IBC Daily News 2009 Monday

theibcdaily

SUNDAY14 10SEPTEMBER SEPTEMBER2009 2006 MONDAY MONDAY 14 SEPTEMBER 2009

www.ibc.org www.ibc.org

The official newspaper of IBC

Insidehonours IBC imaginative programme Harry Shearer taps into new distribution technologies

O n e o f the strongest themes emerging from IBC this year is the way that new technologies can be used to make organisations more productive and more efficient.

That was exemplified by an excitTKnew Kurienproject perspective – see page ing developed for3the Arab States Broadcasting Union 3D comes to the fore which thein top prize in the Today’stook sessions the content IBC Innovation Awards. creation and innovation stream of the At last are night’s Awards conference given over to 3D Cerestereoscopic mony in the content Auditorium, the winPageof12the IBC Innovation Awards ners were finally announced. These are Changing face of news unique in the industry because they Industry veteran of almost 50 years celebrate not just technological Marty Pompadur addresses ‘Predicting innovation but thethe way that it is patterns of the future: changing face of media news’ applied.

To and scale thetoday heights of Pageawards 16 these you need to show that suppliers and users have worked The Ice pic tonight together to create something which This year’s Monday night movie is makes difference.

Ice Agea3:real Dawn of The Dinosaurs, and Soit’s it all was ASBU yes, in the stunning 3D which took toPage the22 stage twice last night, collecting both the IBC Innovation Tapeless Award for theworkflows best content delivery Tape is being rapidly abandoned as project and the Judges’ Prize for production crews and broadcasters most of the adoptinfluential hard drives project for recording and year.

MENOS – which stands archiving on a growing scale, explainsfor Douglas Sheer exchange network multimedia Pagesatellite 26 over – uses the Arabsat

Out of the blue

personnel, bynationtechnigame plays on the studio floor. dicated to unburdened 100 stations cal limitations By linking the cameras into the wide in the US and and redundant in Europe tasks,Japan, can focus onnever creativeinefforts. game software to create what and but New “I and would like to express our ESPN calls ‘augmented reality’, York Washington.

by George Jarrett ava a Srm Harry Shearer came to IBC and i t iuldab e l et ov ieve yoanret presenters can get inside the play, d e eIpt igs rat comes out as a brightened everyone’s spirits as involved and in theitNumProd project, looking at the action from every Phone, partly to so the he can gain both comedian and expert user of and specifically talented angle and interacting with the podcast, some revenge on New York and every popular medium, from radio people at Dalet and EVS,� he players themselves. seeing collabohim as to podcasting. added. “It was for a fantastic “Innovation has kept ESPN at Washington Asked what he got out of IBC, rationliberal�. both on the project and the the forefront of sports television “too “I am interested to adopt new he said: “I saw something that level.� for the last 30 years,� said Rob human technologies,� “I use Logic really amazed me, a small company At the endhe ofsaid. the evening the Hunter, vice president of digital to do my radio show on a laptop, (Alioscopy) with a 3D technology ASBU team, with Arabsat and media for ESPN. “The EA Virtual and when I need to record my that negates the wearing of glasses.

Playbook is the latest example of Newtec, returned to the stage to Winners of both the IBC Innovation Award for Content Delivery and the Judges’ Prize, voices for The Simpsons, I know “I am involved in a motion how ESPN will continue to use accept the Judges’ Prize. (left to right) Dr Riyadh Najm (ASBU), Dirk Breynaert and Serge van Herck (Newtec), capture project, and this might there are ISDN links everywhere. “The introduction of MENOS technology to better serve the fan Nabil Shanti and Abdelrahim Suleiman (ASBU) and Xavier Orri (Newtec) influence it,� he added. “It is a “I am an avidly enthusiastic is an extremely important for the next 30 years and beyond.� satirical show about alpha males Harry Shearer: “I saw something at IBC that really amazed me� user of technology, but atmilethe stone time for us, thesceptical Arab region For content management, the same network exchange content and alpha to females that I have been tion can be achieved with relaI am aboutand the the broadcasting industry as a judges – a group of international smallexperience dishes (1.2m-1.8m) between 28 member about the life of J Edgar digital The shared of media, edy trying to the launch for ages. broadI did a tively changeover, and much whole,�

Slaheddine Maaoui, writers low power.

The same technolcasters East.

It and o oveand r, aeditors l ove –s tturned o r y t htoatBeli s more watching something at night and H pilot foraround HBO,the butMiddle the first iterasosaid about half-arsed digital directorhegeneral the ASBU. gian can about also beitused contributransfers material as IP Ifiles, d gnational e t e d t obroadcaster b e s h o t i nRTBF N ew radio,� talking nextfor morning, is bu tion will the now be on web. am ogy added. of “Digital tech“The MENOS is not only and its NumProd and SNG. using store-and-forward through tion he said. project. This nology goinglinks away.

But it seems Twitter is Orleans,� close to the right funding.� is bestservice understood as a powerful across radio, Winner of the most innovative streamlines theAsked MENOS hub.

Shearer workflows authors two blogs and bringing to re-knit a community.� for his view of the broad- trying aninternational awful lot of exchange power to platform for radio television, television online services. r i t e s c and olum n s fo r t h e N e w the in content creation wasa w Shearer is working hard on The landscape system was casting he developed said: “We’refor at project producers of and content, but film project. “It is a ESPN musicalwith coma moment where itThe is fracturing. little toIP-based consumers.�

His radio show is syn- relatively but a powerful service “Every conceivable production broadcaster a Statesman.

ASBU

by Newtec. advantages sports of using IP are tremendous: it clever use of game technology to capability is integrated into one that is going to revolutionise means that any data can be car- help studio analysts explain plays. highly flexible workflow engine,� broadcast transmissions. “We are all extremely proud of ried (it hosts data and telephony The Virtual Playbook takes a spe- said Didier Vanzeune, the head of exchange too, for example); links cial build of the Madden NFL 09 the NumProd project for RTBF. this award, which recognises our can be established without any game from EA Sports, running on “Repetitive operational processes investment and belief in such a

by Carolyn Giardina need for line-up, and solid connec- an Xbox XDK, to create real are fully automated, and RTBF revolutionary concept.�

A brand new post production company dedicated to stereoscopic 3D production is set to open in Paris next month. “I think 3D will impact television, broadcasting, movies and even cell phones,� said the messageCEO out as quickly and as nised the child from the store’s FlyingS3D Audrey Bourdiol widely as possible.

Dutchpost commu(pictured), a Paris-based pro- digital signage screens.

To mark the use of technology nications specialist Netpresenter ducton industry veteran.

Chinese launch broadcast HD camcorder: Europe and Japan have a new rival in the stepped to theofchallenge.

The up centre the facility, in such a socially important projbroadcast HD camcorder market, with the new DataCam E2HD HDC-680MP from Amber Alert sends to ect, the IBC Council has created a named FlyingS3D, willmessages be a QuanChina’s HDAVS. The high-spec, shoulder-mounted model records I-frame 4:2:2 MPEG-2 at radio and4K television tel Pablo finishingbroadcasters, system with special award for Amber Alert, 100Mbps, and is part of a line-up of production equipment that includes an editor. The but also delivers online 3D capabilities, which messages was pur- which was presented last night. system is also compatible with MXF, Avid’s DNxHD editing format, and can also record “Amber Alert allows us to Frank to individuals and businesses chased this weekend at IBC. who MPEG-2 IBPofatNetpresenter 25-80Mbps, 4:2:0 SD. ItSchippers uses a new medium, E2, which can Crimp be Hoen and Carlo of storage KLPD with IBC COO Michael The theatre environment will be either solid state for reliability or hard disk for economy and size. It uses three 2/3-inch have registered for the service to instantly alert the whole nation equipped with Christie 2.3for megapixel CCDs madeinnovative

by Panasonic, with 14-bitand A/D conversion, andof hasAmber eight CEO initiator beingITthe most computers, asaSMS andd-cinema instant within minutes,� said Carlo Schip- ices capabilities and the other misswith alert projector and an Xpand system. digitalsystem audio inputs analogue audio inputs, four audio It Alert,recording added:to“This is achannels. corporate in and thethree world.

This of the KLPD national messages, website alerts3D and RSS pers Apple’s Final Cut Pro with Cine- IBC The facility 10GB is showing the firsttotime outside Asia in thecharity Production Village we (Hallare 9), and will cost project all extremely awardforadds that recognipersons bureau. “This system, news feeds. will Thehave firstatime theinfrasys- ing Form’s Neoby 3D. DCP creation is tion structure, andthe offer about $40,000 although HDAVS media has no European distributor Pictured: Go, proud of. Onyet. behalf ofHaruka the whole from the –international Netpresenter, has tem was used, childtwo wasoffline found developed planned as an additional service. suites: one equipped with the latest major account director, HDAVS, demonstrates the new DataCam. – David Fox Amber Alert team I thank IBC for within 45 minutes when employees already received recognition and broadcast industry.�

Avid Media Composer with 3D amongst 9.A05 7.A21 international police servFrank Hoen, Netpresenter this prestigious award.� of a fast food restaurant recog-

IBC Masterclass

Paris 3D post startup

Amber Alert is seen and heard Two of today’s sessions look at how new technologies are set to change the way we enjoy content. Both are free for all visitors Page 39 There are few things more fright-

ening than when a child goes missHow to shoot interviews ing, and nothing that needs faster Today’s Production Village training zone communication.

Research in the includes a session run

by Christina USA suggests that, Fox, where you can learnof thethose basicschilPagewho 42 are abducted and later dren found dead, more than 70% are Exhibitor killed within listing the first three hours.

Complete with stand numbers and floor When a child goes missing, speed plans for the entire RAI Centre is Page essential.

29 Recognising this, KLPD, the Published on behalf of the IBC Partnership Netherlands Police,

by United Business Mediawanted Limited to create an Amber Alert system that used the full capabilities of today’s communications capabilities to get

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theibcdaily

SUNDAY14 10SEPTEMBER SEPTEMBER2009 2006 MONDAY

High art and high technology The audience at the IBC Awards Ceremony last night were treated to some glorious singing and spectacular staging, matched by t h e s t u n n i n g p ro j e c t i o n a n d immersive surround sound.

The reason for this musical magnificence was that IBC’s highest award, the International Honour for Excellence, this year was presented to New York’s Metropolitan Opera, for its continuing commitment to using technology to take its art out to the people.

It was almost exactly 100 years ago, in January 1910, that the Met made its first radio– broadcast.

TK Kurien perspective see page 3 Since 1931 it has been a regular comes to in the on 3D radio, and now its fore 79th year sessions in the content it isToday’s the longest running classical creation and innovation stream of the music programme in American conference are given over to 3D history. stereoscopic content The12 first television broadcast Page was more than 60 years ago, and Changing news Live from theface Met of has been a Industry veteran of almosttelevision 50 years mainstay of public Marty Pompadur addresses ‘Predicting since 1977. Live from the Met and patterns of the future: the changing into RAIand Auditorium last facethe of media news’ today night Pagewas 16 the company’s general manager, Peter Gelb.

www.ibc.org

The official newspaper of IBC

Inside

The Ice pic tonight

Harry Shearer taps into new technologies

Best stand design winners: With 1,200 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 dicated to 100 stations nation(8.B11), this year’s winner in the small/medium category. Winner of the best wide in the US and in Europe large stand for 2009 was Humax Electronics (5.B41), and the shell scheme and Japan, but never in New winner was Broadcast Bionics (8.A20).

York and Washington.

IBC Masterclass

by George Jarrett I t i s ava i l ab l e v i a S m a r t Harry Shearer came to IBC and Peter Gelb, general manager ofspirits the Met,as who will be accepting the award in New York Phone, and it comes out as a brightened everyone’s podcast, partly so he can gain both comedian and expert user of “Considering that opera has around the world. To bring worldsome revenge on New York and every popular medium, from radio been around for centuries, it is class opera to local communities The IBC Conference is where Washington for seeing him as to podcasting. p a r tAsked i c u l a what rly exc i t i nout g tofo IBC, b e i n t h i s way h a s d e m a n d e d a knowledge, skills and experience is “too liberal�. he got awarded our something technological “I am interested to adopt new he said: for “I saw that unique commitment by cast, crew, shared, and the technical papers technologies,� he said. “I use Logic amazed company areally c h i eve m e n tme, s,� ah small e said . “ O n technologists, engineers, produc- programme is universally seen as to do my radio show on a laptop, (Alioscopy) a 3D technology behalf of mywith colleagues at the ers and management. the place where the latest research and when I need to record my that Inegates the wearing of glasses.

With excerpts from some of is presented and discussed.

Met, am proud and honoured to voices for The Simpsons, I know “I am in a motion these relays, the audience was able receive this involved IBC award.�

Competition to get a paper capture project, and this might there are ISDN links everywhere.

In 2006 the Met launched a to appreciate this commitment into the conference is fierce, with influence it,� added. “It is “I am an avidly enthusiastic new venture, thehetransmission ofa and collaboration, and the way it strict peer review scrutiny. From satirical show about alpha males user of technology, but at the Harry Shearer: “I saw something at IBC that really amazed me� operas captured in high- defini- uses technology to support art by those that are accepted, the comandtelevision alpha females that I have been same time I am sceptical about the tion and transmitted to making the opera experience mittee then selects the one paper trying to launch for ages. I did a The shared experience of media, edy about the life of J Edgar digital changeover, and much digital cinemas in the USA and accessible to all. that represents both important pilot for HBO, but the first itera- watching something at night and H o ove r, a l ove s t o r y t h at i s more so about half-arsed digital new work and clarity in thought tion will now be on web. I am talking about it next morning, is bu d g e t e d t o b e s h o t i n N ew radio,� he added. “Digital techand presentation. The author is Award: Mark Waddell of BBC R&D going away. But it seems Twitter is Orleans,� he said. close to the right funding.� nology is best understood as rewarded with the IBC ConferShearer authors two blogs and bringing an awful lot of power to Asked for his view of the broad- trying to re-knit a community.� “This year’s technical papers w r i Prize. t e s c o l u m n s fo r t h e N e w the Shearer is working hard on a ence casting landscape he said: “We’re at producers of content, but “ We we re s u r p r i s e d a n d programme is particularly fasciReceiving this award last night Making the most efficient use of a moment where it is fracturing. film project. “It is a musical com- Statesman. His radio show is syn- relatively little to consumers.� both current content and the excited to be shortlisted for an was Mark Waddell of BBC R&D nating,� said David Crawford, archive was the theme which IBC award,� said Mika Lavonen, for his paper Compatibility chal- chair of the conference committee. linked the three projects short- YLE head of television opera- lenges for broadcast networks and “To stand out in this field a paper listed for the award for most inno- tions. “The good progress on this white space devices, presented in has to both push the boundaries vative use of content management project comes from the fact that the conference on Saturday morn- of knowledge and communicate before we started we produced a ing and included in the joint clearly and with flair. Mark’s technology.

by Carolyn Giardina A While brand new production com- very careful analysis of YLE’s IBC/IET publication The best of paper achieves this, so congratulathepost eventual winner, pany dedicated tolooked stereoscopic 3D business workflows. Blue Order IBC and IET. tions to him.�

RTBF in Belgium, at workproduction set totelevision open in Paris flows to uniteisradio, and has been a good and innovative next month. “I think 3D will partner for these discussions. online, fellow national broadcaster impact television, broadcasting, YLE of Finland wanted to make Together we have produced the movies and evenwidely cell phones,� said roadmap for YLE’s media asset its archive more accessible.

FlyingS3D Dating backCEO moreAudrey than 50Bourdiol years, management.�

The panel of judges for the IBC Czech Republic the coming of (pictured), a Paris-based post proIn Italy Mediaset, like many Innovation Awards – editors of digital broadcasting opened the the archive includes 350,000 tapes ducton industry veteran.

Chinese launch broadcast HD camcorder: Europe and Japan have a new rival in the and film reels, and more than a broadcasters, was noting the frag- leading trade magazines from market up to new entrants. One of The centre of the facility, broadcast HD camcorder market, with the new DataCam E2HD HDC-680MP from million objects in the music and mentation of its audience across around the world, under the chair- these was TV Barrandov, based in named FlyingS3D, will be a QuanChina’s HDAVS. The high-spec, shoulder-mounted model records I-frame 4:2:2 MPEG-2 at new media channels. It set up a manship of IBC’s Michael Lum- and named after the world famous radio archives. tel Pablo 4K finishing system with 100Mbps, and is part of a line-up of production equipment that includes an editor. The

by Blue Order, with – cut isthe nominations for best Barrandov Studios in Prague.

3DLed capabilities, which wastechpur- project, with supplier TXT Poly- leysystem also compatible with MXF, Avid’s DNxHD editing format, and can also record media, to tackle the seamless it launched this nology from Cavena, Front Porch content delivery project4:2:0 down chased this weekend at IBC. MPEG-2 IBP at 25-80Mbps, SD. to It usesWhen a new storage medium, in E2,January which can be it broadcast in HD Digital, Marquis and Tieto, the choosing Arab 2/3-inchthe The theatre environment will be repurposing of video content three, eitherbefore solid state for reliabilitythe or hard disk foryear economy and size. It uses three from start, notA/D just over DVB-T team developed enter- across multiple channels. The sys- S t at s B ro aITdCCDs c a s tmade i n g byUPanasonic, n i o n with equipped with aMetro, Christiean d-cinema 2.3emegapixel 14-bit conversion, and has but eighton also had to support catch-up too. to four audio channels. It prise level and asset sys- tem satellite system capabilities and the other with MENOS projector anmanagement Xpand 3D system. digital audio inputs exchange and three analogue audioIPTV inputs, recording videoFinal on demand on as the Encoding and broadtem all will types media.

It and final for winner.

Apple’s Cut Proservices with CineThe for facility haveofa 10GB infrais showing the first time outside Asia in the Production Village (Halldigital 9), and will cost range ofNeo platforms andcreation businessis Also casting equipment from HaiVision supports production astwo well offline as the aForm’s on$40,000 the shortlist, hotly 3D. DCP structure, and offer about – althoughand HDAVS has in no European distributor yet. Pictured: Haruka Go, made this possible, as did archive, andequipped it promotes the crosscontention, were twoHDAVS, verydemonstrates differ- Systems planned as an additional service. suites: one with the latest models. major account director, the new DataCam. – David Fox utilisation of media. projects from Europe. In the (continued on page 6) ent9.A05 (continued on page 6) Avid Media Composer with 3D 7.A21

Considering compatibility

Into the deep Managing merging media This year’s Monday night movie is Ice Age 3: Dawn of The Dinosaurs, and yes, it’s all in stunning 3D Page 22

The three finalists for the content Tapeless workflows creation category in the IBC InnoTape is being rapidly abandoned vation Awards could not be as more productionand crews broadcasters different, theanddecision for the adopt hard drives for recording and judging panel was tough, with the archiving on a growing scale, explains final decision Douglas Sheer in favour of ESPN andPage its 26 Virtual Playbook system.

OcÊanopolis wanted to tackle of theofblue theOut challenges getting excellent Two of today’s sessions look at how high-definition images from deep new technologies are set to change the under the ocean, for scientific way we enjoy content. Both are free for research as well as for television and all visitors movies.

It worked with Boom Audio Page 39 & Video, Fougerolle and Oceanic Howtotocreate shoot interviews Pictures Oceanocam, a systraining zone temToday’s that Production combinesVillage the camera and includes a session run by Christina LED lighting underwater with a Fox, where you can learn the basics disk recorder on the surface.

Page 42 “This recognition of our initiativeExhibitor encourages us in discovering listing Complete stand numbers floor more aboutwith biodiversity forand everyplanssaid for thePhilippe entire RAI Centre one,�

Coyault of Page 29 OcĂŠanopolis. “The new pictures of on behalf of the IBC thePublished underwater world willPartnership help sciby United Business Media Limited entists raise awareness for the protection of the oceans.â€? (continued on page 6)

Paris 3D post startup

Delivering excellence

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theibcdaily

SUNDAY14 10SEPTEMBER SEPTEMBER2009 2006 MONDAY

www.ibc.org

The official newspaper of IBC

Inside

Harry Shearer taps into new technologies IBC Masterclass

TK Kurien perspective – see page 3

3D comes to the fore

Today’s sessions in the content creation and innovation stream of the conference are given over to 3D stereoscopic content Page 12

Changing face of news

Industry veteran of almost 50 years Marty Pompadur addresses ‘Predicting patterns of the future: the changing face of media and news’ today Page 16

The Ice pic tonight

This year’s Monday night movie is Ice Age 3: Dawn of The Dinosaurs, and yes, it’s all in stunning 3D Page 22

Tapeless workflows

Tape is being rapidly abandoned as production crews and broadcasters adopt hard drives for recording and archiving on a growing scale, explains Douglas Sheer Page 26

Out of the blue

Two of today’s sessions look at how new technologies are set to change the way we enjoy content. Both are free for all visitors Page 39

How to shoot interviews

Today’s Production Village training zone includes a session run by Christina Fox, where you can learn the basics Page 42

Exhibitor listing

Complete with stand numbers and floor plans for the entire RAI Centre Page 29 Published on behalf of the IBC Partnership

by United Business Media Limited

by George Jarrett Harry Shearer came to IBC and brightened everyone’s spirits as both comedian and expert user of every popular medium, from radio to podcasting.

Asked what he got out of IBC, he said: “I saw something that really amazed me, a small company (Alioscopy) with a 3D technology that negates the wearing of glasses. “I am involved in a motion capture project, and this might influence it,� he added. “It is a satirical show about alpha males and alpha females that I have been trying to launch for ages. I did a pilot for HBO, but the first iteration will now be on web. I am close to the right funding.�

Asked for his view of the broadcasting landscape he said: “We’re at a moment where it is fracturing.

Harry Shearer: “I saw something at IBC that really amazed me�

The shared experience of media, watching something at night and talking about it next morning, is going away. But it seems Twitter is trying to re-knit a community.�

Shearer is working hard on a film project. “It is a musical com-

edy about the life of J Edgar H o ove r, a l ove s t o r y t h at i s bu d g e t e d t o b e s h o t i n N ew Orleans,� he said.

Shearer authors two blogs and w r i t e s c o l u m n s fo r t h e N e w Statesman. His radio show is syn-

dicated to 100 stations nationwide in the US and in Europe and Japan, but never in New York and Washington.

I t i s ava i l ab l e v i a S m a r t Phone, and it comes out as a podcast, partly so he can gain some revenge on New York and Washington for seeing him as “too liberal�. “I am interested to adopt new technologies,� he said. “I use Logic to do my radio show on a laptop, and when I need to record my voices for The Simpsons, I know there are ISDN links everywhere. “I am an avidly enthusiastic user of technology, but at the same time I am sceptical about the digital changeover, and much more so about half-arsed digital radio,� he added. “Digital technology is best understood as bringing an awful lot of power to the producers of content, but relatively little to consumers.�

Paris 3D post startup

by Carolyn Giardina A brand new post production company dedicated to stereoscopic 3D production is set to open in Paris next month. “I think 3D will impact television, broadcasting, movies and even cell phones,� said FlyingS3D CEO Audrey Bourdiol (pictured), a Paris-based post producton industry veteran.

The centre of the facility, named FlyingS3D, will be a Quantel Pablo 4K finishing system with 3D capabilities, which was purchased this weekend at IBC. The theatre environment will be equipped with a Christie d-cinema projector and an Xpand 3D system.

The facility will have a 10GB infrastructure, and offer two offline suites: one equipped with the latest Avid Media Composer with 3D

capabilities and the other with Apple’s Final Cut Pro with CineForm’s Neo 3D. DCP creation is planned as an additional service.

7.A21

Chinese launch broadcast HD camcorder: Europe and Japan have a new rival in the broadcast HD camcorder market, with the new DataCam E2HD HDC-680MP from China’s HDAVS. The high-spec, shoulder-mounted model records I-frame 4:2:2 MPEG-2 at 100Mbps, and is part of a line-up of production equipment that includes an editor. The system is also compatible with MXF, Avid’s DNxHD editing format, and can also record MPEG-2 IBP at 25-80Mbps, 4:2:0 SD. It uses a new storage medium, E2, which can be either solid state for reliability or hard disk for economy and size. It uses three 2/3-inch 2.3 megapixel IT CCDs made by Panasonic, with 14-bit A/D conversion, and has eight digital audio inputs and three analogue audio inputs, recording to four audio channels. It is showing for the first time outside Asia in the Production Village (Hall 9), and will cost about $40,000 – although HDAVS has no European distributor yet. Pictured: Haruka Go, major account director, HDAVS, demonstrates the new DataCam. – David Fox 9.A05

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theibcdaily

Realising the Eastern promise YouTube gets HD treatment Pricing a major hurdle for market entrants

by Bob Charlton

Conference Analysis The Indian media market is enormous but Western companies need to adjust their mindset before entering. That, in essence, is the message from TK Kurien, president of Communication & Media at technology solutions company Wipro. “Without doubt, India represents a massive and rapidly developing media market,� commented Kurien. “Currently, the Indian media market is worth US$20 billion and represents 1% of the global media market.�

First impressions of India tell of a country populated by 1.13 billion people and 200 million households.

The top three purchases within these households are first and foremost a television, secondly (and not surprisingly) a refrigerator, and thirdly a personal computer.

When you realise that 40% of the population is aged under 25, you start to see the staggering potential that exists to develop new media-based business models

TK Kurien: “India represents a massive and rapidly developing media market�

in one of the world’s la rg e s t domestic economies. “In India, we have slipped a generation in ter ms of media consumption,� Kurien explained. “Today, India has TV penetration of 50%, some 34% of the population use mobile phones and there are around 80 million internet users.

“Within this environment there are opportunities for significant market growth, especially as people become prosperous,�

Ku r i e n a dv i s e d . “ H oweve r, to develop this market potential, companies need to come to market with the right proposition.�

Kurien said he believes that any company wishing to market its media within India requires a radical re-think in terms of the pricing strategy of its products. “It’s most difficult for media companies to make the necessary transition regarding reducing pricing levels,� cautioned Kurien. “They need to market their products at price levels that are affordable to the large Indian markets. For example, at one cent per minute, mobile phone tarrifs are the lowest in the world.�

Addressing a market with the cultural complexity of India can be a daunting challenge. Kurien emphasised the importance of teaming up with an appropriate local partner, and the benefit that partnership can bring to the whole venture.

Euphonix enters colour grading space

by Carolyn Giardina Euphonix, a manufacturer of large-format digital audio consoles, media controllers, and peripherals for over 20 years, has unveiled its first product in the colour grading space and first product that delivers video only.

MC Color is a new colour grading surface that supports Apple’s Color 1.5 by attaching to the Mac via Ethernet. Features include high resolution optical trackballs, trackwheels, displays, encoders and programmable keys.

T h e c o mpact MC Col or is portable enough for on-set grading, and can be combined with other Euphonix media controllers to build a larger, integrated video editing control surface.

Specifically designed for Apple Color, MC Color features EuCon, a high-speed Ethernet control protocol developed by Euphonix that

MC Color features high-res optical trackballs

Apple has natively integrated into the new Final Cut Studio, including Color 1.5. With the EuCon protocol, MC Color is constantly aware in which room of Color the user is working, automatically updating MC Color’s controls and displays, including the nine programmable soft keys, to present the parameters specific to the current room.

The surface includes high resolution optical trackballs and weighted trackwheels, and the centre trackball and keys can be

toggled on the fly to work as a mouse. Six touch-sensitive encoders provide control over grading parameters and enable quick navigation of Color’s eight-room interface and Secondaries, while the high-resolution OLED displays give detailed feedback of all adjustments. Eight dedicated buttons enable quick copying to and pasting grades from Color Memory Banks 1-4. Product is scheduled to ship soon for an estimated $1,499.

7.G34

by Farah Jifri Ensemble designs has responded to broadcasters’ demand for a means of outputting content from sites such as YouTube to HD with its new BrightEye Mitto HD scan converter. “We were approached by a broadcaster, so we built a prototype for them and the results were so good that we decided to make the product available to other customers,� said Cindy Zuelsdorf, Ensemble Designs’ marketing czar.

Mitto’s intuitive user interface allows the broadcaster to select a portion of the computer video display using a mouse and dragand-drop techniques, and send it straight to air. The company’s proprietary scaling and filtering technology enable the region selected for output to determine whether Mitto acts as an upconverter or downconverter. The filters automatically adjust in accordance with the conversion being performed.

Cindy Zuelsdorf: “We were approached by a broadcaster. So we built a prototype�

The use of Ensemble Designs’ filters is what allows progressive images from the desktop to maintain their quality in the interlaced domain, eliminating the issues such as flicker, according to Zuelsdorf.

A small stand-alone unit, the BrightEye Mitto, offers 1.5 and 3Gbps HD outputs. The genlock reference input allows the output to be timed to house. Analogue or digital inputs provide for embedded audio on the output.

8.B91

3D will be a ‘nightmare’ Conference Analysis

by Chris Forrester 3D has had more than a few negative descriptions attached to it during IBC, with the word headache usually figuring somewhere. But Kevin Murray, systems analyst at NDS, admits that ‘nightmare’ might be more apt. He told a packed audience at IBC’s ‘What can stereoscopic 3D offer?’ session that television was going to force graphic designers and associated disciplines to think very carefully about how they handled 3D graphics. “While everyone accepts that 3D is going to create the ‘wow’ factor for viewers, get it wrong and you are going to have serious problems.� He explained that over-sudden movements towards the viewer might well result in the viewer flinching, and spilling their cup of coffee. “Nevertheless, the vast majority of our test viewers like it and say they want it. “But the technical challenges, especially for graphics, are huge.

Imagine a 3D image — where is a caption placed? What about subti-

tles? In the US you have to cater for on-screen emergency alerts.

Where do you put the on-screen bug? How should you handle EPG-type overlays, or -coming next- updates? What about the interactive layer? How will you handle the huge amount of onscreen data in a 3D sports game?

T h e s e h ave a l l t o b e t h o u g h t about, and planned for, and a consistency achieved.�

Murray told delegates that, as if this wasn’t enough, there were t h e n t h e p ro bl e m s o f v i d e o manipulation. Shrinking a video image to a picture-in-picture was fraught with potential danger unless handled sensibly. For those broadcasters supporting PVRs they’ll have to consider how to cope with simple functionality within 3D, such as the fast forward button. “Depending on your ‘trick mode’ algorithm the end result could be interesting!�

He said broadcasters needed to think long and hard about where to place subtitles and similar captions. “In 2D they are overlaid. In 3D it is extremely easy to introduce troubling conflicts that will not help eyestrain.�

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

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3

theibcdaily

DVB Project may set Open Internet standards The situation regarding harmonisation is “ridiculous”, says Reimers In a classic case of damned if they do, and damned if they don’t, several organisations have asked the DVB Project to resolve growing tension over standardisation for Open Internet TV or Hybrid Broadcast Broadband.

Prior to a DVB board meeting during IBC, Ulrich Reimers, chairman of the DVB technical module, confirmed: “People from a l l s i d e s of the debate have approached us and have said the DVB is the right body to take it on board. They do not want another set of walled gardens.

“The situation is ridiculous.

But I honestly don’t know if we can resolve anything, or if there might be some kind of harmoni-

sation,” he added. “We are coming to a point where things cross corners of the industry not used to the impediment of standardisation. Standardising the user interface is a must. Services cannot look totally different.”

Personally, Reimers was not sure that the DVB is the right body in this instance. “All I know is that people are starting to get very nervous,” he said. “Maybe the markets concerned are strong enough, and the initiatives on offer (Canvas and HbbTV, etc) can live side-by-side.”

Immediately after the DVB board had considered its position, chairman Phil Laven confirmed: “Nothing has been decided yet.

The answer is that if we can do it, we will do it.

“But we do not want to get into minefields; the DVB develops standards, it does not take fledgling standards from other people and rubber stamp them,” he added.

“Experience shows that other industry bodies that think they are quicker don’t get there any quicker than the DVB, because t h e re a re s o m a ny p ro c e s s e s involved in finalising and presenting a standard. That said, the m e m b e r s h i p o f t h e DV B h a s expressed the view that we should be doing this work.”

Former DVB stalwart Peter MacAvock, now EBU technical’s

by George Jarrett program manager, believes the DVB could offer help in the area of transferring high resolution, long for mat content over the i n t e r n e t , bu t h e h a d a s t a r k warning.

“They might run into trouble.

They are getting close to the way people make money out of the business,” he said.

A pointer to DVB involvement with data heavy content is its plan to introduce the ‘Internet off satellite’ technology DVBRCS. “We are developing a more efficient uplink, and more efficient higher layer structures for DVB-RCS,” said Reimers. “Basically it is for getting internet content to the public.”

Ulrich Reimers: “Standardising the user interface is a must”

JVC’s 2D to 3D conversion The changing

Shopping at IBC: Arri’s Mark Dollery with VMI’s Barry Bassett, on the Arri stand

First Arri Alexa EVs for VMI

by David Fox London-based hire company VMI has placed the first order for Arri’s new digital cameras. It hopes to take delivery of the first two AEV models next June. In all, VMI managing director Barry Bassett has spent £160,000 at IBC. “That’s not bad for a weekend shopping in Amsterdam,” he quipped.

To go with the Alexa 35mm sensor camera, he also ordered two sets of the new Panchro by Cooke lenses, to support its fleet of Cooke S4 lenses, two new VariCam 2 HPX2700 P2 cameras from Panasonic, plus monitors and

by Kate Bulkley The EBU has called on receiver m a nu fa c t urer s to fix DTT receivers to avoid frequency interference from the new, mobile services that are set to be launched in the upper part of the UHF band after digital switchover.

“Any receiver being sold now is potentially vulnerable to interference and I ask the receiver manufacturers to take the point,” said

4

Darko Ratkaj, senior engineer at the EBU. Speaking at the Allocating Spectrum session in t h e Forum, Ratkaj called on manufacturers to come up with a longter m solution and to be more involved in the process.

“We don’t want to mandate anything but we would like to see the receivers that are in the market are better than they are now,” said Darko.

He admitted that coming up with a solution at the box level is troublesome but he asked manu-

tion. When used together with a 3D studio monitor – such as JVC’s 24-inch LCD – it also allows realtime 3D monitoring.

“Everybody is focusing on making 3D,” said product manager Gustav Emrich. “Broadcaste r s, a dve r t i s e r s, mu s e u m s, entertainment parks all have 2D archives they are looking to version for 3D without any production issues. If this were a product today we’d be selling dozens off the stand.” The device is expected to launch next March.

10.D41 JVC Product Manager Gustav Emrich: “Everybody is focusing on making 3D”

other accessories. He also committed to buy four Thales Angenieux Optimo zoom lenses, but hasn’t decided which models yet.

“The most exciting thing for us is the departure from the Red to go for the Arri, because Arri is a tried and trusted brand name that we feel confident with,” he said.

VMI currently has two Reds and was going to buy more until seeing Arri at IBC. “What swung it for us was our confidence in the German R&D team and the build quality of the product. Arri have never let us down.”

11.F21/11.D10/9.D18/11.F40

EBU calls for DTT receiver fix Conference Analysis

by Adrian Pennington JVC is showing a prototype 2D3D converter which permits onthe-fly conversion of live HD broadcasts to 3D. The 1U rackm o u n t ab l e b ox , t i t l e d D M TD10, contains a proprietary algorithm which calculates a 3D image from focus, colour depth and moving image information in the HD signal.

The product can be used to convert HD signals in realtime to 3D and for converting existing 2D material into stereo without costly or time consuming post produc-

facturers to engage. “How to actually go about it is a complex question, but in discussion with broadcasters, regulators and mobile operators so far the manufacturers of the receiving equipment have kept a very low profile. We need them on-board because without them we cannot d o mu c h m o re t h a n wh at we have done already.”

Regulators are already looking at the issue of better DTT receiver performance, said Colin Thomson, director of regulatory engineering at the UK’s Access Partnership. “In the white space discussion in the UK, one of the

questions in Ofcom’s consultation was should there be stand a rd s s e t fo r b e t t e r re c e ive r performance?”

“I think it is a European issue, not a UK issue,” said Greg Bensberg, principal advisor to Ofcom, the UK regulator. “Regulation of receivers is very minimal across Europe for the reason that manufacturers know best how to manage their own markets. But the Digital TV Group in the UK has done a lot of good work in testing DTT receivers and, as an i n d u s t r y, a n ag r e e d p ro c e s s rather than a regulatory process has more merit.”

face of media Conference Today

Want to avoid that jaded Monday morning convention feeling? Why not re-invigorate your brain by joining the high profile speakers lined up for the debates in the final conference sessions.

Contrast the commercial perspective in the 9:00am keynote, ‘The Changing Face of Media and News’ with Disney and former Newscorp execs, with the 11:00am debate on ‘Public Service Broadcasters: Embracing Change’ with RAI, France 2, ZDF and the EBU. Ray Snoddy, the BBC journalist, will lead the commercial debate and Daniel Toole, managing director of Agon Consulting, a commercial and public policy advisor, will lead the Public Service debate. Both take place in The Forum.

The early session will address the future of news, the impact of digital technology and distribution, monetising content, themes continued in the later session which will also look at models for funding public service broadcasting, the role of public service broadcasters in developing new services and providing quality and innovative programming, d i ff e re n t re g i o n a l m o d e l s o f media regulation and governance, and tackle the thorny i s s u e o f b a l a n c i n g m a r ke t impact and public value.

The later session is encouraging active participation from the floor, so if the world looks very different from your region, if you are a technologist, a business strategist, a policy maker or in some way responsible for creative output, then go along and get engaged in the debate.

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

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

Ikegami and Toshiba’s GFseries optimizes HD workflow for news, sports, and entertainment.

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

TM

TM

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

Tapeless • Wireless • Seamless

theibcdaily

Harris to supply OBs to French SI Preview

by Andy Stout H a r r i s C o r p o rat i o n h a s j u s t announced the sale of an end-toend HD infrastructure solution to French SI Preview for four new HD OB vans to be used at the 2010 African Cup of Nations in Angola in January.

Any colour you like, so long as it’s LED: Gekko Technology is showing a preproduction version of its latest LED light, kedo, which it claims offers colour quality, focusability and tunability beyond any other LED light. It outputs the equivalent light of a 1kW tungsten Fresnel lamp, but offers “a much wider spectrum than a single-colour white LED,” said David Amphlett, Gekko’s CEO (pictured). “It is a multi-chipped source with optical and thermal feedback, so it stays consistent both through the dimming range and the ambient temperature.”

The kedo can produce a vast range of colours, like choosing electronic gels, and be controlled using DMX, its back panel or via USB from a laptop. It is aimed primarily at film and theatrical use and will be available in November for about £3,000 and comes with a lumen guarantee of 20,000 hours. 11.F75

Rubberduck launches mobile TV service for O2

Quacking: O2 Ireland subscribers can now get mobile TV from Rubberduck

by Heather McLean Rubberduck Media Lab has launched a mobile TV and video service for Telefónica O2 Ireland.

Under the terms of the agreement, Rubberduck Media Lab is providing a completely outsourced mobile TV service to Telefónica O2 Ireland, including content acquisition and provision, as well as tech-

Delivering excellence

(continued from front cover) a collaboration with network provider Mattes AD and its integrator MediaStream. Mattes AD has been offering a triple-play service since 2004 and has taken the initiative to add HD channels to its IPTV offering, with TV Barrandov an important addition.

“We were extremely excited to be considered, along with our technology partners and with our fellow shortlisted colleagues Virgin Media and ASBU, for this prestigious honour,” said Mickhal Kratochvil of TV Barrandov.

“Thank you to the international judging panel for recognising the innovative teamwork that it took to make this project happen.”

Virgin Media is the UK’s largest

6

nical support and management.

The service, called O2 TV, has now been launched in Ireland and is available for all O2 customers using a video enabled handset such as most Sony Ericson, Samsung and Nokia mobile phones. O2 TV is available across the EDGE, 3G and HSDPA networks.

Users can subscribe to two packages, one with Sky channels (sports and news) and an O2 Lifestyle-pack of well known channels such as RTE, BBC, CNN, Cartoon Network and Travel Channel.

“Rubberduck’s mobile TV and video solution involves using the operator’s existing networks. It is available on most video enabled handsets in the O2 subscriber base so no special handsets are required as for broadcast mobile TV technologies,” said Ola Svartberg, CEO of Rubberduck Media Lab. M221 cable television operator which is seeing the popularity of its video on demand services soar – it delivered more than half a billion clips to its subscribers in 2008 alone.

It wants to maintain a business model of free access to much of its VoD archive, funding the service through advertising. The challenge was to preserve the long shelf-life of its content while earning revenue from current advertising campaigns.

It worked with server specialist SeaChange International and the OnDemand Group to develop a system which allowed the dynamic insertion of advertising into ondemand video streams, matching the commercials to programme genres, keeping campaigns up to the minute and allowing for demographic targeting.

T h e H a r r i s i n s t a l l at i o n s include routers, audio and video processors, multiviewers, test and measurement tools and graphics systems. Each of the four vans handles the input of 16 cameras and will be equipped with a 15RU 128x160 HD Platinum router with

Travel Channel goes tapeless

by Ken Kerschbaumer Phoenix7 hit the show on a high note as two customers – Travel Channel International and BBC Worldwide – expand their reliance on the company’s five software tools for managing channels and assets.

The Travel Channel has just added Athena, a component that allows for tapeless operation. Like all Phoenix7 products, it integrates easily with third-party products like servers and other systems. Travel Channel International will use it, to integrate with Telestream and FlipFactory systems to pump tapeless content out to language houses,

VoD platforms, and playout.

“Over the years Phoenix7 has impressed us with their understanding of our industry and our business as well as with the sophistication and flexibility of their systems,” said Richard Wolfe, Travel Channel chief executive. “They have always been willing to configure their software to provide tailor-made solutions for us.”

That tailor-made philosophy is something Phoenix7 extends to all its clients. “We understand broadcasting,” said co-founder Chris Hacon. “Our users don’t have to educate us and we can have a

Absorb yourself in the fun of the Games Arena in Hall 11, where you have the chance to race against your colleagues in a virtual motor racing experience. You can’t miss the bank of futuristic Play Station 3 ‘Racing Pods’, which each support a 40-inch full HD Sony Bravia screen with integrated speakers for a thrilling incar experience. Visitors can race every day of IBC between 09:00 – 17:00 (Tues 09:00 – 15:00).

Exhibitors will have plenty of time to have a go on Tuesday, with a Nintendo DSi presented to the daily winner.

Kresimir Sakic (pictured left) of the Croatian Post and Electronic Communications Agency, was just one of this week’s winners with a fantastic time of 51.050 seconds.

Managing media (continued from front cover) The system works in conjunction with Mediaset’s existing infrastructure which already includes the ability to record the output MPEG-2 multi-programme transport streams. This gives easy and efficient access to all the content

Into the deep (continued from front cover) The third shortlisted project was the newsroom at Expert TV in Moscow. Founded by a leading print media company, this is a brand new channel which went on air at the end of last year.

Because it was a completely new venture with no need to support legacy systems or content, Expert TV and its systems suppliers, Media-Alliance and ISPA,

64x64 AES audio and redundant cross-points.

Each truck will also contain 28 QVM6800+ Quad multiviewers, Videotek VTM Series multiformat on-screen monitors, two X85 multiple application video/audio processors, Inscriber TitleOne broadcast and production graphics systems, glue equipment for up-/down-/cross-conversion and CCS Navigator software for control and monitoring of the entire Harris infrastructure solution.

7.G20/7.G23/OE330 more constructive dialogue and contribute to help find new ways to run their business.”

Hacon said the company’s current products, which include components for channel management, sales support, tapeless workflows, live event needs, and scheduling of people and assets, require customisation to ensure clients can maximize the return on investment.

Hitesh Vekara, another cofounder, said the company backs up promises by allowing potential clients to give their systems a realworld test ride for a month. “We will set it up on site, offer fast track training, and take it away if it doesn’t meet their needs,” he explained.

3.C21

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

SALES for staff to re-use.

Perhaps the best tribute for the new system comes from Francesca Castelli, who is production coordinator on the satirical news show Striscia la Notizia. She described it as “a precious working instrument, enabling our programme to produce its editions dramatically faster and with video quality never seen before.” could build a completely tapeless system from HD acquisition to content repurposing and multiplatform delivery.

Alexey Brusnitskiy, CTO of Expert TV, admitted this was a challenge. “It was a bet to deploy a high definition, completely tapeless digital broadcasting n e w s ro o m , bu t t h e r e s u l t i s extremely exciting,” he said.

“The IBC nomination comforted me a lot, as a demonstration that my decision was the right way to go,” Brusnitskiy added.

Group Sales Manager Steve Grice Tel: +44 (0)20 7921 8307 Email: sgrice@cmpinformation.com Business Development Manager Alex Hall Tel: +44 (0)20 7921 8305 US Sales Michael Mitchell Tel: +1 (631) 673 3199 Email: mjmitchell@broadcast-media.tv

ART & PRODUCTION

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 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.

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

Always innovating. Always there.

Strength and stability let you deploy Harris technology with confidence.

For nearly a century, Harris has pioneered the technologies that drive the world’s leading television and radio broadcast operations.

Today, our unique ability to merge traditional broadcast and IT systems enables an advanced media workflow that allows you to work more efficiently, save money and profit from new revenue streams.

Where are we headed in the coming decades? Wherever you — and your audience — want to go.

Hall 7 Stand G20 Or visit us at www.HarrisIBC2009.com Europe +44 118 964 8200 Sales.Europe@Harris.com

UK, Israel, Africa +44 118 964 8200 Sales.Europe@Harris.com

Southern Europe North, Central, Eastern Europe +33 1 42 87 09 09 +49 89 149 049 0 Sales.Europe@Harris.com Sales.Europe@Harris.com

Middle East +971 4 433 8250 Sales.MiddleEast@Harris.com

ONE Company. ONE Direction. The Future.

theibcdaily In Brief Riedel has the Key Riedel Communications is presenting its new Virtual Key Panel software for Artist intercom systems at the show. The free Artist VCP-1004 Virtual Panel allows a regular computer to be used as an intercom control panel in combination with any Artist digital matrix intercom system.

Computers running the Virtual Panel can be integrated via an Ethernet connection into the matrix. The communication between matrix and virtual panel is realised via the VoIP-108 G2 client card.

The panel features four talk-keys and a shift-key to double the number of available keys. The panel provides the same signalisation as regular Artist 1000 series control panels.

To receive a free Virtual Key Panel, register at riedel.net.

10.A41

Provys has handle on costs Provys TVoffice, one of the industry’s leading channel management, traffic and billing systems, has taken a step forward with a new production management module that allows television station and network clients to plan and dispatch resources for production and post production management.

“It’s critical to have channel management and sales but by integrating the production module the client can integrate production and post production scenarios and evaluate resource management,” said Michael Stehlik, Provys CTO. “Today everyone is looking to control costs, even public broadcasters who now have to focus on core activities.”

The system has been embraced by public and commercial broadcasters throughout Czechoslovakia, Austria, Estonia, Russia, and the UK. “The strength of the system is its flexibility as upgrades are relatively easy to do and we can accommodate different approaches from broadcasters,” said Stehlik. “It’s also a very complete system and can work with automation systems from companies like Harris, Omnibus, and others.”

Future developments include better support for web and radio operations, including integrating sales. “TVoffice is designed for all platforms so we are improving support for tracking various rights and even resale of content and merchandising rights like DVDs,” Stehlik added.

2.B49

Switchcraft connects Switchcraft’s EH Series has additions debuting at IBC – Cat6 rated RJ45 feedthrough connectors that mount into patch panels and stage boxes.

Switchcraft provides popular audio, video and data connectors fitted inside XLR-style housings that mount into industry-standard 24mm diameter panel cut-outs.

9.E50

8

‘We know 3D is going to be big’ Conference Analysis

by Chris Forrester B r i a n S u l l i va n , B S ky B ’s MD/Customer Group, used IBC to state unequivocally that “3D is going to be big, very big. We take it extremely seriously, and it is not a game for us. Two years ago it was. But we started playing around with it, sending a couple of rigs up to Manchester to cover the Ricky Hatton boxing bout, a n d we re bl ow n away by t h e results. We agreed to do more research and tests, but I can tell

you we already knew it was going to be big.”

Sullivan shared some advance news of the service, stressing that the Sky 3D channel – which it’ll launch next year – will be “fundamentally different”from anything else being carried on Sky. “We’re still figuring a lot of it out,” he said, adding that the opportunity for 3D was taking place before our eyes.

“The studios have figured it out, and people like Pixar, Disney and Dreamworks know exactly its importance. They have side-byside screening theatres, where the 3D version is costing customers maybe $5 more per head and

those people come out of the theatre with smiling faces.”

Sullivan recognised that there are significant challenges ahead, not least in the supply of suitable 3D content.

“It is going to take years for a catalogue to be built up. We know this,” he said, adding that Sky was about to capture its first end-to-end sporting event, strictly for internal purposes.

“We need to learn,” he explained.

He also cautioned not to be surprised if the 3D channel first appears outside the home. “We have to wait for the screen replacement cycle. But we know it is going to be big.”

Ikegami unwired for sleek HD look

by David Fox Ikegami has introduced a new HD wireless system that is integrated into its HDK-79EXIII (1080i native) and its HDK-727P (720p native) studio and EFP cameras. It boasts an overall delay of less than 60 milliseconds, at 64 QAM, with eight channels and a bitrate of 5Mbps to 27Mbps. It uses the 2.2 to 2.5GHz frequency, with up to 2.7GHz on request and there is a 7GHz band version in development.

If you want wires, there is a new fibre optic adaptor for Ikegami’s solid-state GF CAM series, and the GF PAK CF adapter that allows users to use Compact Flash cards in the camera. “You have to use the fastest cards available, but you can

Capstick displays the fruits of Ikegami’s labours: The HDK-79EXIII with the new built-in HD wireless transmitter

make significant savings with it,” said Mark Capstick, general manager, Ikegami Electronics UK. “But, you lose the remaining capacity display when its not plugged in, although it does still give a read out in the camera.”

To fill out the GF line, there is now the GF Station Portable, which doesn’t have the built-in memory of the GF Station, so it requires the GF PAK for recording but it works with AC or DC power, plus a new GF Player – which has no record function.

There are also new monitors: a 17-inch full HD LCD display and a revised 24-inch model with antiglare coating.

11.A31

MediaFLO, ready for action – again Huge hype cycle is ending The past two years have not been easy for the ‘content-to-mobile’ suppliers. DVB-H, despite some Italian take-up, has struggled while Qualcomm’s MediaFLO saw a top-level managem e n t restructuring and the instruction to get the basics solved as far as the US is concerned. “That’s now happened,” says FLO’s recently appointed President, Bill Stone.

by Chris Forrester

“We launched [in the US] without coverage, without devices, and without a value proposition for consumers,” said Stone. “We had this huge hype cycle, and it wasn’t there to deliver.

“But now it is a very different story,” Stone promised. “The dust has settled and the biggest mobile TV bet in the world is FLO in the US. We have the market to ourselves.

We have coverage of the top 100 US

markets, and not just in terms of breadth of coverage but with 15 high-power transmitters supplying places like New York, Los Angeles and Chicago, and we’ll have 52 transmitters in place by year-end.”

Next is international, he said.

“We are taking a country by country approach, and recognising that events have moved on somewhat over the past two years. Japan’s telecoms regulator has just approved FLO, for example, and our j-v with KDDI is in place to exploit this. We

Axon shows Synview multiviewers

by Adrian Pennington Axon, manufacturer of the Synapse signal processing equipment and Tracs compliance recorders, is launching the SynView range of multiviewers at the show. These are 3Gbps, HD, low latency modular multiviewers (20ms @ 50Hz and 17ms @ 60Hz) making them, Axon claim, the world’s fastest multiviewers. The extreme low latency makes these multiviewers perfect for production video walls (OB vans, studios), playout video walls, multihead, multiscreen high-resolution systems and master control systems.

The SynView multiviewers can handle multiple individual selectable UMD and Tally overlays.

They further handle multiple audio metering and metadata overlay as well as multiple individual clocks in different styles. The devices are modular and expandable per four inputs. The current product portfolio contains makes multiviewers up to 32 channels of 3Gbps-HD-SDI or HD-SDI in 2RU possible. Because of the modularity of the system Synview multiviewers can be combined with other signal processing modules out of the Synapse product range such as a logo inserter, keyer or cross-converter.

10.A21 have 40MHz of unused spectrum in Britain, yet there is a huge demand for video and data, so FLO could be a real solution in this space.

“We can say that the UK is a strategic market for us, and we see ourselves as a problem-solving solution,” Stone said. “We are very optimistic about the UK. Partnerships are the route to success, for us. Qualcomm is not going to spend the local equivalent of $800m, the way we did in the US, just to gain spectrum. We will make investments, but we have to do this with partners, offering content, with operators. I do not see us doing things alone.”

GV maintains 100% share of Belgian high def OB

by David Fox VRT, Belgium’s Flemish language national broadcaster, has outsourced its outside broadcast services to Videohouse, which is to build two new HD tru c k s equipped with Grass Valley cameras, vision mixers, and routers.

The new contract means that Grass Valley retains its 100% market share for broadcast HD system cameras in Belgium.

T h e f i r s t n ew t r u c k , t o b e delivered by the end of 2009, will be capable of handling 20 cameras. The second truck will be

ready shortly afterwards and will handle 16 cameras. The contract includes 19 LDK 8000 Elite HD c a m e ra s t h at w i l l b e ro t at e d between the two trucks. Two of the cameras will feature Grass Valley’s HD wireless system, with the remaining 17 set up for HD triax transmission.

Each truck will feature the new Kayenne XL package for the Kayak HD production switcher.

This combines the power, flexibility, and ease of use of the new Kayenne with a Kayak HD video processing frame. “Kayenne has

Rosica at Grass Valley’s IBC press conference earlier this week

won a lot of sales since it was introduced at NAB,” said Jeff Rosica, senior VP and head of Grass Valley. The signal routing infrastructure for each of the vehicles uses the new Trinix NXT. As part of the order, Grass Valley is also supplying Canon lenses and Vinten tripods and heads. While the new trucks are under construction, Videohouse will be using its existing fleet, which is equipped with LDK 8000 Elite HD cameras and Kayak switchers.

1.D11 THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

Bluebell makes 3G-SDI Euro debut

by Ken Kerschbaumer Bluebell has introduced a new range of fibre optic interfaces to transport 3G-SDI signals at IBC. The BC360 and BC362 cards are designed to be compliant with SMPTE 424M standards and are targeted at broadcasters wishing to maximise their investment and to futureproof core broadcast infrastructure.

The 3G cards are available in single-channel, dual-channel or transceiver formats and, with autosensing inputs, can carry all serial digital interface signals up to 3 G b ps. Fibre conversion removes the constraint on signal path length when transporting 3G and HD signals though a facility.

The BC360 Series is designed to retain maximum integrity of the signal path offering excellent jitter free optical transport, particularly critical with the high data rates of 3G video streams.

The transport of multichannel

audio embedded into any high definition serial video stream can be extremely sensitive to electrical jitter. Bluebell says the BC360 interfaces provide totally error free and transparent carriage of the HD embedded audio.

Up to 30 independent channels

The Bluebell BC360 fibre optic interface card

of electrical/optical conversion can be accommodated in the BC100 19-inch rack mount frame.

For use in remote areas or desktop applications any card can be supplied in a dedicated standalone enclosure.

3.A68

Humax HDR gets Trusted Review 10

by Ian McMurray One of the most respected review sites for consumer electronics in the UK is Trusted Reviews – so when it gives a product 10/10 for value, the chances are that the product concerned is an outstanding one.

The product in question is the Humax FOXSAT-HDR Freesat+ d i g i t a l TV recorder, on the Humax stand. Humax has also unveiled a range of advanced networking and interactive technologies for its set-top box and digital TV recorder products, and onstand demonstrations include file sharing between multiple set-top boxes and next generation interactive MHEG features, including video streaming.

The Humax FOXSAT-HDR wa s b e l i eve d t o b e t h e f i r s t Freesat+ digital TV recorder, with features including a 320GB hard drive that will store either 80 hours of HD programming or 200 hours of SD programming.

In addition, there is an eight day EPG; series recording; live pause and instant rewind; the option to record in either HD or SD when programmes are broadcast in both definitions; split recordings for two-part programmes that may have a break in the middle for a news bulletin, such as films; and digital text and interactive services.

The Humax company is also showcasing its latest hybrid products, which cover cable, satellite and digital terrestrial platforms during this IBC. 5.B41 THE IBC DAILY MONDAY 14 SEPTEMBER 2009

9

theibcdaily In Brief Bridge Technologies showcases microVB According to manufacturer Bridge Technologies, the microVB is a breakthrough in miniaturised remote monitoring and analysis for IPTV applications. With the microVB system, IPTV operators can gather complete and accurate data about the performance at the viewer’s set-top box, using cost-effective user-installed monitoring. Enabling deep packet inspection without requiring a technician to visit the customer’s home, the microVB is small enough to be delivered to the customer by mail.

Once installed, the microVB automatically locates an appropriate server and starts monitoring the quality of the signal received by the set-top box. The microVB reports the QoE parameters, allowing remote monitoring and analytics for advanced troubleshooting. Potential savings to the IPTV operator in transport and technician costs are significant, notes the company. Also new is VideoBRIDGE v4.2 software which introduces capabilities for fault-tracking, a revised and improved interface, and increased integration between microVB systems deployed at subscriber premises and the server network.

1.A30

Activa’s Automatic TV Activa Multimedia’s IBC stand features Automatic TV, a content publication platform for television that publishes content on screen, in realtime and in several formats, coming from external sources of information or from the channel itself (weather, sports, traffic, SMS messages, etc). The new version of the system adds features that offer great freedom to create multiple effects on screen for SMS participation applications, banners, information tickers or any type of infographics in realtime. Thus it enables intelligent programming thanks to its automatic programming applications. Also new is Meteoplay 3, a tool to generate weather report bulletins based on numerical model forecasts, satellite and radar images, forecasts and realtime weather data. Meteoplay 3 can generate animated maps and symbols, 3D graphics, terrain fly-overs, and more.

2.A50

Solving television loudness problems

Sending content with incorrect metadata will force broadcasters to increasingly rely on dynamic range processors to protect their viewers, argues Robert Nicholas, director of business development EMEA, Linear Acoustic Methods for delivering audio to consumers have improved significantly since the dawn of television broadcasting. Analogue standards are being replaced with digital versions, improving restricted frequency response and delivering almost unrestricted dynamic range. The serious downside is that consumers are be i n g assaulted by excessive loudness variations, and passive viewing is becoming increasingly difficult.

Historic requirements such as pre-emphasis and strict modulation limits resulted in the introduction of audio processing to the signal chain to prevent excessive distortion or exceeding regulations.

As audio processing spread to automatically guarantee compliance, it also had the helpful side effect of smoothing inconsistent loudness between and within programme segments. Essentially, loudness was controlled by reducing dynamic range. The downside of course is that the original audio was changed, usually dramatically.

Modern broadcast audio coding systems such as Dolby Digital (AC-3), HE AAC, and others

Exhibitor Opinion

Robert Nicholas: ‘Sometimes metadata might be wrong or completely missing’

allow for greater than 100dB of dynamic range across 5.1 or more audio channels, delivering movie theatre audio right into the living rooms and flats of viewers. However, movie theatre dynamic range simply does not fit into most consumer spaces.

These audio coding systems include metadata, or data that describes the audio, which is intended to enable consumer decoders to better tailor their output to match a given environment.

In theory, loudness can be managed separately from dynamic range, allowing preservation of the original audio quality for those with the ability and desire (and space) to reproduce it as such, while simultaneously allowing for acceptable results in more typical environments. Successful results require careful attention to proper authoring and delivery of the metadata to the final encoder, a n d t h i s a dd s a n ew l aye r o f responsibility to an already complex production path. Certainly, this does not always work out.

What is a broadcaster to do?

Simply applying processing to the digital side is one answer, but this will permanently alter the original audio. Complete reliance upon metadata is the other extreme, but the reality is that sometimes metadata might be wrong or completely missing.

Coupling metadata and traditional processing is a more logical

idea. Process only when necessary (such as when metadata is wrong or missing), and do so in a manner wholly unrelated to previous heavy-handed processing schemes.

This solves the final point of emission, but importantly highlights the necessity to get the metadata right from the beginning.

Programme producers must start looking down the signal chain. Sending content with incorrect or missing metadata will force broadcasters to rely more heavily on dynamic range processors to protect their viewers. Correct metadata will prevent this, so it is in the best interest of content producers to get it right.

Now is the time for everyone involved to focus on the entire chain and get loudness right at every stage to preserve audio quality and protect viewers. Time is running out, and if the problems are not solved in an acceptable manner, viewers may have no choice but to take control themselves and rely on consumer-side solutions.

Driven initially by the US digital transition, Linear Acoustic has developed a series of products and technologies that integrate easily with current and future broadcast infrastructures to leverage legacy content, ensure the validity and compatibility of metadata based systems and control loudness issues effectively while preserving quality.

8.D29

ScheduALL showing ‘process-based’ functionality

by Ian McMurray ScheduALL is at IBC highlighting the added functionality of its scheduling tool sets with a new ‘process-based’ scheduling component. Said by the company to be a powerful new tool, it provides the granularity of taskbased scheduling, faster work o rd e r / p ro c e s s c re at i o n v i a reusable drag-and-drop templates, and enhanced forecasting, budgeting, and reporting within the project workflow spectrum.

By leveraging this new technology, users gain a greater degree of visibility across the enterprise, says the company, while reducing overhead in the creation of project workflows. Collectively, these

ScheduALL’s Process Manager

capabilities are claimed to promote greater efficiencies and increased profitability.

ScheduALL is employing its

open architecture to enhance interoperability with legacy and custom applications, and has partnered with several industry leaders.

To provide even greater communication and management within workflow a u t o m at i o n , ScheduALL is also working with a number of vendor technologies.

T h e E n t e r p r i s e Re s o u rc e Management (ERM) appliance

f ro m S c h e d u A L L d e l ive r s resource sharing across facilities that may be geographically dispersed and, says the company, allows organisations to identify, allocate, and execute more projects more profitably.

Resources can be shared on a one-to-one basis with dedicated business units or made available to the entire corporate network to drive utilisation, operational efficiencies, and profits. According to ScheduALL, the ERM Appliance will also help businesses consolidate financials, resource planning, and reporting across the enterprise and create extensibility of process functionality.

1.B39

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

Digital Vision. Delivered.

10

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

High performance contribution & distribution

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Ellipse

contribution encoders

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theibcdaily

3D comes to the fore at IBC Todayâ&#x20AC;&#x2122;s sessions in the content creation and innovation stream of the conference are given over to 3D stereoscopic content. And, as one of the session chairs, Phil Streather points out, this will be â&#x20AC;&#x153;a complete antidote to the theo r e t i c a l , Pow e r p o i n t - b a s e d approach of so many industry seminars. â&#x20AC;&#x153;Using the IBC Big Screen our speakers â&#x20AC;&#x201C; who are all professionals at the top of their game â&#x20AC;&#x201C; will demonstrate the latest 3D imaging techniques in realtime, using realworld content, in a real cinematic environment. This will give delegates an opportunity to see not just how stereoscopic effects can be created, but also some of the p ro bl e m s they may typically encounter along the way â&#x20AC;&#x201C; along with appropriate solutions.â&#x20AC;?

Streather, who is CEO of Principal Large Format, is an awardwinning producer of IMAX films and is now regarded as a leading authority on 3D, working on everything from Skyâ&#x20AC;&#x2122;s experimental stereoscopic television broadcasts to the National Science Foundationâ&#x20AC;&#x2122;s 3D giant screen movie Flight of the Butterflies.

He will oversee the morningâ&#x20AC;&#x2122;s sessions, 3D at the movies (09:00 to 10:00 and 11:00 to 12:30), which run from end to end of the production process. A primer on stereoscopic production and workflow comes from Bernard Mendiburu whose Hollywood credits include Meet the Robinsons and Monsters vs. Aliens.

a new importance in the stereoscopic movie-making process, with stereoscopic depth and acquisition inconsistencies needing to be processed to keep the viewer immersed in a consistent 3D environment. David Newman, CTO of CineForm, will use his companyâ&#x20AC;&#x2122;s neo3D plug-in for Final Cut Pro (as used on the Oscar-winning Slumdog Millionaire) to show how you can manipulate images, correct vertical misalignment, perform horizontal image translation

and more in post.

A f t e r l u n c h t h e at t e n t i o n switches to 3D in the home (13:30 to 15:00). High frame-rate displays, new optical media, broadb a n d , e ff i c i e n t c o m p re s s i o n codecs and new broadcast delivery standards all contribute to a newfound excitement for stereoscopic 3D in HD to the home.

Content from music to sports has featured in high-profile broadcasts and demonstrations, while the games industry is keen to enhance its immersive power with the latest refinements in 3D. In association with SMPTE and the EBU, this panel session brings together industry experts representing each part of the delivery chain. In a lively debate they will look beyond the present situation and determine the next steps in making stereoscopic television a practical and welcome offering to the consumer at home.

The last session, Stereo 3D P ro d u c t i o n ( 1 5 : 3 0 t o 1 7 : 0 0 ) returns to the challenges of producing content in stereo and looks at the prospects for the future.

Steve Schklair is once again on the podium as part of an interactive debate with the audience.

As Phil Streather said, this programme of world authorities, top quality presentations and innovative realtime demonstrations, all given in a state-of-theart digital cinema, could only be presented at IBC. All the 3D sessions are in the Auditorium. Exhibition visitors who would like to attend can purchase a day or session pass in the conference foyer.

DVEOâ&#x20AC;&#x2122;s single channel card can handle either HD-SDI or SD-SDI

cable equalisation, and input monitoring of CRC errors. The output mode features tri-level sync input for transmit frame and rate synchronisation. â&#x20AC;&#x153;Our HD-SDI Master card is ideal for HD-SDI servers, postprocessing, capturing or sending HD or SD video, and electronic news gathering,â&#x20AC;? said Laszlo Zoltan, sales manager for DVEO. â&#x20AC;&#x153;A n d , b e c a u s e i t c a n sw i t c h between receiving and transmitting, it is excellent value.â&#x20AC;?

2.C33

Dancing before your eyes: BSkyB test-shot the ballet Swan Lake in stereoscopic 3D

Armed with that information, delegates will then learn about pre-visualisation from Ke n Schafer, president of Innoventive Software. He will talk about the importance of planning a n d preparing live action stereo 3D shoots to maximise productivity on set and ensure you get the results you expect.

After a break for coffee one of the worldâ&#x20AC;&#x2122;s leading authorities on stereoscopic shooting, Steve Schklair of 3ality Digital, returns to

IBC to demonstrate the best tools needed to capture the best stereo i m ag e s. H e w i l l u s e a l l t h e resources of the IBC Big Screen, with a live 3D rig outside the auditorium capturing stereo images, and a high-definition camera trained on the 3D rig to demonstrate, live and in realtime, the effects of alignment, image correction, inter-axial and convergence shifting â&#x20AC;&#x201C; and much more.

The end of the process is the edit. Image manipulation takes on

DVEO plays its cards right

by Ken Kerschbaumer DVEO, the broadcast division of CMI, is demonstrating its newest SD-SDI and HD-SDI input or o u t p u t c a rd for use in video servers and workstations.

Known as HD-SDI Master I or O PCIe LP, the system is a single channel HD/SD-SDI (SMPTE 292M and SMPTE 259M) card. A firmware change converts the input card to an output card and vice-

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

versa, for the price of a single card.

The majority of mainstream HD standards are supported.

On board DDR memory and a proprietary firmware design are used to buffer the transmit data to account for system latency as the data flows from the PCIe bus. The input features for the HD-SDI Master I or O PCIe LP include automatic standards detection between 720 and 1080, automatic

Conference Today

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12

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

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theibcdaily

Crunch the crunch at IBC

Expect a big shift to 3G-capable equipment as the quality of 1080p images becomes apparent, suggests Peter Jones, general manager FOR-A (UK) The industry continues to diverge with video formats to fit everything from mobile phones to large panel screens, and even cinema screens. Despite crunched credit and more mobile phones than people, bigger better-looking video is more popular than ever.

The demand for TV video material at SD and, increasingly, HD is still ramping up in Europe. Unsurprisingly people want to see more big good-looking pictures. Like no other time in broadcasting history, quality matters.

This creates opportunities for the Blu-ray disc-sourced video that is setting a high standard against which broadcasters will be measured. HD was a long time coming but, just when you may have thought is was all over, the b e t t e r- s t i l l 1080p standards emerged and with them the 3Gbps 3G-SDI standard to transport it through the studios and post.

Some things don’t change.

Anyone considering building a new studio will always be looking for a degree of future proofing, and today that means for many that 3G capabilities have to be available. There is a choice of 3Gready mixing, routing and ‘glue’ equipment on offer.

But now is the time to get real and have 3G equipment that is actually capable of handling 3G

Exhibitor Opinion

Peter Jones: ‘Like no other time in TV’s history, quality matters’

now – without updates.

In one way, the shift to 3G is happening just the way it did with the original migration to HD, when the new HD-capable studio equipment was installed and ready to go even though the downstream viewers were still limited to SD. But, in another way, it’s different as this time the consumers are ahead; a quick browse around the TV retail stores reveals ranks of ‘Full HD’ and ‘1080p’ sets on sale.

IBC will see a big shift to 3Gcapable equipment and the quality of the 1080p images may win more HD fans and expand new markets such the live eve n t s

screened in digital cinemas.

Another inexorable process is the growth of 3D. It’s happened before but this time there are good reasons for it to stay. It is already popular with cinema and event audiences. 3DTV has to happen in a big way soon and IBC could p rove t o b e a t u r n i n g p o i n t .

Maybe that will in the shape of a good no-glasses 3D TV screen?

With 3D edging ever closer to TV, 3 D c ap ab i l i t i e s w i l l s o o n b e another item on the future-proofing list – especially at the high end of the market.

Today, equipment offering good HD quality can be small, affordable and very practical. As never before it is possible to package all the right things in one really small 1RU box – like a 12input 1M/E SD/HD vision mixer complete with a 16-split multiviewer. Those who are FOR-A savvy will by now recognise this as the HVS 300 mixer that came out at IBC2008.

Its success since proves that applying good digital technology, packaging and price will always h ave ap p e a l – c r u n c h o r n o crunch. More than ever, manufacturers have to offer excellent perfo r m a n c e, quality and affordability to be truly future and crunch-proof.

2.A51/2.B59

BE on target with Southern Cross

by Farah Jifri Australian broadcaster Macquarie Southern Cross Media (MSCM) has placed an order for eight FM transmitters and one AM transmitter from Broadcast Electronics (BE).

The transmitters are destined fo r d e p l oyment at MSCM’s regional stations in New South Wales, Victoria and Queensland.

As part of the order BE will supply MSCM with six STX LPs; the latest addition to its transmitter product range. The STX LPs are low-powered FM transmitter scal-

14

able from 1kW to 5kW with standard features such as an emergency backup controller, internal exciter and IP connectivity.

“We chose the STX L P because of this transmitter’s exceptional value, its versatility of deployment and features including IP-based monitoring. And also because it carries the BE badge,” said Jim Vasey, group radio engineering manager for Macquarie Southern Cross Media. “MSCM has used transmitters from a wide range of American and European suppliers in its 77 Australian sta-

tions; we’re very comfortable with the selection of BE to fulfil our needs going forward.”

In addition to six STX LP low powered transmitters, the regional broadcaster ordered two BE FM 5C solid-state FM transmitters with Fxi 250 FM exciters and one BE AM 6A transmitter. The nine transmitters will replace older transmitters operating at stations in three regions, and are being s u p p l i e d by Pe t e r Wa r re n o f Lumina Broadcast Systems Australia Pty Ltd. 8.C91

BigBand makes noise about new MSP2000

by Ken Kerschbaumer Th e B i g B a n d M S P 2 0 0 0 i s a future-proofed, network-based delivery platform, designed to help broadband service providers, including telco operators, seamlessly transition from a broadcast video distribution model to the cost-effective personalised video delivery of a range of services such as IPTV, addressable advertising and higher-quality multichannel HD. BigBand is demonstrating how by s p l i c i n g a d s d i re c t ly i n t o encrypted video streams, the MSP2000 enables extremely granular ad insertions without requiri n g c h a n g e s t o t h e c u r re n t

encryption scheme or introducing the added cost and complexity of encryption at the edge of the network.

The MSP2000 can be simply added to any broadband access network, combining IP networking capabilities with rich media processing power. The networkbased platfor m offers service providers increased flexibility and control and enables them to launch personal media applications with greater scale, affordability and higher performance than alternative set-top box or consumer device-reliant approaches.

3.A19

Softel’s Swift vTX is said to reduce operational costs

First demo of Softel vFlex HD

by Ian McMurray Softel is demonstrating the full features of vFlex HD for the first time. Said by the company to be unique, the 1U vFlex HD is a multipurpose ancillary data processing system for HD. With the same featureset as the original analogue/SD vFlex, the vFlex HD offers what Softel describes as a powerful platform for VBI and VANC data processing for SD and HD SDI, as well as graphics insertion.

VFlex is Softel’s new generation SDI inserter, supporting insertion of subtitle, Teletext, wide screen signalling and other ancill a ry d at a i n t o t h e t ra n s p o rt stream. With support for opt cue encode and decode and bridging, vFlex combines data processing

with CG and graphic keying, allowing the insertion of clocks, bugs and other graphics into the transmitted video. Remote management via a web interface, as well as a simple front panel interface, means that vFlex can be easily managed even if it is located at a remote transmitter base.

Also on show is Swift vTX, a solution for encoding, transcoding, extracting and reinserting subtitles, captions and ancillary data on video server assets. SD and HD compatible, Softel says that Swift vTX provides high reliability, flexibility, seamless integration with automation systems and ‘at a glance’ management, while delivering reduced operational costs.

1.A29

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

The changing face of media and news If it’s true that the best method for planning ahead is to look back at the past, a conference session today at 09:00, ‘Predicting patterns of the future: the changing face of media and news’, holds an ace in the pack for those attending: media consultant and industry veteran Marty Pompadur.

With almost 50 years of industry knowledge, Pompadur – chairman and co-founder of Metan Development Group – is rather well-placed to make predictions.

Since the sixties, Pompadur’s m e d i a c a re e r h a s t a ke n h i m around the globe, from 17 years at American Broadcast Companies

Conference Today Inc (ABC) to chairman of News Corp Europe in 2000.

In the mid-nineties, Rupert Murdoch approached Pompadur about doing business together in Russia. The two continued to work on a series of arrangements for more than 10 years, including setting up a company that made media investments in emerging Europe. It led some to refer to Pompadur as Murdoch’s closest lieutenant.

Now into his seventies, Pompadur shows no sign of slowing down. His passion for exploring

i nve s t m e n t o p p o r t u n i t i e s i n emerging markets has led him to be involved in several new proje c t s, i n c l u d i n g c h a i r m a n o f Metan Development Group, a company engaged in various television activities in China, Russia and other international markets.

He is also a senior adviser to News Corporation and Oliver Wyman.

As well as assessing the risks of doing business in other countries, Pompadur’s address will look at the changing landscape of traditional media and assess whether the newspaper industry is going out of business in its current format.

Antennas fit the bill for mobile

by Farah Jifri Visitors to the Dielectric stand at IBC09 will see the latest additions to its MobileMedia range of products. Aimed at the mobile media market the products include antennas, filters, and other components designed specifically for spectrum owners transmitting content to wireless handheld devices.

Dielectric’s new 1.4 GHz CP ‘Pylon’ Patch Antenna is a circul a rly p o l arised broadband antenna that builds on the company’s proven pylon antenna technology. It features both azimuth and elevation pattern versatility in a single ‘common box’ package.

The common box approach allows broadcasters to choose transmis-

sion patterns without changing the mechanical specifications of the antenna design. This latest offering is geared towards broadcasters looking to make the leap into reliable MobileMedia broadcasting. The antenna features a low-wind-load construction and allows for either side- or topmounting and provides 10- to 24kW ERP/polarisation.

Dielectric’s new low-power UHF CP ‘Patch’ circularly polarised panel antenna is designed to fill coverage gaps in networks and provide reliable signal performance. Featuring low-weight aluminium construction with ABS Radome, single Type N or 7/16 DIN input, and 65° beam width, it

TMD goes end-to-end

by Ken Kerschbaumer TMD is highlighting developments to Mediaflex, designed to achieve efficient, high-throughput media production and repurposing as well as significant advancements in process integration, including integration with Avid Interplay – plus new Acquisition and Authority Record Search and C o n t ro l modules for la rge archives.

16

TMD’s web-based, enterprisewide architecture, I-mediaflex, makes it possible for remote users, often working outside a production facility in business-oriented areas such as programme planning, scheduling or general information management, to access both content and detailed metadata via any desktop web browser.

These capabilities therefore enable users to participate more fully in

can be easily configured in standard narrow and wide cardioids, peanut and omni azimuthal patterns with various elevation gains.

Dielectric is also able to offer customised patterns on request.

Dielectric’s Switchback filters for mobile media are designed specifically for 700MHz applications. This compact new filter can be mounted into a standard 19inch rack and offers superior electrical performance with extremely low loss for a filter of comparative size. The filter exhibits less than 1.1dB integrated insertion loss over the band and provides temperature compensation within ±10kHz drift.

8.D73 business processes.

I-mediaflex has powerful new functionality based on Microsoft S i l ve rl i g h t t e ch n o l og y t h at includes logging and cataloguing modules as well as an interactive dashboard that provides a snapshot of activity in all areas managed by Mediaflex.

In addition to existing comprehensive ingest capabilities, TMD has announced a new variant of Mediaflex Lines designed to capture and manage line feeds from sports events.

2.A19

What will the emerging business model for online news look like? Will user-generated content continue to grow? How objective is the source? What will happen if newspapers disappear? Who is going to have the money to fund investigative journalism of the future? Who will uncover the next big scandal?

Media commentator and seas o n e d j o u r n a l i s t Ray m o n d Snoddy will chair what promises to be a lively session, filled with intelligence, wit and wisdom. Predicting patterns of the future: the changing face of media and news takes place at 09:00 today in The Forum.

Marty Pompadur will address IBC today

What’s up Dock: Element Technica’s VDock mounting system

Element mounts V-Dock

by David Fox Element Technica’s new V-Dock mounting system is designed to replace the messy and insecure practice of using Velcro-type material or gaffer tape to attach camera accessories.

Compact and user-friendly, it features a female V-Lock interface and a spring-loaded split clamp. A separate male V-Lock attaches to accessories to allow fast and easy mounting. The V-Dock main assembly anchors securely anywhere on a single 15mm or 19mm

iris rod. Once in place, it’s a simple matter to add any item equipped with the male V-Lock, while a quick release means that removal of accessories takes seconds.

One potential use for the VDock is for the Element Technica RED Drive Shock Mount System.

When combined with the ISOPlate shock mount, it expands the range of shooting conditions for the RED Drive by eliminating dropped frames in situations where one would normally only use a Compact Flash card. It is easily converted to a rigid mount for the RED RAM by substituting the individual shocks for stainless fasteners.

When teamed with the Element Technica Aluminum Battery Interface Plate, V-Dock provides a secure and easy way to mount batteries anywhere along the camera’s 15mm or 19mm rods. It can also be attached directly to the Shoulder Pad Frame on Element’s Mantis Handheld Kit. By adding Element’s V-Dock AJA mounting plate, the system offers a quick way to install an AJA mini-converter on the camera rig.

11.A52

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

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

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theibcdaily

Breaking the constraints of transport MediaGeniX supports

Increased demand for 1080p HD video requires an innovation in fibre optic video transport tools contends Jim Jachetta, senior vice president of engineering and product development, MultiDyne With the pressure to deliver content in high definition, the world of video transport is dramatically changing. From a broadcast engineer picking out equipment that will save the most time and space in a studio, to a consumer watching a soccer game at home – everyone wants more out of video.

Thanks to this demand, we are seeing the convergence of different video transport methods across industries. We are dealing with a more educated client who is interested in 1080p HD video at home and at work. Manufacturers in this space need to speed up innovation and the range of the solutions they offer in order to give users added value when it comes to HD. In the past, designers have made a choice early on in system configuration, catering to either a pro A/V, DVI standard as the main backbone to a solution, or a 3G SMPTE broadcast standard.

Now we are developing tools that have fibre optic video transport capabilities over both standards depending on the application. One such offering, the DVI-6000, which we will be showcasing at IBC09, offers breakthroughs in DVI and RGB over a SMPTE compliant 3G data transport.

M u l t i D yne has been contracted to work on a major hospitality project in Las Vegas which exemplifies the demand for solutions that address both broadcast and pro A/V requirements. The

Exhibitor Opinion

Jim Jachetta: ‘We are dealing with more educated clients who are interested in 1080p HD video’

entire 67 acre campus features a fibre optic video backbone capable of 1080p 3G HD-SDI transport. The facility is capable of broadcasting live events from any of its meeting rooms or theatres to a broadcast production truck outside, and the convention centre features high-tech screens, projectors and digital signage t h at require a DVI signal.

This site is a banner example of how innovations in fibre optic technology must and can be used across many different applications, formats and resolutions due to the new flexibility in fibre optic gear and optical routing switchers.

The MultiDyne EOS-4000 switcher is another perfect example of this – as it switches in the light domain, it is able to effortlessly transition between 3G SMPTE and DVI, allowing the user to transport any signal they require.

We are actively breaking the constraints of video transport over copper, allowing customers to route and send video further over a single fibre. Fibre optic solutions also allow users to ‘future proof ’ their design, with bandwidth potential for innovation over 10G. When designing a complex system using copper, all cabling has to be perfect. If a user squeaked by using copper for 3G, it will be inoperable when the next big thing comes along.

It is important to note that MultiDyne’s path to innovation does not end with the advancements made for video transport u s i n g t h e DV I - 6 0 0 0 . We a re actively designing products that will take advantage of 6G technology, leading to 10G capability.

The convergence of video transport demands over several markets also continues to drive us forward.

As IBC is one of our most important shows every year we’re excited to spend time with our customers, continuing to introduce them to our products which break boundaries when it comes to DVI and 3G HD-SDI video transport.

2.A54

Albiral displays Eyepreview

by Adrian Pennington Spain’s Albiral Display Solutions is presenting its new Eyepreview monitor line, which it says is ideal for control rooms and OB vans where space is at a premium.

The multiviewer monitors, which range from 17-inch to 65inch, accept 16 multiformat inputs including 3Gbps, HD and analogue signals. They display features such as DIMD, tally, Vu-meters

for embedded audio, safe area markers, aspect ratio selection, and an alarm system to indicate loss of the audio or video signal.

Users can instantly change the layout configuration, and all functionality can be contro l l e d through Ethernet.

“The Albiral team is committed to developing a high end design, innovative and flexible product range and to providing the best

Albiral’s Eyepreview with multiviewer

service and support in developing projects,” the company states.

9.C11

multi-region delivery

by Ken Kerschbaumer MediaGeniX’s channel management and content lifecycle software now has multi-region and multi-language press support.

In general, press departments have to produce and distribute their press reports several weeks before broadcasting to newspapers, magazines, electronic programme guides, etc.

In the Whats’On system the press module collects the programme metadata (programme titles, descriptions, parental guidance, etc) and automatically links this information to the schedule of the different channels.

This way, when changes are made in the scheduling system, the press manager is automatically informed of changes.

Broadcasters operating in a

The versatile dicas2040 IP transcoder

dicas: easy H.264 conversion

by Ian McMurray Providing broadcasters, webTV and IPTV operators with the means to easily convert DVBS/S2 signals to H.264 is the goal of German company dicas. The company says that the bitrate requirement of live video s t r e a m s r e - e n c o d e d f ro m MPEG-2 to H.264 are reduced by more than 50%.

T h e b ro a d c a s t - q u a l i t y I P transcoder is the first 19-inch server by dicas to support IPinput and MPEG-2. The decision to implement the codec into its latest encoding servers was made in response to customers’ requirements, says dicas, especially from b ro a d c a s t e r s a n d I P T V a n d web T V h e a d - e n d o p e rat o rs a l re a dy re ly i n g o n a n e n t i re MPEG-2 infrastructure but who are ready to migrate to H.264.

No Limits…

… with BMS wireless links.

18

Internet distribution and localarea network (LAN) providers in hotels, industrial parks or hospitals can also benefit from the dicas2040’s versatility, says the company. Although MPEG-2 is still an important standard for DVB-S-compliant content contribution to satellite headends, the migration to more efficient and cost-effective compression technologies is in full progress.

Investing in H.264 technology now is recommended by dicas for companies building up network levels between head-ends and c l i e n t s. T h e d i c a s 2 0 4 0 I P transcoder allows customers to invest in H.264 front ends today, instead of spending substantial sums of money on an MPEG-2 technology which has to replaced in a couple of years.

1.A80

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multi-region or multi-language environment often have centralised scheduling for their different markets or they set up different schedules, which are partially populated with the same content. MediaGeniX says broadcasters can now improve the efficiency of producing multi-media press information in different languages, or for different audiences and target groups.

“Instead of keeping press sheets in a paper or file-based system, Whats’On introduces a press system embedded in the scheduling system,” said Michel Beke, product manager and co-founder of MediaGeniX. “The metadata of the content system can hence be repurposed for use in different languages, and for paper or electronic press publications.”

3.C59

www.bms-inc.com

le Special IBC Sa Booth 5.B30 THE IBC DAILY MONDAY 14 SEPTEMBER 2009

Your Path to Personalized TV Starts Here.

Video subscribers want increasingly personalized services. At BigBand Networks, we’ll show you how to profit from this demand today, while building a seamless, affordable path to tomorrow’s personalized video delivery with future-proof, carrier-grade platforms.

See the Modern Media Marvel The BigBand MSP2000 Media Services Platform combines powerful media processing with carrier-grade networking capabilities so you can deliver more high-margin applications with improved quality of service—including fast channel change, time-shift TV and zoned advertising.

See the Smarter IPTV Solution BigBand vIP PASS™ lets you deliver IP-video to TVs, PCs and mobile devices by leveraging your current infrastructure. Fully CMTS and DOCSIS® 3.0-compatible, it employs our proven digital video networking solution that’s used in 24 million households passed.

As the leader in digital video networking, see how BigBand is leading the way to Personalized TV and moving the pictures that move you.

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Booth 3.A25 © 2009 BigBand Networks. BigBand Networks' brand and product names, including vIP PASS, are service marks, trademarks or registered trademarks of BigBand Networks, Inc. in the United States and other countries.

theibcdaily Twitter is bound to be mentioned, if not Tweeted upon!

The future explained at IBC Conference Today

Monday Sept 14, 13.30-14.55

by Chris Forrester Today’s early rising conference delegates are promised a ‘sneak peek’ into the future, via IBC’s keynote presentation and panel discussion on ‘Predicting Patterns of the Future’.

I n d e e d , while IBC always looks to the future it is often a major challenge predicting what might come out from ‘left field’ in any broadcasting year. For example, think about the role of Twitter during the past year and in particular the texts from dissenters during the recent Iranian elections, and their importance to news broadcasters. One year ago this would have been near-impossible.

IBC’s panellists will be looking

at all aspects of the changing face of media and the news – and Twitter is bound to be mentioned, if not Tweeted upon!

The session’s keynote comes f ro m M a r t y Po m p a d u r, n ow heading Metan Development, but perhaps better known to t h e industry as News Corp’s pointman in Europe and a key aide to Rupert Murdoch. Pompadur, and his fellow panellists, will bring their expertise to the session (moderated by Ray Snoddy), and probable developments in the industry.

One topic likely to be featured is the role of news in mainstream TV. While the growth of dedicated news channels continu e s unabated, and web-based services proliferate, there are major questions over how news broadcasting is funded. Pompadur, who had special responsibility for News Corp’s activity in Central and

Eastern Europe, has a long background in TV, including ABC for 17 years, culminating with his position as a member of the Board of Directors.

While at ABC, Pompadur held the positions of general manager of the Television Network, VP of the Broadcast Division, and president of the Leisure Activities Group. He remains a principal owner of Caribbean International News Corporation which publishes El Vocero a Spanish language daily newspaper in Puerto Rico. He also is a board member of Nexstar a publicly listed US television station company.

Pompadur now is involved in several new projects, including Chairman of Metan Development Group, a company engaged in various television activities in China, Russia and other international markets. He remains a senior advisor to News Corporation.

Appear TV on the level with modules

by Ian McMurray Appear TV has recently launched two new modules to enhance its range of headend technology – an audio leveling solution and a high performance Dual Decoder module.

The audio levelling solution is a plug-in for Appear TV’s SC2000 and MC3000 ranges of high-density flexible headends. Appear TV’s audio leveller enables the operator to individually, within the MPEG domain, adjust the audio level of each channel. It has

ing, proa capacity of up to viding 250 channels and operaan Appear TV tors with headend can take an intemore than one grated audio leveling solution solution, so that operators can cater Appearances not deceptive: Appear TV’s high for converting for hundreds of performance Dual Decoder digital channels.

The company’s high perform- content received over an IP core ance Dual Decoder module, which network into analogue for m, is a plug-in for the Appear TV ready for distribution to the conDC1000 headend, includes decod- sumer over an RF cable network. ing, modulating, and up-convert- 1.A59

Jünger Audio tackles TV loudness and sync

by Ken Kerschbaumer Jünger Audio’s new ANA Series of input/processing cards helps terrestrial re-broadcasters tackle loudness and synchronisation issues.

Cable TV service providers, hotels, airports, shopping centres and so on have long been plagued by widely varying source input levels and desynchronised signals.

To resolve these issues they often

have to make several manual corrections a day to achieve more acceptable loudness results for their viewers. And even when they do make these changes, the results are often far from perfect.

Jünger Audio’s ANA Series is specifically designed for analogue cable TV headends, where analogue incoming signals don’t match a uniform synchronisation and have widely varying levels.

The Series consists of frames of eight or 16 analogue/DSP input/processing cards. Each card combines an analogue interface with a DSP unit to automatically control the individual audio loudness processing for each pair of TV channels entering the card. The card receives two stereo audio pairs and instantly processes them before re-transmission to the modulator.

2.C49

Exhibitor Q&A Paul Vos, general manager, Leader Electronics (elQuip as European Master distributor Broadcast) Has IBC come at a good time for the electronic media industry? Why? Yes IBC comes at the right time.

We’ve had a chance to get used to this economic crisis and make our plans. There will be numerous customers looking for an even better price perfor mance than before. This might even mean looking for new suppliers. IBC offers the most comprehensive market overview in Europe What do you think are the key developments in, or threats to, your market sector at the current time?

The big trend this year will be: to do the same job at a lower price. It will overshadow any advanced technological development, unless it’s new technology that offers the better price.

Why should delegates visit your stand at IBC? As said, the big trend this year will be: to do the same job at a lower price. And that is exactly what we can offer the visitors.

We offer measurement instruments with a great price performance for studio, OB-van a n d p o s t p ro d u c t i o n . N ew measuring methods will help to s ave t i m e i n s e t t i n g u p t h e equipment and as we all know, time is money.

10.F28

Axcera shows 6X appeal reliability. Remote monby Ian McMurray i t o r i n g i s a c h i eve d Axcera is showcasing through the available the 6X Series liquidweb browser, allowing cooled transmitter. The s e c u re a c c e s s t o a l l t ra n s m i t t e r uses transmitter parameters Axcera’s frequency agile through any internet exciter and the latest connection. An SNMP L D M O S d ev i c e s fo r interface is also available broadband operation for transmitter control across the entire UHF and monitoring through band. Power amplifier a higher-level network systems operate at the management system. highest power density 6X Series liquidavailable, reducing floor cooled transmitters are space requirements. available in power levels The very compact up to 30kW DVB-T and and completely modular 60kW analogue in a very d e s i g n u s e s p a ra l l e l small footprint. amplifier and power Also on show on the supply modules, which Axcera’s new 6X A xc e ra s t a n d a re t h e c a n b e re m ove d a n d Series transmitter I n n ovat o r H X h i g h replaced while the trans- is compact and power air-cooled UHF mitter is on the air for modular in design a n d V H F s o l i d s t at e simple maintenance.

Additionally, power supplies are transmitters and 5700 Series configured for power sharing and MMDS/ITFS/BRS/EBS transmitan N+1 power supply option is ter system available for the highest level of 5.C44

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

20

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

See us in Hall 8, B80

Rethink graphics operating costs There’s a lot of talk about operating cost reduction. However, our Vertigo Xmedia Suite graphics automation has a proven track record of delivering big savings. So, whether you’re considering more streamlined branding and promo generation, or news graphics, you’ll find that we’re happy to talk real numbers.

It’s time to rethink what’s possible.

Rethink what’s possible

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theibcdaily

IP video: from wave to tsunami The chase is on to work out how to monetise the brave new world of user-generated content, enhanced video and interactive television says Charles Cheevers, chief technology officer EMEA, Arris At IBC this year, you’d be hard pressed to find a single vendor who isn’t demonstrating new features for IP video delivery. But, in contrast to years past, many of these ‘pitches’ are now products.

T h e Powe rpoints have been replaced with live working demos, deployment studies and business case data. So where does the rise of IP video leave DVB controlled MPEG-2 delivery solutions?

In our opinion, the argument in recent years to hold the line ag a i n s t I P v i d e o ’s p e rc e ive d quality and content weaknesses is largely over, and the adoption of IP video solutions is part of a l m o s t a l l c ab l e o p e r at o r s ’ future budgeted plans. Accepting the strengths of both is the key to leverage both transmission systems.

This convergence of the best features of DVB and IP video is a primary focus of Arris and our goal is the creation of a seamless end-user experience for our customers’ customers. With the ever growing increase in and personalisation of video content, the need to create a transmission system that is transparent to the user has now become the key challenge.

The cable industry has had a hugely successful and reliable MPEG-2 video delivery business

Exhibitor Opinion

Charles Cheevers: ‘The convergence of DVB and IP video is our primary focus’

and has gradually added features to this architecture to keep pace with advancements in IP video delivery, end-user experience and new IP video content sources.

Cable operators are working to take the best from the new UGC sources as well as the changes in peoples’ viewing behaviours, and are challenging vendors to provide solutions not tied to specific pro-

tocols, frame rates, screen sizes or transports. IP serves as a good baseline for this convergence. The challenge then is to build the applications and products to allow this seamless ubiquity of video service – where the consumer can access studio and internet content on TV, PC, PDA, or cell phone with quality of video and user experience.

DOCSIS 3.0’s 50-100Mbps service levels have been described as cable’s ‘doubled edged sword’ – they provide an unmatched pipe for service delivery, but also enable others to monetise the over the top video that now fills so much of its capacity. The key elements for cable to realise the value of IPTV will come from innovations in quality of experience, seamlessness, personalisation, increased ad space, and the right content anywhere, anytime. Consumers have set a price they will pay for their current entertainment experience: to pay more, the experience must provide new value and simplicity.

So, in 2010 and beyond, watch for those IP video channels coming to a nearby screen. You may not be able to tell if they are MPEG- or IP-based and you probably won’t care – that’s the point.

1F40

Custom Consoles: bigger and better

by Farah Jifri Custom Consoles is exhibiting examples of its broadcast studio furniture, post production workstations and monitor support equipment at IBC this year. And following a successful IBC08, the company has doubled its stand size at this year’s show.

Visitors to the Custom Consoles stand can see the company’s four main product ranges on show: the Module-R control room furniture range; the Media Wall flatscreen monitor mount; and the System 2 furniture with motorised

height adjustment.

The Custom Consoles Module-R range allows robust, efficient and attractive control room furniture to be produced quickly and cost-effectively from a selection of pods, base sections, 19inch rack housings, worktops with hardware buffers, end-panel modules and legs.

The desk pods come in the form of single-bay sections with up 10 U chassis capacity. Other features include continuous brushstrip cable access to the front of the worktop and the recent addi-

tion of a new 19-inch rear-desk equipment pod and new frontaccess panels with increased ventilation.

Th e M e d i a Wa l l ra n g e i s designed to accommodate large or small arrays of LED, LCD and plasma-panel monitors along with ancillary equipment. It comprises height-adjustable horizontal beams suspended between two metre high silver-anodised aluminium columns.

The beams come in various widths between 1500mm and 2500mm and allow easy attach-

How cool is that? Sid the sloth appears in Ice Age 3 tonight in 3D

IBC’s Ice pic tonight The Monday night movie has become something of an IBC tradition. It is the chance to appreciate the finest in both cinematic creativity and technical presentation – and to relax a little and have some fun.

This year’s pick is Ice Age 3: Dawn of the Dinosaurs. Despite only being released this summer, it has already gone on to become the highest grossing animated movie outside the USA, comfortably passing the box office returns for Finding Nemo.

Directors Carlos Saldanha and Mike Thurmeier have created an action-packed fantasy which genuinely appeals to all ages. Ice Age fans will welcome back the familiar sub-z ero heroes who find themselves on an underground mission to rescue Sid the sloth.

There they are confronted by uncomfortably close encounters with some cryogenically preserved

– and now revived – dinosaurs, not to mention a one-eyed weasel named Buck.

This is all rendered in stunning stereoscopic 3D, and the IBC Big Screen is definitely the most impressive place to watch it. With the co-operation of leading manufacturers the RAI Auditorium is converted into a digital cinema that really is state-of-the-art, with high-resolution projection on the giant screen matched by sonorous surround sound.

Courtesy of 20th Century Fox, all IBC visitors are welcome to come along and enjoy Ice Age 3: Dawn of the Dinosaurs and see just how compelling the best content and the best presentation can be.

The screening starts at 18:30 tonight in the Auditorium – but space is limited, so get there 15 minutes early to give yourself the best chance of getting a seat.

ment of large and small panels u s i n g p ivo t i n g V E S A a n d plasma-mount fittings. Horizontal cable trunking is provided at the rear of each beam and vertical trunking within the columns, enabling easy and expandable h o u s i n g o f p owe r a n d v i d e o wiring. Equipment pods with 19inch racking behind removable vented panels can also be accommodated at floor-level.

Custom Consoles’ System 2 product family is a multi-element furniture system designed to accommodate free-standing or pod-mounted equipment such as graphics workstations and editing terminals. Visitors to the stand will be able to see a new version

boasting several new features, including a front-facing cableaccess slot. This avoids the need to loop cables from the rear. The System 2 range includes the S2-01B desk and S2-02B monitor shelf, both electrically adjustable in height from 660 to 1200mm.

Finally, the Media Desk forms the basis of an accessibly-priced working environment for computer-based media workstations.

Users can adjust working posture at their own desk or when operati n g a c ro s s s eve ra l l o c at i o n s.

Height adjustment can be made quickly and easily using a retracting handle operated via a geared drive.

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THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily to become a truly integrated media supplier for their audience. Companies that cannot provide integrated solutions and/or demonstrate they are reliable partners even in this difficult economic situation are going to face tough times.

Exhibitor Q&A Klaus M Heidrich, COO, VCS Has IBC come at a good time for the electronic media industry? Why? The IBC has come at a very interesting time, considering the current economic environment with its risks but also its chances for our market. Planned investment budgets are reviewed. It is vital that potential suppliers demonstrate their financial healthiness. But it is also a time for companies to prove to their clients that their own solutions are truly worth the money.

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

There is a clear demand for integrated system solutions. Professional broadcasters are looking to optimise their playout and production workflows in order

Why should delegates visit your stand at IBC? We offer flexible, highly reliable IT solutions for professional broadcasters that cover daily core functionalities as well as integrated solutions for broadcast complexes.

Major recent project wins like the big BBC AEP framework or Deutsche Welle are the best evidence for our quality, expertise and experience. Any b ro a d c a s t e r s i m p ly c a n n o t afford not to visit us.

10.D20

The Wuxi Huaxin Radar Engineering series of satellite receive antennas and TxRx antennas from the size of 0.6m to 16m will be enhanced at IBC with the motorised 2.4m/3.0m satellite VSAT antenna, writes Ken Kerschbaumer. The company says the 2.4m/3.0m antennas adopt the most advanced design of dual shaped theory. They have the specifications of high gain, low side lobe, low cross polarisation and good matching and comply with international standards. Wuxi Huaxin also specially designed the three axis motorised system for these two types of antennas. This system has the function of auto-aligning and auto-tracking which is quick, accurate and reliable. 3.A20

I

Cable â&#x20AC;&#x201C; where would we be without it?

Belden highlights its extensive cable range

by Ian McMurray When it comes to cabling, life is a whole lot more complex than it used to be. Not only are there many more types of connectors, but increasing bandwidths and emphasis on quality are placing real demands on the humble cable.

At IBC, Belden is showcasing just a few examples of the companyâ&#x20AC;&#x2122;s broad range, including its tactical fibre cable. This has, says the company, been significantly

I N N O V A T I O N

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

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u p g ra d e d a n d i m p rove d fo r broadcast quality. It is primarily used for long haul high definition transmissions from mobile trucks.

The new ITU G.657 standard fibre has full compatibility with G.652.D fibres with low bending loss to enable smaller fibre management (LT 0,5dB/km at 1625nm and LT 0,2dB/km at 1550nm). It has a Core-Bonded outer jacket and is also available in 2-12 fibres (GMTT8xx) CatSnake four-channel and heavy-duty Cat5e snake. It is, says Belden, an ideal solution for applications that require multiple or redundant channels of Cat5e cables in remote production or staging applications.

Belden also offers heat-resistant hybrid fibre cable for HDTV cameras, which is available as mobile cable for use in the studio or in the field and also as static cable for use in permanent installations. All three versions have flexible black jackets in either halogen-free, PUR or PVC and all feature heat-resistant PE insulation. The range is available with a special put-up for easy connectorisation on the drum.

Beyond these, Belden is showing its expanded line of FRNC unshielded, halogen-free speaker cables; its expanded line of FRNC OFHC premium construction speaker cables which are also halogen-free but still flexible and with low capacitance and are made with oxygen-free copper; its extended range of CATV Multicore Cable for multi switch systems; and its NanoSkew Brilliance VideoTwist in S/FTP design.

Beldenâ&#x20AC;&#x2122;s new shielded design of the well-known NanoSkew is now available for digital signage applications.

1.C21

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

Return of MPEG Industry Forum The technology strand of the IBC conference this afternoon is given over to a master class presented by the MPEG Industry Forum in cooperation with the University of St Petersburg in Russia.

This session brings together a broad spectrum of digital television experts from around the world. Each brings a great deal of experience in pioneering new technology, innovative service offerings and advanced business models. They will share their experiences - good and bad - and bring their expertise to bear on the technological, regulatory and commercial challenges of the moment.

How should digital media standards evolve? What are the

success factors for hybrid services, bringing broadcast and unicast content together in a common platfor m? What services will evolve as content is repurposed for multiple viewing devices? Will personalised video open up new busi-

ness opportunities?

As the world heads towards analogue switch-off these are just some of the questions to be addressed in a thought-provoking and interactive session, which runs from 13:15 to 17:30 in Room L.

How should digital media standards evolve?

Detail from Linear Acoustic’s AERO.air

LA on Pulse with Dolby

It’s VOD time.

Ask your customers. Ask their kids. They want VOD, and they won’t take no for an answer.

Viaccess provides a powerful range of flexible and secure solutions for user-friendly VOD services in a multi-network environment. //www.viaccess.com Photo : Peter Muller - Getty Images VU DU TOIT

by David Davies Linear Acoustic is demonstrating one of the first implementations of the Dolby Pulse audio coding system. Dolby Pulse is Dolby’s implementation of HE AAC. The AERO.air Transmission Loudness Manager is currently available with Dolby Digital and Dolby Digital Plus encoding, and has now been expanded to include the new Dolby Pulse.

Tim Carroll, founder and president of Linear Acoustic, commented: “The AERO.air accepts stereo or 5.1 channel audio and delivers Dolby Digital. Now it will also be capable of simultaneously producing Dolby Pulse encoded bitstreams. This allows facilities to install one simple box that will handle all of their present and f u t u re a udio processing and encoding needs.”

Engineered on the foundation of the company’s first-generation digital television processors, the AERO.air system is said to enable broadcasters to deliver compelling and controlled 5.1 channel surround sound while saving time, money and space.

T h e AERO.air solution is equipped with a loudness controller, upmixer and metadata manager, as well as full-time, twochannel downmixer for mobile services. The built-in AutoMAX processor automatically and smoothly upmixes stereo audio while passing 5.1 channel audio untouched.

8.D29

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

Visit us at IBC

Stand A51 Hall 1

25

theibcdaily

Storage maximises tapeless workflows Traditional video tape is being rapidly abandoned as television production crews and broadcasters adopt hard drives for recording and archiving on a growing scale explains Douglas I. Sheer, CEO and chief analyst, DIS Consulting Corporation The past few years saw an enormous build out of storage capacity on all levels which we can group as Local, Shared and Mass/Clustered.

More recently, that still meant that tapes would need to be transferred and that recorded material transcoded, in order to get it into the system and the workflow. It was slow, expensive and tedious.

That workflow has been substantially overhauled, particularly in large-scale settings such as national broadcasters and private TV networks. This is what was revealed by DIS’ latest venture into the storage space Media Storage World 2009 (published in March).

The set up is pretty simple, as video and audio – rich media is ingested into today’s storage system it resides as files in hard drives. It then can be massaged and moved around, pretty much at will, within the storage infrastructure, regardless of the size of operation. MSW showed fairly consistently, that whether Local, Shared or Mass, hard drives were the most common denominator.

And, that a trend to massively increasing capacities was running virtually unabated among professionals. Local storage units (measured as one TB) were running at almost 6 billion units installed as of the end of last year. Shared units were 1.4 billion units. And, Mass/Clustered at 12 billion units, globally (yes, your experience may vary, but that’s what our study showed).

D e s p i t e the impact of the global economic downturn, this year has seen greater reliance on tapeless workflows and a steady retrofitting of the workflows specifically related to servers and storage to accommodate a move towards file-based video storage and archival retrieval, even of legacy materials.

Recently the broadcasting and professional market has been tracking towards a more automatable and streamlined infrastructure. This has been brought about

in large part due to the retirement of legacy VTRs and tape-using camcorders and their replacement by servers and file-based storage systems. Simultaneously, the race to upgrade to HD and to replace older servers that were SD-only or hybrid has pushed this trend along. Also helpful to this trend

It is now quite likely that footage shot in the field will be of the very same codec as that of the post suite and that of the servers and the storage system

storage system, encoders/decoder or trans-coders, prompters and other systems. Furthermore, with the possible exception of d-cinema, episodic TV footage or commercials, which are likely to be uncompressed, most captured material is coming in as non-tape files and is being passed through the whole workflow that way.

Since the standardised workflows within storage are now likely to be handled as file-based segments, they can be passed down the chain and undergo watermarking, logo insertion, editing, graphics creation, re-formatting and/or standards converting, transcoding, audio sweetening, and other processes without external manipulation.

Despite the economic downturn, this year has seen greater reliance on tapeless workflows. Pictured, the facility at Belgium broadcaster RTBF

was the proliferation of camcorders and post production equipment such as editors – that share a similar codec and protocol and can move material around from capture-to-output in native file-based formats.

Abandoning tape

With broadcasters and other professionals roundly abandoning tape as an approach and instead adopting removable media, disk media or hard drives in the field, the switchover was assured. I would be remiss if I didn’t mention that despite the decline of tape, generally and the rise of hard drive solutions, many archives are being backed up onto tape in the form of LTO tapes and drives.

But, that is an exception to the new rules.

Statistics in DIS’ Professional Camcorders World 2008 showed that over 50% of all camcorders now utilise a non-tape format for capture. In some camcorder applications, like news, and in some market segments, like broadcast, that number goes higher, approaching 60%. With that trend

in place, and as the economy bounces back, we expect to see even more retirement of tape and greater file-based workflow adoption in the next few years. It is now quite likely that footage shot in the field will be of the very same codec as that of the post suite and that of

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the servers and the storage system.

Generally speaking, today’s field capture is gathering original footage in a non-tape way, using either a disk-based format or a hard drive and linking up with a compatible series of sub-systems including servers, editors, graphics systems,

ibc@transvideointl.com www.transvideointl.com

Storage silos

Obviously this permits storage silos and systems to be more adeptly automated, for archives to be more easily accessed, for all processes to be faster, for collaboration to be smoother and for the entire enterprise system to function more fluidly.

Further underscoring the tapeless trend is the ability in the field and in the storage bays to utilise much larger capacities because storage has become so commoditised and cheap. The price of Terrabytes of storage has been plummeting at a breathtaking speed and this has not only made storage systems of all types – Local, Shared and Mass – less expensive per TB, but also those hard drive systems incorporated in camcorders or adapted to use by them – the hard drive portables.

All have gained from the decline in storage capacity pricing. Current s t o rag e i n T B s i s s e l l i n g fo r approximately 88 Euros. That’s quite an incentive to abandon tape. Of course, this price fall represented a threat to manufacturer profits but it was very healthy for customers. As a result, storage capacities kept expanding, even in the light of a weakened market.

And, because of that fall in storage costs, even more pressure is being exerted on tapes and legacy tape archives to be converted to these systems. Much of the original raw footage as well as e d i t e d p rog ra m m e s o f n ew s, sports and weather is being rapidly transferred from their original tapes and onto hard drives.

Sour economy or no, over the next few years DIS forecasts growth in storage and a related growth in tapeless work flows, particularly in Mass/Clustered storage solutions and that means hard drives and certainly not tapebased solutions.

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily The growing popularity of 3D in all its forms and formats

It’s 3D-time at the movies Monday Sept 14, 09.00-12.45

by Chris Forrester 3D dominates today’s IBC conference schedule. There’s a full day of compelling discussion on 3D’s ever-faster progress towards cinema domination. There’s also plenty of time for IBC’s usual impressive batch of 3D demonstrations, plus dedicated sessions for ‘3D at the Movies’ (09.00-12.45), ‘3D in the Home’, and ‘Stereo 3D Production’. Similar sessions were extremely popular at IBC08, and this year’s speakers and panellists are similarly experienced.

Inevitably the panellists will discuss the ever-present need for standards, and no doubt express a view on those broadcasters, which in terms of TV transmission of stereoscopic TV, seem to be resisting standardisation. However, there’s one element that there’s not likely to be dissent, which is the

Conference Today

growing popularity of 3D – in all its forms and formats.

T h e m o r n i n g s e s s i o n s a re chaired by award winning Phil Streather (founder and CEO at London-based Principal Large Format) an acknowledged expert on 2D and 3D IMAX features, having worked on a number of IMAX giant screen productions including the recent Bugs! 3D, narrated by Dame Judi Dench.

His latest project is Flight of the Butterflies, in 3D large format.

Streather is also busy working with BSkyB on their stereoscopic 3D experimental transmissions.

BSkyB has announced a dedicated 3D channel covering sport, movies and in-house 3D productions for 2010.

Streather’s panellists are all industry-leading figures in their own right. For example, Joshua Greer is president and co-founder

o f 3 D t e c h n o l og y c o m p a ny RealD, which covers both cinema and home display of 3D. Bernard Mendiburu is a stereographer and digital cinema consultant working with feature animation studios in Los A n g e l e s, w h e r e h i s c r e d i t s includes Meet The Robinsons and Monster vs Aliens. He just published 3D Movie Making, Stereoscopic Digital Cinema from Script to Screen with Focal Press. He is senior 3D cinema analyst with Insight Media, and was an active member of the SMPTE 3D Task Force.

David Newman, CTO and cofounder of CineForm Inc., has spent 17 years in engineering design and management, developing both hardware and software solutions in the field of digital video. Newman’s career evolved from working as an independent contractor in Perth, Australia to co-founding Applied Magic in San Diego. Through his seven years at

Applied Magic, David grew from Principal Engineer to CTO, while he headed the development of a range of professional and prosumer audio/video products. At CineForm, Newman developed the core compression engine that shares the company’s name, and continues to extend its features to new markets such as RAW and stereoscopic image processing, for simplified acquisition and post production workflows.

Panellist Ken Schafer is president and lead software architect for San Diego, California based Innoventive Software, and has b e e n p rov i d i n g c u t t i n g - e d g e solutions to the film and television industries since 1991. From their award-winning script writing/formatting software – now sold as Movie Magic Screenwriter – to his company’s flagship previsualisation program, FrameForge 3D Studio, he has always been at the forefront of filmmaking software.

With their new release of FrameForge Previz Studio 3, stereo 3D edition, they have once more broken new ground by providing the first previsualisation programme designed specifically for prepping

live action stereo 3D shoots.

Steve Schklair, founder and CEO of 3ality Digital Systems, has been working at the front edge of new technologies for most of his career. He has left a mark in movies, special effects, and in interactive media.

He is currently focused on the development and production of new digital 3D motion picture technologies and the realtime broadcast of 3D programming.

He is highly esteemed by an international client list as one of the world’s leading experts in digital and live action 3D and is one of the primary catalysts behind the recent resurgence of 3D in Hollywood films.

Schklair served as 3D and Digital Image Producer on 3ality Digital’s U2 3D movie. In addition to supervising the production, Schklair also oversaw the post production and completion at the 3ality Digital studio in Burbank. Other recent projects include the first live 3D broadcasts of a full NFL game delivered via satellite to theatres on both the east and west coasts, and the BCS Championship game which aired in real time in 63 theatres in the USA.

A full integration focus for Danmon

by David Davies Danmon Systems Group – which, alongside ATG Broadcast and Hiltron Communications, is part of Dan Technologies’ Systems Integration Division – is showcasing its full range of systems integration services at IBC2009.

O p e rat i ng from offices in Copenhagen, Aargus and Viet-

nam, Danmon Systems Group supplies consultancy, systems and services to TV and radio broadcasters, post production houses and professional audio studios, as well as to the corporate, academic and government sectors.

The company’s fields of activity include every aspect of broadcast and electronic me d i a

t e c h n o l og y – f ro m E N G a n d SNG, to production and post production, to transmission and archiving, and covering video, audio, graphics, streaming, audiovisual and multimedia applications.

Project credits during recent years include the design, installation and commissioning of a TV

News Production System for TV2/Nord, and the upgrading and expansion of the technical infrastructure for Danish Radio at DR Byen.

Henning Bronnum, managing director of Danmon Systems Group, commented: “IBC2008 was a tremendously successful show for us and we have high Ole Clausen is MD and CEO of DSG parent company Dan Technologies

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expectations of IBC2009. Increasing competition for audience share and advertising income is encouraging broadcasters in every count r y t o m a x i m i s e o p e rat i o n a l efficiency and improve service quality. Most major industrial countries are now advancing from analogue to digital SD delivery as a first step on the route to full 1080i output.

“DSG’s role as a globally-active systems integration company is to design, install, commission and support systems that can be expanded quickly and easily when market conditions are appropriate for individual clients,” Bronnum added. “Demand for HD broadcast content is being driven in part by the growing availability of Bluray players and by the availability of 1080i-native television receivers at very affordable prices. Our key objective at IBC will be to discuss with existing and potential clients the optimal upgrade paths from discrete-media analogue SD into file-based digital SD and HD operation.”

8.B51

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

ibc2009exhibitorlisting andfloorplans

(correct as of 11 August 2009)

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

Digital Signage Zone

The Big Screen Experience including Digital Cinema

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THE IBC DAILY 2009

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3.A05

6.D09

5C

3.A18

6.D07

New Technology Campus

3.B13

3.B11

6.D05

6A

6.D03

6.D01 3.A01

6.C19

6.C18

6.A19 6.A18

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6C

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1.C30

1.A30 3.C59

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3.C61

1.B35

1.C33

5.C39

1.B39

1.C35

Humax Electronics Co. Ltd 5.B40

1.36 1.D39

1.A39

1.E36

ASTRA 1.C51

2.C33 2.C40

Vislink

2.A48

2.A49

2.B49

1.D61

1.C61

arqiva

1.F71

2.A50 1.A62

2.C58

1.F73

4.B79b

4.B79c

4.B79d

4.C81

4.C85

1F

Intelsat

Cisco

1.C71

1.D71

4.C88

4.B80

4.A80

4.C87 4.C89

1.D70 4.A91

GRUPPE

4.B91

4.C98

GRUPPE

GRUPPE

GRUPPE

GRUPPE

GRUPPE

1.B79

ee

ee

1.D72

1.A78

GRUPPE

HALL 2

GRUPPE

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

4.B79e

4.B89

1.A71

1.A76

First Floor Restaurant

4.B79a

1.B71

1.A74

2.C59

4.B78 4.A79

NDS GRUPPE

2.C57

2.A58

1B

1A A

2.C53 2.B59

4.C75

4.B81

1D

2.C51

2.C50

2.A51

4.C71

4.C74

1.D68

1.D69

1C

2.B51

For-A

2.A54

4.C70

4.C79

L

1.B61

Restaurant

4.B75

4.B70 4.A71

Harmonic inc.

2.C49

2.C48

ee 4.B71

4A

2.B40

1.A61

2.C41

2.B41

4.C67

4.C60

4.B68

Tandberg Television / Ericsson

2.C39

2.A40 2.A41

4.B61

4.B60

1.A58

2.B39 2.C42

4.C63

4.A61

2.C37

HALL 4

4.C58

4.B58

1.C55

IBM 2.A31

2.A30

WC WC

4.C59

4.B55

1.F58

1.D59

1.B51

Y

4.B56

1.F59 4.A59

Eutelsat Communications

1.A59 2.C31

The IBC Pub

1.F55

(SES ASTRA S.A.)

2C

2B

2A

2.B31

4.C55 4.C57

GRUPPE

2.A28

1.A54

1.A52

4.C53

1.F50

1.A51

4.A57

2.C29

2.B28

4.C56

4.B53

GRUPPE

2.A29

4.B54

1.D51

1.C49

1.A50

2.C25

4.A55

1.F51

1.F48

GRUPPE

2.C28

p it GRUPPE

2.C23

2.B21

4.C50

GRUPPE

1.B41

2.C24

2.B20

4.B51

GRUPPE

2.A21

2.A20

4.B50

4.C51

1.A46 2.C21

2.A24

Ceva

4C 4.A51

1.C41

2.C19

4C

2.C18

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2.B19

4.C48

4B

4A

1F

1.F49

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2.A19

1.F47

1.A49

2.B18

GRUPPE

1.F40

1.D41

1.B40

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Microsoft

4.B49

4.C49

1.A44

2.C15

4.C44 4.C47

4.B48

1.F41

1.A41

2.C10

4.B45

GRUPPE

2.B11

4.A49

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4.C45

4.B46 1.D38

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lift / Elevator

1.A40

2.C11

2.B10

2.A11 2.A18

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5.A45

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2.A10

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5.B41

5.A41 1.E34

1.C39

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5.C37

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3.B67

5.B38

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3.B61

3.B62 3.A65

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3.B60a

3.A68

5.B30

1.A31

1.A32

1.A34

1.D35

1.C31

1.B33

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3.B60

3.A60

5.A31

1.C29

3.B59

3.A58

1.F33

5C

1.B31

3.C50

3.A56

Topaz Lounge (Upstairs)

1.F31

5B

3.B58

4B

3.A59

3.A54

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1.F85

1.F81

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L7

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buizenpost

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1.A81

1.F89

IBC OFFICE

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Café D.E WC WC Reception

1.A91

1.A97 1.A99

1.B90

1.B91

1.C90

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Visitor Registration & Exhibition Entrance

OE340

1.D81

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kast

OE300

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1.A80 rolluik

Servicedesk

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1.D95 1.E90 1.E95

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OE320

OE330

Taxi arrival & departure

Outdoor Exhibits Taxi Waiting Zone

Key WC

Toilet

WC+

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OE390

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REGISTRATION

Buffet

FOOD k ee ES org.

Kiosk Emergency exit Exhibitor services IBC2009/10 Organisers office

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

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ADDED VALUE ATTRACTIONS

TRANSPORT

F

II

THE IBC DAILY 2009

theibcdaily

NEW

STAND 3:B67

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

INTERACTIVE TV

•

SUBTITLING

•

TELETEXT

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

THE IBC DAILY 2009

www.sysmedia.com

III

theibcdaily

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

A

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

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

by Philips and Axel Springer 2.C58 APTX 8.A28b ArabSat 5.A19 Arbor Media 7.G15b Ardis Technologies 7.D12

IV

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

B

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

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

C

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

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

D

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

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

E

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

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

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

THE IBC DAILY 2009

theibcdaily Exterity Eyeheight eyeon Software Inc. EZ FX

IP622 2.C48 7.C21 11.A32

F

F.A.Bernhardt, FAB 2.A21 Facilis Technology 3.B03 Factum Electronics 8.C92 Fairlight 7.D10 Falcon Eyes 9.C42 Fast Forward Video 10.F35 Fiberfox 11.G59 FileCatalyst 7.J41 FILMGEAR (International) 11.F50 Filmlight 7.F31 Filmtechnic Europe Camera Support 11.E87 Fischer Connectors 11.E40 Focal Press 5.C11 Focal Professional 8.A02 Focus Enhancements 9.D41 For-A 2.A51/2.B59 Fora d.o.o.

M222/IP314 Forbidden Technologies 7.A08c FORTIS 5.A31e/5.C12 Foxcom 1.B90 Fraunhofer Alliance Digital Cinema 8.C81 Front Porch Digital 7.B15 FujiFilm Recording Media 11.A21 Fujinon (Europe) 11.C20 Funke Digital TV 3.C46 Furukawa 11.A38 Fuzhou F & V photographic Equipment Co 6.A29e FX-Motion 11.G78

G

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

H

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

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

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

I

L

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

J

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

K

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

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

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

M

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

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

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

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

N

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

O

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

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

V

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

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

7.G16 7.G14

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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

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

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(starts on page iv)

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

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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7.K25

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THE IBC DAILY 2009

VII

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

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VIII

T

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

U

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

V

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

W

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

XYZ

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

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Saturday Sept.12th at 17:00 pm

11.E28 7.H01

info@pstechnik.de | www.pstechnik.de THE IBC DAILY 2009

theibcdaily Maga

Halls 9, 10, 11 & 12

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Exhibitor Services

Kiosk

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10.E59

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9.E35

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9.A04

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OE142

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Words are all we need to make it happen for you

HALL 11

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THE IBC DAILY 2009

VCS Aktiengesellschaft路 www.vcs.de

IX

theibcdaily

Time to seize the day

Exhibitor Opinion

Tobias Soppa, Chief Executive, Ceiton Technologies asks what opportunities exist for producers in the current economic crisis It is possible to speak wonderfully about the future because no statements can be declared true or false. However, much more interesting is: what can we do; what helps now? At IBC, the producers’ response is clear: invest anti-cyclically, utilise the good prices now.

This is clear – if you can accomplish it. But it is not the only way.

Typical for most enterprises suffering under the crisis is that orders have more or less collapsed and that costs no longer have a healthy ratio to turnover. The usual reaction is cost-cutting. All life-critical systems will be shut down to a minimum and it will be endured until the crisis is past.

However, do crises go away with enduring and waiting?

Crises are always a catalyst for

innovation because the pressure on the vendor side is so great and because customers are searching for the best value or completely new advantages. And on the other side of the coin, a crisis is always a market adjustment because not everybody manages to focus on wavering and changing markets. So the solution rests on change, however it may look: cheaper, better, faster etcetera. And this is a chance.

Now, new business models don’t fall from the sky between today and tomorrow. But often, they already exist but just haven’t made the breakthrough yet. You must just look for them and see how they can be adapted for your own business. It is often a matter of just small changes which have a large effect. Innovation offers a

Tobias Soppa: ‘Every crisis presents opportunities’

way out of the crisis.

But what makes the offer the most attractive in the market, if you are already innovative? Then it is a matter of efficiency and cost reduction, because customers, wh o a re f ewe r a n d f u r t h e r between in the crisis, must also

save money after all. It is a matter of process optimisation, saving manual or doubled activities, integration of employees, customers and suppliers, automation of time intensive work, finding the optimal solutions. It is a matter of speed and quality and improved service for customers. In the crisis, the space must be used or managed in order to deal with these themes, in order to survive and to be able to compete again when the upturn arrives.

Our company, Ceiton technologies, shows that this works: record turnover for 2009 and a record number of orders for 2010.

Average growth since the founding of the company 10 years ago: almost 60% per year. With our process optimisation and scheduling software, customers can realise large savings for relatively little outlay and for their part create large benefits for their customers.

This is always worthwhile, but especially in times of crisis. Every crisis presents opportunities – you just have to see them.

3 A60

Tripleplay teams Agama highlights Enterprise Server EX Tripleplay Services and Videotree, a manufacturer of LCD bathroom televisions, have announced a partnership to deliver their IPTV services direct into the bathroom.

Videotree’s new Videospa IP is now fully integrated with Tripleplay’s next generation IP applications for the Hospitality sector.

Featuring an integrated set-top box and a patented control board, the Videospa IP simplifies the installation, reduces costs and simplifies maintenance for end users.

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38

call us on +44 1353 645 000

Enterprise Server EX provides end-to-end quality monitoring

by Ian McMurray Claimed to go beyond beyond the day-to-day operational support provided by conventional end-toend monitoring, Agama has introduced the Enterprise Server EX edition and the Performance Management module, both of which are being demonstrated at IBC. Performance Management, says the company, adds a new dimension to quality monitoring by ex t e n d i n g a n d re f i n i n g d at a already used for day-to-day service assurance and operational support. The result is structured inform at i o n fo r q u a l i t y a n d S L A follow-ups, usage information, service benchmarking, advanced operational support and management decision support.

On the feature level, this takes the form of scheduled reports with trend analysis for over 80 KPIs and detailed QoS-based SLA reports.

The underlying data from Agama Analysers and Agama Embedded Monitoring Probes can be aggre-

gated over time. QoE is correlated with the underlying QoS metrics for increased top-level visibility.

According to the company, Performance Management supports informed decision-making regarding equipment choices, infrastructure dimensioning, rollout rates, and resource allocations, enabling systematic analysis of strategic questions, usage tracking and assessing the effectiveness of quality improvement efforts.

The EX edition of the Agama Enterprise Server is the central coordination and correlation component of Agama’s end-to-end quality monitoring solution. This new edition provides high availability and improved scalability, says the company, and is the definitive choice for providers with large operations where quality awareness throughout the organisation involves more users, and where BSS/OSS integrations play a mission critical role.

4.A55

The DEV 12416 is one of a new family of mux/demuxes

DEV’s L-band occupy less rack space

by Ian McMurray Announced by DEV Systemtechnik in July was a new family of Lband multiplexers/ demultiplexers.

Designed to assist operators of satellite ground stations and cable headend stations in permanently monitoring a multitude of RF signals, the appliances switch multiple inputs to one output (mux), or route a signal to different destinations (demux).

The multiplexers/demultiplexers fit in a very small form factor – less than one third of the rack space of competitive products, according to the company. Standard features include SNMP, web interface, redundant power supplies – features that DEV says other vendors offer as an option only.

Models DEV 1248 (4*8:1), DEV 12416 (4*16:1) and DEV 12232 (2*32:1) are available for 50 and 75 ohm systems.

They can be monitored and controlled via the web interface and include protocols like SNMP, Sandar Prosan, and Leitch, using Ethernet/RJ45 and RS232 interfaces (RS422/RS485 are an option)/DSub-9. Energy monitoring creates an alarm if one or both power supplies fail to deliver secondary power.

The mux/demuxes are available in 3RU form factor only: if a user needs a single mux/demux, DEV Systemtechnik offers a 1RU series with 16 ports or fewer. Additionally, DEV features a family of mux/demuxes with 24, 32, 48, or 64 ports in a 3RU form factor.

1.D91

Germany’s Albrecht Elektronik is presenting an upgraded version of its HD/SD SDI-Inserter, writes Adrian Pennington. The SDI-HD-4M inserts analogue or digital VBI-data into HD or SD-SDI signals according to SMPTE 292M, 259M or ITU-R BT.601. It will automatically switch between HD and SD-SDI operation including dedicated set-ups. Applications for the module include the insertion of teletext, subtitling, closed captioning and metadata as well as VBI-/VANC-signals.

It sports an integrated CCIR-test signal, AFD, VI, VPS and WSS-generator with RS232/422 and/or LAN connectivity.

10.A40

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

Out of the blue and into the home Two of today’s sessions look at how new technologies are set to change the way we enjoy content. Both are free for all visitors to IBC and are a great way of adding value to your visit by investing in knowledge of new fields.

Much of the most stunning imagery today comes from the virtual worlds of games. These use increasingly realistic graphics and sophisticated processing engines, some of which are open source. In turn, film makers are using these and other virtual environments to create animated, interactive or 3D movies. The technology has even brought about a new genre: Machinima, the use of realtime 3D graphics rendering engines to create computer animation.

With high-quality graphics and the deep immersion of 3D, virtual environments are now merging with the real world and changing the way we create lifelike simulations. Business ‘games’ and complex training are set to be transformed.

In the free added-value session ‘Beyond Gaming: the business benefit in user-generated animated content’ (09:00 in Room L), IBC brings together all sides to evaluate that potential. The games expert, the scriptwriter, the psychologist and the businessman consider the creative and financial possibilities of the next five years.

Then at 15:30 we cast our eye further, to see what technologies are going to captivate us in the future – even if they appear to originate far from the traditional broadcast and media industries. ‘Out of the Blue’ takes place in Room O. Flying in the face of conventional tight control over rights, The Blender Foundation produces media collaboratively, using open source tools and licensing the results using open models. At IBC2008, Pixel Blender movie footage was demonstrated on a whole host of stands. This year, Chair of the foundation Ton Roosendaal will be talking about and showing the latest work.

Meanwhile, Ken Maclennan-Brown, wh o re s earches image s cience in law enforcement for the UK government, will reveal just how small an image can go so that you can still recognise the face: the eyes

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

cable assembly

What technologies will captivate us in future?

have it (or rather, it’s the number of pixels between them!).

Moving on to the big picture, ‘Around the World in 80 Telescopes’ was an amazing collaboration between some of the world’s leading astronomers and observatories, collecting images of space and publishing them on the internet. In this segment you can watch some incredible video footage.

John Gilchrist from Gilden Photonics will then demonstrate – with the aid of some traditional Dutch tulips – just how the world can look in a different light, and what the applications are for our industry.

This live discussion will cover hyper-spectral imaging: adding more colours to the red, green and blue model. “ F i n a l ly we a l s o p l a n t o s h ow a remarkable new instrument called the Reactable,” session chair Andy Finney says. “Its inventors cannot join us live but we will show some video of this novel approach to programming and playing a synthesiser – and maybe include a performance from Björk in HD.”

Ateme’s H.264 encoding solution

by Ian McMurray Exhibitor Ateme is showing its 10-bit Hi422P solution for the growing contribution market, which enables media transmission natively from one point to another.

With 10-bit AVC/H.264 encoding, Ateme says that the content is maintained throughout an IP/MPLS network at the same resolution and picture information level as at source, ensuring pristine video quality throughout as well as increasing capacity over DVB-S2 satellite feeds with two HD streams instead of just one with the legacy codec.

Ateme’s Hi422P 10-bit codec technology is being demonstrated at IBC with the comp a ny ’s Kyrion CM4101 encoder and DR8400 decoder pair, and is part of Ateme’s full portfolio of products.

fischer connectors

The company is also demonstrating its Kyrion File Encoder (KFE 2), with Grid Computing hardware for accelerated compression of content. Grid Computing is a complete file-based processing solution that transcodes – faster than realtime, says Ateme – any HD or SD content into an H.264 stream compliant with the major industry standards. For example, the company says a two hour-long HD movie can be encoded in just ten minutes, making this the first truly effective solution for content delivery.

Ateme’s new Grid Computing concept works by producing a number of pristine video quality versions of the same asset simultaneously for delivery of content to television, mobile and internet devices.

1.D70

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39

theibcdaily In Brief Impeq’s services Broadcasters, cable operators, and other media companies looking to spend less time maintaining facilities will want to visit with Impeq at IBC and learn more about the company’s Managed Services portfolio.

The Managed Services portfolio enables operators to focus on what they do best: delivering high quality and innovative products to enhance the digital viewing experience. Impeq will focus fully on the operation of the systems, the implementation of new services and round-the-clock system and service surveillance. Combined, this secures continuity and availability, enabling operators to regain their focus on the market.

3.B31

EditShare teams with Automatic Duck 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 bi-directionally 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. 7.D22 & 7.K21

Video contribution in high definition Sylvain Riviere, EVP marketing and business development, Ateme, considers the main developments in contribution and distribution The main development in the area of video contribution is a major move to HD as the de facto standard for content creation. This is particularly true for live events, which is where most of our business comes from, such as the recent G8 Summit or the upcoming South African World Cup. The decision on which codec to use is therefore a crucial one as the costs of moving HD content from studio to studio and across networks to regional head-ends and affiliates will quickly mount up.

The only high video quality solutions are H.264 10-bit 4:2:2 or JPEG2000 compression (MPEG2 compression is only 8-bit quality). Of these two, only the former should be considered for satellite

transmission as the bandwidth required for uplink is still too large using JPEG2000.

With H.264 10-bit 4:2:2 compression, broadcasters are able to maintain the native quality of their source content throughout t h e p ro c e s s a n d , s o m ewh at counter-intuitively, receive bandwidth savings at the same time, thanks to the way 10-bit compression works. Ateme is the only company able to do this and we will be demonstrating our H.264 10-bit technology at IBC2009.

At the other end of the spectrum – distribution – the key focus for broadcasters and content owners is generating as much va l u e a s p o s s i bl e f ro m t h e i r a s s e t s. C o n s u m e r s n ow h ave

Exhibitor Opinion

Sylvain Riviere: ‘Decisions on which codec to use are crucial’

access to a profusion of devices that they can use to view video, from mobiles to PCs to gaming devices, as well as to the traditional TV in the front room.

Content owners are therefore developing multiscreen strategies to offer revenue-generating services for these devices. The first step in a multiscreen strategy is to streamline processes by creating a tapeless workflow environment.

By transferring tapes to digital files, operators and broadcasters gain faster, more efficient access to their content, enabling them to be more flexible in how they can monetise that content, for instance by enabling users to access content via a STB, PC or mobile device.

Ateme has specifically developed the Kyrion File Encoder (KFE 2) to enable this, and will be demonstrating this at IBC2009 together with our latest grid computing prototype, which offers accelerated compression of content, transcoding content faster t h a n re a l t i m e i n t o H . 2 6 4 streams, for example, a two hourlong HD movie can be encoded in just 10 minutes, making this the first truly effective solution for content delivery.

1.D70

Blankom extends push into IP

by Ian McMurray With over 10,000 installed systems worldwide, announcements f ro m B l a n ko m a re a lway s o f interest. New for IBC are the company’s EQM008 EdgeQAM modulators which Blankom says extends its push into the video over IP domain.

Highly compact at just 7 x 4 x 1.5 (inches) and deliver i n g 86MHz QAM channels, t h e EQM008 is based on Blankom Digital?s EQM family of EdgeQAM modulators and has been designed to provide services to subscribers at the edge of the distribution network. The small form factor design allows installation in a street cabinet or in small tele-

communities, campus networks and so on.

Multiple units can be installed in a standard 19-inch rack chassis with power supply, making the EQM008 the most cost-efficient solution for m o d u l a r E d g e QA M installations according to the company. Blankom says that the EQM008 allows its customers to easily move their services to IP without the need to abandon their existing l o c a l H F C n e t wo rk s, The EQM008 t h u s p ro t e c t i n g t h e i r investment. modulator measures a 1.F51 mere 7 x 4 x 1.5 (inches)

com equipment closets to enable the provision of digital video services to private

After acquiring lighting manufacturer Blue i UK, Spain’s Peli Products launched the Advanced Area Lighting Group (AALG), and a new line of Remote Area Lighting Systems (RALS), reports Adrian Pennington. This range brings portable, powerful and energy-efficient lighting technology to places where trucks and gas powered generators can’t go. RALS portable lighting ranges from one to four head units in four models. 9.D44

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.

40

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

IBC2009 Training Zones Production Training

Post Production Training

• • • •

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

IBC2009

the content creation • management • delivery

experience

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

•• • • •

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

To find out more about the sessions available go to:

www.ibc.org/training

theibcdaily

How to shoot the perfect interview Hamlet’s sensitivity

Learn the fundamentals of camerawork

Today’s Production Village training zone in Hall 9 includes a session run by Christina Fox, in which attendees will be able to learn the fundamentals of shooting an interview, including choosing a location, crossing the line, composition, microphones and cut-aways.

Fox is a member of the Guild of Television Cameramen and r u n s t h e t ra i n i n g c o m p a ny UrbanFox. She began her television career at the BBC as one of the corporation’s first camera-

women and has since worked on a variety of output; from news and current affairs through to music, natural history and comedy. She moved into training at the BBC and created some of the first small camera courses before leaving to set up UrbanFox 12 years ago. Professional Interview Techniques starts at 13:00.

A t t h e s a m e t i m e, t h e r e ’s another chance to attend the small group session, Technical Clinic, in which Alan Roberts will attempt to answer all your

mid- and high-end camera technical questions.

There are also exhibitor presentations within the Production Village today from JVC, Arri, Panasonic, Phabrix and the Vitec Group.

Meanwhile, in Hall 7, there’s another chance to take a bite at the latest desktop training techniques from Apple. For example, there’s an Apple Motion session at 11:00 that will teach you how to work in 3D, while a Q&A at 14:30 will satisfy your hunger for knowledge after lunch.

Later on, there’s a triple-bill of sessions in which you’ll learn how to edit footage and build a sequence (Apple Final Cut Pro Introduction, 15:00), focus on Final Cut Pro workflows to interact with the other Final Cut Studio applications (Apple Final Cut Studio Advanced, 16:00) and understand workflow using the primary, secondary, color-fx and geometry rooms (Apple Color, 17:00).

All these sessions are within the post production zone in Hall 7. There are also exhibitor presentations from Da Vinci (11:00 to 12:00), Seamobile (12:00 to 1 3 : 0 0 ) , Te l e s t re a m ( 1 4 : 0 0 t o 15:00) and Orad HiTec Systems (15:00 to 16:00).

Hamlet has completely elimiby Adrian Pennington Hamlet is showing the latest devel- nated CRTs from its instruments, opments for its software tools thereby removing the need for including the Vidscope-vx which is routine display recalibration and a proven suite of software to run thus reducing significantly the multiple realtime measurements cost of ownership of a precision instrument. With its latest devices concurrently on a standard PC. The latest version, Vidscope- using an all-digital internal platbx, is designed to be used with form, Hamlet has moved towards Blackmagic Design’s video cards a calibrated-for-life test and measto provide very high precision urement system. test and measurement in absolutely critical applications like colour grading and ingest quality control, whatever the for mat, from HDV ov e r F i r e w i r e t o 3Gbps HD. Reel-Check, which provides background, faster than realtime Vidscope-bx for high precision T&M quality control tests Hamlet’s vectorscopes and on file-based content, continues to develop. Thus, Hamlet is demon- waveform monitors either use an s t rat i n g i t s ab i l i t y t o d e t e c t internal precision LCD display or sequences which may trigger provide an output to either a photo-epileptic seizures, in full video or a computer monitor, compliance with the latest ITU which can be routed to the operator’s convenience. In either case and UK Ofcom standards.

The same sophisticated photo- the graticules are generated digisensitive epilepsy algorithms are tally within the device, so proalso available in a new software vides a continually reliable and tool, PSE-Scope, also receiving its accurate reference.

9.E13 & 9.E21 world debut at IBC.

What's on the IBC Big Screen

For the latest visit:- www.ibc.org 2008 THESE EVENTS ARE FREE TO ALL 17.00-18.00 PS TECHNIK Digital Capturing with WEISSCAM HS2 and SI-2K Digital Cinema Camera System Friday 11th Sept 14.00-15.00 CHRISTIE Come and see the latest in control room displays.

15.30-16.30 ARRI Presents examples of where and how it’s state of the art technology has been applied.

42

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’

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

Free parking, not metered storage Granby Patrick, partner director, technology, Marquis Broadcast has an elegant solution for post producers looking to save time, storage and money Exhibitor Opinion

Export: To Parking on Final Cut) you can export it exactly as it is into a single file that is easy to

store, manage, and subsequently restore at any time in the future.

File movements take place in the

background while you get on with your next job.

The whole sequence, with the media and all the data about all the effects and transitions that you have put into the edit, are contained within a single archive file, making it perfectly suitable for either transferring onto a data tape archive, manipulating onto other storage, copying or even shipping.

Furthermore, the content of the archive file is in a totally open standard and can be read and exploited by any appropriate software application. This makes sure that it can be read not only tomorrow and next year, but also in ten years time when all the applications that created it no longer exist.

2.A58

S o t h e re yo u a re h a l f way through your edit when the producer says to you, ‘Julio will bring the next shot with him when he gets back from Sicily at the end of next week.’ Your heart sinks as you contemplate the consequences of having a half comp l e t e d e d i t s i t t i n g o n yo u r valuable editing storage system using up space that you will be needing next week for a big job that is already booked in.

Now the fun really begins. You find a disk drive with sufficient space, mount it on your editor, consolidate the sequence or all the media in the bin onto your USB drive hoping that it will be big enough, and then delete the media from your main storage — fingers crossed as you attempt to reassure yourself that the consolidate was complete and successfully contained everything you required.

Granby Patrick: ‘Parking files for future use eases nerves’

There is, however, a much easier, less nerve-racking solution.

What you really want to be able to do is simply ‘park’ that edit to your low-cost network storage and pull it back easily at the end of next week when ‘Julio’ returns and you can resume with the next shot.

Here’s another familiar scenario. A month ago you completed a job for your favourite client and provided him with two VT copies of the final edit. Now he’s back asking if you can ‘just change that voiceover.’ Think how convenient it would be if you had ‘parked’ the finished project so that now you can simply pull back the edit, lift the one track to swap out and record a new master tape.

It is now possible to ‘park’ files for future use, whether that be a week later, or three years later. By d rag g i n g and dropping your s e q u e n c e (or selecting File: THE IBC DAILY MONDAY 14 SEPTEMBER 2009

43

theibcdaily

The future of digital television Conference Today

SES Astra’s digital control room

Monday Sept 14, 13.30-14.55

by Chris Forrester Once again the MPEG Industry Forum is presenting a Masterclass at IBC, this year produced in co-operation with the University of St Petersburg in Russia.

But a warning: these sessions are traditionally extremely popular s o e a r ly a r r i va l i s s t ro n g ly advised.

Chaired by Sebastian Moeritz (CEO at Dicas) and with help from Harmonic’s David Price, the MPEGIF has gathered a top-rate group of panellists and insiders with proven track records in pio-

Exhibitor Q&A

Michal Stehlik, CTO, Provys (a division of DCIT) Why should delegates visit your stand at IBC? This year, we are bringing our best consulting leaders to our

neering new technology, innovative service offerings a n d advanced business models. They will share their experiences – good and bad – and bring their expertise to bear on the technological, regulatory and commercial challenges of the moment.

In truth, life for broadcasters has never been so complicated.

Everything is possible, of course, but at a cost, and monetising new services is not always easy. The same challenges face public broadcasters as well as commercial operators, but with ad-revenues under extreme pressure and governments keen to ensure that their publicly-funded networks deliver stand for an open discussion about solutions that fit the current economic situation. We are helping our visitors find ways to improve and optimise their business models. We are not only going to present our software solution, but also to discuss experience. Everybody is welcome at our stand.

Has IBC come at a good time for the electronic media industry? Why? The timing of IBC is great as it comes at the time of budget negotiations for the upcoming year; therefore every piece of information is welcome. Strong companies will recover quickly from the current revenue reductions and IBC may be the place

value for money, the route to success is not easy to predict.

Hence this panel. Some of the specific questions to be covered include asking how should digital media standards evolve? What are the success factors for hybrid services, bringing broadcast and unicast content together in a common platform? What services will evolve as content is repurposed for multiple viewing devices? Will personalised video open up new business opportunities?

All this as well as a look to the next generation of digital broadc a s t i n g – M P E G - 4 a n d eve n b e yo n d – a s t h e wo rl d h e a d s towards analogue switch-off: it is set to be a thought-provoking and involving session. Time will be set aside for audience questions.

Panellists are drawn from all aspects of the industry, including cable, satellite, telco, middleware and technology. They include Kevin Baughan (director of technical strategy at Virgin Media), Dieter Engel (head of IPTV, D e u t s c h e Te l e ko m ) , M a nu e l Gutierrez (CEO at TDVision Systems), Matthew Huntingdon (VP product marketing at Open TV) and Jeff McSchooler, VP-engineering, Echostar Broadcasting. to find inspiration for new business models and resources for continuing operations.

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

Currently, the key threat is lack of confidence. Should confidence be slow to return, the industry will slow down the research and technology development. As a financially strong company, we are taking advantage of the current situation and investing into a technology shift of our product. When confidence returns, we will provide a new end-user environment and many other options.

2.B49

AVP Europa launches a new range of bulkhead patch panels at IBC, writes Adrian Pennington. The 2RU height and standard 19-inch patch panel complies with the NEMA EIA-310 rack-spacing regulation. These patch panels are fully customisable and accept different combinations (up to six connectors) to cover the user’s needs.

Standard and 30ß angle versions are available including those from ADC, Canare, Kings, Lemo, Fischer and Tajimi. 10.E59

BBC takes dira global

by Adrian Pennington VCS Media Broadcast is providing the BBC with audio editing and playout solutions right across the Corporation in a four year contract worth EUR11-17m.

B e t we e n n ow a n d 2 0 1 3 , almost all of the BBC’s main domestic and international audio editing and playout systems will require a technology refresh. VCS has been selected to supply its dira! products to help move the broadcaster toward one single scalable, pan-BBC solution that integrates with other systems and creates a true multimedia production environment.

The focus of the project is to procure systems that can provide all the technical functionality that

Doremi servers in Italy

by Adrian Pennington D-cinema server vendor Doremi Cinema is to supply and install its servers in Italy via distributor and support service Digima, Italy. The locations now equipped with Doremi Digital Cinema technology include the Stardust Multiplex in Tortona (eight rooms with over 1000 seats), the Metropolis Multisala in Castelletto Ticino (the first Italian cinema totally digitalised), and the famous Multiplex Arcadia in Melzo (Milan).

The DCP-2000 Digital Cinema Player

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

44

the various divisions require for audio editing and playout, including the flexibility to support future workflows.

The contract further strengthens the relationship between the two organisations and builds on the work VCS has been undertaking for the BBC over several years in the field of integrated radio production and playout technology.

Klaus Heidrich, VCS’ director of media broadcast, said: “We are extremely proud that the customer has chosen our dira! solution as their future core technology. We are confident that this project will be considered as a premium reference by the worldwide media and broadcast community.”

10.D20

More recently, other multip l exe s i n c l u d i n g t h e C i n e m a Eliseo in Cesena, and Multisala Charlie Chaplin in the region of Veneto, have also made the switch to digital cinema based on proposals by Digima.

A l l t h e n ew d i g i t a l ro o m s include Doremi Cinema DCP2000 servers, Christie Digital proj e c t o r s a n d 3 D t e c h n o l og y including Xpand, RealD kits for stereoscopic projection. The DCP2000 includes 1000GB of RAID5 storage in a 3RU chassis with redundant power supplies, and is supplied with CineLister software for the administration of movies and playlists.

10.B10

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

MediaGeniX THE IBC DAILY MONDAY 14 SEPTEMBER 2009

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Stand 8.B51

theibcdaily

Challenges of digital convergence

Exhibitor Opinion

Multi-platform publishing impacts the whole industry, says Marc ‘Oli’ Hentschel, product manager, studio broadcast, Draka Communications Most people know that Draka works with and supplies leading worldwide and national broadcasters with reliable, high-quality analogue, SDI, SDTI and HDTV cables. But Draka, as a Euro2.7 billion global company spanning 30 countries, develops, engineers and manufactures all kinds of cable solutions for all kinds of customers.

Draka cables are present in planes, trains and automobiles, in ships, oil rigs, elevators and windmills, in homes and offices, as well as in television and movie studios.

Draka’s Communications division comprises two business units: Telecom Solutions and Multimed i a & S p e cials (of which the broadcast business is a part) and is

a global market leader for the development, production and sales of optical fibre cables as well as advanced network solutions.

Digital convergence is having a significant impact on Draka’s business, especially with the rapid advances in multi-platform publishing and the obvious impact this will have on traditional broadcasting practices. Content distribution over next generat i o n broadband networks is now the instigator of massive investments in infrastructure, an area in which Draka excels with extensive experience in FTTH (Fibre to the Home) outbuilding. Here, Draka’s innovative flexible optical fibre BendBright-XS is reshaping the deployment processes of the

broadband industry for next generation network access, while stimulating miniaturisation trends as ‘bendability’ removes space constraints as well as resolving prior issues of fragility.

Fibre demand is now driven

by HD content, so that now even our own specialist broadcast products contain BendBright-XS in composite studio cables which accommodate both analogue and digital needs.

Fibre is exciting for consumers as they can now have the experience online of studio quality sound and vision of the same quality of professionalism that we strive to achieve daily in our broadcast industry. But HD creates both challenges and opportu-

A Superior manner of regulation Look inside: ERR’s van has state of the art intercom

Riedel outfits Estonian OB

by Adrian Pennington Estonia’s public broadcaster Eesti Rahvusringhääling (ERR) has outfitted its new 16 camera HD OB van with Riedel intercom. The system is based on an Artist 128 digital matrix mainframe. COAX-108 and CAT5-108 client cards provide the connections to the control panels with BNC and RJ-45 connectors, respectively. MADI cards offer connections to the truck’s Lawo audio router. Six AIO-108 cards provide the necessary analogue audio I/Os. I n a dd i t i o n 1 0 M o t o ro l a GP344 and GP388 radios are integrated into the intercom

matrix via a Riedel RiFace.

“We are very pleased with this HD truck and its one-of-a-kind technology for the Baltic region,” said Sander Üksküla, R&D manager TV production technology, ERR. “The audio quality of the Artist intercom matrix even allows us to distribute commentator audio and analogue audio signals in digital broadcast quality audio through the intercom system.”

The Baltic system integrator Hannu Pro was responsible for the installation in conjunction with Grass Valley.

10.A41

There are many ways to maximise the performance of your schedule

46

by Ken Kerschbaumer Superior Electric has introduced its new Stabiline BVR series of solid-state, step regulating automatic voltage regulators at IBC. The new BVR Series Regulators are maintenance free (no moving parts) and are intended for full facility protection. They are equipped with an HMI touchscreen display for unit settings and monitoring systems. Units are for three phase wye service with ratings from 100 amps to 1200 amps.

Superior Electric will also display it’s full line of Stabiline power quality products that can provide a remedy to almost any power quality problem a broadcaster may encounter.

Other products available include automatic voltage regulators, uninterruptible power supplies, transient voltage surge suppressors and power conditioners.

3.A10

Marc Hentschel: ‘Fibre demand is driven by HD content’

nities. HD is pretty unforgiving, magnifying the flaws in the signal supply chain, from the skin comp l ex i o n o f t h e a r t i s t s t o t h e authenticity of the studio sets in

which they perform. Industry professionals can no longer afford to live with the weakest link, right down to the patch cables interconnecting advanced computer workstations.

The challenges for our broadcast customers are in balancing their current investments while future proofing against this wave of digital convergence. Technolog y t re n d s i n H D ( 1 . 5 a n d 3GHz/second) continue to be drivers for our market, putting pressure on companies like Draka to continue to invest and meet the specifications of new cable designs that professionals can trust to work in current environments while meeting future needs.

IBC2009 shows that content and the ‘consumer experience’ are driving the broadcast business, but now we have to also factor in the upcoming power in the audiovisual supply chain of multi-platform publishing directly to the consumer’s living room.

11.B50

HaiVision’s new launches

by Heather McLean H a i Vi s i o n N e t wo rk Vi d e o i s showing the new Video Furnace System 5, a complete solution for end to end HD H.264 voice over IP (VoIP) distribution.

The powerful integrated solution incorporates the compact Makito HD H.264 encoder to simplify deployment of a secure, easy to use system for encoding and distributing live video to computers and set-top boxes, for creating scheduled playback channels for enterprise TV and signage, and for recording content and delivering video on demand (VoD).

The system’s Furnace Portal Server controls the direct and secure distribution of SD and HD H.264 video to both the zero footprint InStream player and the Stingray set-top box; the Furnace P l ay b a c k M a n ag e r s u pp o r t s scheduled channels for IP video broadcast and signage; and the Furnace Media Server leverages the efficiencies of H.264 to enable HD VoD. IBC2009 attendees can also see HaiVision’s new Makito HD video encoder, the first and only compact encoder to combine the efficiencies of H.264 video com-

pression and the image quality of full HD video within a very compact form factor at a very competitive price point.

Turn up the heat: HaiVision’s new Video Furnace System 5

Introduced at the 2009 NAB Show for just $8,995, this revolutionary encoding system supports SD and HD up to 1080p60, allowing HD video to be distributed, captured, and rebroadcast efficiently and affordably.

IP702

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

MediaGeniX THE IBC DAILY MONDAY 14 SEPTEMBER 2009

IABM 2009 Global Market Update

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www.theiabm.org/research

theibcdaily In Brief

Exhibitor Q&A

Colem takes control There can be few worse things for an outside broadcast crew than to get all set up – and discover they’re in an SNG or wireless blackspot. Colem is showcasing its response to the problem in the form of a new development to the company’s Link Camera Control System which means that crews can go anywhere in the world and already know the areas to avoid, saving vital time in setting-up. Colem is also highlighting a new add-on application for all Colem’s SNG, FlyAway and Camera systems using Google Maps.

1.F58b

Aardman’s Digital Vision Wallace & Gromit creator Aardman Animations has purchased a Digital Vision Data Conform for work on its next feature release. is a stop-frame release based on the Pirates books by Gideon Defoe and is slated for a 2012 release. Directed by Aardman co-founder Peter Lord, it is the first Aardman stopframe feature film to be shot digitally rather than on film. According to the movie’s technical director Tom Barnes, the Data Conform will initially be used to feed rushes into the company’s d-cinema projector for approval.

7.A23

Dr. Enno Littmann, COO, IHSE

excellent platform to inspire hesitant investors to launch new projects now. The technology is here – at IBC!

Has IBC come at a good time for the electronic media industry?

Why? I B C c o m e s at a g o o d t i m e, indeed, for companies like ours who have launched new, innovative products recently. The crisis has reduced or delayed the number of projects in the video and KVM market – news about late s t p ro d u c t d e v e l o p m e n t s spread slower than before, while innovation has continued, even accelerated. IBC provides an

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

Key electronic components for high-speed video transmission and switching have become available recently, which will allow the video and KVM industry for CAT 5/6/7 and fibre optics to d eve l o p a n d o ff e r p owe r f u l extender and switching devices within a short time. The current c r i s i s, h oweve r, h a s l ed t o

LED ringlight for Q-Ball

by Adrian Pennington Following trials at a series of recent sports events in South Africa, Camera Corps has chosen IBC2009 to launch a self-illuminating version of its Q-Ball allweather robotic camera head.

Designed primarily for commentator-camera applications, the option is a multi-element LED ring luminaire which generates a powerful but non-glare soft light to illuminate a presenter.

“Q-Lite can be mounted on

any existing Q-Ball to provide brightly illuminated images from traditionally dark locations such as sports or stage-side commentary boxes,” explained Laurie Frost, founder of the Shepperton-UK-based developer. “LED lighting is tremendously efficient and does not waste energy projecting heat onto the commentator’s face.”

Camera Corps’ Q-Ball is a full dual-mode robotic colour camera with high-precision pan and

reduced availability and increasing prices of key components so that delivery times and device prices will be an issue for the next twelve months.

Why should delegates visit your stand at IBC? IHSE celebrates its 25th anniversary of KVM excellence with its participation at IBC. Presentations of our unique Draco major video/KVM matrix switch, new extender solutions for high-end production work place as well as attractive IBC order discounts should make it worthwhile for everyone to come and visit.

8.C50

tilt, 10:1 zoom optics and infrared night-vision capability, all housed in a robust 115mm diameter sphere machined from solid aluminium.

Pan and tilt can be operated at any speed from four seconds to 20 minutes per revolution through an unlimited number of turns. Integral high-precision low-noise motors allow the camera to be repositioned smoothly during live shooting rather than merely between shots.

10.C49 Q-Lite during pre-launch trials in South Africa

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 48

www.ibc.org THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

Media on the move Todayâ&#x20AC;&#x2122;s What Caught My Eye session at 09:30 in Room O is all about media on the move. Straddling film, television and the PC, the fourth screen â&#x20AC;&#x201C; mobile â&#x20AC;&#x201C; is now truly making its mark.

Consumers are eager for devices which are not only personal, interactive and always on, but mobile too. With an expected five billion prospective viewers by 2011, this session looks at getting content to the consumer and asks, will the small screen be a limiting factor?

M i ke Short of the Global G S M A ssociation and Ken Blakeslee of WebMobility Ventures will be scouring the exhibition floor for content destined for personal mobile viewing. They will also be looking for evidence of successful advertising campaigns and business models that work for personal video delivery.

What innovations will heighten the userâ&#x20AC;&#x2122;s experience in creating, acquiring, publishing, sharing and enjoying rich content? Find out in

this global market update, which will also incorporate examples from some of the best products on show at IBC. Like all What Caught My Eye sessions this is free to all IBC visitors, so come along and find out

who is on track to succeed by creating business and consumer value in the mobile arena.

And if youâ&#x20AC;&#x2122;d like to access IBC show infor mation from your mo b i l e p h o n e, o p e n u p yo u r mobileâ&#x20AC;&#x2122;s web browser and visit www.ibc2009.mobi (java-enabled phones) or www.ibc.org/mobile (most other phones, smartphones and wireless PDAs).

Do you know how to get content to the consumer?

Convergence Enabled.

Sonnetâ&#x20AC;&#x2122;s Qio

by Carolyn Giardina Sonnet is demonstrating its Qio universal media reader/writer.

Designed for in-studio or onlocation applications, Qio features dual P2, SxS, and CompactFlash slots and transfers data from two cards concurrently. For almost any other memory card type, including Memory Stick, MMC, SD, and xD-Picture, the Sonnet 21-in-1 multimedia memory card reader and writer is included.

For migration of data, the Qio integrates a SATA controller based on Sonnetâ&#x20AC;&#x2122;s Tempo SATA E4P SATA card, which through four eSATA ports, enables users to connect two Sonnet Fusion F2 portable storage systems or four drive enclosures with port multipliers for access of up to 20 SATA drives.

The Qio connects to a computer through an included cable and either an ExpressCard/34 (for notebooks) or a PCIe (for desktops) interface adapter. The included adapter extends the computerâ&#x20AC;&#x2122;s PCIe bus outside the box.

Since ExpressCard connectors also carry USB signals, Sonnet designed the Qio to extend the USB bus through the ExpressCard slots as well. The reader/writerâ&#x20AC;&#x2122;s SxS slots double as ExpressCard/34 slots, while the P2 slots are compatible with CardBus cards, including Gigabit Ethernet, WiFi, USB and FireWire.

7.G01

Demand Driven Video and Targeted Advertising t &OBCMF OFX PQQPSUVOJUJFT JO QFSTPOBMJ[FE DPOUFOU EFMJWFSZ BOE BEWFSUJTJOH t -FWFSBHF FYJTUJOH JOGSBTUSVDUVSF GPS DPTU FGGFDUJWF CVTJOFTT NPEFMT XJUI TDBMBCMF TPMVUJPOT t *ODSFBTF UIF WBMVF BOE WBSJFUZ PG BEWFSUJTJOH JOWFOUPSZ t &YQMPJU TIJGUT JO DPOTVNFS UJNF BOE QMBDF WJFXJOH IBCJUT UP DBQUVSF OFX SFWFOVFT

Meeting the Demands of an On Demand World

7JTJU VT BU *#$ 4FQUFNCFS 3"* "NTUFSEBN

Hall 1 Stand F40 www.arrisi.com

Bucking the status quo: the Qio universal media reader/writer THE IBC DAILY MONDAY 14 SEPTEMBER 2009

49

theibcdaily

Business Briefing: delivering IPTV Today’s free Business Briefing sessions are hosted by the Open IPTV Forum (OIPF). Formed two ye a r s ag o, the OIPF aims to deliver a plug and play experience for end users, while making IPTV s services independent of the tech-

nology choices made by providers and consumers.

The OIPF is currently working on release two of its IPTV Solution Specifications, to be published by the end of the year. As part of its seamless plug and play

objective, the specifications focus on interoperability testing and profiling.

In this Business Briefing, representatives of the OIPF will debate the lessons learned from the development and publication

of release one, and its aspirations for release two. As well as gaining insights into the practicalities of rolling out an IPTV service, visitors will be able to engage in the debate with the OIPF and make their points for consideration in the next version.

The Open IPTV Forum Business Briefing will take place from 11:00 to 12:30 in Room O.

Supporters

IBC2009

IBC thanks our supporters for providing the technology that powers the IBC experience

DHD shows new console

by David Davies DHD is launching a new model in its Series 52 range at IBC. The design of the new Ethernet-capable 52/RX mixing console is based on its predecessors, RM4200D and RM3200D. The initial 52/RX range comprises the 52-2010 Central Module with integrated talkback/PFL speaker and two fader modules: 52-2020 and 52-2029.

The fact that the RM4200D and 52/RX modules feature the same dimensions enables users to upgrade their systems to include modules from the new range. It is also possible to combine the modules in one mixer with other Series 52 control and fader modules – for example, users can upgrade their existing RM4200D with 52/RX control modules and the new RM420-852/853 Communication Controller while retaining their existing DSP frames, I/O modules, table installation frames and studio furniture.

Wi t h t h e 5 2 - 2 0 1 0 C e n t ra l Module and its Series 52 encoders (coded in four colours), users’ RM4200D-based consoles can now benefit fully from the options provided by TFT modules.

MXing it up: DHD’s 52/MX

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

50

www.ibc.org

Features of the 52/RX fader modules include the same OLED displays as the 52/MX fader modules, while the 52-2029 Fader M o d u l e i n c o r p o rat e s t wo encoders, in contrast to the one found in its RM4200D equivalent.

Those two encoders are dedicated to an OLED display and can control every channel function, prov i d i n g u s e rs w i t h a dd i t i o n a l setting options directly within the fader channel.

DHD is also highlighting two new modules in its 52/MX range the 7”-TFT Display 52-4017 and the TFT Control Module 52-4414 - at IBC2009. The dimensions of the new smaller TFT display now match precisely the width of the four module strips, thus allowing more compact console parameters.

Previously, colour-coded encoders for controlling TFT functions and AUX elements had only been available on short overbridge modules.

The new L-Size module, 52-4414A, now enables a very comfortable handling of the TFT options, even if the user’s 52/MX console does not have an overbridge.

8.A50

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

Here to stay, built to last Staying one step ahead of broadcast’s evolving needs is Fischer’s forte says Daniel Spycher, international sales director, Fischer Connectors Exhibitor Opinion

Daniel Spycher: ‘Engineers are being asked to take it to the extreme’

Today’s viewers are no longer satisfied with passively watching broadcasting – they want to be a part of the action. Whether this movement is prompted by the new generation of viewers, who grew up playing life-like participatory video games, or it is just that the technology is available, engineers are being asked to take it to the ‘extreme.’

Given our long-ter m track record for innovation, our customers continue to defy the odds with their industrial applications and Fischer Connectors responds.

So far, we’ve created accessories that can withstand ocean depths of 100 metres, crash tests, explosions, melting processes, vibration tests, the deep-freeze of the Winter Olympics, the wetness of swimming venues, and the speed of race car driving.

Accompanying this trend is the need for cameras to do more in the areas of time warp. Capable of taking several thousands of pictures per second, we see these new high speed specialty cameras as power users of our ‘Push-Pull’ connectors that easily connect, regardless of user experience, but are made for rugged applications.

Since the early seventies when Fischer’s Triax connector was launched, Fischer Connectors has set the standards for both studio and outside broadcasting. In the case of the 1051 Triax connector for HD transmission, we have increased the bandwidth and made cabling much easier. It’s both userfriendly and easy to clean, which is highly appreciated in the field. In other words, Fischer Connectors continues to evolve its products so they easily adapt to all current accessories for broadcasting today.

We see this as being a huge market with significant potential.

But, we also see plenty of opportunities in the area of lens and camera control, particularly when operation of the equipment

must be done remotely. In these situations – remote lens control, remote head operation, motion control dolly or cranes, or portable filming equipment – where the operator is often remote and equipment is mounted on special cranes, then connections must be flawless.

There’s no margin for error because the camera and the accessories’ performance must complement each other. Fischer is the ‘go-to provider’ for these types of applications along with unmanned aerial vehicles that facilitate upclose action of sporting events.

Our commitment to this is easily demonstrated via our latest developments of the 1051 Triax connector which the waterproof and rugged design assures reliable transmission between camera and control unit in studios or broadcast vehicles, where long cable lengths are used under extreme weather conditions. With an endurance of 5,000 mating cycles, they also withstand the handling abuse that is encountered in studies and particularly at outside broadcast events.

The future for Fischer products is an expansion of our partnership with the Extreme Film industry, where harsh environments dictate the need for Fischer products.

Extreme events or sports in extreme or unique conditions are what Fischer products are designed to handle. Come see and feel the difference yourself at our stand.

11.E40

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

Gefen releases newest splitter

by Carolyn Giardina Gefen’s IBC exhibition includes the now available GefenTV Mini 1:8 Splitter for HDMI v1.3.

“The Mini 1:8 Splitter for HDMI v1.3 marks a departure from the standard rack or desktop design,” said Hagai Gefen, the company’s president and CEO. “This model is designed to be mounted on any 2x3, 2x4 stud on a back wall. Its small size and secure power allows customers to create clean installs without spending a lot of money.”

T h e M i n i 1 : 8 S p l i t t e r fo r HDMI v1.3 was developed to

deliver HD video and multichannel audio from one Blu-ray player, set-top box, PS3, X B ox g a m e console or a n y device using H D M I connectivity to eight displays and/or projectors at the same time.

Support for HDMI v1.3 features, including lip sync, deep colour, Dolby TrueHD and DTS master audio, is available with an

Tektronix talks upgrades

The upgraded TG700 simplifies facility configuration

by Farah Jifri Tektronix has made what it calls significant upgrades to its TG700 modular multiformat precision video signal generator. These include the addition of 1080p SDI signal generation on a single link, a dd e d u s i n g t h e n ew 3 G b p s HD3G7 module which supports both Level A and Level B 1080p SMPTE formats.

The 3Gbps HD3G7 modules enable video equipment designers and manufacturers to get to market quickly and efficiently and

make early 3Gbps services roll out for broadcasters and post production operators possible. As a modular platform, the TG700 offers the flexibility for customers to choose the output signal types that they need. It also provides an immediate upgrade path for those who wish to purchase a signal generator now but add 3Gbps outputs at a later date.

The new GPS7 module for Tektronix’s TG700 product introduces GPS-based synchronisation and timecode generation capability. It can simplify facility configuration by supplying all necessary clock signals from a single worldwide reference. The TG700 acts as a master clock and synchronisation system, including video reference and timecode, for broadcast and post production operators. The GPS7 module for the TG700 provides broadcasters with the option

Building with Flashlink takes you further

eye toward applications in digital signage and rental and staging, or for use with any audio/video system using HDMI v1.3 with 1080p full HD resolution.

The new Mini 1:8 Splitter allows users to select either twochannel or multichannel 7.1 audio. It offers a switch for internal or external EDID, and comes with a locking power supply and one HDMI locking cable.

7.B31

of having all the video reference signals in their facility locked to an extremely stable source, preventing any long-term drift.

For post production applications, the GPS7 module with the TG700 provides flexible timecode support and handles multiple video and timecode formats.

New features have also been added to Tektronix’s PQA500 Picture Quality Analyzer, including the ability to perform simultaneous two channel generation and capture of SDI video, which will enable evaluation or troubleshooting of broadcast operations infrastructure.

Additional enhancements to the PQA500 include improved automatic temporal/spatial alignment execution with freeze/skip detection for consumer electronics design applications. In addition, design verification and compliance testing applications will be improved with the new 10-bit Generation and Capture capability.

8.C75

Earlier this year, Nevion made history with its Flashlink 3G-SDI fibre transport module, which transmitted pathological signals error-free over a record-breaking distance of 120km without any regeneration or optical amplification.

But that’s not all. Nevion’s Flashlink series features the broadest range of 3G-SDI fiber solutions along with the lightest 2RU frame on the market. A low carbon footprint coupled with new high performance up/down/ cross converters with full AFD support reduce power consumption by a dramatic 30 – 50%. In short, it’s the greenest solution in the industry, saving our customers power, resources and money.

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theibcdaily working on DVB-C2. The other, still continuing trend, is IP technology which is important for distribution and contribution.

Needless to say that MPEG-4 becomes more and more important because HDTV will get its break-through very soon.

Exhibitor Q&A Ernst Freese, managing director, Blankom Digital

Teleippica has installed an AEQ Arena console in its central control room

AEQ console specified

by Italian broadcaster

by David Davies An AEQ Arena digital audio console has been installed at Italian satellite TV channel Teleippica, which specialises in high-profile horse-racing events.

The AEQ Arena has been sited in the companyâ&#x20AC;&#x2122;s central control room and is being used in conjunction with two studios, which feature five independent commentary positions connected directly to the Arena console. Each of these positions receives five different audio signals from the horsera c i n g ve nues by terrestrial radio-link or satellite receiver.

The Arena console being used

by Teleippica features a black control surface with 15 motorised physical faders and three programmable pages, enabling the control of up to 45 independent input/output signals. In this configuration,

Arena offers 24 analogue input channels (selectable by software as mono or stereo), eight digital input channels in AES or SPDIF format, and eight microphone inputs with the possibility of phantom +48V power. In terms of dedicated Masters and Aux outputs, and return of AEQ TH-02 hybrids and EAGLE codecs, the console has 24 analogue and eight digital outputs.

The unit also provides a redundant power supply.

In addition to the Arena console, AEQ SCR03 signalling boxes have been installed in each of the commentary positions.

The project was coordinated

by Paolo Corchia, AEQâ&#x20AC;&#x2122;s sales manager in Italy, in collaboration w i t h Te l e i p p i c a â&#x20AC;&#x2122;s t e c h n i c a l department and AEQ-Madrid technical staff.

8.C53

Has IBC come at a good time for the electronic media industry? Why? The distribution and contribution of TV, data and voice services is possible via different transport media such as traditional cable TV, internet and terre s t r i a l t ra n s m i s s i o n . I B C provides an ideal forum to present solutions to customers of all three categories from regions worldwide. Blankom Digital is presenting its solutions for the fifth time in 2009. IBC is the most important show in media technology.

What do you think are the key developments in, or threats to,

Vaddio adds Canon HD PTZ cameras

by David Fox Speciality pan/tilt/zoom manuf a c t u r e r Va d d i o h a s a d d e d Canonâ&#x20AC;&#x2122;s BU-45H and BU-50H robotic cameras to its HD PTZ camera offering. â&#x20AC;&#x153;With our continued expansion into the broadcast market, adding Canonâ&#x20AC;&#x2122;s BU-series PTZ cameras to our line was a natural fit,â&#x20AC;? explained Rob Sheeley, president of Vaddio. â&#x20AC;&#x153;The BU-45H and BU-50H are easily integrated with our P ro d u c t i o n Vi e w HD-SDI switcher and Precision Camera Controller. Over the coming

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Why should delegates visit your stand at IBC? Blankom Digital is highlighting in 2009 the new IRD family â&#x20AC;&#x201C; the B-IRDs. These devices combine all three major technologies in one box: DVB second generation, IP and MPEG-4 technology. Together with our successful edge devices and media gateways we are providing complete solutions for broadcasters, IPTV providers and CATV operators.

We are also offering our tailormade designs and services to our customers.

1.F51

ProductionView offers HD-SDI and SD-SDI video switching, video mixing and automated controls.

Due to increasing demand for SDI, Vaddio built this multi-camera control system with an integrated 6x2 HD/SD-SDI seamless video switcher. The system connects via a single coax cable for video, and supports includes the 3GHz HDSDI standard (SMPTE 424M) for 1080p video, as well as SMPTE 292M (HD-SDI at 720p or 1080i) and SMPTE 259M (SD-SD).

The Canon BU-45H weatherproof Robotic PTZ 16:9 camera features three 1/3-inch (1.67 million-pixel) CCD sensors and a 20x optical zoom lens with built in image stabiliser and optional auto focus. It also comes with two builtin ND filters that are remotely controllable. Outputs include HD-SDI or SD-SDI with embedded audio (using a third-party microphone) and SD composite video. The BU45H can output HD-SDI and composite video simultaneously for high definition recording and standard definition monitoring.

The Canon BU-50H indoor PTZ camera has similar specifications, but not the weather-proof housing. It is capable of smooth 300° pans and 80° of tilt. Thanks to an extremely quiet P/T mechanism, it is well suited for very quiet environments.

11.B80

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

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NTP completes España contract Ocean Blue: Sunrise

by David Davies Digital audio router and control software company NTP Technology recently completed delivery of a digital audio switching and routi n g s y s t e m for Spanish state broadcaster Radio Nacional de España (RNE).

A total of 11 NTP 625 router frames with one main-frame as 12 sub-frames have been installed at t h e M a d r id HQ of Radio Nacional de España (RNE). Six of the sub-frames are equipped with analogue I/O and six with AES/EBU I/O. The total matrix size is 1024x1024 including 384 stereo AES/EBU I/O connections and 384 transformer-coupled analogue mono I/O connections.

The contract was negotiated by NTP’s Spanish distributor, Lexon Broadcast. NTP 625 routing systems have also been delivered to some of RNE’s regional centres following the award of a public tender contract.

NTP Technology sales manager Mikael Vest commented:

NTP’s 625 audio routing frame, now in action at the Madrid HQ of broadcaster RNE

“Radio Nacional de España has been using an NTP 625 routing system for the past six years in Master Control 2. The new installation is operated via an NTP 635300 controller installed with the recently-introduced version 3.0 QNX based router control core which offers main-and-redundant database support and fast TCP/IP

control.

“All I/Os are equipped with a crosspoint in-line processor engine which handles fading, dynamics and parametric EQ. These functions are accessed via an NTP BLISS software console for easy manipulation of parameters such as talk-back and mix minus.”

8.B51

Mastering affordable playout

by Farah Jifri Swiss software company Masterplay offers a complete playout and workflow offering that aims to help smaller broadcaster get on an even footing. The modular system M a s t e r p l ay OnAir, brings together a combination of software and hardware at an affordable price, the company says.

Masterplay OnAir is designed to be highly versatile and scalable;

it can cover a range of functions, operating as a simple video server or a fully automated TV playout system.

The system’s modular configuration and autonomous operation are what set the product apart, according to Masterplay. In addition, the system is fully customisable to fit the user’s requirements, offers a high level of redundancy and reliability.

Masterplay OnAir is designed to support content management within small, mid-sized and large TV stations.

It is user friendly and the intuitive GUI means it doesn’t require any specialist training. The system handles and supports a wide range of traffic from commercials to news making it suitable for any type broadcast operation.

8.A59

Digital TV Labs showcases CI Plus

by Ken Kerschbaumer Digital TV Labs is highlighting i t s ro l e a s t h e wo r l d ’s f i r s t Approved Test Centre for the CI Plus (Common Interface) specification at this IBC. CI Plus is an extension to the DVB Common Interface, the technology introduced to allow a CAM (Conditional Access Module) to be connected to TV reception devices to facilitate secure

pay-TV services over third party networks. CI Plus is a major technological step forwards and provides a higher level of security than DVB-CI with continuous encryption as well as an enhanced graphical user interface based on the CI Plus browser.

Also new from Digital TV Labs is Evora iSuite for broadcasters/operators, a complete test package that can now be provided

to them (in addition to receiver manufacturers) to deliver a total conformance process. The platform can easily be upgraded so that it is suitable for the specifics of each operator/broadcaster.

This enables operators to launch conformance test regimes ensuring platform-wide interoperability between receivers, ultimately reducing receiver returns.

2.C29

by Ian McMurray Ocean Blue Software is highlighting its recently-announced Sunrise CI+ software product. Sunrise CI+, says the company, enables the delivery of high value content in a secure way, adding value by enabling the branding of content, as well as assisting OEM/ODMs as they aim to reduce time-tomarket.

The new Sunrise software is an extension to Ocean Blue’s existing Sunrise DVB-CI software. The Sunrise DVB core software product variations include DVB-T (terrestrial), DVB-S (satellite) and DVB-H (handheld). Sunrise software plug-ins currently include Surfsoft Freeview + PVR and Voyager MHEG-5 HD software.

Chinese battery manufacturer Jiade Energy Technology, has introduced a new 85W Polymer Li-ion battery for video cameras, writes David Fox. The Beillen BL-P-AN85/BL-P-BP85 weighs 620g, has a rating voltage of 14.8v and capacity of 5.8Ah. It features a standard power tap connector, to power a camera light directly, and a four-level LED to show remaining power. 11.C80

Edgeware servers offer new levels of scalability

by Ian McMurray ‘Scalability’ is a word on many lips i n t h e wo rl d o f b ro a d c a s t .

Responding to that is Edgeware, which develops server systems for TV services over IP. At this IBC, Edgeware has announced and is showcasing a new line of video server appliances that, says the company, offer service providers a new performance option and fit deeper into service provider networks, allowing them to achieve further scalability options. The new appliances deliver the same flexibility and reliability found in the company’s existing solutions, including the highest quality video on demand

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The Sunrise DVB-CI product has proven to be robust having been ex t e n s ive ly d e p l oye d a c ro s s Europe and the Far East for more than five years.

Tr i t o n , O c e a n B l u e ’s C I + authoring tool, provides content providers and broadcasters with the ability to generate the CI+ applications that are embedded in a CICAM. Triton also supports application authors with a Windowsbased IDE that enhances and speeds up the application development process. Ocean Blue’s Sunrise CI+ stack and CI+ browser provide manufacturers of host equipment with the interface between the CICAM and the host.

5.A12

(VoD), time shifted TV, Web TV and ad-insertion services.

Edgeware says that its newest appliances will allow existing customers to scale their networks more aggressively, allow new customers without a high performance network backbone, or limited network backbone, to achieve Edgeware’s video server benefits and expand opportunities within the hospitality segment.

Also on show are the company’s Flash-based video server solutions, Orbit 2x, and its Web TV server, WTV 2x, demonstrating its latest video server advancem e n t s fo r t h e I P T V, c abl e, over-the-top (OTT) and broadcast markets.

As a key theme for IBC2009, content creation and innovation are pertinent to the quality of ex p e r i e n c e t h at s u b s c r i b e r s demand for services including VoD, catch-up TV through the web a n d t h e h i g h e s t q u a l i t y HDTV. Addressing scalability of video streaming capabilities within service provider networks is the f i r s t s t e p, s ay s t h e c o m p a ny, towards ensuring network potential to successfully deliver today’s VoD services while preparing the network for pay-TV’s future – time-shift TV. 4.A59

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

theibcdaily

Chyron’s broadcast workflow

by Carolyn Giardina Chyron is showcasing its latest broadcast workflow technology, including its Axis with OMS online content creation and order management tool.

Axis with OMS (Order Management Solution) is designed so that the user can order or fulfil a graphic for any broadcast, web or print environment.

Also making its European debut with Axis is HyperX3, a hardware platform for Chyron’s Lyric Pro creation and playback software that supports HD in d u a l c h a n n e l 3 D a n i m at i o n playback.

The latest version 7 of Lyric Pro includes international language support. Additionally, versi o n 7 o ffers 3D support for creating stereoscopic graphics.

Chyron is also showing version 3.0 of its Channel Box chann e l b r a n d i n g c re at i o n a n d management tool. Its enhanced feature-set includes self-adjusting ‘content awareness’ for automated promo generation.

7.D11

The future of content identification Video fingerprinting is the enabling technology for future digital media control believes Joshua Cohen, cheif executive officer, iPharro Media

Joshua Cohen: ‘Broadcast news producers know the pain of ensuring that rights are respected at all times’

Remember the good old days when you’d actually watch a TV show on TV as it was broadcast, or, if you were really adventurous, listen to that shiny piece of plastic as it spun round and round in your CD player? Those days are coming to an end and, to the dismay of some, they’re not coming back. Anyone

you have a REAL choice, see why

global territorial national regional local

who works with content these days is fraught with a particular frustration relating to controlling the mass of media that envelops us all.

However, there are certain enabling technologies that will allow mediaplayers to bring this situation under control. Video fingerprinting is one such technology.

Video fingerprinting is a computer-based content identification t e c h n i q u e i n wh i c h a v i d e o ’s unique visual characteristics are extracted, summarised and stored in a compact file – a ‘fingerprint’.

Think of a video fingerprint as a short description of a particular video that can be used to identify that video – and millions of others – when it appears in any source.

This is not to be confused with watermarking, in which a readable signature is inserted into a video so that it can later be identified.

With fingerprinting, the video isn’t altered; it is only analysed for later identification.

Video fingerprinting was originally used to automatically identify commercial advertisements as they appeared on television: create and store fingerprints for all advertisements, analyse the live

broadcast TV streams and identify every commercial as it appears – all of this with a standard PC. But this was only the starting point.

Broadcast news producers know all too well the pain of ensuring that rights and other content specific information are ma i n t a i n e d t h ro u g h o u t t h e DAM/MAM workflow. Video repositories are filled with duplicate content or related content that isn’t linked. More than this, conquering the Wild Wild West of the media world – the internet – seems to be an unattainable goal.

Each of these problems is solvable when viewed from within the prism of the right technology – video fingerprinting. iPharro’s video fingerprinting technology, originally developed at Germany’s esteemed Fraunhofer IGD, was designed to meet the market’s growing need for accurate and efficient content identification. Customers such as the Nielsen Company have integrated iPharro solutions to automate manually-intensive content identification processes. With the iPharro Enterprise server, a flexible content identification engine at

Exhibitor Opinion the core of iPharro’s products and services, fingerprinting can be integrated into any workflow.

A few things to remember: A good video fingerprinting technology should be flexible, scalable and accurate. It should be able to identify content using just a few seconds of video and should be robust to distortions and cropping. Most importantly, and this is the key, the technology is only half the story.

It is imperative that any video fingerprinting provider has proven experience in understanding workflows and implementing solutions.

These days, research-level technologies are abundant, but making them market ready is really the challenge – and this can take years.

As you walk through IBC this year and see companies that run the gamut of the media space, ask yourself two questions: 1) How did the digital revolution drive this particular business and its business model? 2) In light of this changing landscape, how would video fingerprinting serve this business? You will be amazed when you consider the extent to which video fingerprinting can and will impact the media world.

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55

theibcdaily

3D with an element of simplicity

by David Fox 3 D p ro duction traditionally requires heavy, complicated equipment set up by a dedicated crew.

Now a new 3D camera kit from Element Technica that weighs and costs less, is promised ‘to bring 3D acquisition down to the simplicity of traditional 2D production’.

The Technica 3D systems are configurable into both beam splitter and parallel camera platforms, and the systems are scaled to fit popular cameras from the tiny SI2K Mini to a full size Red One, even with zoom lenses. Camera and lens controls are neatly integrated.

The camera rigs that hold pairs of cameras and lenses in precise alignment are made of machined aluminium for optimum rigidity, and require no tools for camera alignment or mounting. Alignment adjustments are made lin-

Two Red Ones in Element Technica’s new 3D rig

early in each of three axes, in addition to pitch and roll. Rig setup takes about ten minutes instead of the up to an hour required for traditional 3D rigs. Dedicated motors for interocular and convergence control are built in.

Technica 3D systems are available in three sizes. The largest, Quasar, is designed for full size cameras, such as the Sony 1500 or the Red One, equipped with prime or zoom lenses. The mid-sized Proton mounts box-style digital cinema cameras such as the Scarlet, Epic and the SI-2K. The Neutron is designed for tiny 2/3-inch or 1/3-inch imager cameras sporting C-mount lenses such as the SI-2K Mini and the Iconix. All three Technica 3D systems can convert from parallel to beamsplitter and back depending on the application.

To automate stereo calculation, Element Technica has developed a set of hardware/software tools that will be available as add-in modules for the core systems to enable the director or DoP to control how much or how little the subject comes off of the screen, without requiring complex calculations.

Interocular, convergence and zoom, focus and iris control can be coordinated through the company’s patented Stereo Assist feature.

11.A55

Operatic innovation

The Met’s first live cinema transmission, in 1952.

From the Metropolitan Opera archive

by Dick Hobbs The 2009 IBC International Honour for Excellence was awarded to the Metropolitan Opera. The Met is certainly one of the world’s great opera houses, but how does that fit in with electronic media technology?

“The two actually share a long history,” Mark Schubin, engineerin-charge of the Met’s media department explained. “Hamburg Opera used image projection in 1726. Opera via telephone wires became a subscription entertainment service starting in Switzerland in the 19th century. Paris Opera had stereo by wire in 1881,

a n d B e rl i n O p e ra b ro a d c a s t stereo in 1925.”

But the Met probably has the strongest, as well as the longest, history. Perfor mances were recorded in sound as early as 1900, and a first – not entirely successful – radio broadcast was in 1910.

“The Met’s live radio broadcasts began in 1931 and continue t o t h i s d ay,” S c h u b i n n o t e d .

“Their radio network was the first distributed live in stereo, and operas have also been streamed live and are available on a 24-hour Met satellite channel.

“As for television, 1940 saw the Met’s first studio opera, and 1948

the first from their stage,” he continued. “The opera Carmen was carried live from the Met in 1952 to 31 cinemas in 27 US cities, with distribution by cable negotiated with networks and broadcasters.”

The Met added television in 1977 with Live from the Met, in colour and stereo sound. “More p e o p l e wat c h e d t h e f i r s t l ive broadcast of Puccini’s La Bohème than the total that had seen it on stage anywhere since its premiere,” Schubin said proudly.

The opera company’s latest achievement is live, high definition, surround sound transmissions to 900 cinemas in more than 40 countries. It has pion e e re d n ew d eve l o p m e n t s i n re m o t e - c o n t ro l l e d c a m e r a mounts, image stabilisation and audio processing. There is also a live, multi-language, subtitle system, developed rapidly for the Met by Screen Subtitling following a meeting at IBC. The Met’s desire for innovation has led it to use video technology on stage, too. “In the production of La Damnation de Faust last season, the set involved multiple HD projectors, infra-red motion-sensi n g c a m e ra s, a n d a b a n k o f processors creating live interactive backdrops,” Schubin explained.

“As a gondola moved across the stage, its reflection rippled in water. But there wasn’t any water.”

Radio, television, interactive scenery, live relays to cinemas, and online content and streaming – it is clear that opera and media technology certainly do mix.

SIS Live performs Acrobat

by Adrian Pennington SIS Live, is one of the first clients for Riedel’s Acrobat system. The Digital Wireless Intercom is installed in SIS Live’s new SISCaster HD compact OB vehicle.

The SISCaster HD, which is on display at the IBC Outside Exhibition area, is optimised for live broadcasting, web streaming and mobile content delivery, opening up new opportunities for multiplatform event coverage.

To maximise the versatility and to minimise production costs, all

wireless components are based on license-free technologies. This eliminates frequency coordination and allows a more flexible use of the vehicle. “ We ’re bl ow n away by t h e audio quality and the performance of Acrobat,” enthused Alan Lythaby, engineering manager at SIS Live. The Acrobat installation includes one CC-8 Cell Controller, two active CA-6 antennas and six Acrobat WB-2 wireless intercom beltpacks. Acrobat is an easy to use full-duplex wireless communi-

Sis Live’s SISCaster HD on display at the IBC OE area

cations solution, which provides a license-free, cellular architecture with seamless hand-over between cells. It allows both partyline and point-to-point communications.

10.A41

Dolby thinks small with Dolby Mobile

by Ken Kerschbaumer MP3 players have managed to deliver a quality audio experience but Dolby Mobile technology is looking to ensure that the audio side of the ever-increasing mobile video market also offers a quality experience. “Dolby Mobile technology is in the phone handset and we want to create the content encoding tools that will help the industry move towards smaller files for distribution to phones,” said Jason Power, Dolby Laboratories director for broadcast systems. That will even in c l u d e surround sound simulation.

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

Delivering audio to mobile d ev i c e s i s h a n d i n h a n d w i t h Dolby’s efforts to deliver a topquality internet streaming audio experience. “We have an opportunity to deliver better experience and consumers are expecting the same level of audio quality online that they get on TV,” said Power.

And while the majority of consumers still experience streaming audio on a PC, and thus primarily in a stereo listening environment as internet-delivered content makes the move to the living room via Ethernet-enabled HDTV sets the demand for surround sound

will follow. That, says Power, is where Dolby Digital Plus, Dolby Digital Pulse, and even the Dolby DB600 Program Optimiser fit in.

“The DP600 is a good example of how users can manage the complexity of file-based environments,” added Power. “We’re also seeing good reaction to content creation tools for mobile phones and there are still advantages to stereo delivery for those sort of applications.

We can take something that is 5.1 surround sound and make it into stereo or something in stereo and simulate 5.1 surround sound.”

2.B28

In Brief Ateme for DirecTV Ateme has announced that the company has been selected by DirecTV to provide Ateme’s Kyrion File Encoder system, which, Ateme says, will allow DirecTV to bring uncompromised quality content to its subscriber base via its on-demand service. By switching to the Kyrion File Encoder solution, Ateme says that DirecTV is also able to streamline its tapeless content production process, automating the encoding of its video content so that the whole process becomes seamless and putting DirecTV in more control over how and when this content is delivered to its subscribers. DirecTV can also accelerate content delivery to customers for any type of assets, says Ateme, from full HD quality down to low resolution applications. DirecTV hosts a library of more than 5,000 SD and HD titles for its on-demand services, including content delivery via satellite and broadband internet access.

1D70

Evertz offers dual link DVI multi-viewers IBC09 sees the introduction of the 7867VIPA-DUO+DL, dual link DVI output multi-viewer from Evertz. “We are listening to what our customers want, and they are demanding higher resolutions. Our products have the capabilities to deliver; it’s what sets us apart from the competition. We work hard to push the envelope and continue to set new standards in our industry,” commented Jamie Horner, senior product manager for Visualization. The Dual LINK DVI output multi-image display processor (7867VIPA-DUO+DL) offers up to 32 inputs displayed on an ultra high resolution 2560x1600 display, all from a single card.

This product aims to provide broadcasters with the highest possible resolution output to provide the most possible pixels of reproduction for each source to be viewed on the display. The new 7867VIPA-DUO+DL supports all single link and dual link DVI monitors on the market with all the advanced features broadcasters have come to expect from Evertz monitoring systems.

8.B40

Affordable newsroom MOS functionality Compix is offering a means of delivering affordable newsroom MOS functionality with the launch of CompixMOS 2.0. The system is an easy-to-use MOS interface for the integration of content from online playto-air broadcast graphics systems within a newsroom environment.

CompixMOS 2.0 brings all the functionality of the MOS standard to bear by directly inserting CG events into newsroom scripts. It also enables the integration of discrete external devices, like Compix CG systems, allowing users to build high-quality news graphics ready for air, directly from the newsroom computer system rundown script interface at their workstation. Compix is exhibiting on the Apantac stand.

8.A98

57

theibcdaily In Brief New Spectracom synchroniser Spectracom has unveiled the latest in its range of synchronisation systems for digital broadcast networks. The EC20S integrates several new features to increase flexibility, ease-of-use and reliability.

The synchroniser provides extremely accurate and stable time and frequency signals for high-performance synchronisation applications, the company says. It supports transmitter synchronisation of digital broadcast signals (DVB-T/T2, DVB-H, DVB-SH, T-DMB, FLO, DAB or DRM) in SFN modes, as well as wireless synchronisation of BTS (WiMAX, CDMA, TD-SCDMA), all of which make it ideal for new installations or updating aging systems.

The EC20S synchroniser is on view at the Spectracom stand alongside the company’s EBO3 Epsilon board OEM, EC1S Epsilon clock module and the EC22S dual-redundancy Epsilon clock.

8.A54

EV3Genie in a bottle EV3Genie is a powerful test signal generator and SDI to DVI converter from Electronic Visuals. Ideally suited to handling all SDI formats up to and including 3G SDI level A, level B and duallink, EV3Genie can seamlessly convert between 3G formats while simultaneously offering DVI and fibre outputs.

As well as being able to deliver SDI video on a 1080p 50/60Hz display the unit can function as a 3G-SDI signal source, offering both excellent quality and cost-efficiency.

When used for signal monitoring, EV3Genie will convert from any SDI broadcast format to pixel-mapped 1080p or 1200p DVI output. No scaling or temporal interpolation is applied to guarantee signal integrity. The signal generator also seamlessly translates between broadcast standards over copper, fibre and DVI and EV3Genie will format convert between 3G level A and level B and Dual-link, allowing connectivity between new and legacy equipment.

Electronic Visuals is co-exhibiting with Brick House Video.

8.B61

Audiovisual mobile The services for audiovisual content consumption are becoming increasingly similar to the services available on stationary devices as PCs and TV sets, according to the latest research from the Broadcast Mobile Convergence Forum.

This is one of the main findings of the study, titled ‘Mobile Services for Seamless Audio-Visual Content Consumption – Service Examples and Business Model Considerations’.

The similarity of today’s services provides the basis for seamless services for audiovisual content consumption on mobile and stationary devices, claimed the BMCO Forum. Seamless services mean that the user does not have to worry about any service delivery issues, but can focus on content and service consumption only instead, explained Professor Claus Sattler, executive director at the BMCO Forum.

M101

58

Move over flat screen

by Farah Jifri Two of the institutes that make up Fraunhofer-Gesellschaft have developed the Immersive Dome, a dome projection system that they believe will replace the flat movie screen. The Immersive Dome system can be combined with Fruanhofer’s Spatial Pan sound system which replaces conventional surround sound with a threedimensional aural experience.

Visitors to the stand can actively participate in the creation of content for the dome projection system.

Using a camera to film themselves, users can then project the image onto the screen, then make use of a 3D-mouse to shift the projection on the screen, changing the image and the associated sound.

The Immersive Dome system comprises six projectors that gen-

erate five partial images on the interior side, and one at the apex of the half-dome. The institute’s Screen Player software controls t h e p ro j e c t o r c l u s t e r a n d produces a uniformly coloured full image. The software component of the system lets cluster projections be displayed in realtime with a resolution of 4000 x 4000 pixels.

In order to create content for the dome-shaped screen, the shape of the screen must be virtually replicated first. The image from t h e p ro j e c t o r s i s t h e n a i m e d toward it and distorted to just the right fit. At the same time, three digital cameras capture the projected images and layer them on top of one another using image recognition and colour correction algorithms, to deliver pixel-accurate

reproduction and eliminate colour discrepancy. The Screen Player element of the system comes w i t h a d i s p l ay f u n c t i o n t h at transfers the content quickly and within the geometry of the screen. The system automatically adjusts the original content to the screen geometry in realtime during playout.

Screen Player also includes standard interfaces to other multimedia systems, so that additional devices can be easily integrated – including IDMT’s Spatial Pan sound system.

As well as planetariums and cinemas, the Immersive Dome has a range of applications including theme parks, simulators, multimedia installations and high-end home cinema.

8.C81

Caiway selects AirTies for IPTV

Aart Verbree, CEO Caiway; AirTies CEO Bülent Çelebi and Jan Stolte, project manager Caiway

by Heather McLean AirTies, the wireless home networking vendor, announced at IBC that it has been selected by Dutch service provider, Caiway, to support an expansion in operations that will see it provide IPTV services to its customers.

Using AirTies core IP set-top box platform, Caiway will deliver in excess of 350 TV and radio channels through IPTV to a fast-growing

number of subscribers, using existing and new build fibre networks.

The mutually beneficial partnership will also help to support existing operations and planned growth into new markets for both parties.

Caiway will deploy the AirTies high definition Air 7120, which is a set-top box with NAND flash to enable pause-live TV functionality as standard. Its fast central processing unit, wireless option and

Pebble Beach heads for Marina

by Farah Jifri Pebble Beach Systems (PBS) has launched Marina, its latest automation system for the enterprise level.

It can be scaled up to support hundreds of channels and offers an almost infinite combination of configurations, says the developer. The system operates using a single central database allowing co-ordinated applications and resources to operate in a distributed architecture across multiple servers.

Marina is based around a new playlist engine integrated with a fully distributed architecture and has been designed in keeping with Pebble Beach’s philosophy of compatibility with third-party systems. As a result broadcasters can opt for a workflow

that best suits their requirements, the company claims.

“In Marina, Pebble Beach has developed an enterprise-level automation system which hugely extends our range and allows broadcasters to select the best underlying technology to suit all of their specific business and operational requirements,” said Peter Hajittofi, managing director of Pebble Beach Systems. “We deliver enormous flexibility, but at the same time maintain a consistent user interface to simplify training and make operational use as efficient as possible.

“It has taken a lot of effort to get Marina off the drawing board and into use, but we are convinced it really raises the bar for broadcast

superior graphics capabilities, will allow Caiway to offer an advanced IPTV solution to its customers.

Said Aart Verbree, CEO of Caiway: “Following Caiway’s decision to move into the IPTV s e r v i c e s s p a c e, we wa n t e d t o ensure that we partnered with a vendor that had the same values as us to remain consistent. AirTies met this criterion perfectly, and not just in ter ms of company ethos; its value chain, from middleware integration and conditional access, was also a good match for Caiway.

AirTies CEO, Bülent Çelebi, added: “Caiway has successfully offered the internet via cable since 1995, with more than 75,000 subscriptions to date, and was the first in Europe to do so. The fact it has selected AirTies to deliver its second wave of internet technology is testament to the hard work and commitment the team has put in to delivering the most cutting-edge technology.”

IP303 automation by meeting the needs of broadcasters whose business models are in an era of fundamental change and who continue to move away from legacy systems,” he added.

In addition to being backwards compatible with PBS’ existing automation offerings, Marina is fully interoperable with the Anchor Media and Workflow Management System.

Broadcasters can use the combination of Anchor and marina to manage content from ingest through to delivery “via many channels, in many formats, using rules-based logic to carry out automatically such vital processes as transcoding”, according to PBS. Marina offers multiple language support, including Chinese, Japanese and Arabic, and can be completely and instantly toggled between languages.

8.B50

Eliminates the need for separate graphics systems in master control

Master Brand from Pixel Power

by Carolyn Giardina Pixel Power is showing BrandMaster, a tool designed for efficiency by integrating a complete master control switcher with broadcast graphics for channel branding. The system injects the graphics capability for branding directly at the point of transmission.

“There are Master Control switchers in the marketplace that offer graphics capability but we spotted a gap where we saw a need to offer more complex graphics,” said James Gilbert, joint managing director of Pixel Power.

BrandMaster eliminates the need for separate graphics systems in master control. Pixel Power believes that streamlining the signal transmission chain reduces the amount of equipment, power consumption, and the total cost required to deliver a branded broadcast channel.

BrandMaster supports branding requirements for both standard and high definition channels including multi-layer static and animated logos, clocks, text crawls, multiple tickers, DVE moves and automated schedules. Audio handling is included for multichannel sound with shuffling and voiceover capabilities. It also integrates with leading automation systems. The base unit starts at $22,000.

7.B30

Utah Scientific gets control

by Ken Kerschbaumer Utah Scientific’s focus is still on routing switchers like the Utah100 compact router lineup but the UCP-MV multi-view control panel system is worth a look, especially for those looking to make producers and directors happy.

Scott Bosen, Utah Scientific director of marketing, says the new concept in router control panels gives the user two side-by-side LCD displays. The left display has a mosaic of up to eight thumbnail images of router video inputs. The touch screen interface is used to select an input that will be displayed in full-screen mode on the LCD display on the right.

“This gives the producer position something easy to use for watching A-roll, B-roll, and other sources,” says Bosen. “We are experimenting with different types of graphical user interfaces.”

2.B20

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

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DeckLink HD Extreme is the only capture card that features Dual Link 3 Gb/s SDI, HDMI, component analog, NTSC, PAL and S-Video for capture and playback in SD, HD or 2K. Also included is 2 ch XLR AES/EBU audio and 2 ch balanced XLR analog audio. Connect to HDCAM SR, HDCAM, Digital Betacam, Betacam SP, HDV cameras, big-screen TVs and more.

DeckLink HD Extreme is fully compatible with Apple Final Cut Pro™, Adobe Premiere Pro™, Adobe After Effects™, Adobe Photoshop™, Fusion™ and any DirectShow™ or QuickTime™ based software. DeckLink HD Extreme instantly switches between feature film resolution 2K, 1080HD, 720HD, NTSC and PAL for worldwide compatibility.

Hardware Down Conversion If you’ve ever wanted to monitor in both HD and SD while you work, then you’ll love the built in high quality down converter. Use the Dual Link SDI outputs as a simultaneous HD and SD output, or you can switch back to Dual Link 4:4:4 when working in the highest quality RGB workflows. Select between letterbox, anamorphic 16:9 and even center cut 4:3 down conversion styles! *SRP is Exclusive of VAT.

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Learn more today at www.blackmagic-design.com Stand 7.B21

theibcdaily In Brief Snell selects Phabrix for test and measure Test and measurement specialists Phabrix has inked an agreement with Snell (formerly Pro-bel and Snell & Wilcox) that will see it provide additional Phabrix SxA handheld test and measurement devices to compliment those already in use.

The Phabrix SxA supports comprehensive 3G/HD/SD measurement to SMPTE standards and is used by manufacturers such as Snell in their test department.

“We are delighted that Snell has continued to purchase more Phabrix SxA’s to support their internal test and measurement needs,” said Phillip Adams managing director and founder of Phabrix.

“With tools for quick and automatic SDI compliance testing, the Phabrix SxA provides a much needed portable laboratory quality instrument able to record event logging. The combination of a generator and analyser complete with monitoring on the one instrument has made it a quality, cost effective solution allowing the purchase of many more portable units for the same price as a traditional bench instrument” The Phabrix SxA offers broadcast engineers a compact and easy to use option for both in-studio support and field broadcast applications, where portability is needed.

Gavin Walker, chief technical officer, Snell commented: “Before the Phabrix SxA’s we had to share one bench-bound resource. Now we have enough SxAs for each engineer to have access to one.”

8.E23

DAVID inks deal DAVID Systems and Media Alliance have signed a partnership deal that will allow both companies to benefit from each other’s technology developments in a bid to grow their product portfolios. Under the terms of the agreement, MediaAlliance will take advantage of DAVID Systems’ long experience in the audio field, while DAVID will benefit from MediaAlliance’s video expertise.

8.B71

Pixelmetrix launches headend monitoring Pixelmetrix is launching the TSP120 for in-depth TS analysis and H.264. The company says that the Pixelmetrix TSP120 provides the highest port density monitoring with its DVStation-210, which features internal three-input ASI router functionality, and is claimed to offer high accuracy TS monitoring for MPEG2/H.264 video-based transport streams.

For satellite operators, the TSP120 allows TS monitoring for high bitrate transponders, complete with H.264 support and extensive SI/PSI information analysis – while for content providers, it allows verification of SLAs for H.264/MPEG-2 SD/HD content.

Key features of the TSP120 are freezeframe and blackout checks for unencrypted video services, service thumbnail view for remote confidence monitoring, video backhauling for quality verification, on-air service validation and more.

1.B24

60

Should we compress international HDTV? Conference Analysis

by Bob Charlton “Compression is the root of all evil,” said Peter Wilson, moderator of a conference session that looked at compression and standards conversion in the context of making HDTV a reality in production and delivery. “In the context of international events there is a fear that when you put compression and systems conversion systems together there may be problems because both utilise motion estimation systems,” explained Wilson.

Moderator Peter Wilson: “Compression is the root of all evil”

This point was taken up by Adi Kouadio from the EBU, who presented the results of trials that assessed the effects of two systems – H.264 and JPEG2000. “Our trials

show that H.264 can provide a 45% gain with a 5% margin, depending on implementation,” explained Kouadio. “Also, we find that JPEG2000 is adequate for higher bit rate contribution applications.”

Second up was Jens-Rainer Ohm, Chair of the MPEG Video Subgroup RWTH Aachen University. Ohm looked at some of the future possibilities for H.264 compression.

“The need for compression is absolute – we are moving through H D t owa rd s U l t ra H D, a n d mobile services are migrating towards HD too,” he commented.

“Very soon the number of pixels

Mediaset can grow 64 times with Cisco

by Ian McMurray An important question in many visitors’ minds is “How big can this thing be?” The rapidly growing range of services that can be offered to consumers and the similar growth in the number of devices to which those services can be delivered leaves a huge unknown when it comes to designing a network.

The answer, of course, is to allow for as much ‘headroom’ as is possible, using an architecture that is immensely scalable. That’s what Italian broad-

caster Mediaset has done. Earlier this month, Cisco announced that Italian commercial broadcaster Mediaset – which boasts 9.9 million viewers and an audience share approaching 40% – had selected a Cisco IP NGN (Internet Protocol Next Generation Network) to replace its existing SDH (Synchronous Digital Hierarchy) network. Crucially, the decision gives Mediaset the opportunity to grow its network to 64 times its current size.

According to Cisco, however, that’s not the only benefit that will accrue to

Mediaset, which becomes the first national broadcaster in Europe to deploy an IP-based medianet. The IP optical fiber backbone upgrade project, called M-Tube, will provide Mediaset’s journalists, editors and producers with the ability to instantly access, edit and playout broadcast quality video. It will also support Mediaset’s strategy to change from a ‘push’ model of content delivery to a ‘pull’ model where viewers will have the freedom to choose any content, at any time, delivered to any device.

Lemo makes a splash with remote connection

by David Fox Lemo’s new Multishack will allow broadcasters to run up to six cameras in a remote location (each more than 1km from the box itself), and run power to the camera. It has a dual redundant power supply that automatically switches should a generator cut out.

It can be 10-15km from the CCU, depending on the power budget for the camera system, and is designed to run on a military tactical cable with 12 fibres in it that runs to the CCU end, where a small box converts it to individual camera connections.

“Because it’s a single fibre cable, it doesn’t get hot, which is very use-

ful for skiing coverage as it doesn’t melt into the snow like ordinary cable,” explained Philip Longhurst, Lemo’s fibre optics R&D manager.

The Multishack can take mains or generator power and is fully waterproof, but an option box allows users to come from the waterproof Lemo connector to standard telecoms or datacoms connectors.

Lemo has also released a new HD Meerkat system for Grass Valley and Hitachi triax cameras. “It gives you an increased distance of broadcast transmission over triax, less picture degradation because you are on fibre, and allows you use standard SMPTE 311 cables,” said Longhurst. It has

Multishacked up: Longhurst with Lemo’s latest remote connection box

also introduced new, simple tools for field termination of fibre cable that are much smaller than traditional polishers and splicers.

11.C45

DVB-T2 support drives traffic to R&S

by Farah Jifri Rohde & Schwarz’s new range of VHF high-power transmitters brings together the company’s dual focus on offering DVB-T2 support across its product line and pushing for lower energy consumption. R&S insists that while several vendors have come out with new energy efficient products, it has been increasing energy efficiency for the last three years.

“Two years ago, no one was talking about energy efficiency, now everyone has started bringing out products that reduce energy consumption,” pointed out Robert Vielhuber, operations and strategic manager at R&S. The R&S Nx8500 range supports analogue, digital and

m o b i l e T V a s we l l a s d i g i t a l audio broadcasting. The platform can also be upgraded to handle future standards such as DVB-T2. This upgrade facility has also been made available to all existing Rohde & Schwarz 8000 series transmitters via a small additional box and repres e n t s t h e c o m p a ny ’s ov e r a l l push towards offering greater DVB-T2 support.

Veilhuber believes that the R&S stand has seen more traffic this year than last due to its commitment to DVB-T2. He added: “Broadcasters are investigating what DVB-T2 means for them – whether that can keep their existing systems and so on – and they

are looking for a technology partner that can answer all of their questions.”

The R&S Nx8500 transmitter range also supports the DVB-T, ATSC, ISDB-T/ISDB-TB and DTMB digital TV standards. In addition, the transmitters cover the T-DMB, DVB-H, MediaFLO and ATSC Mobile DTV mobile TV standards.

Since the signal processing of the transmitters is software-based, network operators can respond to expansions of existing standards and integrate them into existing networks. The transmitters can also be switched from analogue to digital operation.

38.D35

to be transported will increase beyond bandwidth capabilities.”

Indicating that there is a very broad range of views on this subject, the session concluded with a contribution from Mauricio Vasc o n c e l l o s f ro m T V G l o b o i n Brazil. They have bought a valley and transformed it into a huge TV station for making soaps. Their aim is, wherever possible, to do away with compression altogether.

Informed questions from the likes of UK broadcast consultant John Wilkinson and Roderick Snell indicated that this is an important issue if we wish to make HDTV a reality.

Cisco goes on to say that the evolution by Mediaset to an all-digital workflow has reaped quantifiable benefits including reducing the number of videotapes transported annually by 90%, from 15,000 to 1,500, accelerating the workflow while reducing transport costs and the company’s carbon footprint, and streamlining the production process through introducing a nonlinear digital workflow. Editors can now work on different portions of the same video file simultaneously, resulting in Mediaset’s news production team increasing productivity by up to 400%.

1.D71

Tapeless distribution is still a problem

by Heather McLean Tapeless distribution still causes issues for the broadcast industry as high definition footage swamps network capacity, forcing studios to go back to shipping tapes. Digital Rapids’ Mike Nann, director of marketing and communications, claimed that the rise in use of HD is having a negative effect on the push for tapeless distribution.

Nann stated that while tapeless production workflow is now the standard, distribution issues can mean content is put onto tape in order to reach partners, because of either compatibility or capacity problems.

“On the distribution side we’re still seeing content chucked onto tape,” Nann explained. “Tape costs money, delivery firms cost money, ingest into systems at the other end costs money.

And now, the HD side of things has changed the landscape significantly; HD tape is a lot more expensive than standard definition, but the files to move HD digitally tend to be four times bigger than SD.” Nann said that while some studio partners are now only accessible by IP, as the net has widened for studios from formerly working only with TV channels, to now including mobile, internet and IPTV providers, the problem has widened also.

Digital Rapids is working to find a way round this problem. It has launched Media Mesh, at IBC, an appliance that sits at the receiving end of the chain to help integrate content with systems.

IP511

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

JVC brings your images to life in 3D.

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

Find the hidden magic image, then visit JVC stand 10.D41 with your answer to enter a prize draw for an HD camcorder.

Visit JVC stand 10.D41 or at the Production Village with your answer for the chance to enter a prize draw.

Then see exactly how we bring images to life in 3D, with mindblowing pictures on our GD-463D10 LCD 3D monitor.

www.jvcpro.eu

theibcdaily

Driving business harder than ever

by Chris Forrester: “It has been a tough year for the industry. But at the very same time, our clients are quite happy to look at new technology as a means of gaining leverage over their competition or to earn some extra money,” says Roger Bolton, Tandberg Television’s EVP/Compression.

“Nobody could argue that this is a quieter year, but I am hugely optimistic that India, the Middle East, and even Africa, are important markets and that India and the Mid-East will be the first to emerge from this tech-

nological recession,” Bolton added. “There’s another fact of life, which is that the broadcaster’s finance director can only keep the cheque-book closed for so long. There comes a point when they have to invest.”

In Bolton’s analysis, the lean times meant everyone was driving their businesses harder than ever.

“Broadcasters across Europe are suffering from lower ad-spend, and this further squeezes everyone,” he said. “At the same time the share of audience is spreading into non-mainstream TV much faster than in years gone by.”

Ross grows the business

David Ross: “In the first 10 months of the financial year we have grown by 8%”

by Adrian Pennington Ross Video has been busy investing in R&D and M&A activity over the past year with the results on display at this IBC. “In the first 10 months of the financial

year we are profitable and have grown by 8%,” company founder David Ross told The IBC Daily.

“We’ve seen other companies down 20%, sometimes 50%, so that the fact that we grew in busi-

Bolton said every major broadcaster was looking at 3D, “almost as if they were taking out an insurance in case it does happen”. Some, especially in the pay-TV arena, are obviously enthusiastic about 3D. Others are concerned about the absence of a f i r m s t a n d a r d , a n d wa n t t o experiment with it.

“The innovators are well along the process, and there’s a huge push taking place from the display industry who want the next big thing,” said Bolton. “They want consumers to get out and buy their displays, and there’s every ness has made it a lot easier to continue to invest.”

Chief among developments is the introduction of Vision Octane, an 8 MLE production switcher.

“For the last 30 years the biggest production switcher anyone could buy was 4ME. We didn’t just go out to do a 5 or 6 ME but we went straight to 8, doubling the capacity of anything on the market and keeping it within the same size box as a 4ME switcher. We’re opening up a completely new way of thinking about what production switchers can do.”

Ross is also marking the European launch of XPression, the 3D character generator and motion graphics system acquired as part of the acquisition of MediaRefinery.

“XPression combines ease of use and power resulting in a tool that offers the graphics designer the ultimate in creative freedom,” said Ross.

9.D30

Annova spreads its wings

by Adrian Pennington Annova has two customer wins to anounce at the show. Red Bull has selected the firm’s flagship newsroom solution OpenMedia for its central newsroom and content management system at its HQ in Salzburg. The facility is also a central repository for all Red Bull video content. The second win, also for OpenMedia, is in partners h i p w i t h technical service provider TPC for Tele1, a Swiss TV station in Lucerne.

“These client wins are important to us since it shows that Annova and OpenMedia a re being recognised in more and more different markets,” said Michael Schuller, CEO, Annova.

“We also have key new partnerships with local resellers Boxer in the UK and BitCentral in California, which is a leading provider of MAM in the US.” Annova also has a new cooperative agreement with the AA Media Group in the Netherlands

prospect they will. Indeed, it is the exact same process that drove high def, with screens available, technology available and the marketplace being a willing adopter.”

Bolton questioned how many 3D channels would eventually emerge, and said he doubted that the industry would see the explosion in channels that HD has generated but he was not ruling out a future for 3D. “3D content is going to be even more difficult to get hold of. In some instances the beauty of 3D is that it can be delivered over existing HD networks,” explained Bolton. “I also know that many of our clients are now actively exploring 3D if only in the laboratory.”

Roger Bolton: “There’s a huge push taking place from the display industry”

Signiant selected by Astral Media for VoD

by Heather McLean Signiant, developer of content distribution management (CDM) solutions, has announced that Astral Media, a Canadian media company active in TV, radio, outdoor advertising and interactive media, has implemented Signiant’s CDM product.

Astral Media is transforming its VoD content delivery infrastructure from a manual process t o a n a u t o m at e d f i l e - b a s e d workflow. The move forms part of a collaboration with other major Canadian cable operators and media and entertainment companies.

Astral Media supplies almost all of the major Canadian cable companies with content for VoD services. Until recently, content was loaded onto hard disks and couriered around Canada to the various affiliates, then was manually transferred into VoD systems.

“The Signiant installation saves us time in two ways; firstly

by sending content over secure ftp instead of by courier, and secondly by enabling us to free up staff from carrying out repetitive tasks, which allows us to redeploy them more productively,” said Chris Bell, VP Technology, Astral Media.

“In addition, by going the secure ftp route we are poised to enable new revenue streams by sending content to emerging IPTV, mobile and over the top services by tailoring the content to meet individual format requirements. These opportunities were not economically attractive with the manual processes.”

Astral Media’s Signiant CDM system is already installed and supplying five cable operators with digital content, with automated ingest directly into the VoD server systems. A rapid roll out plan will see several more affiliates enabled within the next couple of months.

IP741

Michael Schuller, CEO, Annova

and new technical partnerships in place with Building4 Media and Brainstorm Graphics which will integrate OpenMedia into their product range.

10.D15

Gearhouse equips new Qatar Mosque

by Adrian Pennington Gearhouse Broadcast Qatar has won a contract to carry out a turnkey broadcast solution for the State Mosque of Qatar.

“The State Mosque is being built for the Emir of Qatar, and is believed to be the biggest in the Middle East,” Gearhouse MD Eamonn Dowdall, explained.

“The entire development is 175,000sqm and the mosque itself will be able to accommo-

62

date 10,000 worshipers. Gearhouse is carrying out a high spec installation for this prestigious place of worship.”

The broadcast control room will be fitted with a Sony DVS 9000 vision mixer, Harris routing, glue and Inscriber graphics, Sony VTRs as well as a Miranda Kaleido multi-viewer driving six JVC 42-inch LCD display monitors. The audio mixer supplied is a Soundcraft BB100 and it all

fits in bespoke Custom Consoles technical furniture.

The five Sony BVP-E30 system cameras supplied with a mix of Canon J35 and J22 lenses are supplemented by ten Panasonic AW-E860 cameras with Canon YJ20 lenses on hot-heads. Some of the other major system components are provided by Trilogy Communications, Tektronix and Evertz.

10.B29

Hamlet prize draw: Hamlet is giving away a bottle of excellent Caralicious Caramel Vodka each day. Yesterday’s lucky winner was TV1 CEO Rumen Kovachev, pictured (left) receiving his prize with Hamlet managing director Steve Nunney. 9.E13

THE IBC DAILY MONDAY 14 SEPTEMBER 2009

Lawo AG | Rastatt / Germany

Because your programs don’t look like this anymore: the new crystal. crystal – welcome to digital broadcasting. Now there’s a mixing console that is just as innovative as you! Its perfect ergonomics are impressive, its ease of use will reassure you, and its stylish design will excite you. The new crystal offers a range of intelligent features that will guarantee the most efficient workflow both for on-air operation and in the edit suite. But best of all, this convincing console is not just exceptionally attractive to users – it will also please your budget. Find out more about the professional start into digital broadcasting at www.lawo.de

Visit Lawo at the IBC 2009 Amsterdam, September 11 – 15, Hall 8, Booth C71