate it. We’ll even bring the bear! 10.B41

David Phillips: ‘How do you know what actually works?’

In The IBC Daily you’ll read a great deal about the better broadcast mousetraps on show that promise an almost infinite number of ‘solutions’ to the complex interoperability and delivery problems of modern broadcast systems – many of them are definitely very fine innovations indeed. In fact, with so many solutions blanketing the show floor, it’s a wonder anyone admits to having any problems at all. However, a better mousetrap is little more than an LED-festooned cheese tray if what you’re really trying to catch is not a mouse, but a bear. So with the increasing complexities and interdependencies of system devices, most of which claim to be the most elegant way to feed the hungry jaws of everdiverse delivery channels, how do you know what actually works? It’s a paradox that as multichannel end users become more sophisticated in their requirements, the traditional abundance of broadcast industry skills has diminished, so TSL’s position as a highly experienced consultant, from first enquiry to finished project and beyond is in high demand – both in terms of acting as a total system consultant and integrator, as well as an educator on the capabilities and suitability of new products and technologies. But that also means that we have redoubled our already industryleading programme of training and education to stay across current and emerging technology developments. This is essential to the beating heart of any Systems Integrator and it’s a responsibility that TSL takes very seriously indeed. We have a rigorous programme of not only evaluating new and emerging technologies, but of nurturing new talent in the form of budding engineers who have often been educated on technologies that only a few years ago were considered sophisticated to the point of being arcane, but are now seen as standard. We were recently pleased to have been chosen to design a new broadcast system at Ravensbourne

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T2 ready for launch As DVB-T2 begins roll-out across Europe DigiTAG communications officer Natalie Mouyal offers a timely summary of advances so far and how the project can meet future business plans The development of the DVB-T2 specification demonstrates the broadcast industryâ&#x20AC;&#x2122;s confidence in the terrestrial television platform. Constrained by limited frequency capacity, the terrestrial television platform needed a new, more efficient, transmission standard to meet the demands of the f u t u r e a n d t o a l l ow fo r t h e launch of new services. The DVB Project responded in June 2008 with the publication of the DVBT2 specification. The DVB-T2 specification approaches the information theory limits defined by Claude Shannon in 1948 and can thus allow for the introduction of spectrum intensive services for the further development of the terrestrial platform. Two countries, Finland and the United Kingdom, have already announced DVB-T2 launch plans while manufacturers are ready to introduce products in early 2010.

Improved efficiency

Building on the success of DVBT, the new specification incorporates the latest developments in modulation and error-protection to increase the bit-rate capacity and improve signal robustness. To achieve these improvements and to optimise performance to match the propagation characteristics of the radio frequency channel, detailed changes have been made to the physical layer features and to the network configuration. The exact capacity gain that can be achieved using the DVB-T2 specification in comparison with the DVB-T standard is still the subject of field testing. The initial commercial requirements called for a minimum capacity gain of 30% in comparison with DVB-T in equivalent reception conditions. However, current trials in the UK have shown the capacity gain to be closer to 50%. If a single fre-

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quency network (SFN) configuration is used, a potential capacity gain of 67% is achieved in comparison with DVB-T using the same absolute guard interval. But it is not until widespread experience is gained with DVB-T2 that the full extent of its beneficial capacity gain will be known.

DVB-T2, the Nordic region has p a r t e d w i t h t h e m a i n s t re a m implementation of DVB-T2 currently underway in other parts of Europe. This may result in only limited support from manufacturers in the immediate future given the potential sales volume in the region and the supplementary cost required for TFS. It can be expected that most major consumer electronics manufacturers will launch DVB-T2 receivers in early 2010 to meet the UKâ&#x20AC;&#x2122;s DVB-T2 receiver requirem e n t s. N ex t s u m m e r â&#x20AC;&#x2122;s F I FA World Cup is expected to serve as a key driver in the uptake of HD services and manufacturers will

services using the DVB-T2 specification in combination with MPEG-4 AVC. These services are set to launch in December 2009 from the Winter Hill transmitter site serving the cities of Manchester and Liverpool. However, it is expected that by June 2010, DVB-T2 coverage will b e a u g m e n t e d by a dd i t i o n a l transmitter sites to reach up to half of the population. In Finland, the telecom operator DNA Oy has been allocated a license to operate two DVB-T2 multiplexes offering mostly pay HD services. The launch of services is expected to take place in 2010 with coverage of 60% of the

Receiver commonality

A large number of options and combinations are possible with the DVB-T2 specification. Flexibility has been a key element of the specification to allow for optimisation as experience is gained. However, flexibility can also lead to market fragmentation should national variants of the DVB-T2 specification emerge. To be able to benefit from economies of scale throughout E u ro p e, m a nu f a c t u re r s h ave undertaken an initiative within Digital Europe (formerly EICTA) to incorporate the DVB-T2 specification into the HD version of the E-Book. The aim is to define the requirements for DVB-T2 receivers that can be used all across Europe. Digital Europe has benefitted from the work underway in the UK in preparation for the launch of DVB-T2 services to take place at the end of the year. The updated version o f t h e D TG â&#x20AC;&#x2122;s D - B o o k t h at encompasses the DVB-T2 specification will be incorporated into the updated E-Book. In the Nordic region, a DVBT 2 re c e ive r p ro f i l e h a s b e e n issued by NorDig. Unlike the requirements developed by Digital Europe, the NorDig DVB-T2 re c e ive r p ro f i l e c a l l s fo r t h e implementation of Time Frequency Slicing (TFS) which, at this stage, is a possible future extension of the DVB-T2 specification but has not yet been fully specified or tested. In anticipati n g t h i s a dva n c e d f e at u re o f

take a certain amount of time before the cost of receivers has sufficiently decreased to justify mass penetration and, in the case of DVB-T2 receivers, this will not have occurred prior to 2012. While the technical characteristics of DVB-T2 bring unquestionable benefits, the commercial launch of services will require a well-conceived business strategy that takes account of the needs of all parts of the broadcast industry. For a successful deployment, service operators will need to consider the potential size of the market, the service requirements of the different market segments, and the ab i l i t y t o g e n e rat e reve nu e, whether from free-to-air or pay services. Pay operators may want to exploit the increased capacity available with DVB-T2 to increase their competitiveness vis-a-vis other television platforms while new services on the free-to-air platform may be necessary to retain existing advertising revenue.

Spectrum capacity

Natalie Mouyal: â&#x20AC;&#x2DC;The commercial launch of DVB-T2 services will require a well-conceived business strategyâ&#x20AC;&#x2122;

make iDTVs available with DVBT2 capabilities. However, the market for DVB-T2 set-top boxes should also be significant given the existing penetration of HDready displays in homes.

Launching services

At this stage, the UK and Finland have announced plans to launch HDTV services on the terrestrial television platfor m using the DVB-T2 specification. DVB-T2 trials are currently underway in the UK and Italy while a trial is planned to begin at the end of the year in Germany. In the UK, communications regulator OFCOM has allocated capacity in one multiplex for the provision of four free-to-air HD

population to be reached by the end of 2011. Markets having completed analogue switch-off are in a strong position to launch a DVB-T2 platform. Frequencies are likely to be available to launch new services and viewers should be sufficiently confident with existing DVB-T services to be receptive to new service launches on the DTT platform. In contrast, markets in the process of digital switchover are unlikely to have sufficient frequenc i e s ava i l abl e fo r a DV B - T 2 launch while markets that have not yet launched DTT services will have difficulty completing digital switchover using DVB-T2 by the European Commissionâ&#x20AC;&#x2122;s recommended 2012 deadline. It will


The DVB-T2 specification currently promises the most efficient use of spectrum capacity on the terrestrial platform. This will enable broadcasters to launch spectrum intensive services, such as HDTV and potentially 3DTV, which will be important to maintain the competitiveness of the terrestrial platform. It is likely that such services will be accessed from t h e p r i m a r y t e l ev i s i o n s e t i n households while secondary television sets will continue to rely upon the services available on the DVB-T platform. In many cases, therefore, the DVB-T2 platform will likely offer complementary services to the existing DVB-T platform. And given the cost and effort already expended in converting households from analogue to digital, it will take a significant amount of time before the broadcast industry is ready to undertake the task of replacing DVB-T with DVB-T2. Natalie Mouyal is responsible for research and analysing the developments of DTT platforms in Europe. She provides information to both members and non-members through the DigiTAG website, workshops, presentations and the monthly DigiTAG web letter on key DTT issues.

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Echolab gets a Conductor

Next stop please: the Conductor’s touchscreen interface

by Adrian Pennington Echolab is showing Conductor, its control integration system that automates complex tasks and programme elements. In pre-production mode, Conductor allows the operator to configure the switcher, create complex sequences, and assign functions

such as M/E presets to soft buttons. In on-air mode, it becomes an extension of the control panel a touchscreen interface that can execute sequences, recall M/E presets, and control third-party devices. In some applications, Conductor may be used to replace a dedicated still store. The US developer also has a Remote AUX panel which uses TCP/IP to communicate with an Echolab switcher and modify the sources assigned to a particular auxiliary output. The Remote AUX allows simple cuts from source to source from any location with an Ethernet connection back to the switcher and can be used to control sources that are routed to large video screens or projectors. 10.D30

Harry Kanters, director marketing and sales, Axon Digital Design Has IBC come at a good time for the electronic media industry? Why? The broadcast supplying industry has always been an innovative source and eager to show the new developments. Everyone works towards introductions at the major shows. Innovation is currently in the area of 3Gbps, where suppliers should show at IBC that they have all the components available. Another innovation is towards 3D, partly as a f u r t h e r d eve l o p m e n t f ro m 3Gbps. Clients are increasingly

Delivering ‘any-to-any’ video promise What does it take to truly deliver convergence asks Tom Lattie, director of broadcast and new media solutions, Harmonic Inc Exhibitor Opinion The video industry has been in an exciting period of transition over the past several years with the adoption of a number of new technologies and introduction of new services. One of the big buzzwords that has re-emerged is convergence. Video delivery to the TV, PC O and mobile devices. Any content, anytime, anywhere.

We know that this is the service delivery model of the future, but what does it take to actually provide the right solutions – systems that enable operators to truly offer a converged multi-screen and reliable experience to their subscribers? Flexibility is one key. Experience is another. The user experience must be simple, seamless and flawless. The iPhone and other connected media players are changing the game for mobile video. Opera-

The current economic environment has proved a threat that no one had envisioned. But it also has provided opportunities for some players, who now have been able to embrace the new technological developments.

Exhibitor Q&A

tors need to support a multitude of viewing options, and consequently solution providers need to make it easy to dynamically and flexibly address these requirements. For more than twenty years Harmonic has been a technology innovator and pioneer in digital video, and this focus continues. We have been hard at work developing technologies for both linear broadcast TV and the new converged video service delivery model, and have recently introduced a number of new solutions. These include a comprehensive software suite for both timeshifted and place-shifted video delivery, which allows service

looking to implement either of these innovations and IBC is timed well to provide them the answers. What do you think are the key developments in, or threats to, your market sector at the current time? providers to bring game-changing features to their offerings and gain incremental revenue streams. M e d i a P r i s m a l l ow s s e r v i c e providers to serve the growing desire for ultra-high quality video to the TV, PC and mobile devices. At IBC2009, we are introducing enhancements to the content preparation software, video servers and transcoding components of MediaPrism, including support for iPhone video formats. We are also in trials with major operators for new video to the mobile services. At the same time, Harmonic’s focus on linear and on-demand TV remains strong. We recently introduced a new universal broadcast encoder – the Electra 8000 – with 20 percent bandwidth efficiency improvements, and the ability to serve multiple delivery formats.

Reliability is king. Yes, we know content is all-important, but what if you can’t get it to air on time? The PC-based automated playout system from OASYS (formerly ON-AIR Systems) gives you rock-solid reliability from the day it is installed. With all the functionality you need in one box, there is no need to support multiple devices. And maintaining a standard PC, with widely available parts and no specialist training required, is one less thing to worry about. We’ll work with you to provide the right level of failover capabilities for your channel. And OASYS is rightly proud of its first-class customer support, available by phone or online 24-7 anywhere in the world.

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Why should delegates visit your stand at IBC? Axon is introducing the fastest multiviewer available: SynView is ideal for live production environment with a delay of only 1 field fo r a ny nu m b e r o f i n p u t s. Another world introduction is an ultra-density fibre system, which allows 144 fibre channels in 4RU. Further, Axon is showing its huge Synapse feature set now ready in 3Gbps, including the above! 10.A.21

Tom Lattie: ‘We believe in increasing the functionality of key products’

This platfor m is becoming more and more sophisticated in the number of functions it can support, giving service providers unparalleled flexibility. Operators now can invest in a single solution that can perform all the functions that previously required several different discrete system elements – providing significant CAPEX and OPEX savings. H a r m o n i c b e l i eve s i n t h i s approach of increasing the functionality of key products and have applied this strategy to other solutions as well. In the internet space, our Rhozet Carbon Coder universal transcoder, is the engine that powers leading names such as, Ascent Media, the BBC and Yahoo! Recently is has worked with You Tube, Arbitron, Vobile and Audio Magic to implement fingerprinting and watermarking technologies that can help content owners protect and monetise their assets delivered over the internet and ensure ad revenues are driven from fully legitimate content. The future of video will be one in which consumers can easily access both time- and placeshifted content on any device. We a r e fo c u s e d o n p rov i d i n g enabling technologies that make it possible for service providers to offer these services, without adding complexity to the network architecture. 1.C61



AJA Kona supports Final Cut by Carolyn Giardina AJA Video Systems is showing its new software for its Kona line of video playback and capture cards: Kona Lse, Lhe, Lhi and Kona 3. The Kona family is AJA’s 10bit uncompressed capture and playback cards for video and audio input and output on the Mac platform. The version 6.5 software provides support for the new Final Cut Studio and Final Cut Pro 7 as well as Apple’s new ProRes 422 (LT), ProRes 422 (Proxy), and ProRes 4444 formats. “We are incredibly pleased to be able to offer this new software upgrade to Kona users,” said Nick Rashby, president of AJA Video.

“AJA’s collaborative partnership with Apple has allowed the company to keep up with customer demands for support for the newest creative tools and digital file formats.” Kona 6.5 software additionally includes: closed captioning support for Final Cut Pro 7, MacCaption, VTR Xchange and AJA TV via QuickTime closed captioning tracks; and full VANC data capture and playback support on a per-frame basis for all Apple ProRes formats. With version 6.5, Kona 3 also supports a 10-bit RGB/dual-link capture and playback path using Apple ProRes 4444. New for the

Kona Lhi is display of timecode in the control panel, HDMI/DVI detection of colourspace/protocol, a downstream keyer, analogue audio output monitoring selection, HDMI audio input channel selection, HDMI input/output auto-detection, and eight-channel HDMI audio output. Kona 3, Lhi and Lhe gain support for Avid DnxHD and AVCIntra QuickTime file playback and video output. Kona 3 additionally supports Cineform 3D QuickTime. Version 6.5 software is available for download free of charge to current Kona users. 7.F11

Vinten Radamec courts new markets by David Fox Vinten Radamec has introduced a new control system for robotics in conference centres, parliaments and other legislative buildings. The Legislative Control System is a multiuser, multi-facility camera control system designed to support complex operations with requirements from manual to fully automated operation. It boasts a ‘uniquely powerful user interface’ that allows manual

operation through a touchscreen to target cameras as well as select shots. A joystick can also be added for precision control. The complete system configuration as well as the user interface can be customised to suit the needs of each job, and the whole system is modular allowing it to be continuously scalable as the application grows. “Our products are already widely used in assemblies and legislatures in the UK, Netherlands,

Belgium, Scandinavia and many more,” said Karen Walker, product manager for robotics at Vinten Radamec. “The aim is always to provide a flexible and scalable system, which users can tailor to their own specific requirements. So the new LCS control system is equally suited to a few cameras in a conference centre as it is for a multichamber parliamentary building.” 9.D28c

Shake out for Glidecam by David Fox Glidecam Industries has introduced a range of stabilisers for h a n d h e l d c a m e r a u s e t h at i s claimed to offer ‘advanced features and a degree of sophistication never before seen in a line of handheld camera stabilisers’. T h e n ew, t o t a l ly re - e n g i neered, Glidecam HD-series will allow your camcorder “to float, always balanced, isolated from your hand’s undesirable motions. Now you are free to move with your camera – panning, tilting, booming or running without any camera instability or shake,” the company claims. There are three models: the Glidecam HD-1000, HD-2000 and HD-4000. Each has an offset, foam-cushioned, handle grip attached to a free-floating, threea x i s g i m b a l . U nu s u a l ly, t h i s allows the user’s hand to move up and down, as well as side-to-side, isolating unwanted motions from the camera. Other features include fine adjustment camera balance platform; integrated quick-release camera plate; no-tools telescopi n g c e n t r a l p o s t ; a d j u s t abl e dynamic balance and inertial control base platform. 11.G45

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theibcdaily Introducing content ubiquity The business opportunity lies in embracing and monetising the extra ease of use that truly ubiquitous content delivers believes Rick Smith, VP sales and marketing, EchoStar Europe Exhibitor Opinion Some parts of the home entertainment industry seem to be countercyclic. As people work less and spend more time at home they defer major investments in new cars or expensive holidays, they have a little disposable income left and a lot of time to spend it. This sounds great and has been a common view within our industry. The latest figures show otherwise for many at IBC and it looks as though now the recession and changing purchase patterns have hit our sector. Economic down-

turns generate two very different reactions within companies. Spontaneously, they will streamline their business in a back-to-basics and risk-reduction approach, all the while realising that they must also innovate to survive. Although this seems incompatible, we should all be looking for ideas to do both at IBC this year. For many stakeholders at IBC, back-to-basics means simpler and more robust ways to deliver content. However carefully you plan media delivery all the way to connected homes, subscribers will always find some new way of con-

Rick Smith: ‘At first the industry assumed digital TV operators would reject OTT, now they are embracing it’

suming media-based services that hasn’t been anticipated. When we don’t move fast enough, users develop their own access over-thetop (OTT). As we don’t know in advance what will be required, media has to be repurposed specifically for

Comrex Brute beats IP reliability issues by David Fox The new BRIC Reliable UDP Tra n s m i s s ion Enhancem ent (Brute) has been introduced at IBC for Comrex’s Access-IP internet audio codec family. The upgrade also includes support for more 3G dongles and

WiFi interfaces (including NWiFi) the addition of FLAC lossless audio coding, G.722, SIP and other algorithms to ensure comp at i b i l i t y, p l u s web b row s e r i m p rove m e n t s a n d o t h e r enhancements. Comrex introduced BRIC in

2005 to provide reliable audio transmission over the public internet. However, IP networks such as Wi-Fi, Satellite and 3G/UMTS are becoming congested, which can cause streaming applications such as IP audio transmission to suffer. This is why it added a relia-

different devices on-the-fly. This is wh at we h ave e m b ra c e d at EchoStar through the integration of SlingLoaded functionality. We must also bring the power and reach of the internet to the living room and combine this with the simplicity of the TV. An Ethernet enabled STB/DVR opens the living room to OTT services originally designed for the internet like YouTube and iPlayer. At one time the industry assumed that digital TV operators would reject OTT, now they are embracing it as being complementary to their existing and traditional methods and offering a different way of reaching an audience, or to be more specific, reaching the same audience, with the same content at a different time. Operators are adjusting to their customers’ habits. A DVR with these features assumes the role of a home hub enabling the free flow of media to devices, which can seamlessly be

elsewhere in the home or on the other side of the world. For operators to answer users’ unpredictable needs, they must enable truly ubiquitous media. Devices communicate between themselves in simpler and better ways all the time. Digital Living Network Alliance (DLNA) will not be the end of the road, but is already a major step in the right direction. However there will always be times when users need to access media that is stored locally on a device. Portable media player makers like the French company Archos are at the forefront of this. S o t e c h n o l og i e s e n abl i n g media to freely move around the home are amongst those to watch out for this year. The internet may have brought a sense that whilst a lot of content and service is for free, it is also unreliable and of variable quality. People will pay to get the best of all worlds. 4.B54

bility layer and intelligent congestion avoidance to BRIC. It claims that Brute “delivers the best possible user experience over modern networks, especially those plagued by over-utilisation and marginal coverage”. The Access 2.7 update with Brute is available free to existing Access customers. 11.G11

Clearing congestion: the Comrex Access Portable IP Codec has been upgraded to put audio in the clear

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Hawk-Woods’ Hot-Bloc, which adds three additional hot-shoe mounts to a camera’s standard hot shoe, is now available with power input and output options, writes David Fox. The new HB-B1 Hot-Bloc is compatible with Sony NP-F type batteries and the new HB-C1 with Sony BPU type batteries. The batteries clip to the rear of the adaptors and both Hot-Blocs feature Hirose and D-Tap power output sockets, so that users can mount and power multiple equipment on a single camera hot-shoe. A DC input also allows equipment attached to these adaptors to be run from an alternative power source. 11.A76

TV Markiza picks P2 format

by David Fox Slovak television station TV Markiza has moved to Panasonic’s P2 HD format for its foreign news reporting team and its internet division. It has initially bought four AGHPX171E P2 HD camcorders and E-series P2 memory cards. This follows a successful trial of the equipment during castings for the popular show Czech & Slovak Superstar, which will be broadcast in both Slovakia and the Czech Republic this month. “Changing to P2 technology is a longterm strategic move toward a new format and our first practical experience has shown that it was the right choice, reflecting our requirements as they are now and also meeting the conditions necessary for switching over to HD-quality broadcasting. Since we cooperate closely with other TV stations in the CME group it is likely that our reference will send a positive signal also to other

members,” said Vladimir Spacek, TV Markiza’s director of technology. The channel, which has the country’s biggest market share, was looking for a format that would ensure quicker and more flexible workflow, and to increase video quality and ease of handling. It also liked the camcorder’s wide-angle lens for shooting in confined areas; its ergonomic features and low weight; its integrated HD-SDI output and its design and warranty conditions. “TV Markiza’s strategic decision to adopt the P2 format is an important validation for Panasonic. We believe that the quality and reliability of the P2 format will become a deciding factor in the adoption of P2 by other TV stations in the CME group in the future,” added Branislav Simkanin, country manager Panasonic PBITS for the Czech and Slovak Republics. 9.D18

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Anevia: anytime, anyplace, anywhere by Ian McMurray There was a time when a TV programme could unite an entire nation. With a limited number of channels, and no chance of seeing a programme again, a whole country would tune in. In 1966, for example, an alltime UK record was set when 32.3m viewers tuned in to watch the final of the World Cup – surprising, given that at the time only 15m households had TVs. In the 1980s, more than 30m tuned in to watch an episode of the soap East Enders. In these days of PVRs, VoD, web-TV, timeshift TV and so on, it seems unlikely we will ever see such figures again. Now, we want to be freed of the constraints of time and location – to watch what we want, when we want, where we want – and it’s that aspiration that’s addressed by Anevia. Anevia is presenting a full range of live TV and VoD solutions at IBC with a number of demonstrations. Start Over on Mobile is a feature that enables consumers to view live broadcast THE IBC DAILY SUNDAY 13 SEPTEMBER 2009

programmes from the beginning after the programme has already begun, without losing any content. Subscribers are liberated from the constraints of programme schedules, says Anevia, and, using their mobile phone, can watch their favourite programmes whenever they wish, wherever they are, without missing any of the action. This is complemented by Pause & Call on Mobile, a feature for live mobile TV services that automatically pauses viewing when a call arrives, asks if the subscriber wishes to take the call and resumes the programme, with no loss of content, when the call is finished. 3Screens allows operators to deliver the same content, regardless of origin, to mobile phones, PC or TV complete with time-shifting viewing features. Anevia’s demonstrations are using Videotree’s waterproof IP-enabled screens with an Amino set-top box and Anevia access technologies pre-integrated inside the screen for simplified installation and use. 4.C56

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theibcdaily In Brief Eyeon releases SDK/LE Eyeon Software has released the Fusion 6.0 Software Developerâ&#x20AC;&#x2122;s Kit, as well as a new Learning Edition. The SDK for eyeonâ&#x20AC;&#x2122;s Fusion compositing application assists users with pipeline integrations, new plug-in designs or other extensions. Eyeon founder and CEO, Steve Roberts, said that with the new 3D and GPU shader capabilities in Fusion 6 â&#x20AC;&#x153;multiple aspects of the 3D system will be available for developers. This includes the stereo 3D functionality â&#x20AC;&#x201C; an area where so many facilities are starting to work. Weâ&#x20AC;&#x2122;ve had numerous requests for an open-architecture 3D SDK for Fusion 6, and we expect a strong response and a lot of development from the plug-in community,â&#x20AC;? Roberts added. Advancements in GPU shader technology from the game developer arena are now available for high-end feature film work through the Fusion 6 3D SDK. â&#x20AC;&#x153;$500 GPUs with 480 cores can now be exploited to the extreme with the new architecture,â&#x20AC;? said Roberts. â&#x20AC;&#x153;This will certainly allow artists and facilities to get their moneyâ&#x20AC;&#x2122;s worth out of the new hardware.â&#x20AC;? Fusion 6.0 was designed to offer visual effects artists improved performance, full stereoscopic 3D support, Region Of Interest/Domain of Definition, interface refinements, expanded 2D and 3D toolsets, and user interface enhancements. 7.C21

Adtec gets to the hub Adtec Digital is showcasing its new mediaHUB-HD 422 High Definition encoder. The company says that the mediaHUB-HD 422 supports the most demanding MPEG-2 and MPEG-4 AVC contribution, distribution and studio encoding applications, with the ability to encode any combination of HD and SD, MPEG-2 and MPEG-4 AVC with 4:2:0 and 4:2:2 colour space. 1.D01

Coship/Qingyuan team Coship Electronics, Chinaâ&#x20AC;&#x2122;s largest STB provider and one of the leading global STB providers, has signed a formal contract with Qingyuan Cable Networks. Coship Electronics will provide its E2E Total Solution and services to the city and promote the TV culture and information industry development in Qingyuan with a long-term partnership. 3.C35

Planning and developing DVB-T2 For anyone interested in how the new digital terrestrial television standard will impact the business the DTGâ&#x20AC;&#x2122;s conference session tomorrow is a must. The session is billed â&#x20AC;&#x2DC;Multichannel HDTV without a dish â&#x20AC;&#x201C; planning and developing DVB-T2 on DTT for European viewersâ&#x20AC;&#x2122; Conference Tomorrow

Monday Sept 14, 11.00-12.30 by Fergal Ringrose The Digital TV Group (DTG) is the industry association for digital TV in the UK and has b e e n instrumental in the development of the detailed specification for a DVB-T2 platform (D-Book 6) and the establishment of a robust and rigorous test and conformance regime for DVB-T2 receivers. The introduction of DVB-T2MPEG-4 services offers the latest modulation and coding techniques to ensure highly efficient delivery of audio, video and data content. The 30-50% efficiency improvements that become available on adoption of DVB-T2 provide the capacity for HD and other advanced services to be delivered via DTT. This improvement comes on top of the 50% capacity saving that comes from the adoption of MPEG-4 in place of MPEG-2. The DTG was founded by the industry over a decade ago to protect consumers and safeguard the reputation of digital television distribution platforms and receiver manufacturers. Initially the Group achieved this by writing and maintaining the interoperability specification for UK digital terrestrial television (the â&#x20AC;&#x2DC;D-Bookâ&#x20AC;&#x2122;), and later by developing and implementing test specifications and regimes to measure conformance against brand requireme n t s through our test house: DTG Testing. Today, DTG conformance regimes underpin the Digital Tick, Freeview, Freesat, and Freeview New Zealand logos.

D-Book step change

In March this year the DTG published the 6th edition of the D-

Book. This new edition included the technical specification for high definition services via DTT (Freeview HD) enabling manufacturers to design and make products capable of receiving DVB-T2 signals in the home.

Broadcasting landmark

DTB director-general Richard Lindsay Davies

D-Book 6 is the product of over 5000 man hours of effort from the DTGâ&#x20AC;&#x2122;s Working Groups comprised of leading industry experts from the DTGâ&#x20AC;&#x2122;s staff and membership of over 125 broadcasters, receiver manufacturers, middleware providers and other organisations who continually update and peerreview the specification. D-Book 6 will also mark a step change in the compliance of receivers to the specification. DTG Testing can utilise eight years of test suite development to ensure that Freeview HD receivers achieve levels of compliance previously associated with vertical markets or lower-volume platforms. DVB-T2 trials are currently underway in the UK and Italy. In the UK industry regulator Ofcom has allocated Multiplex B in the UHF frequency band for the provision of HD services using the new DVB-T2 modulation stan-





dard and the video compression standard: MPEG-4 AVC. The BBC and ITV together with UTV, STV and Channel TV, Channel 4 and S4C, and Five have all been awarded channel slots on the Freeview HD service. The UK will be the first country in the world to deploy DVB-T2 when a region by region launch of the Freeview HD service begins on 2 December 2009. On this date the Winter Hill transmitter, serving the cities of Manchester and Liverpool will be the first region to start transmitting DVB-T2 signals, enabling residents to have access to an initial three HD channels on Freeview for the first time. This landmark in UK broadcasting is the culmination of many years of industry research and development and this conference session will outline the potential for the development of HDTV on

Graham Plumb, head of distribution technology, BBC

DTT in Europe, drawing on the experience gained during the deployment of DVB-T2 services in the UK. The session will inform delegates, of the benefits and challenges of implementing DVB-T2

in Europe from business, technical and viewer perspectives. Over 10.2 million homes in the UK currently have Freeview on their main TV set. However, the service faces stiff competition from pay TV DTT, cable and satellite services. Richard Lindsay Davies, director-general of the DTG will outline how DVB-T2 enables DTT to meet the challenge of an increasingly competitive marketplace. An overview of the DVB-T2 receiver and the implications for receiver manufacturers will be provided by Nigel Prankard from Panasonic. Prankard will focus on the drivers for development of the technology, communicating the technology to the consumer and key issues and concerns. Graham Plumb, head of distribution technology, BBC, will focus on the technical challenge of implementing DVB-T2 and the service proposition. As the UK is currently in the midst of digital switchover, queries have been raised concerning how the launch of Freeview HD services will operate during a separate nationwide switch to digital television. Tony Mattera, DSO network design director at Arqiva will discuss the challenges of implementi n g DV B - T 2 i n t a n d e m w i t h Digital Switchover. The launch of Freeview HD services will correspond with the switchover timetable. As a region switches off its analogue signal, HD services will be prepared for launch. The deployment of DVB-T2 will require consumers to purchase Freeview HD set-top boxes or recorders or integrated Freeview HD TVs in addition to their HD Ready TVs A panel discussion at the end of the conference session will allow the audience to ask questions regarding the development of new receiver equipment and its functionality as well as touching on the Freeview HD consumer proposition. By the time of the World Cup in June 2010 free-to-air HD DVBT2 services will be available to 4050% of the UK population with coverage rising to 60% later that ye a r a n d t o 9 8 . 5 % wh e n switchover is completed in 2012. Following the UKâ&#x20AC;&#x2122;s lead, other countries in Europe are known to be researching the possibility of the integration of the DVB-T2 model into their own television infrastructures. Consumer electronics manufacturers, along with Digital Europe are working together to develop a DVB-T2 version of the E-Book. NorDig, which specifies the common platforms for digital television to be used in the Nordic region has specified the minimum requirements for receivers that can access NorDig compliant signals based on the DVB-T2 specification. The DTGâ&#x20AC;&#x2122;s session aims to inform such countries and other European territories of the UKâ&#x20AC;&#x2122;s experience and provide advice on how the model can be replicated elsewhere.



Nucomm’s next gen CamPac 2

The PA-R range is designed to be flexible

PA-R score from Miteq by Ian McMurray Miteq is introducing a new range of medium power X-band rackmount solid state power amplifier (SSPA) and transmitter systems. The PA-R model series is an S S PA rack-mounted system d e s i g n e d using a modular approach to provide flexible solutions to meet a variety of applications, says the company, allowing for simple redundant configurations, as well as higher-power phase combined configurations.

These SSPA systems provide for over-temperature, over-current and high output VSWR safety protection. Status and control is achieved via the re m o t e RS422/485 bus or Ethernet interface port. An event log is continuously updated with time-stamped records of significant events. Miteq offers solid-state power amplifiers in C- and Ku-bands, as well as antenna-mounted outdoor configurations. 1.A18

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by Ian McMurray Centre stage on the Nucomm stand is the company’s second generation lightweight CamPac 2 HD/SD COFDM microwave transmitter. Intended for wireless camera applications such as sports coverage and ENG, the CamPac2 is designed to be rugged, reliable and have the exceptional thermal characteristics necessary for operation in the harshest of conditions. The second generation unit responds to the specific requirements of R&TTE and RoHS, and incorporates features such as direct IQ modulation and enhanced operator menus. Available in popular bands between 2GHz and 7.5GHz, the CamPac 2 can be mounted to professional cameras via Anton/Bauer batteries or integrated adapter

plates for Sony ‘V lock’ battery types. It is equipped with a variable bandwidth COFDM modulator and a high-quality MPEG-2 encoder that can be configured for either HD or SD, both of which deliver ultra-low latency. While its encoder can be upgraded to MPEG4/H.264, its variable bandwidth modulator (between 5 MHz and 16 MHz) allows high data rates in the 20Mbs to 30Mbs region using robust QPSK or 16QAM formats. To ensure compatibility with any DVB-T standard system, its 6/7/8 MHz bandwidth modes are DVB-T compliant. In addition, the CamPac 2 accepts various video formats from SDI and HD-SDI, both component and composite, to DVBASI for repeating applications. 1.B31

The CamPac 2 is intended for wireless camera applications such as sports

NCPower Compact manages end-to-end by Ken Kerschbaumer Norcom Information Technology AG has NCPower Compact on display at IBC. The end-to-end media asset management system is designed for TV, special-interest and internet broadcasters as well as corporate TV and post production companies.

The system provides all functions from ingest to playout in a single appliance. Pre-installed and fully equipped with hardware and software, the system can be put into operation with minimum effort, according to the company. The system is based on IBM BladeCenter technology, currently

the world’s most modern computing system. As a result, NCPower Compact is highly available, scalable and lowmaintenance. The user interface also conveniently integrates all necessary information and tools, allowing you to concentrate on what really counts in media production. 3.C50

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Wohler in A/V monitor launch The AMP1-E16-3G is Wohler’s first 1RU 16-channel 3G, Dolby E-capable, Dolby Digital Plus-ready audio/video monitor

by David Davies Wohler Technologies – which is co-exhibiting at IBC with HHB – is showcasing a range of products offering ‘flexible, state-of-the-art processing and monitoring in convenient and compact designs’.

Featuring dual selectabl e SD/HD/3G inputs, the AMP1E16-3G is Wohler’s first 1RU 16channel 3G audio/video monitor that is Dolby E-capable a n d Dolby Digital Plus-ready. The straightforward control interface

FOR-A expands 3Gbps range by Ken Kerschbaumer FOR-A is showing its cost-effective 3Gbps upgradable UFM-30 series modular frame system today. The line-up features a variety of options and choices to meet nearly every 3Gbps transport need. Fo r ex ample, the UFM30UDC up/down/cross-converter features an up/down/cross converter equipped with 3G/HD/SDS D I i n p u t/output and an analogue composite input and analogue composite output for monitoring purposes. It supports

3G levels A and B and up to eight channels of embedded audio input/output and features a builtin frame synchroniser and aspect ratio converter. The UF M 30UDC provides on-screen display (OSD) on preview output. Meanwhile the UFM-30DDA video distribution amplifier allows for a single input to be distributed up to eleven ways through the use of the UFM-3DDAEX. It supports data rates of SDI 270Mbps, 1.5Gbps and 3Gbps and reclocks and equalises 3G/HD/SD-SDI signals reducing noise and inter-

and overall look and feel of the unit mirrors that of Wohler’s new AMP2-16-3G 16 channel audio monitor. Like the AMP2-16-3G, the new AMP1-E16-3G provides monitoring for up to 16 channels of ference. The UFM-30DDA supp o r t s a DV B - A S I b i t - rat e o f 270Mbps. Also look for the UFM-30FS w i t h a u t o m at i c c h a n g e ove r switching that can work in traditional frame sync or line sync mode for minimum delay. The UFM-30FSR, available with bypass relay, will also be shown. And lastly the UFM-30DCC digital colour corrector offers balanced mode and is ideal for RGB signals. It also features a differential mode for colour correction without affecting white balance settings, and sepia mode for working with colour in monotone. 2.A51/B59

embedded audio within a single multirate SDI signal, making it an ‘ideal solution’ for multichannel and surround applications. Two of the three OLED screens can monitor 16 channels of audio simultaneously with flexible options for high-resolution 180-segment audio metering, while the third OLED screen can display video or data. The screens also support the systems’ interface for set-up and configuration. Integrated loudness measurement and dialnorm data are displayed to alert the operator if signals fall out of compliance with ITU-1770/1771 standards. Wohler is also showcasing the AMP2-16-3G 16 channel 3G audio monitor, which provides simultane-

ous display for up to 16 channels of embedded audio within a single multi-rate 3G signal. Equipped with five card slots, users can ‘pick and mix’ their inputs and adapt the unit as their needs evolve. This same functionality also enables users of Wohler’s AMP2-16M system, available with AES and Dolby E options, to upgrade their systems Other new products being exhibited by Wohler include the RMT range of single-screen SD/HD LCD monitors; three new models in the RM LCD video monitoring series; and the HDCC-200A HD/SD-SDI dual-channel, closed-caption encoder/decoder bridge with EIA608/EIA-708 support. 8.E54

IBM feeling analytical about the business of broadcast by Ken Kerschbaumer IBM’s stand features overviews of ways the company is helping customers analyse everything from business efficiencies to cross-platform advertising. IBM says that IBM business intelligence and analytics solutions are designed to integrate all d at a p rov i d e r s a n d i n - h o u s e s o u rc e s t o reve a l t i m e ly a n d actionable business insights. The company also promises it will help

customers reveal advertising values and performance with a 360 degree view of the business and gain a strategic view that quantifies the value of multiple platform. At the operational level that means creating a robust view of cross-platform advertising campaign management and inventory management, along with sales force performance, to integrate the entire advertising process. 2.A31

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

experience 60 THE IBC DAILY SUNDAY 13 SEPTEMBER 2009


The knowledge of secure investments ATG Broadcast managing director Guy Elliott offers guidance on how to choose the right technology for today while ensuring your investment is sound for tomorrow

DPA shotgun on target by David Davies The DPA 4017-R Shotgun Microphone with Rycote Windshield, c re at e d in conjunction with Ryc o t e, is making its first tradeshow appearance. The new strong suspension and windshield has been designed specifically to take the DPA 4017 shotgun mic’s compact size and light weight into consideration. It consists of the 4017 shotgun mic with XLR cable and DPA windscreen; the distinctive Rycote Windshield 2, measuring just 330mm; the Rycote fur windjammer; Rycote suspension mount in vibrant red, and Rycote XLR holder.

The DPA 4017-R is said to provide everything an outside broadcaster, journalist or location filmmaker could need for clear, directional sound, regardless of the weather and environmental conditions. Moreover, IBC visitors are being given the opportunity to win one. To enter the draw, participants need to visit the DPA stand and have their badges scanned. The winner will be contacted directly after the show. Other notable features of the DPA stand include a journalist making hourly broadcasts from the stand using a range of DPA mics. 8.C90

Pixel Farm PFPipe is open by Caroyn Giardina The Pixel Farm is showing its workflow enhancement software PFPipe at its IBC stand. The technology was designed to improve workflow efficiency by integrating PFTrack and the data it generates into third-party applications. More specifically, PFPipe is a C API for reading PFTrack projects and obtaining the data contained therein, allowing users t o e s t ablish integration of PFTrack data into third-party ap p l i c at ions and in-house pipelines. The first release of PFPipe is developed to provide access to PFTrack’s camera data and distortion models, as well as provide project links to footage and clips used in the project file. To provide a working example of how PFPipe could provide useful tools, developers at The Pixel Fa r m h ave ported PFBarrel, PFCameraImport and PFDataCombiner to a plug-in set for shake 4.1. The API includes sample C code for applications and a PFTrack project to enable developers and TD’s to develop tools based on this new technology. “As with all of our products our aim is to create tools that make production easier and more cost-effective. PFPipe was developed after spending time with our customers, seeing their workflows and thus creating a tool that they needed,” explained Michael Lancaster, product director, The Pixel Farm. In related news, London-headquartered Double Negative has p u rch a s ed an additional 10 licenses of PFTrack for use in its new facility in Singapore. Explained DNeg matchmove

supervisor, Sam Sch w i e r: “PFTrack is widely used in the London office and we have found the latest version (v5) to be a huge improvement for problem solving shots we undertake. “The interface improvements in this version allow us to see the status of a track much m o re clearly, and it is now also much easier to feature track.” 6.C18


Media companies know they have to change their existing business models to meet the demands of an ever changing digital marketplace. In the current economic climate, they need to show a rapid return on any new investment. As a systems integrator recognised for its technical versatility, ATG Broadcast is fully aware that commercial success depends on determining which combinations of technology will deliver the greatest benef i t s t o e a c h c l i e n t ’s s p e c i f i c requirements. The digital revolution is of course still in progress so further change will be inevitable. How do you choose which is the right technology for today while ensuring that your investment is future proof ? Broadcast technology is continuously sprouting new offshoots like the branches of a tree. Each offshoot has the potential to develop strongly and divide into further subsets. So what budding o ff s h o o t s d o we s e e at t h e moment? File-based acquisition including some fantastically lowcost capture devices, miniature robotic cameras, multicolour LED studio lighting, solid-state-storage, ultra-high-capacity disk servers, 3D-HD, pseudo-3D, IP-based system control, LED-illuminated monitor screens, IP-TV delivery, mobile television viewing, and so it goes on.

Part of our activity at ATG is to evaluate opportunities and challenges made possible by each new technical development, not just in its own right but in the way that it interacts with existing solutions. A well-defined implementat i o n p l a n a n d s u c c e s s f u l ly executed project is the key to this business transformation. A major trade exhibition and conference like IBC provides many opportunities to explore the latest broadcast-specific hardware and software and to evaluate their prospects both in isolation and in the context of existing markets. When I first began attending IBC back in the mid 1980, it provided a useful way to recharge one’s filing cabinets with the latest product catalogues and specsheets. The internet has largely blown that away; in today’s wired world, an informative and attractively produced PDF on practically every new piece of kit is available (or should be) even before the solder has dried on the first prototype. What has not changed is the opportunity offered by major exhibitions to meet faceto-face with delegates, colleagues and fellow exhibitors, to exchange ideas, to discuss the engineering challenges and to identify practical solutions. Such meetings enable the mix of new ideas to gel far more quickly than through the

Guy Elliot: ‘A well-defined implementation plan is key to business transformation’

traditional channels of telephone discussions and emails. The downside of trade shows is the ever-present temptation to inflate the size and complexity of your exhibit when trade is good, only to have to cut back if business becomes tighter. Our own sector of the industry, systems integration, remains healthy because broadcasters in every country recognise the advantages of outsourcing systems design and installation to experienced specialists rather than distracting their own technical staff from their normal daily duties. Today more than ever, broadcasters are looking to the independent systems integrators such as ATG Broadcast to provide best of breed products capable of delivering not just a solution for today but one which can easily be expanded to meet future demands. 8.B51


• 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


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

The DPA 4017-R shotgun microphone with Rycote Windshield debuts

Exhibitor Opinion



theibcdaily Exhibitor Q&A

tional broadcast, government and military markets.

Don Hoeler, VP sales & marketing, RF Extreme, a Vitec Group company

What do you think are the key developments in, or threats to, your market sector at the current time? Our industry has been affected by spectrum auctions and frequency re-allocation. Globally there is continued pressure to reduce channel bandwidths and/or shift to higher frequency bands, where RF propagation is poorer. Fortunately, RF Extreme’s resources under the Vitec Group have enabled us to spearhead development in all key

Has IBC come at a good time for the electronic media industry? Why? We always look forward to exhibiting at IBC 2009 to showcase our latest products and meet with both existing and potential new customers. Nucomm Inc., along with sister companies RF Central and Microwave Service

Company, form the Vitec Group’s RF Extreme business unit. It is a leading global provider of digital and analogue microwave systems (temporary and fixed) to interna-

disciplines – encoding, modulation, RF and antenna design. The internet has emerged as a viable platform for TV distribution, and interest in using it as a medium for contribution continues to grow. However, the need to be able to guarantee the availability of a major broadcast, and contribute with minimum latency, has so far ensured that technologies such as licensed microwave links still have a major part to play in live programme contribution. Why should delegates visit your stand at IBC?

RF Extreme prides itself on product innovation and continu a l p ro d u c t i m p rove m e n t . A m o n g a h o s t o f p ro d u c t updates and new product developments, this year will be introducing to IBC the award-winning ProQ Digital IFB (Interruptible Fe e d b a c k ) s y s t e m , wh i c h addresses the difficult requirement of providing a low latency IFB audio path for ENG/OB operators. Plus, we always enjoy meeting our old friends and hopefully making some new ones. 1.B31

Visual Research gets graphic Walton says ‘Let it snow...’ by Ken Kerschbaumer Visual Research brings more than 15 years of professional on-air graphics development experience to IBC in the form of Visual C, CG Tools, and more. VisualCG 3D is a realtime HD/SD 3D character generator used to create 2D/3D titling and motion graphics effects for broadcasters, content creators and TV service providers. With VisualCG 3D, text and shapes can be modified to 3D object with a few simple operations, and displayed with over 200 realtime transition effects. Keyframe object and timeline


animation control provid e r s extensive multi-layer control over the display of all graphic elements. CG Tools is a development tool for creating custom broadcast graphic applications such as live sports, stock tickers, live elections, weather forecasts and more. The company addresses football broadcasters with V-Soccer, a realtime HD/SD soccer broadcast application customised to on-air every incident of rapidly developing soccer matches. Linking VSoccer and VisualCG 3D, makes immediate response possible. 3.A39a

by Ian McMurray Walton De-Ice offers a range of products designed to mitigate the potentially transmission-stopping effects of snow and ice. The company has a range of satellite dish covers such as the Snow Shield, which is manufactured from a PTFE-coated GoreTex material. The material has a very low coefficient of friction, meaning that most snow and ice will simply slide off. Walton DeIce also offers a range of heating systems that can be used in conjunction with its other products to maximise their effectiveness.

New for IBC this year is the Ice Quake. The Ice Quake works with the Snow Shield cover by vibrating the Snow Shield cover to remove any water, ice or snow. From a 0.60m to a 2.0m antenna, the Ice Quake requires only 40 watts at 24VAC . From 2.1m to a 2.4m antenna, the equivalent power consumption is 45 watts. The Ice Quake can be installed on some antennas as large as 6.3m and these would require just 300 watts of power to operate, says the company. According to Walton De-Ice, the device offers a huge saving for

Walton offers a range of products that can mitigate the effect of snow and ice

the end user – and there is virtually no maintenance for this system. The company goes on to claim that this is the first true ‘green de-icing system’ in the industry. 1.F47



Red Bee acquires Mundovisión Spain by Ken Kerschbaumer Red Bee Media has continued its global expansion with the acquisition of Mundovisión, the largest independent subtitling and audio description company in Spain. Following the acquisition of Titelbild in Germany in early 2008, the

addition of Mundovisión consolidates Red Bee Media’s position as Europe’s largest supplier of subtitling, signing and audio description services to the media industry. Mundovisión, headquartered in s Seville, was established in 1996.

Encoders for DMB go OTT

by Ian McMurray OTT is offering products including the OTT7700VR, a DMB visual radio encoder designed to allow broadcasters to enhance their existing DAB radio service, enabling new interactive services as well as associating visual data with radio programming. The OTT8800 is described by OTT as a low bitrate, high quality CMMB encoder, using the MPEG-4 AVC Part 10 algorithm. Features include multi-pass look ahead constant bitrate (CBR), variable bitrate (VBR) or average bitrate (ABR) encoding, monitoring via a web browser and extensive video pre-processing including image resizing, noise filtering, frame rate subsampling and brightness/contrast adjustment. Also being presented on the OTT stand is DS-1100 ISDB-Tb (the Brazilian implementation of the standard) SEG monitoring decoder, supporting the MPEG-4 AVC/H.264 baseline simple profile for video decoding and MPEG-2 MPEG-4 AAC+ AAC+ V2 audio decoding. The company says that the DS-100’s intelligent decoding enables broadcasters to achieve unrivalled performance. 5.C38

With approximately 50 staff the company also has small teams in Madrid, Valencia and Las Palmas, and a subsidiary in Tétouan, Morocco. Clients include Disney (Spain), state broadcaster TVE, C a n a l S u r, C a n a l N o u , T V

Canarias and national broadcasters La Sexta and Antena 3. Toby Blizard, head of business development, Access Services, Red Bee Media commented: “This is a significant step in our expansion and adds further subtitling capability to our product suite. We welcome the staff from Mundovisión to Red Bee Media.” Mundovisión’s José Maria


Zafra said the investment from Red Bee Media means that the company’s subtitling technology can be further developed. “We are now moving onto our next stage of growth by joining the Red Bee Media family, giving us access to global broadcast clients and new markets,” Zafra explained. 3.B51


IBC thanks our supporters for providing the technology that powers the IBC experience taps into Twitter

by Ken Kerschbaumer At this IBC, 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 GUI for configuring, deploying, and scheduling interactive automated TV graphics. IBC2009 upgrades include Harris IconMaster support, allowing control of an IconMaster over a serial connection using the M2100 protocol. DCS now also includes expanded flexibility when working with Vizrt, Harris RTX, Adobe Flash, and Microsoft Silverlight. 2.A40 THE IBC DAILY SUNDAY 13 SEPTEMBER 2009

Conference: 10 – 14 September Exhibition: 11 – 15 September RAI, Amsterdam 63


A crisis that forces creativity Media asset management and 3D satellite delivery are two key business drivers identified by GlobeCast CEO Christian Pinon Every organisation in the broadcast world is facing the economic crisis in its own way. Most are

looking for ways to reduce costs, invest wisely and prepare for the future. All are looking around at

what others are doing. In Europe, we’ve seen some broadcasters reduce their activities and others

Exhibitor Opinion flounder. Yet there are positive signs as well. Channels are still launching every day, content is still booming, especially through alternative platforms, which are also growing. So what are the business drivers today? Outsourcing technical serv-

Christian Pinon: ‘The increase in HD delivery is especially pronounced leading into 2010’

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 64

ices: While individual channels, especially new ones, are having increasing difficulty ‘going it alone,’ the broadcast service providers of the world are in the fortunate position of having the technical infrastructure to support the growth of multiple broadcasters. This means less investment and risk on the part of the channel, and more chance of success for the service provider. The delivery aspect can take the form of a flexible IP-based application or the more traditional but higher quality satellite and fibre contribution. Another driver, when tied into playout and delivery, makes media asset management a powerful service. The ability to index, catalogue and transcode content for multiple platforms to create a dynamic, sharable library is one that we see as a major value-added service for customers looking to not only outsource but make their workflow more intelligent. Going tapeless has been a trend for years. People are looking to go further with their tapeless content and repurpose every bit of content for every type of platform. We have also been seeing continued growth of HD contribution, and we have had to make lots of equipment investments to stay ahead of the curve on this. This increase in HD delivery is especially pronounced leading into 2010 with all the events on the way, such as the World Cup in South Africa and the Winter Olympics in Vancouver. Another surprisingly popular trend is the growth that we’re seeing in live 3D delivery of events to cinemas and other venues. It’s still very much in the experimental p h a s e, bu t i n Fra n c e we ’ve recently been involved with delivering the French Tennis Open in 3D HD, as well as an Opera. This opens up opportunities for reaching a more engaged audience, by helping viewers really feel like they are part of the action. At IBC we’re expecting a lot of activity – after all, there may be an economic crisis, but the broadcast world has not stopped turning. If anything it’s meant that service providers have to be creative in their solutions and invest to keep up with technology. The only way out... is up! 1.B40 THE IBC DAILY SUNDAY 13 SEPTEMBER 2009


Adapt or watch business die Television set cannibalisation is well underway Conference Analysis The adoption of new media is speeding up and broadcasters need to adapt or be left with a dominant share of a dying business, Saul Berman, global strategy and services leader at IBM Global Business Services, told a packed Forum audience for Growth Opportunities in Media and Broadcasting. “I’m here to tell you that the adoption of new media is speeding up,” said Berman. TV set cannibalisation is well underway with consumers in the UK and Australia among the highest scoring countries with 36% of respondents saying they watch less ‘traditional’ TV.

The greatest cannibalisation is among 18- to 21-year olds, but although interestingly TV viewing is increasing, a lot of the growth is happening on devices other than the traditional television. New media may be on a growth curve, but understanding how consumers will react and what they will pay for becomes even more confusing in the digital space, said Rory Sutherland, vice chairman of the Ogilvy Group UK. “Conventional economics break down in a world of ideas and abundance, which is what the internet is,” said Sutherland. “People are strange, especially in what they are willing to pay for. On one hand, they won’t pay for access to the website but

by Kate Bulkley call it an iPhone application and people will pay for it.” Sutherland explained that people typically attach more importance to how they access a product or service than to what they pay for it. For example, it has been assumed that younger people would not give to charities, but once some charities offered donation by texting, this age group was seen to give generously. “The purest economics schools have to take a back seat. Platform choice comes easier than anything else,” said Sutherland. A revolution is needed in TVs so that consumers can have a unified user experience across platforms, said Erik Huggers, director of Future Media & Technology for

the BBC. “There needs to be a revolution in the TV receiver platforms to give consumers a unified experience.” The BBC’s answer to the problem is its Canvas proposition that seeks to create one system that will allow various broadcasters to offer on-demand programming using one technology platform. Huggers, who announced that the BBC will licence its iPlayer catch-up TV technology to international broadcasters in the new Open iPlayer programme, said that there will likely be a big fallout among the online video aggregators (Joost has already stepped back from trying to be a consumer online video portal) and possibly a ‘device play’ – as happened with the iPod and music – in the online video space. According to Huggers: “The internet rule is that one winner takes all. It happened that way in the search space, with online commerce and with social nets. So will it happen with online video?”

Digital signage goes outdoors

Paul Delzio, director business development and Charles Cheevers, European CTO of Arris

Arris sees evolution, not revolution in IP by Ian McMurray One of the great things about IBC is the opportunity to talk with those responsible for helping shape the future of broadcasting, and to find out how they’re thinking. “Pacing is everything in this industry,” said Charles Cheevers, CTO of Arris. “We’ve been talking about a broadcasting revolution for so many years now, it’s become clear that it’s not a revolution – it’s an evolution, a period of transition.” Colleague Paul Delzio, director of business development, pointed out that no-one could possibly know what the future holds. “In this business, as in any other,” he said, “there is no substitute for being in tune with market dynamics – and, more importantly, listening to customers.” D i s c ussion turned to how manufacturers like Arris react in the face of uncertainty. “Take the home gateway, for example,” said Cheevers. “There’s no agreement

whether it should be thick and the client should be thin or vice versa – or whether it should have storage or not have storage. O u r response to that has be e n t o ensure that we have a product offering what’s appropriate to the widest range of scenarios.” But if there’s uncertainty in that area, there are some areas that are clearer. “We know for sure that IP is coming t o t h e home,” said Delzio, “and now the foundations are in place to make that possible.” Delzio also noted how the technology is becoming available – by analysing viewer habits and putting that information together with information already held about the viewer and information that is publically available – to create new generations of advertising that are non-intrusive – ‘consumers won’t want to fast forward through them’ – because they are so precisely targeted. 1.F40


by Heather McLean Digital signage industry giants are set to fight for dominance based on who takes the outdoor market first, stated Christian Sokcevic, general manager of marketing for projectors and displays at Panasonic. The key to the future of large screen digital signage (50 inches and above) will be about which company is able to offer real outdoor signage solutions, claimed Sokcevic. “This is not only about the technology itself,” he explained, “but also how to make the solution work in the middle of a city, not just at an airport.” Currently, LED screens provide the right brightness for outdoor digital signage, but at ranges of less than around 6m the picture resolution quality is too poor to work. Therefore, said Sokcevic, plasma screens are required. “The 84-inch plasma is the right size for bus stop light boxes currently using rotating paper adverts.” However, this idea is currently being pilot tested as there are a number of issues in taking plasma into an outside environment, he added.

Christian Sokcevic: “The carbon consumption of a projected display is 7.5% lower”

“The beta testing is about CO2 emissions, although digital signage has lower emissions than using paper according to research we carried out earlier this year, that showed that the carbon consumption of a projected display is 7.5% lower than a traditional poster package. “Also, the testing is about seeing what the justification is for moving from paper to digital, and about how a plasma screen could work from outdoors thinking about factors such as weather and vandalism,” Sokcevic said. DS14

Echolab switches Atem to Europe by Adrian Pennington Echolab is showing its ‘paradigmbusting’ video switcher Atem for the first time in Europe at IBC. “While other video switching devices claim to be 3Gbps-ready, Atem, supports 3Gbps 1080p60 right out of the box, meaning operators can produce images in the highest resolution possible today, or be ready for it tomorrow,” said Nigel Spratling, CEO of Echolab. “We have called upon our 35 years of experience to build a product that combines every feature our customers have told us they want in a 1 M/E switcher, including the ability to input and output any kind of signal. Yet we have remained mindful of

In Brief Advanced router control Evertz has introduced two new advanced router control panels for IBC2009.The CP-2116 and CP-2232 complement any control panels to the company’s existing CP-2200E product. The CP-2116 offers a 4.3” LCD screen with 16 programmable LCD buttons. The CP-2232 offers two 4.3” LCD screens and 32 programmable LCD buttons. As with the CP-2200E, these two control panels go beyond simple router control, says Evertz. Both panels offer a versatile option that allows broadcasters to control equipment throughout the facility (from terminal equipment to multi-viewers). As a result, says the company, operators now have a single easy to use interface to manage and control devices, outside of the router. 8.B40

Entone and Agama: fast deployment of IPTV Entone and Agama Technologies have announced the integration of Agama’s IPTV monitoring solution with Entone’s next generation IP video gateways and media hubs. The integrated Entone-Agama product enables service operators to extend their Agama realtime, 24/7 analysis and monitoring into the subscriber’s connected Entone devices within the home, to ensure service quality throughout the entire video delivery chain, from the head-end to the STB. “As the availability of content increases and subscribers find more ways to access their content, it becomes a challenge for operators to successfully and cost effectively maintain quality assurance,” said Mark Evensen, VP of product development at Entone. “By integrating our field proven IP video gateways and media hubs with Agama’s QoS monitoring solution, we are able to support our customers who need to get to market quickly.” With Entone’s IP video gateway platform, operators can increase customer loyalty by maximising the quality of the user experience, as well as further differentiate themselves by offering more advanced services such as VoD, wholehome DVR, and online video services. The Agama monitoring solution is integrated with system integrators IPTV solutions and is widely deployed at over 50 operator sites. Entone IP701 Agama 4.A55

Holy Grail for IPTV

Nigel Spratling: “Atem supports 3Gbps 1080p60 right out of the box

cost and are shipping Atem for under $20,000.” 10.D30

Video compression standard H.264 is the standard set to unify the IPTV delivery world, according to Peter Maag, senior vice president of marketing at HaiVision. Maag commented: “What people are looking for is a system based on the most ubiquitous standard, which is H.264, that can code video in a controlled fashion to different sized bitstreams, to different end points, to get the right quality required. H.264 is the standard that’s been accepted for all these challenges. It’s pretty cool; if enterprises choose H.264, they can do live encoding, deliver to different consumers, and pick a system that can deliver to all these different consumers with all these different encoding weights and restrictions.” IP702



Digital signage must go 3D or fail by Heather McLean Today’s digital signage is not spectacular enough to attract viewers, claimed Jean Pierre van Maasakker, head of 3D marketing and comms firm, Zero Creative. He said the digital signage industry needs to pay more attention to developing and using 3D, interactive, intuitive digital signage and content. M a a s a kker told The I BC Daily: “In my opinion using 3D digital signage attracts three times more attention than normal digital signage.” He added that that there are a number of issues with d i g i t a l s i gnage that must be addressed if it is to work in its role of attracting attention. In IBC’s Business Briefing, Digital Signage Trends, Maasakker claimed the problems with digital

signage begin with an overbearing focus on the technology, which takes up the majority of the advertising budget, rather than marketing concepts. Content used is often too simple and tends to look like it was made in only a few minutes, he said, plus there is a tendency to use poor quality automated information. Also, all communication is one way with no interaction for the viewer, if indeed, he said, anyone can be bothered to look at the resulting advertisement. However, the biggest bugbear for Maasakker was undoubtedly the use of RSS feeds on digital signage screens in a bid to make people look. RSS news consists of 51% bad news, 39% sports news, and a mere 10% good news on average, he claimed. “This creates completely

the wrong ambience to sell,” he said. “I have nothing against RSS feeds, but they should at least be filtered to get the bad news out,” he stated. Maasakker outlined his solution: “We think it’s time for digital signage 3.0, combining Web 2.0, 3D and interaction. This is feasible right now, the elements are there, but they need to be combined. In about a year we should start to see more of this on the high street. “ We n e e d t o i m p l e m e n t stereoscopic 3D technology, which will increase attention significantly as people won’t need to wear glasses to experience 3D. We need to make digital signage realtime, as one of the biggest probl e m s w i t h d i g i t a l s i g n ag e i s content is expensive to produce; our brand promise should be that

Prompters LED to a brighter future

The IBC Daily’s web manager Tim Frost interviews Autoscript’s Managing Director Brian Larter on the show floor for the Daily’s web site (

by David Fox Autoscript has become the first prompter company to fit its displays with LED back lights. The bright, TFT-Plus flat screens are more costly to manufacture, but won’t result in any price increases for broadcasters. “LEDs bring a whole wealth of different improvements, not just new features, but added reliability as they can cope with being knocked about, and you get p e r f e c t c ove r ag e o f l i g h t ,” explained Autoscript’s MD, Brian Larter. He has wanted to move to LEDs for some time, but when they first considered them, three years ago, suitable screens weren’t available. Now its complete range – from 5.6- to 19-inch displays – is LED driven. Powe r c o n s u m p t i o n i s a n important consideration, and previous Cold Cathode Fluorescent Tube prompters needed a lot of power (especially on start up –

Jean Pierre van Maasakker: “We need to implement stereoscopic 3D technology”

everyone who can send an email from Outlook can also create 3D content for digital signage as it will be that easy. And we need to

make digital signage intuitive, interactive and of course, fun,” explained Maasakker. DS6

where they also needed some minutes to reach full brightness), but LEDs cause no power spikes and use about half the power on even the brightest units. The light spread is also better and blacks are blacker – “the contrast level is absolutely fantastic. Presenters find them easier to read and it causes less fatigue,” he said. The units will also last a lot longer. “LEDs have eight times the life span of CCFLs. The output of CCFLs diminishes over time and they need replacing. LEDS produce very little heat and that’s a big factor in component failure. There are still fans to regulate heat, but they only come on if it is in a hot studio or outside in the sun.” Even though LEDs are more expensive, Autoscript has taken a hit on its margins to offer them at the same price as CCFLs. The older technology will still be available for customers who want to match new units to old – as LEDs can look a bit odd next to CCFLS). 9.D28

Tandberg moves VoD ahead at IBC

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by Farah Jifri Te k t ro n i x h a s u nve i l e d i t s WFM8200 and WFM8300 advanced waveform monitors with support for 3Gbps SDI. The two new monitors deliver realtime, automated 3Gbps SDI Eye pattern display and jitter measurements to help broadcasters and network operators effectively diagnose signal problems and help equipment designers and manufacturers reduce time to market. According to Tektronix, this is

made possible by its comprehensive physical layer measurements including automated 3Gbps SDI signal eye pattern parameters and jitter measurements which sits alongside the company’s jitter wave fo r m d i s p l ay a n d c abl e length measurement. The system also features alarm information to help identify and diagnose video and audio content quality, and p o t e n t i a l ve r t i c a l a n c i l l a r y (VANC) data problems. Additional features of the WFM8300 (with Option PHY) include multi-rate HD/SD-SDI and 3Gbps SDI (with Option 3G) colour bar and pathological signal generation capabilit i e s ; a n d a dva n c e d c o l o u r grading with new Luma Qualified Vector (LQV) and Spearhead Gamut displays. 8.C75

by Ian McMurray “What we’re doing with VoD is taking it and moving it on,” said Edward Allfrey, business development director, cable at Tandberg. His company is showcasing the breadth of its capabilities at IBC, and one of its areas of focus is understanding what it is that consumers really want. “We’ve surveyed 37,000 users, and they were pretty much unanimous,” continued Allfrey. “They want to watch programming where they want to – and when they want to.”

Edward Allfrey: “Operators are breaking away from the set-top box”

What that means is that content may be viewed on a TV, on a PC, or on a mobile phone – and it may be the same content. “When a consumer rents an asset – a movie, for example – he doesn’t want to be limited as to when he c a n wat c h i t , o r wh at h e c a n watch it on,” said Allfrey. The c o m p a ny h a s a n i m p re s s ive demonstration in which a movie is started on an iPhone, stopped – and restarted from the same point on a PC. The movie is stopped again – and then played from that point on the TV. “Operators are breaking away from the set-top box,” said Allfrey. “The important thing is to create a single, horizontal service layer – and not to create silos.” 1.D61


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theibcdaily In Brief Sky News is Hyper Sky News is investing in 11 Chyron HyperX3 graphics systems, together with a Camio Cluster Server and OMS (Order Management System) for Sky News HD, which will launch in 2010. Simon Buglione, creative director Sky News explained: “Chyron offered us the most comprehensive combination of design capability coupled with the flexibility in design and playout stages to cope with the high demands Sky News has for speed to air and adaptability of its primary platform.” The HyperX3’s will be operational throughout the Sky News Channel architecture and provide full frame graphics. “Our relationship with Sky started back in August 2007 when we became the lead graphic partner for Sky Sports News,” explained Michael Wellesley-Wesley, CEO, Chyron. “Many major networks and affiliations throughout the world enjoy the benefit of the Chyron system and Sky News was keen to be the first in the UK to offer such a compelling viewer experience, whilst giving their operators the most intuitive technology to work with.” 7.D11

Broadcast intelligence Civolution’s Teletrax broadcast monitoring service is now capable of providing broadcast intelligence using its watermarking and fingerprinting technologies. The flexibility of using both technologies, says the company, provides identification suitable for long-form content such as movies and short-form content such as advertisements, as well as providing monitoring and encoding options that directly support client usage models and address content workflow preferences. Civolution says that this is an important strategic development for the company and its clients, because offering both watermarking and fingerprinting technologies in a combined service allows Civolution to propose solutions even more closely tailored to its customers’ needs and content. Fingerprinting works by extracting the specific features of the video and storing them in a reference database. The network of detectors performs a constant matching of content aired against the reference database and, upon identification, details are sent to the Teletrax database for analysis and reporting. 5.B18

Artel VP Sales Artel Video Systems has appointed Gary Schutte to the position of vice president of sales. He brings more than 20 years’ of industry experience and will be responsible for building on existing customer relationships and fostering new partnerships with systems integrators and resellers. In addition, Schutte will take charge of the product development roadmap for the company’s DL4000 Video Transport platform. “Gary is an extraordinary addition to the Artel executive team as we focus on growing beyond our traditional customer base,” said Richard Dellacanonica, president of Artel Video Systems. Schutte joins Artel from Harris where he held the post of VP of Sales for the Central US with Harris Corporation Broadcast Division. 8.E37


The kids are on-line Broadband ‘is a right … it is like water’

by Kate Bulkley

Conference Analysis For Yuto Maruyama, a Japanese graduate student, the internet is preferable to the TV set for watching football. “I prefer the internet to watch TV. It helps me to control my experience. I search what I am interested in.” Maruyama, who loves to cook and is part of a group of similarlyminded Japanese students who upload cooking videos onto the web so they can compare recipes, was part of a panel of university students who came to IBC to talk about how they use digital media to consume entertainment and information in the Youth Consumption Trends panel. “I hardly watch TV except online,” said Chinwe Abosi, a Nigerian who is studying for a PhD at the University of Essex. “It’s

Yuto Maruyama said, “I prefer the internet to watch TV”

easier to watch on computer. I can watch part-way through and then come back later rather than having to stick to the TV schedule.” T h e s t u d e n t s, q u i z z e d by Jeremy Barr, professor of broadcasting and convergent media at the Ravensbourne College of

Design and Communication, said that although they used digital technology somewhat differently, they were all dependent on their broadband and digital devices. “I d o n’t d o Fa c eb o o k a ny m o re because my Mom is on it now,” s a i d A b o s i . B u t s h e s ay s s h e

couldn’t live without her broadband connection. ”I think broadband is a right. To me it is like water. I couldn’t live without it.” Evgenia Lysova, a student at the Petersburg State University of Film and Television, agreed that broadband is essential. “I only have 2Mb which is not very much but when I get a good job I will get more speed.” Lysova says she listens to the radio to get her news in the morning and she sits on the sofa at night to watch TV news, but generally she prefers the PC and mobile to a TV. “I look on YouTube for football,” she said. Abosi said she doesn’t trust brand advertising, preferring to get a recommendation from a “real person” on YouTube. Lysova added that she sometimes liked “well-made advertisements” but that she doesn’t pay attention to adverts for cheap flights anymore. And the students favourite digital device? Maruyama said the iPhone is his favourite. Yysova says that the internet and especially IM (messaging) is her favourite. Abosi says that having the internet on her mobile phone is her favourite. “I don’t know how I lived without it,” she said.

Retiring types turn TV digital by Kate Bulkley It will take this generation of commissioning editors to retire before broadcasters really start to embrace digital and online in a wholehearted way, agreed a panel of broadcasters and a producer at the session ‘Does TV Speak Digital?’. “It will change over a generation and these people will be pushed out because of their age quite quickly,” said Bruno Felix, founding director of Submarine, a multiplatform producer based in the Netherlands. “And if people step in who are a little bit younger and understand these things a bit better we should see change over the next five to 10 years.” Tom Koch, vice president of PBS Distribution, agreed, saying that most broadcasters are still stuck in the traditional TV paradigm in some cases to do with traditional fiefdoms, and there is no common language between “new media people and TV commissioners and producer pride. He said that it is very difficult to get TV and radio producers to collab-

orate but that this is starting to happen around investigative news at PBS. “Most broadcasters look to the web as merely an extension of broadcast today so the new popular thing is everyone wants a catch-up window, which is a way of saying give me more runs but I am going to put them on the internet,” said Koch. “Using the web for tune-in ads or for catch-up rights is about as far as they have gone.” Felix says that dealing with broadcasters can be a “Kafkaesque experience” where “the website gets lost between broadcaster’s departments” and where different parts of the broadcaster don’t talk to each other. There is still a lot of “patchiness” at broadcasters at how they deal with the digital elements of a commission, but PBS’s Koch says that the commission has to be approached differently with the idea at the centre rather than the audience or the technology platform. He says the future is about looking at the overall audience for a project that has a TV, an online and a DVD component.

Arqiva provides IBC with DVB-T2 test transmission by Ian McMurray Arqiva is providing DVB-T2 test transmissions at IBC to facilitate the demonstration of high definition terrestrial TV throughout the exhibition centre, including t h e DV B s t a n d . Fo u r h i g h definition services are accommodated in one DVB-T2 multiplex within a standard 8MHz transmission channel.

In providing the transmissions on behalf of the IBC organisers, Arqiva was supported by a range of partners including the BBC (HD content), Tandberg Television (HD MPEG-4 AVC statistical VBR encoding and multiplexing), Enensys (DVB-T2 modulator), Harris Corporation (DVB-T2 transmitter) and dB Broadcast (professional satellite IRDs and ASI distribution equipment).

Hi Tech Systems is showing the Comptometer – a jaw-droppingly gorgeous, fully-featured server controller whose Victorian, steampunk-inspired exterior hides some seriously clever electronics underneath its polished wooden surface. Beautiful – as demonstrated by Hi Tech’s Martin Cook. 10.A49

Peak opens US office by Ian McMurray Peak Communications, which designs, manufactures and supplies satellite communications equipment, has announced the formation of an American subsidiary – Peak Communications Inc. – and the opening of a new US office in Atlanta, Georgia. “This is an important milestone for Peak and an ideal opportunity

for our company to demonstrate our ongoing commitment to our overseas customers,”said Michael Kitson, managing director for Peak Communications. “We are now ideally positioned to offer local logistics andtechnical support to our customers, representatives and end users alike in North and South America.” 1.E34

The facilities in the Amsterdam Tower, just south of the RAI Centre, were courtesy of Alticom who has provided accommodation for the racks of equipment and antennas as well as feeder and power installation services. Arqiva has provided transmission antennas and combiners, satellite reception for content and project management for the whole installation. A separate Arqiva installation also provided MediaFlo mobile TV transmissions as part of an end-toend system from Qualcomm, with content courtesy of the BBC, Channel Four and CSC Media. 1.B61

Test transmissions: The Amsterdam Tower


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Subs revenue to outpace TV ads

Tom Morrod: “There needs to be another way of making money”

New mobile platform to offer iPhone 3.0 and Flash by Heather McLean Broadcasters and content owners looking to reach multiple screens with their content can now do so in one platform. Launched at IBC2009, the Xenon Internet Pack from Vidiator is bringing together live HTTP streaming to the Apple’s iPhone 3.0 OS and Flash streaming for web devices in one unified, integrated platform. Connie Wong, CEO at Vidia-

tor commented: “This is a pioneering system that delivers to mobile and internet devices via a single platform, simplifying the solution architecture and reducing total deployment costs for operators. Currently, operators need three separate systems to deliver their content to custom e r s ’ devices. Xenon streamlines these silo systems into one simple, effective streamlined process, making it

Conference Analysis

by Kate Bulkley With 70% of the world’s economies in recession, total TV ad spend has been hit hard and the immediate future does not look good. Budgets for programmes and for technology will be hit but the implications for technology providers are the most stark. “The impact of the fall in ad spend is on technology spend m o re t h a n o n p rog ra m m i n g spend,” said Tom Morrod, a senior analyst at Screen Digest at the session ‘Who Pays – Winners and Losers in the New Economy’. Global TV ad spend is down 9% and the US looks to start a

TV ad recovery next year, meanwhile Russia will go into an ad spend downturn in 2010. European TV ad spend will not recover in four of the five biggest European TV markets until after 2010, according to Screen Digest. Only France of the big five (France, Italy, Germany, Spain and UK) is expected to post positive TV ad spend growth in 2010. The trend is for subscription revenue to outpace TV ad spend. In 2009 subscription revenue overtook advertising spend for t h e f i r s t t i m e g l o b a l ly. T h i s means that pay-TV companies will likely be spending more on new technology.

easier to deliver, and monetise, a mobile video service.” Across the world, the iPhone and other large screen devices are making viewing content on a mobile a far more compelling proposition. In response, operat o r s a n d c o n t e n t ow n e r s a re investing in iPhone propositions t o e n s u re e ff e c t ive c u s t o m e r reach. In particular they are looking to launch live streaming services for the iPhone. “Vidiator was one of the first to market with iPhone 3.0 support,” added Wong. “We decided to incorporate iPhone OS 3.0 support in our mobile TV plat-

form, as well as Flash streaming, to ensure our customers were able to benefit from this technology and achieve greater revenue generation potential. “Flash streaming is equally important as consumers want to take their online TV players, such as the BBC iPlayer, which uses Flash to provide a web TV and catch-up service on the move with them. Mobile operators in particular have also expressed interest in a dual 3G and Flash service to reach standard handsets and laptops via 3G USB modems,” she said. M122

Miranda goes Modular by Farah Jifri Miranda is showing its new Kaleido-Modular multiviewer system that offers both space and energy saving, with up to 20 multiviewer outputs per 3RU frame and consuming 300 Watts. “With the current economic climate everyone is very sensitive about the resources they use, so energy and space efficiency is key,” said Marco Lopez, senior VP interfacing, monitoring and control, Miranda. Kaleido-Modular makes use of a card-based design, with each module providing eight 3Gbps/HD/SD video inputs (with 3D support), and two multiviewer outputs. Up to 10 multiviewer modules can be housed in a 3RU Densite 3 frame, which weighs just

8.6kg when fully populated. A c c o rd i n g t o L o p e z , t h e Kaleido-Modular offers the same performance as the rest of the kaleido range. “We have taken the same technology and the same functionality as the Kaleido-X,” he said. Each multiviewer module can be configured to provide either dual quad-split outputs, or a single multiviewer output which can display up to eight pictu re s. Miranda has also worked t o deliver tight integration between the Kaleido-Modular and Nvision, and other third pa r t y routers, which can support up to 1152 video inputs and up to 288 multi-viewer outputs. Kaleido-Modular cards can be

OmniBus iTX goes beyond by Farah Jifri OmniBus Systems has launched iTX 1.3, which comes with over 130 feature enhancements. This latest version of OmniBus’ production, automation and playout system sees a significant increase in functionality, according to the company. N ew f e at u re s i n c l u d e increased support for third-party schedule imports from systems such as Pilat Media and Snell, with automated backup schedule


substitution capability. There is also support for external HSM archives (DIVA, SuitcaseTV) and a range of enhancements for iTX’s full-featured graphics functionality, including dynamically updating multiple crawls and datafeeds from external sources, mu l t i p l e a n i m at e d TA RG A sequences and logos and animated in/out transitions for each graphic element. Other additions include a new audio processing engine which

Marco Lopez: “Everyone is very sensitive about the resources they use”

installed in a 3RU Densite 3 frame alongside any of the other modules in the comprehensive Densite ra n ge, wh i ch i n cl u d e s s i g n a l

processors, DAs, switches, monitoring probes, IRDs, and channel branding processors. 8.B80

enables multi-stream PCM and AC3 capability, remapping and processing of streams with full 16-channel embedded output, automatic multilanguage mapp i n g u s i n g l a n g u ag e t ag s i n Omneon MOV files and desktop preview monitoring of multichannel audio streams. iTX 1.3 also allows monitoring of commercial minutes against a defined value in the schedule, VANC data handling, automatic mirroring of a parent channel schedule and increased support for hard panels and external graphics devices and video servers.

Third-party plug-ins continue to be licensed by Dolby Digital, Nielsen, rtSoftware and Ideas to deliver integrated audio processing, digital watermarking, realtime graphics and compliance monitoring. “The range of functionality of the iTX platform puts it far beyond the capabilities of any alternative for a fully-fledged transmission solution,” said Ian Fletcher, CTO, OmniBus Systems. “ iTX is not to be confused with a limited channelin-a-box product.” OmniBus iTX 1.3 will ship this month. 8.D41

For free-to-air broadcasters the ones likely to recover the fastest will be the ones with stronger digital strategies, says Morrod. “For example M6 in France is being redefined as a sum of the devices and the platforms on which is appears.” But online revenues will only truly begin to impact broadcasters’ bottom lines in 2012, forecasts S c re e n D i g e s t . I n t h e U S already has 10% of US advertising and broadcaster websites will help bring viewers back into the broadcast world, where they can earn broadcasters money. “Traditional business models are starting to falter,” said Morrod. “There needs to be another way of making money and online is the best route and we are starting to see the money coming in.”

Oddbjorn Bergem: “We remove the challenge that our customers face”

Nevion’s new compression

by Farah Jifri Nevion is demonstrating its new VS901 family of Ventura compression and decompression JPEG2000 solutions, said to provide broadcasters with the lowest latency, highest quality and most powerful signal transport over any network. Three Ventura 901 solutions (the VS901-SED-12, VS901-TAED-27, and VS901IED-GE) provide visually lossless compression for contribution and distribution to any network, using video transport stream technology. “This means that broadcasters can re-use their existing infrastructure and grow with the technology from fibre to SDH/SONET to IP,” said Nevion CEO Oddbjorn Bergem. “We remove the challenge that our customers face when transitioning to IP.” With JPEG2000 compression at the contribution level, downstream distribution quality encoders with low bit rate outputs are now fed with the highest quality video signals for increased compression efficiency. VS901 modules provide maximum integration and fewer components through use of Nevion’s FPGAs, to give low power consumption and high port density. The technology is already in use by a major US broadcaster that is using it to transport live video contribution (including primetime shows such as Entertainment Tonight) to and from Miami. 8.B70



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IBC Daily 2009 Day three  
IBC Daily 2009 Day three  

The official IBC Daily 2009, Sunday edition