Content+Technology December 2011

PP: 255003/06831

VOLUME 8 ISSUE 6 DEC 2011

Media + Production + Management + Delivery

James Cameron

PLUS: ISSN 1448-9554

TECH SURVEY

Vince Pace

www.content-technology.com

Andrew Wight

DIGITAL CINEMA CAMERAS

‘The Shadow’

THE CLOUD

VOLUME 8 ISSUE 6 DEC 2011

Also see C+T in PDF at www.content-technology.com

Cover Story – 3D from the Shadows

20 regulars 02 04

Editor’s Welcome News Privacy Concerns, Ericsson

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Technical Standards Broadcast Metadata Exchange Format; AMWA, EBU SMPTE Team Up; HbbTV Test Suite; Sony’s DVB-C2 Moves; H.264 in Space.

76 78

Classifieds and Events Off-Air What Happened on Tour, Gets

80

Time Shifter 50 Years of ‘The Dish’.

Tech Check 2012 We survey industry decision makers on the next 12 months and what they want out of technology – and suppliers!

56

Storage & Asset Management

20

3D – The Third Dimension James Cameron and Vince Pace’s 3D Plans, Classification Board Goes Digital 3D, Gear Round-up.

59

Media in the cloud MV8 Takes to the Cloud, Quantel’s Qtube Explained, Cloud with a SeaChange.

26

Sportscasting Sky Racing Deploys

65

Audio Linear Acoustic Founder Tim

Grass Valley, Global TV, Cameras and Connectivity.

68

Radio First Aussie Vehicles with DAB+

Acquisition Sony Races to the Track,

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Educates, NZ Broadcasting School Back on Air, People Moves.

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20

Taking Stock iiNet Buys TransACT, Karl Jansson on Employee Longevity; Mergers and Acquisitions.

Printed Right Here!

features 18

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ARRI Jumps in the Surf, Canon Takes to the Silver Screen, plus LED Lighting Explained.

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Post-Production Animal Logic ‘Blocked Booked’ for Lego Film; Velocite Editor’s History of the Craft; Avid Media Composer 6

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CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN: 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australia www.broadcastpapers.com Publisher: Phil Sandberg Tel: +61-(0)2-9332 2221 Fax: +61-(0)2-9332 2280 Mob: +61-(0)414-671-811 papers@broadcastpapers.com Sub-editor: Keith Ford

Foxtel Manages TVCs with DubSat, It’s All About Metadata, plus Storage! Storage!

Storage!

Carroll, Nine Takes on SSL. Receivers; Hong Kong DAB+ Trial Results.

Transmission Sky Racing Streams with Elemental, Goes Backing at Melbourne Cup; The Playroom Bites Into iTunes; QLD Switches Over to Digital, Sri Lanka rolls Out DVB-T2.

News Operations Robotic Heads in Parliament; Seven News Chooses Sony XDCAM HD; SBS Picks Ross Overdrive; Rory Peck Freelancer Awards.

Sales & Marketing Manager: Daniela Huelsen Tel: +61-(0)410 880 557 dh@broadcastpapers.com Production Manager: Lucy Salmon Tel: +61-(0)29332 2221 production@broadcastpapers.com Design & Layout: Wide Open Media Tel: +61-2-9690 2835 info@wideopenmedia.com.au Printing: Whirlwind Print Copyright Notice: All material in Broadcastpapers’ Content+Technology Magazine is protected under

Australian Commonwealth Copyright Laws.

No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.

Disclaimer: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

EDITOR’S WELCOME

Too Many Inquiries, Not Enough Self-Reflection

By Phil Sandberg

It’s safe to say that Australia’s ruling Labor Party is media conscious. Press conferences, of course, are scheduled for maximum effect with nameless aides nodding away in the background - and every press release issued must refer to “the Gillard Government” (Previously it was the “Rudd Government”. At C+T, we prefer “Australian Government” because our atlas doesn’t list a country called Gillard, or Rudd).

Regardless of method or medium, there is a standard formula for Federal Government communications and it goes something like this:  New announcement subject matter;  Explanation of how subject matter reflects Government’s competence, credibility and commitment to jobs and working families, etc, etc;  How bad the opposition is.

Like any run-of-the-mill media campaign, there is a line and the Labor Party does a great job of sticking to it.

The media consciousness of the Labor Party also extends to a keen interest in how various media interests conduct themselves. There are currently three taxpayer-funded inquiries/reviews being conducted by the Federal Government which have potential impacts for media operators – the Convergence and Independent Media inquiries which have a direct bearing, and the wider ranging proposed statutory cause of action for serious invasions of privacy (see page 4).

Aside from being both a drain on legal departments and a flickering flame for self-proclaimed interest groups, these reviews are about how the sector should behave and how the Government should regulate it.

Media diversity, competition and market structure; Layering, licensing and regulation; Spectrum allocation and management; Australian and local content; and Community standards.

Leaving aside the overlapping and duplicated subject matter of these inquiries, there is very little which addresses the structural issues facing the print and electronic media in Australia.

We read and hear constant reports of dwindling ad revenues and resulting redundancies, but unlike the energy, construction, farming and other industries, the media INDUSTRY in Australia is left to its own devices and revenues in terms of how it deals with the structural change it has been facing.

Should the Convergence Review address Intellectual Property Theft? Absolutely.

Should there be an examination of training? You bet. Should re-skilling for those in “analogue” sectors, such as film processing and printing, be on the table? Yes. But, as I said, these reviews are about how the sector should behave and how the Government should regulate it – not what needs to happen to ensure long term growth, job creation and survival. That boat has sailed and we are all left to dodge the icebergs.

C+T would like thank you, our readers and advertisers, for all your support during 2011 and we wish you a prosperous 2012 and beyond.

The Issues paper published by the Government includes such topic areas as:

Phil Sandberg Editor/Publisher

content+technology+video Catch up on all the behind the scenes action from IBC 2011 and much more with C+TV online video on the C+T web site.

Also on the Site: EDITOR’S WELCOME

    

The Independent Media Inquiry is designed to “support the government’s existing Convergence Review by providing a separate and distinct examination of the pressures facing newspapers, online publications and their newsrooms, as well as the operation of the Australian Press Council.”  Access;  Standards;  Regulation;  New Media and Business Models; and  Support - for ‘independent journalism’, minority audiences, small scale publications, and ease of entry.

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Meanwhile, the Convergence Review is designed to “examine the policy and regulatory frameworks that apply to the converged media and communications landscape in Australia”. Discussion papers issued in this case revolve around the following subjects:

+ Whitepapers + News and product information from 27 C+T blog sites + Events

www.content-technology.com

Thanks for reading

papers@broadcastpapers.com T: +61-(0)2-9332 2221

2012 C+T Deadlines JANUARY-FEBRUARY 2012 Vol 9 Issue 1

Editorial/Advertising Bookings Ad Material

December 16, 2011 January 16, 2012

MARCH-APRIL 2012 Vol 9 Issue 2

Editorial/Advertising Bookings Ad Material

February 21, 2012 February 29, 2012

For more information

www.content-technology.com +61-(0)2-9332 2221 or +61-(0)414 671 811.

Email: papers@broadcastpapers.com Sales enquiries: papers@broadcastpapers.com +61-(0)2 9332 2221.

Save the date!

ABE2012 Australian Broadcast Exhibition

exhibition

featuring the latest in digital broadcast & production technology

Tuesday 7 – Thursday 9, August 2012 Novotel Manly Pacific Hotel www.abeshow.tv

NEWS + PEOPLE For the latest news visit www.content-technology.com

Privacy Law Raises Media Concerns The Australian Government has received more than 70 submissions on a proposed statutory cause of action for serious invasions of privacy, according to Minister for Privacy and Freedom of Information, Brendan O’Connor.

In September, the Government released an issues paper on the Australian Law Reform Commission proposal that individuals should be able to seek a remedy from a court where their private life has been seriously invaded in a way that ordinary Australians would find highly offensive.

The paper canvassed what the scope of a cause of action might be, and what remedies and defences might be available.

The issues paper has raised a number of concerns for both traditional and new media operators.

According to the Special Broadcasting Service (SBS), “It is impossible for legislation to keep up with technological developments, where it comes to methods of privacy protection. A preferable system is one that is technology neutral, which provides broad principles to be applied across a range of circumstances.

“Serious incursions into privacy using certain technological measures are already criminalised (eg: phone hacking, surveillance in particular circumstances).

“As for the more common types of privacy dispute online, there are already requirements under the Privacy Act 1988 for those who collect personal information about individuals to provide a privacy policy outlining their use of that information.

“Social media and other technological developments create significant opportunities for greater social cohesion, connection and interaction in ways that are not fully realised today. Technology may well be driving some changes in social attitudes to privacy, but this is not a reason to clamp down on such developments. The creation of a new cause of action to protect privacy at this stage runs the significant risk of stifling future innovation and community engagement in evolving forms of social media.”

News + People

The peak terrestrial TV broadcasting body Free TV said, “Recent developments in technology do not mean that additional ways of protecting individuals’ privacy need to be considered in Australia.

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“The potential detriment caused by the proposed statutory cause of action on individuals’ rights and freedoms and the Australian economy is significant. It has not been demonstrated that the likely benefits

of the new cause of action will outweigh this detriment.

“In respect of the media, the very low level of complaints relating to alleged privacy infringements by the media demonstrates that the public is generally satisfied with the treatment of privacy in the media. In respect of individuals, the proposed cause of action may have far-reaching, unintended and potentially unwelcome consequences.

new cause of action could create confusion for complainants as to their potential avenues for making complaints and obtaining remedies for privacy breaches and result in prolonged court or administrative appeals actions.”

Commercial Radio Australia also strongly opposed the proposed cause of action for serious invasion of privacy, saying “The case for a statutory cause of action for serious invasion of privacy is very weak. Abuses of privacy by Government and business, which are the major concern of most people, are already addressed by the Privacy Act. A plethora of other legislation addresses other key privacy related concerns, such as hacking, SPAM, telecommunications, mail-tampering and unauthorised use of records and data.

The peak radio body went on to say, “Views about what causes high offence, serious offence or substantial offence vary greatly, as do the attributes of a person of ‘ordinary sensibilities’.

“Furthermore, it is difficult to see how a privacy law would operate in relation to the “Facebook” generation, where thousands of “risqué” photographs and other material are posted every day without consent. In this area the privacy horse has well and truly bolted.”

“The proposed cause of action will have a disproportionate and unjustified adverse effect on rights and freedoms, such as freedom of expression and freedom of the media to seek out and disseminate information of public concern.”

While Facebook and Google have made submissions to the Australian Government’s Convergence Review, they are absent from the list of respondents to the proposed privacy laws leaving Telstra holding the torch for the online operators.

According to the Australian Subscription Television and Radio Association (ASTRA), existing protections are sufficient.

The Australian telco said it “... opposes the introduction of a cause of action for breach of privacy. We consider that the existing powers of the Australian Privacy Commissioner together with other legislative measures provide a sufficient level of protection to individuals whose privacy has been breached.

“ASTRA does not believe that the introduction of an additional cause of action for serious invasion of privacy will, in so far as such legislation applies to media organisations in the operation of their news gathering and reporting activities, provide protection that is not already available to people who believe that their privacy has been invaded in a serious manner.

“Government has already appreciated the potential issues raised in the Discussion Paper by requiring subscription television broadcasters to have in place published standards which deal with privacy in order to claim the journalism exemption under the Privacy Act (s 74B(4)). This is achieved by inclusion of privacy provisions in the ASTRA Codes of Practice.

“ASTRA believes that the current regulatory regime is appropriate because it allows for broadcasters to liaise directly with aggrieved persons to address their concerns and, if a complainant is not satisfied with the response provided by the broadcaster, taking their complaint to the industry regulator for independent review.

“ASTRA is concerned that the introduction of a

“Undesirable effects of the introduction of such a cause of action include:  Uncertainty as to what conduct may give rise to a cause of action resulting in a reluctance to disclose information;  Interference and conflict with existing and established laws and processes;  Adverse impact on freedom of communication in Australia both in relation to the media and at an individual level;  Placing Australian media businesses at a disadvantage relative to their overseas internet counterparts;  Discouraging online businesses from having assets or a physical presence in Australia; and A large range of privacy claims amongst individuals and against businesses and governments. “ The issues paper and submissions can be viewed at http://www.ag.gov.au/www/agd/agd. nsf/Page/Consultationsreformsandreviews_

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NEWS + PEOPLE

Ericsson Training Bridges IT/Broadcast Gap Responding to a dearth of industry training, particularly at the crossroads where broadcast meets IT, Ericsson recently conducted the first session in Australia of its Certification for TV Professionals programme that the company has been rolling out globally.

Evolving from Competence Management Programmes formulated for some of Ericsson’s larger customers, the Certification programme is designed as a “vendor agnostic technology orientated course for TV professionals”.

With Associate, Professional and Expert levels, there are two streams in the programme - Linear Broadcast (Compression) and On Demand (file based processing for distribution).

According to course lecturer Chris Wilson, the intensive nine-day course starts with a half day focus on analogue technology, then looks at encoding audio and video for delivery, the smorgasbord of standards used in that delivery process, and how they work together.

“We try and qualify them to make you understand how they fit together and how they plug into each other,” he says. “So, let’s take the technology and let’s see what boxes we use to encode, to transmit, how do we plug them together, how do we control, how do we monitor, how do we handle redundancy - the issues that, regardless of where you are in the broadcasting industry, you are going come across.”

The world of IP is also a big focus for the course, says Wilson, as it is “a big transition point for a lot of broadcasters”.

“They are going from an ASI, all kind of baseband world into this world of IP and we spend about two days just going through how IP works.

The key for the course is not to run ‘another IP course’, because there are loads of people that do IP courses.

“What we are trying to do with ours is to qualify and show people where in the broadcast delivery chain IP is used so we can best understand how we deliver our material from a distribution chain all

the way through to an IPTV set top box at home.”

According to course attendee, Tom Connery of Fox Sports Australia, “I come primarily from a software development background. I have a little bit of experience on the VOD side of things, so over-the-top delivery, things like that.

“I was asking my boss for a while for some training within the broadcast area because as we’re a large broadcast company and we’ve just recently merged our areas together into one team and we’ve found now that us developers have been working a lot more closely with infrastructure and the engineers.

“So, getting a better understanding of what the broadcast area is and what they do. We all know they Chris Wilson of Ericsson’s Global Training Group. deliver video and how do they do that? When we’re asked to which no longer exists. So sort of different times help and develop middleware applications and and hopefully this is something that helps boost things like that, having a better understanding not only mine but possibly others’ understanding of what they deliver and how they achieve that I of ‘what is the broadcast industry’. think is going to help us greatly.”

“I think it fills a gap which currently exists in On the other side of ‘the divide’, Nicolas Russo of training. Yes, you can go out and do an IT-based Foxtel’s Broadcast Technology department, says degree or TAFE or whatnot, or you could go “My university degree was excellent experience. out and do private little courses, but nothing However, compared to what I do now on a day to really encompasses what you can expect in the day function, much of it is actually relevant. I’ve broadcast environment. I think this is one of the learnt so much in on the job training and as soon better, or the only thing, which I have seen, and is as I actually came into my role at Foxtel, we were quite an interesting experience for myself.” searching for something like what Ericsson has offered and, to be honest, there is nothing out there at the moment.

“Previous generations, my boss and many of my colleagues, actually went to Tech and did a trade,

More courses are scheduled for 2012.

Contact the Ericsson Global Training Group via tvglobaltraining@ericsson.com or call +44 (0)23 8048 4229

News + People

NZ Broadcasting School Rebuilds

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After suffering significant damage in the

create an additional income stream.”

horrific earthquakes of September 2010 and February 2011, the New Zealand Broadcasting School (NZBS) asked Magna Systems and Engineering to help them undertake a rebuild of their broadcast facility using modern state of the art equipment.

After consulting with Brewer and the Magna NZ team, the NZBS purchased a Telex intercom system based on the new Zeus 3 LE+ Digital Intercom Matrix and key panels, Miranda glue products from the Densite modular range to cover their distribution and conversion requirements and an NVision NV5128 multi-format router.

Magna Systems and Engineering NZ Sales Manager Keith Brewer explained, “After the earthquake damage, the school’s Lloyd Walker and Michael Tompkins were tasked with the design, equipment specification and installation of a new, well-equipped facility that could also be rented out, when not in use by the NZBS, to

Brewer said, “The Telex intercom system gives the NZBS a fully featured 16×16 broadcast digital matrix - a size that suits their requirements. They also purchased key panels and a UHF wireless base station with three transceivers. The Miranda Densite glue products are particularly efficient

and the NVision NV5128 multi-format Router is configured for HD-SDI 32×32, AES audio 16×16 and analogue audio 32×32. It’s a mid-sized, 8RU, multi-format router that is incredibly versatile, allowing for mixed video and audio formats, rectangular or square matrices and small impact blocks, starting at 16×16, all within the one frame. This is important for the NZBS facility as they run both analogue and digital formats.”

Since the installation the NZBS have purchased an additional five Java GUI (Glass Control Panels).

Visit www.cpit.ac.nz/schools/new_zealand_ broadcasting_school and www.magnasys.tv

Sky Racing, the specialist in bringing multi-

The deal, which includes system training and a multi-year Service Level Agreement, is the largest OB truck design and systems integration order to date for Grass Valley, and includes a full complement of Grass Valley high-definition (HD) live production equipment and systems all tightly networked that will be installed on each mobile unit.

for a fourth, is now underway in Melbourne. The order was placed in September 2011, and the three trucks are planned to hit the road in Queensland by the beginning of 2012. They will each feature the latest Grass Valley HD live production technologies, including nineteen LDK 4000 HD cameras (with Grass Valley’s latest 3G Triax transmission system), Kayak HD digital production switchers, multiple K2 Dyno Replay Systems, a Concerto Grass Valley’s K2 Dyno Replay System.

Series video router, and a series of products from the GeckoFlex family Sydney), is a long-time Grass Valley customer, of signal processing modules. Yamaha digital having previously purchased a large complement audio consoles and an Apantac multiviewer of HD equipment for its live production studios system are also being installed. in Sydney. In Q1 2012, Sky Racing will install

“Our racing coverage has really expanded in the past year and we are gearing up for even more coverage going forward,” said Tim Cavanagh, OB Manager Sky Racing. “In order to complete this project correctly and get the OB vans on the road as quickly as possible, it was clear we needed a partner with vast experience in handling a project of this scope. In our minds, Grass Valley was the only vendor that could do it to our specifications and within our tight time constraints.”

“Outfitting the vans with Grass Valley equipment, including the K2 Dyno Replay System, which we will make extensive use of for fast turnaround race replays, also gives us the confidence of knowing the technology is reliable and will work every time,” added Cavanagh. “That’s the most important aspect of live production. To date, our experience with Grass Valley production equipment and systems has been excellent and we expect that to continue into the future.”

a large storage area network and collaborative workgroup environment based on the Grass Valley K2 Summit media server system and the new Grass Valley STRATUS Media Workflow Application Framework in its studios. The company also operates five Grass Valley Kalypso HD Video Production Center switchers across its many studio control rooms that are supported by a large (512×512) Grass Valley Trinix NXT router.

Construction of the three OB vans, with an option

Sky Racing, based in Frenchs Forest (North

Visit www.grassvalley.com

venue, multi-channel race broadcasting to millions of viewers in Australia and around the globe, has contracted with Grass Valley to design and build three new outside broadcast (OB) vans.

The mobile production vehicles have been specially designed to handle the rough terrain and steamy weather conditions of Queensland to help televise some of the more than 83,000 races that Sky Racing covers each year.

News + People

Grass Valley to Build Three OB Vans for Sky Racing

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NEWS + PEOPLE

Rick Turchini brings construction experience to NBN The Australian Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, has announced the appointment of Rick Turchini to the board of NBN Co Limited, the company charged with overseeing roll-out of Australia’s National Broadband Network.

Senator Conroy said Mr Turchini, a qualified civil engineer with more than 40 years experience in the construction industry, would be joining the NBN Co board at an ideal time as the company

ramps up construction of the network to deliver affordable, high-speed broadband to every home, business, school and hospital in Australia.

Mr Turchini is a qualified civil engineer with more than 40 years experience in the construction and infrastructure industies.

“Mr Turchini’s construction experience, coupled with his management experience overseeing large infrastructure projects, will enhance the already strong skill set of the NBN Co board,” Senator Conroy said.

Karl Soule joins Adobe as BDM APAC Adobe Systems has announced the appointment of Karl Soule as Business Development Manager, Digital Video, Adobe Asia Pacific. Karl will be responsible for working with Adobe’s growing customer base of digital video professionals in thirteen countries including India, Australia, Korea, Taiwan, Hong Kong, China and across Southeast Asia.

“In February, I visited several countries as part of a roadshow for Adobe Premiere Pro. When I saw the amazing levels of innovation and activity happening in this part of the world, I wanted to move to Asia and become part of it,” said Karl.

“With the release of Adobe Creative Suite 5.5 , Premiere Pro has rapidly gained market share in the professional broadcast market. The list of broadcasters worldwide using Premiere Pro proves our software has the features necessary for today’s modern post-production workflows.

I’m looking forward to working with the broadcasters of this region to introduce them to the benefits of Premiere Pro.”

After relocating to Singapore from Adobe’s San Jose headquarters in July, Karl has already commenced a busy schedule of travel, customer visits to key members of the broadcasting and post production community, and sharing Adobe’s vision and solutions at industry events.

“This is a critical year for broadcasters and post houses” said Phil Hickey, Adobe’s APAC Manager for Pro Video. “Most are re-evaluating video software as their choices were recently narrowed so dramatically – just at the time when requirements are expanding.”

“In Asia the race is on between traditional broadcasters and new media providers to cater for exploding demand in tablets, smart-phones, online viewing and social media. Many are turning to Premiere Pro to meet these new challenges, and we’re delighted to have an expert of Karl’s caliber available to customers and partners here,” said Phil.

Visit www.adobe.com.au

Calvin Wong joins Masstech APAC Masstech has appointed CALVIN WoNG as Sales Manager for Asia Pacific, based in Singapore..

News + People

In his new role, Calvin is responsible for expanding business in growth markets in Indonesia, Malaysia, Singapore, Thailand, Hong Kong and Vietnam.

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“We believe Masstech is uniquely positioned to capitalise on the rapid adoption of tapeless

FOR-A Company Limited, a leading manufacturer of video and audio systems for the broadcast and professional video industries, has named Mr. Katsuaki Kiyohara, former Vice President of FOR-A Company Limited, as its new President.

He assumes an active role effective immediately.

Mr. Kiyohara’s mission is to steer the company’s growth within today’s digital and network-based solution era and to perpetuate the company’s remarkable 40-year history.

Mr. Keizo Kiyohara, Founder and former president of FOR-A Company Limited, assumes his new role as Chairman of the Board of Directors of FOR-A Company Limited and continues on as the CEO of FOR-A Group.

Visit www.for-a.com

Jiande Chen now Mr Big at IMAX China IMAX Corporation has announced the appointment of Jiande Chen as Chief Executive Officer of IMAX China, a wholly-owned subsidiary of IMAX Corporation.

Reporting directly to China’s Board of Directors and its Chairman, IMAX CEO Richard Gelfond, Mr. Chen will direct the Company’s rapid expansion in the greater China region, as well as develop and execute strategies that will enable IMAX to extend its leadership position and involvement in the continuing development of China’s entertainment industry.

IMAX veteran Don Savant has been promoted to President, Theatre Development & Film Distribution and remains Managing Director, Asia Pacific. Mr. Savant has been part of the IMAX team since April 2000.

With more than 10 years of broadcast technology experience in south east Asia, Wong has held positions at VSolutions and Techtel SEA

Brad Redwood, Vice President International Sales and Marketing said, “Calvin brings valuable experience, knowledge of the region and a fantastic reputation for managing customer relationships that make him a strong addition to our global sales team.

Kiyohara now President of FOR-A

technology for file based workflows to deliver content for domestic audiences and export around the globe. We are offering broadcasters an investment that preserves their valuable content and re-purposes the media as new business opportunities arise,” said Redwood.

Visit www.masstech.com

IMAX also appointed Jim Athanasopolous Chief Financial Officer of IMAX China. Mr. Athanasopolous previously served as Senior Vice President, Joint Venture Theatre Development at IMAX Corp. in Mississauga, Canada.

“I am thrilled by this opportunity to witness firsthand the dramatic change in China’s entertainment industry and to be part of IMAX’s dynamic team as we continue to build The IMAX Experience in China,” said Chen.

Visit www.imax.com

Technology – Leading into the future Elemental’s innovative GPU technology allows media companies to deliver live and on-demand video to any device, at any time, all at once.

With unprecedented levels of video processing speed, performance and economies of scale, Elemental’s Live and File servers can drive scalable video delivery to TVs, PCs, tablets and mobile devices.

Perfecting the Media Experience

PAG’s acclaimed PAGLIGHT is now available with interchangeable LED, Halogen and HMI light sources • One camera body – multiple lights • High Brightness • Low Power Consumption • On Board Dimmer

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DVB to IP Gateway Evertz are the acknowledged leaders in high quality multi-image monitoring • 8, 16 or 32 Inputs • Two Independent Outputs • Subtitle Decoding • Automatic Fault Monitoring And now their MViP is available with IP based multi-image monitoring and display!

Multi-Image Monitoring Blackmagic’s incredible

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TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

iiNet Acquires TransACT iiNet Limited (ASX: IIN) has entered into a binding agreement to acquire TransACT Communications Pty Ltd, a leading Canberrabased telecommunications company, for AUD$60 million.

Key features of the acquisition include:

TransACT has operations in the ACT, Queanbeyan, and regional Victoria, with 40,000 customers across the residential, SME, corporate and government market segments.

 40,000 highly bundled subscribers across residential, SME, corporate and government market segments using more than 140,000 products

iiNet’s Chief Executive Officer, Michael Malone, said the acquisition of TransACT was consistent with iiNet’s strategy of building scale through consolidation and cemented the Company’s position as “the new number 2 provider” of DSL broadband.

 Strong local brand concentrated in ACT and regional Victoria

“ iiNet’s acquisition of TransACT represents an attractive strategic opportunity to build scale in the ACT market quickly and efficiently.

In particular, TransACT’s experienced and passionate management team will allow iiNet to grow its presence in the SME, corporate and government market segments, a key growth area for the Company,” said Mr Malone. “We are also excited about the strong existing relationship between TransACT and ActewAGL, the leading utility provider in the region, and the resulting growth opportunities for both companies.” “ It will be great for TransACT, and our partner AtcewAGL, to have access to a leading national brand,” said Ivan Slavich, TransACT’s Chief Executive Officer. “iiNet’s reputation

for excellent customer service and product innovation will be well received by our loyal residential, SME, corporate and government customer base.”

 Growing SME, corporate and government customer base with complementary datacentre operation in ACT generating nearly $30m of annual recurring revenues  4500 kilometre network, passing more than 250,000 premises  Experienced management team with deep commercial relationships in key sectors  Strong financials – total recurring annual revenue of approximately $80 million and EBITDA of $17 million  100% cash and debt-funded  EPS accretive (pre synergies) for iiNet shareholders, with synergies available from the integration of systems and suppliers Under the sale and purchase agreement, iiNet will pay $60 million for TransACT. The acquisition will be 100% funded through existing cash and debt facilities.

Digistor Now Adobe Pro Video Reseller

taking Stock

Digistor, the Australia/NZ digital solutions supplier for the broadcast and post-production market, has announced the company’s appointment as an Adobe Specialist Reseller - Pro Video to sell and support Adobe’s range of software products. Digistor will focus on integrating Adobe’s software products into professional video environments using the company’s expertise and relationships with leading manufacturers to deploy complete solutions for applications for any screen.

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according to Digistor Managing Director, Andrew Mooney. “Adobe’s software has gained momentum in professional broadcast, postproduction and digital media markets and this closer working relationship with Adobe will allow Digistor to more effectively propose solutions integrating Adobe software and to provide an even higher level of support our customers.”

The program includes a number of stringent obligations which Digistor has met in order to qualify as an Adobe Specialist Reseller - Pro

Video. These obligation include the certification of skilled sales and support staff and the provision of the resources in order to effectively demonstrate train and support Adobe software products. Meeting these obligations helps Adobe ensure the reseller is able to provide high quality engagement with customers.

“Adobe sees significant opportunity in the Pro Video marketplace in Australia and NZ,” stated Craig McGregor, Adobe Channel Sales Director, ANZ. “I am delighted that Digistor have committed to be a strategic partner for Adobe in this area.”

As an Adobe Specialist Reseller - Pro Video, Digistor will market, sell and support Adobe’s commercial software products Adobe Premiere Pro, Adobe After Effects, Adobe Audition and Adobe Creative Suite Master Collection. Digistor offers complete solutions incorporating these products that are complementary to, build on, and interoperate with them.

Visit www.adobe.com and www.digistor.com.au

iiNet CEO Michael Malone, “an attractive strategic opportunity”.

“ Adding 40,000 new customers, including bluechip corporate and government bodies, as well as strengthening our network and presence in the ACT and regional Victoria, will allow iiNet to further penetrate these key markets and extend our leading customer service and innovative products to a broader audience,” said Mr Malone.

TransACT was advised by Deloitte Corporate Finance and Clayton Utz. Visit www.iinet.net.au and www.transact.com.au

Marshall Electronics On-Screen with Quinto Marshall Electronics and Quinto Communications have reached an agreement whereby Quinto will become Marshall’s official ANZ distributor for the sales and technical support of broadcast monitors.

According to Quinto’s Alan McIlwaine, “We are very pleased and excited to have the opportunity to work with Marshall. We have long admired their technical innovation and have seen their extensive product range at many leading television facilities around the world.”

Marshall’s, Rob Foster commented, “We are also pleased and excited by the prospect of working with Quinto Communications. They are a well known and respected distributor of professional broadcast equipment.

“We are confident that together, we will ensure Australian and New Zealand customers receive strong local support for Marshall products.”

Visit www.quinto.com.au

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taking Stock

Employee longevity?

Media staff & strategy by Karl Jansson In previous articles we’ve discussed how to improve interview techniques and guidelines for both Employer and Candidate, but there is a position behind the starting gates that we haven’t yet mentioned.

That is, the reason why a position has become vacant in the first place, and why someone in the market becomes an Applicant.

We can understand why a position is generated as a new role in the organisation due to growth, but it’s the replacement role that highlights the potential issues within an organisation. Now I say potential, but if staff turnover is high then there could be important ‘issues’ to be addressed, and subsequently a need to identify a common denominator.

So what are the common denominators?

There can be any number of ‘Positive’ motivators, as common denominators, that appear to have little or no value such as; Money, Career, Diversity, Location, Travel, Responsibility and Training to name a few.

If one or more of the above motivators is missing or inadequate, it could cause an employee to re-evaluate their career with that employer and subsequently move on.

It’s interesting to note that too often training is not recognised as a serious contender to Money as a Positive motivator.

Personal growth through training has never really lost its importance - as early as 1597 English author, courtier, & philosopher, Sir Francis Bacon said “Knowledge is Power.”

For example, by providing additional training, potential earnings may increase as well other benefits such as travel and responsibility, etc.

It also highlights the commitment of an employer and perceived value to an employee.

What are the triggers?

So why do the motivators come into play and what triggers them?

Mostly the triggers are from within your cerebrum (brain), which is divided into the Left and Right Cerebral Hemispheres.

These are the sides of our brain that dictate our reasoning in terms of logic (left side) and emotional (right side).

When you have an emotional response to a stress trigger it’s best to bring the logic into the situation.

On the other hand, if the situation is seen as too logical, then look at the emotional investment and outcomes for you and those around you.

Always check your immediate response to stress points and “Balance” off by equally reasoning your left and right. You will find that any apparent stress levels will lower within days.

taking Stock

If you don’t “Balance” off stressful situations, your judgement will be clouded, and chances are that you’ll try to remove that stress point in a radical way with long-term repercussions or you’ll probably want to move away from it permanently.

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Negative people!

If you don’t see the relation between your thoughts and the environment that you find yourself in, then it will be no surprise to assume that you have no power to change it. So when you think you are powerless over your environment, and your environment is negative, this will cause you to have a negative attitude.

By allowing others to decide how you should feel, you let them have control over you. That is of course, not a wise decision since people usually mind their own well-being first. Instead, as soon as you spot a negative situation or someone, try your best to find something about it or them more positive instead, then “Balance”.

Interesting though, most people who appear negative are grumpy from the time they awake. They meet with failures as soon as they wake up, which sets their day to be full of anger and hopelessness.

Usually this type of people keeps to themselves and their presence makes others moody. People instantly feel their bad energy and try to stay away from them. When you talk to the person of this type, they may insult you without even intending so. This is because their negativity is so aligned with who they are that they cannot recognise if they make others happy or sad.

The most interesting distinction of this type is that they are mainly unaware of their mental state. They don’t realise that they are negative. Whether it’s the paranoid types, or those who are Drama Queens or those seeking sympathy, they all are capable of creating a negative environment.

Sometimes causes are internal rather than external. In fact, any external cause will lead to the deeper, internal cause. For example, you might understand that you are negative because your family makes you negative.

But when you dig deeper, you may realize that you feel unworthy as a person and you project this unworthiness onto your family and that makes you angry at them. It’s true that the qualities you don’t like in other people are yours, so it’s not others that are at fault but you. So, you start to uncover that it’s your limiting belief of unworthiness that makes you negative. The next step will be to eliminate it and then your attitude will improve.

If the job, or life, is stressful, the answer is not to walk away from those daily triggers, nor is it the answer to leave the job. Address it before a negative attitude is born, because scientifically it has been proven that a negative attitude that is born from anger, and frustration will shorten your life.

If you are close to someone who can and will negatively influence your environment, you are better placed to help bring them back into a more positive mode.

Another point that should be recognised is a correlation between the environment and your thoughts.

Karl Jansson previously owned and managed “J-Curve Broadcast Recruitment”.

If negativity is so pronounced in a work place it can be highly contagious by simply infecting the environment of others.

He has since merged his business within “Interlogic Placements” at North Sydney.

You need to recognise this in order to achieve a “Balance”.

Contact: karl@interlogic.com.au or 9922 2711 or 0408 274 413

Bottom line, a positive environment will influence employee longevity.

taking Stock

EVS CEO Pierre L’Hoest Steps Down EVS Broadcast Equipment S.A (Euronext Brussels: EVS.BR, Bloomberg: EVS BB, Reuters: EVSB.BR) (Pinksheets: EVBEF), has announced the departure of Pierre L’Hoest, Managing Director and CEO. Following his departure, the Board of Directors has modified the composition of the Executive Committee, now composed of Michel Counson, Jacques Galloy and Luc Doneux. Under the leadership of Pierre Rion President of the Board, the Executive Committee will manage the technical, commercial, operational, corporate and financial functions of EVS, pending the announcement of a new management structure in early 2012.

On Thursday, September 29, 2011, the Board of Directors has taken note of the end of the mandates and functions of Pierre L’Hoest (and of his company Belinvest S.A.), including that of Managing Director of the company he founded with Laurent Minguet and Michel Counson, a position he held since 1994.

According to the company, “During the last 3 years EVS has pursued a successful growth strategy of its activities based on its digital production and content management systems on the news, entertainment and sports TV markets.

This strategy has lead to the development of new products such as the XT3 and XS platforms, but also the integration of new development centers including new media, archive monetization, MXF file mastering, and sport graphic analysis. This rapid growth in new market segments which was confirmed at the recent IBC tradeshow in September, has been marked by the doubling of the workforce in the last 3 years.

“It is this impressive growth and prospects for the coming years that required a new system of governance. Since 2009, Pierre L’Hoest, the Board of Directors, and management of EVS have initiated a significant project to adapt the structure of EVS to allow the company to have all the advantages it needs for this new phase of growth. The establishment of the new team is a step in this process.”

taking Stock

“The entire Board of Directors wishes to thank Pierre L’Hoest for the passion he has brought throughout his engagement with EVS, since its inception”, said Pierre Rion, President of the Board of Directors of EVS. “His vision for the products and on-going concern for ergonomic applications have strongly driven the success of EVS. The newly implemented Executive Committee will allow us to envisage the succession of Pierre L’Hoest with confidence. I will personally undertake the link between the Executive Committee and the Board of Directors.”

14

Michel Counson, Managing Director and Cofounder of EVS, assumes the function of Chief Technical Officer (CTO). Jacques Galloy assumes the roles of Director and Chief Financial Officer (CFO). Luc Doneux assumes the role of Head of EMEA, APAC & Major Events.

Visit http://www.evs.tv

Briefs Grass Valley Buys Aussie Touchscreen Firm In a move to improve the way that live production is produced, Grass Valley USA, LLC, the video technology solutions company, has announced that Grass Valley Australia Pty Ltd, its affiliate in Australia, has acquired Evolution Pty Ltd., a small, privately-held technology company based in Sydney, Australia that specializes in touchscreen driven live production workflow solutions. Terms of the acquisition are not being disclosed.

Evolution, founded in 2008, has been a long time partner of Grass Valley. The companies worked together to deliver the K2 Dyno™ Production Assistant (Dyno PA) product to market.

Evolution’s award-winning technology enables a new way of producing live events, to move the mid- and lower-end live production markets forward in capabilities. The company’s strategy has been to simplify production workflows through the smart use of technology and intuitive user interfaces, and bring about innovation, thereby delivering solutions to realworld live production challenges.

“This acquisition is a strategic move for Grass Valley, solidifying its position as an innovator

and a company that brings incredible focus to meeting the needs of its customers and the market,” said Alain Andreoli, CEO and President of Grass Valley. “This is the first of many crucial investments that we will make as part of the transformation of Grass Valley as we continue to build on our solid market leadership position.”

“With this deal, Evolution brings its experience and IP within Grass Valley and will become a catalyst to deliver the forward-looking technology solutions demanded by the increasingly sophisticated live production market,” said David Sabine, Executive Director for Evolution. “We are thrilled to join such an industry leader as Grass Valley.”

“Evolution has proven itself to be a great innovator and a company that brings a high level of expertise to the live production market,” said Scott Murray, Senior Vice President, Live Production Solutions for Grass Valley. “They are unique in their approach in terms of design and innovation, which results in superior technology.”

Visit www.grassvalley.com

Technicolor Amends Debt, Sells ContentGaurd Technicolor (Euronext Paris: TCH) has entered into a definitive agreement to sell its 25.7% stake in ContentGuard Holdings, an inventor, developer and licensor of digital rights management (DRM), to Pendrell Technologies LLC, a wholly owned subsidiary of Pendrell Corporation (NASDAQ: PCO).

Pendrell Technologies, a company providing innovative intellectual property solutions for leading companies, will acquire 90.1% of ContentGuard Holdings and pay $90.1 million in cash to the current shareholders.

Originally spun out of Xerox PARC in 2000, ContentGuard has been a pioneering inventor and developer of foundational DRM and content distribution technologies.

In accordance with Technicolor’s reinstated debt agreements, the net disposal proceeds of $24.4 million will be applied to the prepayment of the Group’s reinstated debt following the closing of the transaction.

This transaction is in line with the Group’s strategy to focus on the monetisation of

its IP assets. Technicolor says it has “seized this opportunity to monetize its stake in ContentGuard acquired in 2005 and will record a capital gain estimated at $11.5 million at the closing of the transaction”.

Technicolor has also issued a statement saying its debt documentation “restricts its strategic flexibility to execute on any material industry consolidation opportunities” and it has requested that its senior creditors agree to a limited number of technical modifications to its credit documents, mainly related to joint ventures, disposals and acquisitions, in order to increase this flexibility.

The proposed changes require majority approval from its creditors. The Company expects the process to complete by the end of October.

Under the Company’s consent solicitation, all financial covenants and the main terms and conditions of the debt will remain unchanged as the Company is operating well within its existing covenants.

Visit www.technicolor.com

Comcast Ventures Launches CTI Towers Comcast Ventures, the venture capital affiliate of Comcast Corporation (Nasdaq: CMCSA, CMCSK), has formed a new portfolio company, CTI Towers, Inc., which will own, operate, and develop telecommunications towers throughout the United States. CTI Towers is launching with a portfolio of approximately 800 towers that were previously owned and operated by Comcast Cable subsidiaries.

Headquartered in Boston, CTI Towers will actively lease tower space to wireless operators and other tenants, creating additional tower capacity for rapidly evolving businesses and technologies across the U.S. Comcast Ventures also announced it has named Anthony F. Peduto CEO of CTI Towers.

Visit www.ctitowers.com

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TECHNICAL STANDARDS www.content-technology.com/standards

Broadcast Metadata Exchange Format V2.0 The Institut für Rundfunktechnik (IRT) has published the Broadcast Metadata Exchange Format (BMF) 2.0 Beta.

BMF 2.0 is a manufacturer independent format and enables a continuous exchange of metadata in the domains of radio, television and internet.

This reduces both costs and risks on integrating interfaces in an IT-based production environment.

The XML Schema of BMF 2.0 Beta can be downloaded from http://bmf.irt.de/ en for testing and evaluation purposes at no cost.

BMF 2.0 is a rich metadata-vocabulary for the domains of television, radio

Visit www.irt.de.

AMWA, EBU, SMPTE Work together

Automatic HbbTV Test Suite

The Advanced Media Workflow Association (AMWA), the

Digital TV Labs has improved HbbTV conformance testing by

European Broadcast Union (EBU), and the Society of Motion Picture & Television Engineers (SMPTE) – have announced they will work together to accelerate their respective efforts at driving interoperability and delivering efficient media workflows.

announcing a reduction in test time via automating key functionality within its Ligada iSuite. The tool will be fully compliant with the official HbbTV Test Suite and already allows receiver manufacturers to bring HbbTV-ready products to market quickly and cost-effectively.

Senior managers from the three bodies plan to meet regularly to exchange information and identify areas of potential cooperation. They will also collect user input in a more formalised way and launch a pilot initiative to gather specific input regarding media workflows and media services. They will then share that information with their members and with industry leaders.

The Ligada iSuite HbbTV Test Tool - a test harness consisting of test suites and server to run them - fully supports the preliminary HbbTV Test Suite, slated for release this year. The latest version of Ligada automates many processes via its integrated JavaScript API support, IR blaster control, power cycle control and video screen capture interface. With its intuitive UI and the inclusion of HbbTV test cases linked to the HbbTV test assertions, Ligada significantly increases development productivity.

added, the usability was improved and a new process to generate subsets of the BMF-model was developed.

The EBU and the AMWA also announced that the output of the Framework for Interoperable Media Service (FIMS) Joint Task Force will be submitted to SMPTE after formalisation by AMWA and EBU. The organisations formed the task force in 2009 to address system integration issues in modern and complex TV production environments and recently demonstrated some early capabilities this effort at IBC 2011.

TECHNICAL STANDARDS

Amongst others, BMF 2.0 now supports the complete use cases of production-, program- and event planning, camera metadata and file transfer of program material.

Metadata in BMF 2.0 is exchanged as XML documents. The structure for the BMF-XML documents is defined in a XML Schema with clear and simple design rules. Furthermore, the XML Schema provides faster orientation for developers through short documentation. For the generation of the XML Schema for BMF 2.0 the experiences of previous implementations and helpful suggestions from manufacturers were analysed in detail and considered. The rich vocabulary of BMF 2.0 is a toolset for the generation of model-subsets for specific use cases. Only these subsets will be implemented.

Compared to the previous version, BMF 2.0 new use cases were

16

and internet. As a lingua franca in metadata exchange it facilitates the reuse of metadata and increases the interoperability between IT-systems.

The BMF model covers the information requirements of a wide variety of domains in television as production, planning, distribution and archiving.

This is the result of an accurate evaluation of different use cases which was accomplished in close collaboration with working groups of the public broadcasting in Germany.

Ligada fully supports DVB-T/C/S HbbTV receivers.

Digital TV Labs also announced a range of additional key HbbTV test tools and facilities at IBC 2011 including an HbbTV Application Lab.

Visit www.amwa.tv, www.ebu.ch and www.smpte.org

Visit ww.digitaltv-labs.com

Sony’s DVB-C2 Demodulator LSI

Space Codec

Sony Corporation has announced the commercialisation of the world’s first demodulator LSI conforming to the DVB-C2 (Digital Video Broadcasting – Cable 2) digital cable TV broadcast standard. DVB-C2 updates the currently adopted DVB-C to a next-generation standard which significantly increases data transmission capacity and optimises use of the transmission channel to enable multichannel and high quality HD broadcasting. DVB-C2 adopts a multi-level modulation which is 16 times as dense as DVB-C and tolerance against reflections and interference caused within a cable network is required.

It incorporates Sony’s proprietary reception algorithms and error correction technology to achieve stable and highly sensitive reception, while also reducing power consumption and gains miniaturisation by reducing the number of pins.

Jointwave LLC, a supplier of the H.264 IP core for FPGA and ASIC, has enhanced the capability of the IP core’s MPEG-4 (part 10) technology to support future human spaceflight missions.

Visit www.sony.net

Visit www.jointwave-tech.com and www.lockheedmartin.com/orion

Under contract to Lockheed Martin - the prime contractor to NASA for the Orion Multi-Purpose Crew Vehicle – Jointwave customised its H.264 encoder to enable the spacecraft’s video compression system to multicast mission critical video to data storage recorders, live stream for crew displays or streaming downlink to mission control.

The low power core supports a full HD 1080p video, with broadcast levelvideo quality on a single low-cost FPGA device.

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d-sign.tv – The Content + Technology of Digital Signage

C+T 2012

technology survey The 2012 Tech Check C+T has polished the crystal ball for 2012 by surveying some of those responsible for selecting new technology options for broadcasting.

The results of our survey reflect that convergence is truly a driving force in all current and future decision making processes.

In a clear signal to technology suppliers hardware is out while software, outsourcing and value added services are in.

Seven West Media Trevor Bird, General Manger, Group Technical Services for Seven West Media represents the national multi-platform media businesses of Seven Television, Pacific Magazines, Yahoo!7, the West Australian newspaper and various WA regional newspapers, and radio stations.

“We already exchange files between these organisations using Signiant file management services,” said Bird. “Our sales arm aims to provide the best possible coverage across those platforms and cross promotes between them.

An example is Better Homes and Gardens, which has a magazine, web presence and TV program.

Those three deliver the brand to people who want them on their platform of choice.

“We are exploring any technology solutions that can provide better and more automated workflow, lower cost services or simply allow us to concentrate on our core business. We are very interested in cloud technology in the future but only if the security is assured and the costs and services associated with this change is warranted. We are looking for a return on investment on any technology.”

In a new Seven development, a datacasting channel using MPEG-4 is being added in 2012 to its normal terrestrial TV offering.

“It’s a new initiative for Australian terrestrial television - the only other time there has been any MPEG-4 transmission was during the 3D trials.”

nsw 2012 technology survey

The MPEG-4 channel is being processed by a Cisco encoding platform and is designed to use less spectrum space.

18

Reflecting the move to increased interaction between traditional television and the internet, Bird points to dedicated iPad and iPhones apps for the network’s News and Sunrise services as well as tight integration with its Plus 7 catchup TV service on the Yahoo!7 platform.

Network TEN

productions and new shows. Anything we licence usually has social media and online components included as part of the deal. Some content such as joint venture projects have some of those capabilities supplied but for the majority of programs we have to build the add-ons from the ground up using our in-house development and integration teams – as much as possible is templated.”

The demands of delivering streaming media files to IOS and Android devices is providing an ongoing challenge to most media organisations including TEN.

need to have “ [Suppliers] the ability to integrate their products into others because there are so many systems involved in digital workflows that no one company has the skill required to get the end delivery through.

”

“We are starting to find limitations of scale around networking and IOS which does mean we have to build delivery systems that are a little different to the broadcast concept.

“We are looking for the ‘plugs’ to fill the gaps – trying to buy the right box and get the same level of support as the rest of our broadcast equipment,” said Day.

THE PLAYROOM Craig Armsworth, Technology Director with Omnilab Media’s Playroom, has traditional video requirements under control and agrees streaming is the growth area.

“For linear players we use traditional motion video servers and demand remains the same because our size and scale enables us to get the most out of our traditional motion boxes and we can get some synergies and efficiencies of operation.

“We currently have the capacity for 16 HD channels and can easily scale up to 40 - delivery of those channels is baseband video over dark fibre,” said Armsworth.

Andrew Hogg Where does he work?

are exploring any “ We technology solutions that can provide better and more automated workflow, lower cost services or simply allow us to concentrate on our core business.

”

IPTV-style channels are broadcast to a streaming encoding device and Over The Top (OTT) content is processed through a transfer farm as required before network distribution.

Michael Day, Technologies Solutions Manager for Network TEN says he is focused on transcoders and web site development with streaming media becoming a major component of his workload.

“The digital media stream is one of the biggest drivers for our business direction and that includes archive and transfer services such as aggregation. We will need more storage and bandwidth for the appropriate platforms.”

“Our requirements are highly dependent on

Armsworth is one of a few people who have

Trevor Bird Seven West Media

c+T 2012 technology survey moved between sales and user roles having worked with Magna Systems & Engineering before moving to The Playroom. Having a view from both sides of the fence has enabled him to streamline his purchasing and raised his concern over the skill sets and services of his suppliers.

“Broadcast convergence is well and truly on us and I think the role of a lot of broadcast suppliers will be diminished as margins are squeezed so they are going to have to add a service layer,” he says.

“Suppliers need to move past general sales organisation to provide value-added services and accountability. I have moved a lot of purchasing that is commodity based so I now have an arrangement with a commodity supplier on a cost plus basis that saves up to 30 percent on my capital equipment costs. So I am more demanding now of services than kit to differentiate between vendors. I hardly ever buy hardware and when you do it’s got a CAT5 or 6 cable connection.”

He is also mindful that the level of sophistication in current software requires deep technical understanding and that errors can result in serious pipelines complication.

“I never get the level of technical expertise I require - engineers have become highly skilled jack of all trades and I am having to rely on them having the ability to check with other sources to confirm details.

“One of the biggest issues is that it is going to be hard in this size market for all suppliers to get the skills sets of their engineers up.”

Armsworth is currently in negotiations to link infrastructure to the cloud to expand The Playroom’s services in 2012.

MEDIAHUB AUSTRALIA “As the digital rollout continues across Australia we are looking at multiple delivery platforms for our clients,” said Andrew Hogg, CEO, MediaHub Australia. “As we continue to grow the business we are looking at the new digital media spaces such as IPTV and

portable platforms. Consumers want an allencompassing delivery mechanism for all their platforms so they can consume long form and short form content by downloads and streaming.

“I believe the idea of being able to download content to consume for a period of time rather than downloading content to own is starting to take hold in the Australian landscape.”

digital media stream is “ The one of the biggest drivers for our business direction and that includes archive and transfer services.

”

He said that this concept is applicable to free to air and pay television providers by making sure the content is encrypted and can be removed from the devices after a nominated expiry period.

This delivery requires digital rights management and content protection, which MediaHub Australia provides using a combination of inhouse and external skills and services.

“When we look at suppliers these days we want more strategic alliances to provide specialist knowledge and producers. It is getting a little bit easier as we come to grips with the digital environment and suppliers realise they can’t offer stand-alone products. They need to have the ability to integrate their products into others because there are so many systems involved in digital workflows that no one company has the skill required to get the end delivery through.

“Rather than the protectionism of the past we are seeing information being shared through strategic alliances where a group of parties get together to ensure the end result. They each keep their individual IP and products but work together for a complete solution,” said Hogg.

Craig Armsworth The Playroom

are starting to find “ We limitations of scale around networking and IOS which does mean we have to build delivery systems that are a little different to the broadcast concept.

”

With 132 streams and over one million hours of content being distributed by MediaHub to Australian viewers, Hogg is looking forward to expanding his company’s digital services role as new platforms emerge.

“We’re in the most exciting times since the launch of colour television. Australia has always been at the forefront of technology and MediaHub is poised to be involved in the way content is delivered now and in the future.”

Michael Day Network TEN

THE 3rd DIMENSION Stereoscopic production & exhibition

Sponsored by

www.3d-day.tv

Cameron-Pace Group Casts 3D Eye Down Under According to James Cameron, his CoProducer on the 3D cave diving drama Sanctum, Andrew Wight is “very knowledgeable about 3D production in Australia, the crews, who’s doing it and what their production concerns are.”

“Sports broadcasting has been in a similar holding pattern, but now it’s technically possible.”

Wight says the company is also looking to cater to 3D feature production throughout Australia.

“We want to offer a broad range of support – on land, on sea and in the air. We also want to help facilitate VFX as well,” he says. “We want to get in with people on the ground floor when they’re in the planning stage of a production.

He is also point man for the Cameron Pace Group in the Australia market, the 3D company founded by director James Cameron and camera technologist Vince Pace.

“What I can say is we are setting up CPG in Australia. CPG in the US has a lot of equipment and turnkey equipment for 3D cinema, TV and sports and we are looking at the dollars and cents of the market here. We are looking at 3D sports – cricket, Olympics, the Australian Open – iconic events.

“But, it requires more than the presence of CPG. Australian consumers are early adopters, but it took 25 years for colour TV to permeate the market and we’re still rolling out HDTV. There is the issue of spectrum, but if consumers say they want it, it may not happen quickly, but it will happen.

CPG Point Man Andrew Wight.

While CPG has been using its 2D/3D Shadow Rigs in the US to shoot events like the US Open Tennis, Wight says the next thing that has to happen is the roll-out of cameras that can simultaneously shoot 3D and 2D and, down the track, quality 3D without glasses.

“Digital cinema took 15 years to gain a foothold as it faced resistance from ‘filmies’, but the technology wasn’t there. The projector technology is now here.

“If you want to cater for all worldwide markets from cinema to Blu-ray, you’ve got to shoot in 3D. It’s the best opportunity for investors to make their money back if you produce in every format known to man. It’s something Sanctum proved. It earned $100 million worldwide. So, you’ve got to make 3D part of your budget.

“To the purists, I would say in the next five years, film will be dead. You won’t be able to buy film.

I’d also say to lower budget film makers, you need to look at 3D. Don’t be frightened by it.”

Visit www.cameronpace.com

Cameron-Pace in 3D Partnership with Grass Valley IBC 2011 saw CAMERON|PACE Group, announce a strategic alliance with equipment manufacturer Grass Valley centred on 3D workflows, new products for broadcast and more efficient production solutions for live 3D. As a first step, CAMERON|PACE Group will incorporate Grass Valley production technologies, including the Kayenne Video Production Center switcher, K2 Production Clients, and K2 Dyno Replay Controllers into its most current 3D production truck.

Speaking at Grass Valley’s IBC press conference, James Cameron said, “Vince and I firmly believe

that the future of 3D is in broadcasting which is really going to explode over the next couple of years. And, so we’re scrambling to stay ahead of the rising curve of demand.

“But, it’s a little bit daunting staying ahead of the rapid rate of technology change and so on. So, we have to have powerful alliances with people who are major players in broadcast in order to really be able to fulfil this future and supply the kind of quality 3D entertainment that people are going to demand, ‘cause initially people are going to be paying a premium for this stuff just like they do in the movies. And, so we’ve got to make sure that the

quality is very high.”

Vince Pace added, “The projects that we’ve been involved in as a company, which now totals about 140 sports productions and 27 feature films, have been a successful adoption of 3D when done right.

“But, how are we going to get all the way through this challenge of making 3D more cost effective and making it more similar to the 2D approach? By forming an alliance with Grass Valley, we’re going to work together for those integrated solutions, not just for the future, but for the here and now.”

Visit www.grassvalley.com and www.cameronpace.com

First ARRI ALEXA M Units go to CPG

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ARRI has shipped production prototypes of

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its ALEXA M camera to Cameron-Pace Group as part of a strategic collaboration. Based on RAW image transmission, the ALEXA M features the same sensor, image processing, build quality, workflows and image quality as the company’s ALEXA camera. The front-end “head” of the ALEXA M transmits uncompressed RAW sensor data at around 18 Giga bits per second to a back-end image processing and recording “body” using a hybrid fibre optic cable that can also be used for powering the head. Weighing under 3kg,

the ALEXA M head offers multiple mounting points. The camera body provides all the image processing and recording options seen already in the standard ALEXA camera: images, sound and metadata can be recorded onto SxS PRO cards or external recording devices, offering many different workflows including the uncompressed, uncompromised ARRIRAW format.

CPG Chairman James Cameron said, “The ARRI team has been amazingly responsive to the needs of the 3D market by creating the ALEXA M. CAMERON-PACE Group worked closely with

them on the development of this important new camera.”

According to Franz Kraus, MD of ARRI Munich, the company will focus on integrating CPG feedback into the camera.

“ARRI will also be integrating elements of CPG’s proprietary and patented 3D rig automation technology within the ALEXA M camera system, leading up to commercial launch and mass production of the ALEXA M early in 2012.”

Visit www.arri.com and www.cameronpace.com

the 3rd dimension

Cameron Pace – the 3D Team C+T Euro Correspondent Ross Geraghty caught up with James Cameron and Vince Pace at IBC 2011.

C+T: From your perspective, where’s 3D going?

JC: “It’s just going to become ubiquitous. I mean, really that’s the thing. The next big wave is going to be broadcast. We think it’s going to roll out globally at different rates in different markets, but that’s happening.

“People talk about the future of 3D and, in reality, 3D is the present, we’re already doing it right now.

Our trucks are out, our gear is out, our people are out, we’re expanding rapidly, we see broadcast obviously is the biggest expansion that is going to happen over the next couple of years.”

C+T: People really are going to sit in their living rooms with glasses on?

JC: “I guess I must be an idiot because I think they are. I think they’ll sit in the living room with the passive glasses on more readily than with the rechargeable active glasses that are expensive.

“I think if you can just have a bowl of the disposable or hopefully recyclable glasses in your living room, you can watch TV socially the way we tend to do, which is in groups. If we’re watching individually, chances are it’s going to be on a laptop or tablet or something like that. And there you won’t need the glasses very shortly. Those will be auto-stereoscopic ‘cause they’re a single user paradigm.

“But, when you have multi-user system, you will need to use glasses to decode the image, for the next few years. Let’s say three to five years, and then, after that, they’ll be able to offer full resolution with multiple viewer angles. So we’re getting there.

“It’s content driven, in a sense. The more content there is, the more people get excited and the more they want, the more they’ll adopt the technology. Right now, the content is just starting to take off. In most markets, only a few programs

are offered. But, it was the same thing with movies five, six years ago.”

C+T: And, obviously, you famously broke the back of that.

JC: “We got a lot of credit for that, but there had been a building wave of releases before Avatar, and then, of course, a lot of follow on afterwards. So, it was really part of a wave.

It was one of the more visible titles within an overall wave that was Director James Cameron and camera-tech supremo Vince Pace. growing industry wide.

And, that’s why we’re the consumer the best end result. And, that end at I think 22,000 digital 3D theatres worldwide result is sellable when done correctly, so we’re right now, and growing rapidly. going to reduce the cost, we’re going to raise the C+T: When you speak about Avatar, why do you think that particularly was so successful? Is it due to simply the story, or was it technology driven?

JC: “The thing people have to understand is that 3D isn’t going to save a bad movie. So, it’s still going to be story telling. You’ve still got to do all of your art and creativity as a film maker, and the same thing is true in television production. If you’ve got a ‘dog show’, it doesn’t matter if it’s in 3D or not.

C+T: So why partner with Grass Valley?

VP: “They were a perfect strategic partner.

Grass Valley know production well, they know production solutions well. And, we’re not coming in here stating we know all about production, we’re coming in here stating well we have a great understanding of the 3D model, and the solutions that are driven for that model.

“By combining our efforts, I think we’re giving

entertainment bar in 3D, we’re going to cover more of the story with multiple cameras and increasing the camera count. And, we’re going to do that through these strategic partnerships that we just announced with Grass Valley.”

JC: “And, we’re going to do it worldwide. I mean, really the issue is that we’ve got to grow this market worldwide. It can’t just grow in the UK, or in the US. C+T: Does Australia fit into that?

JC: “Well, Australians seem to have been early adopters of 3D for some reason. I mean every movie production that I’ve been involved in has done disproportionally well in Australia, relative to the population of the country. So, for some reason, Australians seem to like 3D. So, that’ll be a really good place for us to move aggressively in broadcast as well, and probably it will be with sports I would have thought.”

The Shadowy Business of 3D Using what it calls Shadow technology, Cameron Pace Group recently shot the US Open Tennis with 3D systems piggybacking on 2D production infrastructure.

The US Open Tennis employed 14 camera systems, nine of which used the Shadow technology to produce the event.

Cameron-Pace’s Shadow technology uses the telemetry of the 2D operator’s lens and allows the deliverable 2D to be independent in frame size to the 3D. “The similarity is point of interest,” says Pace. “We all want to see the same story.

3D does not differ in the storyline from 2D. What the shadow system allows it to do is we read the telemetry for the focus distance and the subject distance and we incorporate that into the 3D result.”

Visit www.cameronpace.com

THE 3rd DIMENSION

“Shadow technology is a perfectly integrated 2D, 3D solution,” says Vince Pace. “It’s a 2D operator, it’s a 2D backbone, and we’re delivering a 2D and 3D signal at the same time. The goal, make no mistake about it, is cost effective solutions so we can increase the volume of 3D production and we can change this whole dilemma that we have that there’s not enough content or there’s not enough screens and really start to move 3D in a business direction where it makes sense.”

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the 3rd dimension

Classification Board Goes 3D with New Theatre The Australian Minister for Justice Brendan O’Connor recently opened a digital cinema theatre at the Sydney offices of the Classification Board. The state of the art theatre has been upgraded from film capabilities and will be used to classify 2D and 3D films - previously digital films had to be viewed off-site at commercial cinemas.

The cinema is designed to equal the technical specification of most European cinemas and to replicate what most cinema goers are seeing and hearing.

The theatre runs a Christie CP2220 2K projection system with a Dolby 3D EX 7.1 sound system. A DoReMi 2K/4K server allows for future upgrades as the industry moves to a 4K standard and a library management system (LMS) stores up to 30 or 40 movies digitally on-site. The DoReMi server can hold around five or six movies which can be easily moves to and from the LMS.

Mr O’Connor said it was important that classification kept pace with changing industry needs.

“As the Minister responsible for the Classification Board, we need to ensure that they have the right facilities to deal with classifying film in this country. And, what we do know is that some of the biggest producers of film around the world including the United States, will be moving to digital film alone within a short space of time. The advice I’ve received is by 2013 US distributors of film may not be distributing 35mm any longer.”

Games classification is carried out using a separate computer-based system in a separate suite but can be moved into the new theatre for a screening to larger groups if necessary.

“There are games now with film components so you’re seeing this convergence,” detailed O’Connor. “That’s why it was so important for the Gillard Government to strike an agreement with Attorneys General of all jurisdictions to introduce the R18 classification for games because without the R18 classification for video games, we can’t

have a comparable classification for film.

“Given the convergence that’s occurring, we would have a real problem down the track so that’s a very important reform which will be realised early in the new year, after we’ve got all of the legislation through. But the fact that we struck that agreement is very important.

Combined with this new facility, I think it places the Classification Board in a very good position to do its job effectively, which is of course to expeditiously classify film, advise the Australian public about the nature of a particular film or a particular game, so that they can be aware before they purchase and before they enter a cinema, exactly what entertainment they’ll be enjoying.”

Planning for the new digital cinema began three years ago. Edge Digital Technology won the contract and began installation in April 2011.

To meet requirements for fast content transfers a high speed CRU Dataport rapid ingest system was configured to the remote library store. The installation and viewing was completed with the addition of a Harkness MicroPerf white screen.

The Classification Board does not have to perform technical or quality checks on the content as it relies on the industry complying with the Digital Cinema Initiative standards that govern the manufacturers of projectors and servers as well as content creators, suppliers and distributors.

The opening of the digital cinema comes as 30 percent of releases from major distributors in the next 12 months are expected to be in 3D and approximately 50 percent of Australian theatres now have digital projectors.

Visit www.classification.gov.au

China First for Barco 4K 3D Projection Barco has launched its first 3D image

Barco’s DP4K-32B ultra-bright Enhanced 4K

plus 3D sound combination in greater China, more specifically in the Wangfujing Cineplex in Chengdu, China. This is the first time that Barco has provided both audio and visual technology in the digital cinema field. With the Wangfujing Cineplex launch, Barco is now offering its customers total audio/video digital cinema solutions.

cinema projector and the Auro 3D 11.1 Channel

The Wangfujing Cineplex installation includes

in 3D.

Sound System to present an immersive movie experience.

Unlike 2D 5.1-channel surround sound systems, the Auro 3D sound system is designed along 3 axes (width, depth, and height) to present audio

Auro Technologies is a spin-off of the Galaxy Studios Group and owner of the Auro-3D Technology Suite. The Auro-3D system is designed

by Wilfried Van Baelen, founder of Galaxy Studios.

The Auro-3D suite offers sound reproduction capabilities to the professional, automotive, broadcast and consumer electronics markets.

Visit www.auro-3d.com, www.auro-technologies. com and www.barco.com

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HDMI 3DTV Signal Generator

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The Gefen ToolBox Mini Pattern Signal Generator for HDMI 3DTV supplies several test patterns for calibrating and testing video performance. New video testing patterns are provided including 19 HDTV and VESA standard timings. The 3DTV test pattern supports side-byside, top-bottom, and frame packing 3D formats up to 1080p @ 24Hz. It supports the connection of digital optical audio, used to test support for the HDMI 1.4 feature of audio return channel. This is to determine if the connected display properly returns audio over the same HDMI cable. This

new Signal Generator can also analyze the audio/ video signal on the input and display the exact video timing and audio specification.

Advanced features include a KSV count for connected sources. The Mini Signal Generator for HDMI 3DTV will identify the maximum KSV keys for each source. This is valuable when distributing a source to multiple displays with HDCP-compliance as you can see if the system will support additional KSVs. The Mini Pattern Signal Generator for HDMI 3DTV

also allows users to store various displays’ EDID information through the local input and take it to the field. If users experience issues with signal loss when testing displays in the field, they can store that display’s EDID or use a previously installed EDID to overcome the issue.

The on-screen display menu, accessed through navigation touch capacitive buttons on top of the unit, guides users through all settings for ease of operation.

Visit www.gefen.com

LDK Cameras

Imaging Beyond Imagination LDK cameras capture the world’s highest-profile, most prestigious events. At broadcast stations, teleproduction studios, and outside broadcast trucks the world over, LDK cameras bring “the LDK look” to millions of viewers every day. Each LDK camera is designed and hand-built with the highest-quality optical, electrical, and signal processing systems with absolute attention to ergonomic excellence. And because we’re innovators, we developed our own imagers— the Emmy® Award-winning 9.2 million pixel HD-DPM+™ imager — and the all-new 3G Triax and 3G Fiber transmission system, to give you the format and image flexibility that you need and expect from Grass Valley™. Together, we’ve got everyone watching. Learn more at www.grassvalley.com/ldk.

the 3rd dimension

Wireless 3D Stereo Rig

HD 3D LCD Projector

US company Paradise VFX has launched HELIOS, a wireless, self-contained, 3D stereo rig designed to support faster on-set deployment, streamlined post production, and more costeffective 3D stereo production.

The HELIOS 3D capture system is suitable for all types of untethered camera work, including handheld, Steadicam and studio applications, with optimized metadata handling for VFXoriented 3D production.

HELIOS is manufactured from rigid, lightweight magnesium and aluminium alloy. It is currently designed for use with RED EPIC cameras, with future support for ARRI Alexa M and Sony F3 cameras. It is offered with a range of matched lens pairs, including ARRI Ultra Primes and Angenieux Compact Zooms.

Using Preston G4 wireless controls, HELIOS’ interaxial range can be adjusted from 0 to 2-inches, and convergence from 10-inches to Infinity. It measures 18.5” (H) x 18.5” (L) x 8.5” (W), with a mirror box width of 15-inches. The rig’s naked weight is 18lb; 42lbs in Steadicam mode; 47lbs in handheld mode; and 53lb in full studio mode.

As HELIOS is lightweight, self-contained and untethered, Steadicam operators can move as freely as they do on a 2D shoot. Its self-balancing design means that interaxial convergence controls move out from the center of the rig, preventing a weight shift from affecting the Steadicam operator’s performance.

HELIOS can be deployed with Paradise FX’s Mercury metadata capture system. Files, timecodes, associated lens and 3D stereo information, such as interaxial and convergence metadata, can be offloaded for post or VFX. Visit www.paradisefx.com

Panasonic Australia has announced the arrival of the PT-AE7000E – the company’s first Full HD 3D LCD home theatre projector – boasting enhanced levels of brightness, superior contrast and smooth images in both 3D and 2D. Producing a 300,000:1 contrast ratio and 2000 lumens of brightness as well as 1080p (1920 x 1080 pixel) resolution thanks to a newly developed optical engine, this new model delivers 2D images as well as 3D content at home. It is also one of the world’s first 3D projectors to use transparent LCD panels driven at 480Hz which, combined with Panasonic’s original Overdrive Technology, reduces crosstalk.

The optical system features a new 200Watt Red-Rich Lamp and new LCD panels with a larger aperture ratio for increased

Grass Valley EDIUS Adds 3D Editing Support Grass Valley has unveiled a new 3D toolset

organising, and adjusting 3D clips.

for its EDIUS multi-format nonlinear editing software and has added 3D support for editing peripherals. The STORM 3G and STORM 3G Elite editing platforms — are both supported via the EDIUS timeline with stereoscopic 3D I/O through a single 3G SDI source and/or dual 3G SDI signals.

The new 3D features of the EDIUS 3D preview version software include: 3D clip native support; 3D clip pairing; 3D clip adjustment, including automatic convergence adjustment; 3D preview monitoring; and 3D multi-camera editing

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A 30-day free evaluation version of EDIUS, that supports this 3D functionality is available online.

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The new 3D support includes: native support for 3D video clips captured with the most 3D cameras, easy clip pairing for synching left eye/right eye clips; 2D-to-3D conversion capability; and a array of tools right on the editing timeline that make 3D adjustments — to compensate for mistakes in shooting — fast with no transcoding necessary.

Functions available in 2D are also supported in 3D, such as realtime colour correction, keyer, transitions and multicam editing. Included in the new 3D preview version are tools for importing,

Grass Valley has also included tight integration with its K2 media servers, whereby its K2 ChannelFlex technology enables all K2 Summit and K2 Solo servers to be expanded from handling four SD/HD video streams to up to eight streams in specific applications such as super slomo, multi-camera recording, and 3D production.

With a simple software upgrade, every K2 Summit production client and K2 Solo HD/SD server can now be used as a 3D production server for 3D recording or replay, a 2X or 3X super slo-mo recording device, or as a server for recording from 2-6 simultaneous camera angles with at least one channel for playback. Visit www.grassvalley.com

red luminance and brightness output. The combination of fully-optimised Pure Contrast Plates, Pure Color Filter Pro and Dynamic Iris Pro delivers smooth contrast and vivid colours as well as deep blacks with fine shadow details.

The PT-AE7000E also has a lamp life of up to 5000 hours in eco mode.

The projector is equipped with a built-in 3D IR transmitter so the viewer can enjoy largescreen 3D images with optional Panasonic 3D eyewear, which is sold separately.

The Panasonic PT-AE7000E Full HD 3D home theatre projector is available now from selected home entertainment retailers, priced at AUD$4179 rrp. Purchasers will also receive two sets of 3D eyewear (size Medium) included for a limited. Additional 3D eyewear is priced at $169 rrp.

Visit www.panasonic.com.au

Sensio DVB 3DTV Application Notes SENSIO Technologies Inc. has announced that the technical notes for the application of the DVB-3DTV specification to the SENSIO Hi-Fi 3D format are now available for download from the company’s website.

The DVB-3DTV specification details the delivery system for frame-compatible planostereoscopic 3DTV services, enabling service providers to utilise their existing HDTV infrastructures to deliver 3DTV services that are compatible with 3DTVs already on the market.

This system covers both use cases of a set-top box delivering 3DTV services to a 3DTV via an HDMI connection, and a 3DTV receiving 3D services directly via a built-in tuner and decoder. The application notes will enable the broadcast chain to deliver SENSIO Hi-Fi 3D optimally.

Visit www.sensio.tv

the 3rd dimension

Hand-Held 3D Rig

Detecting Edge Violations

3D Film Factory has introduced the 3D Bullet Rig for handheld, Steadicam, Easyrig, or tripod filming.

Cel-Soft has announced a new addition to the feature set of its Cel-Scope3D stereoscopic signal analyser: automatic detection of edgeviolation.

In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 13 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105 XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/ Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 - 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings.

The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt). The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Visit www.3DFilmFactory.com

“Edge-violation is a visual artefact that can arise when part of an object is visible at the edge of one image pair but not at the other,” explains Cel-Soft founder and Managing Director Robin Palmer. “The brain normally compensates for edge-violation when viewing the real world, as it does with many other inherent defects of human visual perception. Viewing through a television or cinema frame, however, it can become confused.”

“Edge-violation can be fixed in post-production but is best handled if you are alerted to the problem during the initial shoot,” Robin Palmer adds. “Spotting where edge-violations are occurring takes a practiced eye as they may not be as obvious as the lamp post. The search window has to be very wide as edgeviolation objects are likely to be close to the cameras and therefore to have large horizontal disparities. If these match in any position, they are not edge-violators.”

Using the latest version of Cel-Scope3D, edge-violation can be displayed automatically in several ways. Alarm messages can be superimposed on the analyser’s display screen as soon as the violations are detected.

Additionally, the offending objects are visually yellow-highlighted on the depth map display. With the logging option, edge-violations can be automatically logged timecode in a report along with over 30 user settable parameters and checks.

The automatic edge-violation detection feature is additional to the depth spectrogram which was introduced at IBC2011 in September. The depth

A highly cost-effective solution to the task of 3D signal monitoring, Cel-Scope3D 1.4 can analyse file-based content as well as live or recorded signals in dual-stream or multiplexed formats. It allows stereoscopic camera alignment to be performed quickly and confidently, ensuring 3D is accurate from the moment of capture. Footage and edits in a wide range of file formats can be viewed and assessed in real time.

Disparities are analysed and displayed as clear and intelligible graphics on 2D or 3D monitors.

Anaglyph display, user presets and on-screenalarms are all provided.

Cel-Scope3D generates live displays which can be scaled and arranged as six or eight windows on one or two PC monitors. Left and right channels can be viewed simultaneously together with actual depth dynamics. Each graphic window can be set to show waveform, vectorscope and histogram graphics as well as differences in video parameters between each channel. Geometry issues can be identified easily using built-in real-time image manipulation. Quality-control tests can be performed on live stereoscopic video sources in any 720p, 1080 or 2K formats from industry standard capture cards and input devices or from file playback.

Cel-Soft’s products can be supplied as readyto-load software-only or as complete turnkey systems running on workstation-class PCs or laptops for field use.

Visit www.cel-soft.com

Initiative to Standardise Active Glasses

Free S3D Offline Tool

Panasonic Corporation, Samsung

London-based S3D equipment rental and high-end S3D Post Production company Onsight has released a free FCP Plugin which can be used either offline or online for S3D editing using FCP.

Electronics Co., Ltd, Sony Corporation and X6D Limited (XPAND 3D) have announced that the licensing program of “Full HD 3D Glasses Initiative”, an industry-wide initiative to standardise 3D active shutter glasses for consumers, has recently begun.

In early August, Panasonic, Samsung, Sony and XPAND 3D announced their intent to collaborate on the standardization of RF and IR system protocols between consumer 3D active shutter glasses and 3D displays such as televisions, personal computer monitors and projectors, as well as 3D theaters utilizing XPAND 3D active shutter glasses. Twelve companies, of which are Changhong Electric Co., Ltd.; FUNAI Electric Co., Ltd.; Hisense Electric Co., Ltd.; Hitachi Consumer Electronics

Co., Ltd.; Mitsubishi Electric Corporation; Royal Philips Electronics; Seiko Epson Corporation; Sharp Corporation; SIM2 Multimedia S.p.A.; TCL Corporation;Toshiba Corporation and ViewSonic Corporation have expressed their support for the activities of the Initiative.

With the successful launch of the Full HD 3D Glasses Initiative licensing program, a test centre has been slated to open later this year, which will verify the compliance of any products manufactured under the new Full HD 3D Glasses Initiative license program — within the Initiative’s specifications.

According to Onsight’s reg Sanders, “It’s a great tool and it has certainly speeded the post process up for me and my clients, which saves alot of money and makes them very happy.

“Our post production facilities manage a large amount of S3D rushes and have tried a number of approaches in dealing and managing files in a user friendly manner.

Infrared (IR) and Bluetooth-enabled radio frequency (RF) system 3D active glasses technologies are licensed within the licensing program.

“OS 3D provides users with a intuitive way of working in 3D, be it with discrete left and right eye files or side by side, it allows you to make stereoscopic corrections and decisions during the editorial process.”

Visit www.fullhd3Dglasses.com

Visit www.onsight.co.uk/OS3D

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The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to the waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount.

spectrogram allows the full depth dynamics to be viewed and make spotting 2D to 3D converted material very easy by its signature.

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Australia’s Sky Racing to Deploy Grass Valley SKY RACING, Australia’s multi-channel thoroughbred, harness, and greyhound racing network that televises more than 83,000 races each year to millions of viewers in Australia and internationally, will be installing a new Grass Valley STRATUS Media Workflow Application Framework.

As part of a comprehensive upgrade to Sky Racing’s live production facilities, the IT-centric STRATUS application framework will provide an end-to-end seamless workflow for the staff incorporating ingest, editing, highlights creation, archiving, and playout functions, all controlled and managed via a single user interface for all to use.

The massive file-based production system – set to be installed later this year and go live in February 2012 – will support an 80-channel Grass Valley

K2 Summit media server system based on a storage area network (SAN), designed by Grass Valley engineers. This includes 30 channels of feed ingest under the control of a third-party asset management system and 50 channels to be used for a variety of studio program playout activities that could include race replays and live simulcasts.

are a perfect fit to support our OB trucks in the field and fixed studios.”

“The Grass Valley STRATUS environment provided a much better overall enterprise level solution, with the reliability and flexibility we required to make this work, than anything else we considered,” said Carl Petch, Chief Engineer, Sky Racing (owned

by Australia’s leading Wagering, Gaming and Keno operator Tabcorp). “The STRATUS and K2 Dyno technologies offer a complete suite of software and hardware tools ideal for live production and

The system includes STRATUS Pro clients for marking races for live replay and metadata capture; STRATUS Elite for studio playout and tight integration with an AP ENPS newsroom computer system used to create rundowns for shows; and STRATUS Express to allow staff to use STRATUS within ENPS.

Global TV Drives HD Telecast for Bathurst 1000 GLOBAL TELEVISION MARKED 15 years of facilitating V8 Supercars racing and its 15th Bathurst 1000 with the historic first High Definition telecast of a V8 Supercars race.

The 2011 Supercheap Auto Bathurst 1000 went live to air on Australia’s Seven Network and in prime time throughout North America on the SPEED network.

Global Television supplied its HD supertrucks, HD1 and HD2, to V8 Supercar Television, which produced the live pictures for the Seven Network domestically, BigPond’s online coverage and more than 130 countries.

Global also launched its brand new HD4 supertruck to facilitate big screen coverage to on-track spectators and complement the main broadcast.

A separate HD truck facilitated SPEED’s coverage; in a first for that network, SPEED brought its own commentary and production teams to Australia to cover the Supercheap Auto Bathurst 1000. Global also facilitated SPEED’s broadcast of the Armor All

Gold Coast 600.

Seven’s Head of Sport, Saul Shtein, said, “This is one of the great sports events. Seven’s first coverage of The Great Race in 1963 utilised the grand total of three cameras, all in Pit Straight.

“We’ve come a long way since then and in many ways – through the first live helicopter camera coverage, racecam and the myriad of new innovations. We are delighted to been involved in this next great step: the biggest high definition television coverage of any event ever undertaken in Australia.”

Four months of intensive internal planning, and extensive collaboration with V8 Supercar Television, culminated with the races on 7 – 9 October.

Global Television coordinated the overall technical requirements of the race broadcasts and worked with a team of 300-plus technical and creative crew utilising 77 cameras.

Visit www.globaltv.com.au

FOR-A Hits the Surf

SPORTSCASTING

OB specialist starcomm recently used the

26

FOR-A HVS-350 portable video switcher to live stream and broadcast two unique surfing events in Bali and Tahiti in high definition. The HVS-350 is part of FOR-A’s Hanabi series and features frame synchronising and a re-sizing engine on every channel which allows any standard definition equipment to be used in full HD mode.

HVS-350 because it is perfectly suited for these types of sporting events where we use our small, portable flyaway pack but where quality cannot be compromised. The HVS-350 also punches well above its weight with very useful features that include up to 12 inputs and 8 outputs, DSK, dual picture-in-picture, 16-channel multi-viewer and a wide array of other functions.” i

StarComm owner Joel Medeiros said, “For the recent 2011 Oakley World Pro Junior tour event in Bali we needed reliable and robust equipment as we were live streaming and broadcasting over 50 hours of HD programming. We chose the

For the 2011 Oakley World Pro Junior tournament Medeiros and his crew live streamed the event to the web and in the recent equivalent Tahiti event they also broadcast live to FreeTV Australia, ESPN USA and ESPN Brazil.

A total of seven Grass Valley K2 Dyno Replay Systems will support playout operations in eight studios and serve as powerful live replay production controllers that will work in conjunction with several modules of the STRATUS platform.

Visit www.grassvalley.com and www.skyracing.com.au

Rugby HD Matched by Lawo Surround Sound the 2011 rugby world cup (RWC) was the biggest sporting event ever to take place in New Zealand with total of 48 matches broadcast by Sky Network TV in HD with 5.1 surround sound.

Auckland-based audio facilities company On Site Broadcasting (OSB) standardised on Lawo digital mixing consoles for all its OB operations and has spent the past four years building up to this prestigious tournament, commissioning new HD vehicles and equipping them with Lawo mc²66 mixing consoles. OSB’s fleet of four HD vehicles, supplemented by two flyaway units also equipped with Lawo consoles, covered the 12 venues for the RWC. All of OSB’s vehicles are designed as stand-alone audio and video broadcasting units. With up to 276 inputs, 48 sub groups, 32 aux sends and 96 track busses, the mc²66 consoles can be set up in multiple configurations but were standardised for the rugby to ease operations.

“The whole audio network was carried on a single fibre optic cable,” explained Rene Bullinga from PROTEL, Lawo’s distributor in NZ. Renee says OSB gained an advantage by using the same spec for each of their mobile units. Although the flyaway kits used mc²56 consoles, which are more compact, all the units are used the same combination of cores and I/O and DALLIS.” Typically the OSB configuration is mc²66 (or mc²56) console with router, and two DALLIS units for accessing machines and EVS playback units in the OBV. Another DALLIS stagebox is used in the field, and a fourth one is placed in the commentary box to handle commentary feeds and intercom returns.

Visit www.lawo.de

sportscasting

LYNX Technik Glue for KBS in IAAF Champs korean broadcsting systems (KBS) selected LYNX Technik modular solutions to boost its coverage of the 2011 International Association of Athletics Federations (IAAF) biannual World Championship in Daegu, Korea.

interface and signal processing solutions,

German-based company Broadcast Solutions managed the project as systems integrator and general contractor alongside its local partner, Dong Yang Digital Co., Ltd in Seoul, Korea.

monitoring.

To meet the growing demand for HD entertainment and sports programming, Broadcast solutions was brought on board to aid KBS with the design and development of the new 16-camera high definition OB van. The new truck was completed in eight months and delivered to KBS for its inaugural production with the 2011 IAAF World Championship August 27 - September 4 where KBS served as the events host broadcaster.

Among the selected broadcast technologies was a range of the LYNX Technik Series 5000, card-and-rack-based glue products. A full complement of LYNX Technik Series 5000

in seventeen 2RU frames were installed in the OB Van and include; 3G / HD-SDI, frame synchronisers, up/cross/down-converters, distribution amplifiers, as well as control and The LYNX Technik modular solutions interfaced with the rest of the van’s video infrastructure that includes Sony cameras (HDC-1000/HDC1500/HDC-3300), a Sony video mixer (MVS 8000x - main mixer, and MFS 6000 - backup mixer), a Snell Cygnus 288×480 video routing switcher, monitoring from TV Logic, and a VSM control system that manages communications

MediorNet Compact

between the router, mixers, and LYNX Technik interface equipment. The audio production room includes a Studer Vista 9 audio mixer

50G Real-Time Media Network

with integrated router, a Riedel Artist 128×128 intercom, and audio monitoring from Genelec.

The audio room is equipped for 5.1 monitoring.

Visit www.lynx-technik.com

Mobile COFDM Links - Pre-Distortion Technology FIRST DEPLOYED to provide full HD coverage of the 2011 Open Golf Championship at Royal St Georges Golf Club in Sandwich, Kent, VISLINK demonstrated new digital pre-distortion techniques for wireless camera technology at IBC. LINK Research Digital Pre-Distortion (LPDM) improves wireless camera operation by providing adjacent channel performance and RF transmitter spectrum. The technology also paves the way to higher transmit power levels while remaining compliant with regulatory standards, resulting in a longer range wireless link.

The LPDM and an L2174 receiver were combined

by Aerial Video Systems (AVS) to provide HD coverage of the entire 18 hole championship course with just four receive sites and six groundbased camera transmitters operating at 100mW, all of which worked flawlessly at the championship

despite highly challenging weather conditions.

The success is testament to the expertise of engineers at Link Research, a VISLINK company, who have long recognised the challenges of running multiple wireless camera systems with limited availability of frequency spectrum.

The result of their intensive research is that the company is now the first wireless camera manufacturer to offer an RF module that incorporates digital pre-distortion.

LINK wireless camera systems unique features includE the ability to use a camera manufacturers’ RCPs; field swappable RF modules from 1.95 7.5GHz; a choice of standard DVB-T modulation and LINK’s own LMS-T, which provides superior RF signal integrity Visit www.ea.com and www.orad.tv

Tightrope ZEPLAY Instant Replay Server TIGHTROPE Media Systems ZEPLAY is a four-in, four-out instant replay system that continuously records four 100Mbps HD-SDI streams while simultaneously playing out any or all of the streams.

With the new ZEPLAY 2.0 release the system adds additional features such as a built-in highlight editor with dynamic control and push/skip capabilities, an external file import with Final Cut Pro and AVID round-trip support, cross-faded switching on both sequence and replays, and built-in clip editing with match frame and multiangle editing tools.

Clip import was added in ZEPLAY 2.0 to enable sponsor promos and existing player highlights

to be incorporated into the highlight packages created on the fly. ZEPLAY 2.0 also allows the operator to export clips and sequences in a variety of formats including DVCProHD, MXF, Quicktime and its native MPEG2-HD I-frame only format. The system houses sufficient RAID 5 storage to record forty hours of each angle, 160 HD hours total, in 720P or 1080i full-resolution, 4:2:2 100mbps MPEG-2 I-Frame — allowing ZEPLAY to process 800 megabits per second.

NEW

• Synchronized 50G real-time network for 3G/HD/SD-SDI video, audio, data & intercom at the price of multiplexing point-topoint fiber products • Flexible signal routing incl. pointto-multipoint • Integrated Frame Store Synchronizer, Embedder/ De-Embedder, Test Pattern Generator, On-Screen Display & Timecode Insertion at every port • Fully compatible with Artist, RockNet and modular MediorNet systems

ZEPLAY is designed so that a single operator can effectively manage all four angles and all eight streams.

Visit www.emea-gateway.com

www.riedel.net

sportscasting

Cameras and connectivity for outside broadcasts

By Marcel Koutstaal, Senior Vice President, Cameras, Grass Valley The fundamentals of choosing a camera for OB are more rigorous than for a studio production.

The most obvious difference is that, in most outside broadcast events and certainly those involving outdoor sports, the lighting is not under the control of the television production.

Therefore, the camera has to be able to deliver good quality images even under adverse lighting conditions, such as low-level lighting and lights that produce video flickering during slow-motion.

The problem is compounded with the need to use long zoom lenses, which inevitably have smaller maximum apertures. That can mean the loss of as much as two stops of light through the lens.

The top requirement for an OB camera is to have as much sensitivity in the imager as possible, combined with very low noise electronics in the front end, which is the point where the analogue imager signal is converted to digital for downstream processing.

At Grass Valley, our flagship cameras continue to use Frame Transfer CCD imagers, as we believe they give us the best possible quality. We have, however, developed our own CMOS platform, the Xensium, and this imager is used in our affordable LDK 3000 camera.

Ultimately, we see the CMOS sensor technology as being the platform for the future, not least because we can put the front end amplification and A-to-D conversion on the same silicon as the photosites. This gives us a very low noise architecture, which is extremely stable, thanks to all the critical processing being on the same power rails and in the same environment.

As well as needing very high quality and low noise from the camera output, you also need consistency. A large outside broadcast may use 20 or more cameras, and viewers would find any variations in light level or colour output between the cameras unacceptably distracting. Aligning cameras is, of course, a part of any broadcast setup, but when time is short on an OB, keeping the alignment time to a minimum is critical.

One of the features that distinguish the modern outside broadcast, particularly for sport, is the use of slow-motion replays. This was a technique developed for broadcast by Grass Valley in the late 1990s, and is currently exemplified by the LDK 8300 camera.

Super slo-mo works by having a camera shooting at twice or three times the normal frame rate, to be captured by a specially adapted server. This then slows the replay down by the same factor without losing any smoothness of motion, and without any post processing. It is now a familiar sight in virtually all sports coverage and also finding applications in entertainment.

While there are specialist slow-motion cameras on the market, the Grass Valley LDK 8300 remains the preferred solution by many customers. There are three reasons for thisr.

The optical path and the front end of the LDK 8300 super slo-mo camera are absolutely identical – with the exception of ultra-low noise amplification – as our regular LDK 8000 HD camera. That means that all the standard off-theshelf equipment works with it, including lenses and viewfinders.

It also means that it maintains excellent low light performance. This is critical in super slo-mo. If you are shooting at three times the normal frame

rate it follows that for each frame the exposure time is one-third normal. The number of photons falling on the sensor will be one-third, and so the output voltage – which is directly equivalent to the input light – will be one-third. Poor low light performance would make super slo-mo unworkable. The shorter exposure time, by the way, removes the motion blur, so provides much sharper images. A side note about the common look between standard-speed cameras and super slo-mo: When slo-mo was played, the image would flicker, and not match the standardspeed cameras. This occurs due to the mismatch between the camera scanning frequency and the mains power frequency of artificial lights.

The unique AnyLight feature in the LDK 8300 compensates for this mismatch and helps reduce flicker automatically.

Secondly, the commonality means that the image quality, including colour balance, is identical. The director can freely intercut between LDK 8000 cameras and LDK 8300 super slo-mo replays with no visual difference.

Thirdly, the LDK 8300 also has a normal frame rate output. The electronics in the base station integrate three high-speed frames into one normal frame. Because this looks identical to an LDK 8000 camera output, the LDK 8300 can be used as a regular camera. The operator handles it like a normal camera and the director takes pictures from it as required – only the replay supervisor needs to be concerned about the high-speed output. This is a significant economic bonus: you do not need to add additional cameras for slow-motion replays. That saves not just the cost of the camera itself but the operator, the mount, and the cable back to the truck. In busy stadiums, it also saves taking out another

SPORTSCASTING

Commentary System

28

1st class production ...

MADE BY EXPERTS

STAGETEC MEDIAGROUP AUSTRALIA PTY. LTD. email: australia@stagetec.com.au www.stagetec.com.au

sportscasting block of premium seats for the second camera position.

However great the output quality of the camera, it is only of use when it gets back to the outside broadcast truck. It is this seemingly trivial area of the technology which has caused a great deal of difficulty, and no small amount of commercial pressure, for outside broadcast operators. It has now been addressed by Grass Valley.

The first colour television cameras connected over a bulky multicore cable which made long runs - and therefore most sports coverage - impractical. The Grass Valley camera team in Breda, the Netherlands worked with CBS to develop triax in the early days, a practical alternative, which has now become a universal standard. This first generation have been recognised with a technical Emmy award.

Despite being developed for a problem more than 40 years ago, triax was very future-proof. The same basic cable today is used for HD video from the camera plus one or two return feeds, camera control, microphone circuits and talkback.

However, digital HD tested the limits of the triax architecture, and in some circles it was felt that it could not be developed further. To meet future challenges, a transmission system using fibre optic cable was developed, which is now codified in a SMPTE specification. Fibre has many benefits, not least the ability to cover long distances.

Today, both exist side-by-side. Triax remains popular, not least because it is pre-installed in a large number of major venues, and OB companies have invested in large stocks of triax cable. It is rugged, making it easy to be pulled in at venues, and can be repaired on-site.

Fibre has greater capacity, and was able to implement 3 Gb/s 1080p HD. The capacity also enabled the standard to offer two video return channels. Most important, it can cover a range of as much as 5 km with power over hybrid cables.

That is great for events like golf and downhill skiing where cameras are inevitably a great distance from the truck. Even in stadium sports, the range can be a benefit, as owners are less keen to give up valuable real estate next to the stadium for a group of television trucks.

For the OB company, it has meant a major headache. Equipping for both fibre and triax has meant a double inventory of cameras, base stations and cables. It also means trucks have to give up revenue earning days returning to base to be converted between jobs. On the other hand, standardising only on fibre meant additional rigging days, for jobs in triax-equipped stadiums, or not being able to tender for jobs with very long cable runs across open ground with no power.

We have now introduced what we call 3G Transmission, because it is the third generation camera transmission system (after multicore and triax). It also supports 1080p50/60, 3 Gbps signals. Grass Valley cameras have always been modular, split between the camera front end and the transmission module. It is, therefore, simple to move from triax to fibre transmission.

The new generation long lens adaptor for Grass Valley cameras, the Reflex SuperXpander, is also compatible with both triax and fibre backs.

We now complement this with a new Twin

base station, which is built into the tailboard of the OB truck. This supports both triax and two single-mode (dark) fibre connections, with absolutely identical functionality on each: the same uncompromised HD image quality from the camera, the same seamless and IP-based camera control, two return video feeds and multiplexed audio and data for other applications.

If the job is at a triax site, you simply plug up to the triax connectors on the Twin Base Station and away you go. One of the benefits of the new digital transmission system underlying these advances is that it actually gains about 25 percent range on existing triax cables, with a new safe limit of about 1,500 metres, which could be enough for those jobs where the stadium owners want to move the OB trucks further away.

If you are at a stadium which has pre-installed SMPTE fibre, then we provide a simple field converter which takes the dark fibre, adds power and outputs to SMPTE. In this case these converters would also be at the tailboard.

RiLink Global Fiber Service

If you are rigging for golf, skiing or another long distance sport, you run dark fibre – which is very inexpensive even in armoured form – to a field converter at some remote location. It needs power, but there will also be the need for remote power which can be up to 5 km from the truck.

At that location, as before, you can convert to SMPTE fibre. Or, and this is very clever, convert to triax. So you could run a bundle of fibres to the far end of a golf course to some point convenient for power, and from there run triax cables. You can also run fibre, or a mixture of the two, to the limits of the cables.

The field converters are essentially transparent, so all signals on the cables are transmitted seamlessly, equal performances and all functionality. The boxes are intelligent, field robust, and diagnostics tests can be run from the truck on the complete system. If there is an issue on a camera channel, the engineer can determine where it is – camera, cable, field converter or base station – without leaving the truck, thereby slashing the time to solve.

The primary aim of the new 3G Transmission system is to protect the outside broadcast contractor’s investment. Cameras, cables and connectors – not to mention expertise – need not be replaced. Layered on to that is the ability to be much more commercially effective, by being able to tackle any project.

It is not just the ability to service contracts that would otherwise have been impractical or uneconomical; it is the ability to do so with the minimum amount of downtime. A fleet of triax cameras can now be taken from a football stadium one day to a golf course the next, without a single modification..

It means that a trivial piece of equipment – the camera cable – should dictate neither the production equipment nor the business ambitions of the contractor. Along with excellent low light performance, perfect camera matching and the ability to integrate super slo-mo capture into the main production plan, 3G Transmission is a layer of infrastructure to help the outside broadcaster meet the producer’s expectations, every time.

NEW

The alternative to satellite uplinks: RiLink is the new way to broadcast live signals from remote event locations or foreign studios to the home facility.

Bi-directional, unaffected by weather conditions and with significantly shorter latency. Based on Riedel’s own global backbone, the RiLink Global Fiber Service transports not only HD/SD-SDI video signals but provides additional features like integrated intercom and telephone communication, secure connections to corporate networks or access to digital archives. RiLink is charged at a flat rate allowing for precise budget planning and more live pre and post-event features or news reports at no extra costs.

www.riedel.net

sportscasting

Global TV, Cutting Edge Merge OB Businesses Global Television and Cutting Edge have completed the merger of their respective outside broadcast (OB) businesses.

Global Television sought and was granted ACCC approval for the merger. The combined entity, which operates under the Global Television banner, will employ approximately 125 full-time staff located in Brisbane, Sydney and Melbourne and servicing clients Australia-wide.

The merger now means that Global boasts an expanded fleet of High Definition (HD) outside broadcast trucks – ranging from small, six-camera vans to HD supertrucks that accommodate up to 35 production and technical operators. In addition, the incorporation of Cutting Edge’s HD and SD tapeless workflow capabilities for live and near-live broadcasts creates an end-to-end client solution.

Cutting Edge will retain its creative post production business – including its long-form, short-form and digital operations – which will continue to trade as Cutting Edge.

the best in broadcast technology with new digital workflows.

“We are now a larger but even more competitive and cost-efficient company that is poised for further growth, generating benefits for our customers, staff and shareholders alike.”

Michael Burton, Cutting Edge’s CEO, said, “This is an exciting new era in outside broadcast in Australia. The newly combined teams will be continuing to develop the innovative culture that we’ve both worked hard at over the last few years, bringing improved service and technology to our clients.

“We had not been actively looking to realign our business direction. However, Global TV’s offer to purchase our OB division and merge the businesses made good sense, not only from a business perspective, but also the fact that their plans aligned with our staff, culture and long term goals.

Global Television CEO Keith Andrews said, “I would like to welcome Cutting Edge’s CEO Michael Burton and his outside broadcast team to the Global family.

“We had run a small OB department for many years and in 2006 saw an opportunity to expand.

Five years on, the OB department has grown from a start-up to a successful and profitable business with high profile clients from all areas of media and entertainment in Australia.”

“Global Television and Cutting Edge are two successful businesses that share a customerfocused culture and drive to exceed expectations on every project.

Mr Burton said that the decision to divest the OB division was not an easy one but was confident that the sale had positioned the Cutting Edge Post Production business for the next decade of growth.

“Combining our resources gives us a broad range of facilities and deep pool of expertise to cover every type of event, from live sport to light entertainment and corporate events, integrating

“We are now progressing a plan we have developed over the past year to re-invigorate our post production business to support further innovation that will help our creative teams to

enhance their capabilities and provide new and exciting services to our clients,” he said. “Earlier this year we expanded our Sydney headquarters and are currently in the process of building a new custom designed facility in Brisbane. We see this as the finishing touch on a reset plan which will drive the company forward for the next decade.”

Highlighting its combined capabilities, the merged entity has already covered large events such as the AFL Grand Final (Cutting Edge), NRL Grand Final and Bathurst 1000 (Global), as well as several small four-camera OBs such as the Gold Coast parade and Keys to the City presentations for Sam Stosur and Sally Pearson for the Nine Network.

By far the largest, however, has been the Australia’s largest OB event this year, the PGA biennial Presidents Cup in High Definition with clients including the Nine Network Australia, NBC Sports Group, PGA TOUR Entertainment and Japan’s Jupiter Telecommunications.

The event was televised in Australia on the Nine Network and FOX Sports and to a worldwide television audience. Global Television provided its HD1, HD2, HD3 and HD4 High Definition OB supertrucks and two portable fly-away kits. Some 42 High Definition cameras captured every shot in 34 matches over four days of play.

The Global Television team laid more than 25km of cabling for the event and Global’s team of 20 broadcast technical experts was complemented by nearly 60 experienced Australian freelancers.

Visit www.globaltv.com.au and www.cuttingedge.com.au

The Global TV Fleet on location at the Presidents Cup golf.

SPORTSCASTING

OB Group Takes on Lawo

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LAWO sales, service and integration partner Professional Audio Technology Pty Ltd has announced that it has supplied the OB Group with a new LAWO mc² 56 mixing console and HD core for its newly built HD truck.

Managing Director of the OB Group, Colin Rothenberg, explains his decision to rely on LAWO technology, “After perusing various options for a new console, the final decision came down to 2 companies. I finally decided on Lawo as it

best suited our needs and was more flexible.

The expansion options are almost limitless and the interfacing to other OB vans is a very simple process. Another important reason for this choice of console is the availability of operators familiar with Lawo.”

Patrick Salloch, Managing Director of Professional Audio Technology commented, “We are delighted that the OB Group has chosen to go with LAWO’s proven technology for their new world class

HD truck. More and more OB providers and broadcasters are relying on LAWO technology for the mission critical broadcast audio, as could be seen during the Rugby World Cup, the past Soccer World Cups and various Olympic Summer and Winter Games.”

The OB Groups new HD truck will be on the road and ready for action from the beginning of 2012.

Visit www.p-a-t.com.au

sportscasting

EVS Scores with Sky NZ Main broadcaster of the recent Rugby World Cup championship, SKY Television New Zealand, implemented EVS’ specialist live production systems to provide the complete live video recording, replay, and content management infrastructure for the coverage of all matches in High Definition (HD).

EVS servers to produce a globally broadcast event. In addition to a significant increase in capacity and media processing bandwidth, the XT3 system under LSM control (Live Slow Motion) allowed SKY TV productions to support two Super Motion HD camera feeds for record and instant replay in the same machine.

SKY TV New Zealand productions opted for a complete EVS technology-based architecture for all recordings and fast turnaround editing operations. The live production operations of all matches were covered by four HD mobile units and two flyaway production kits distributed to different venues around the country. Each OB unit was equipped with six to eight XT series servers, depending on the number of games. Up to 24 cameras and five Super Motion systems were used to cover the top matches. EVS’ live production systems were used by SKY TV production teams at all venues to generate a comprehensive number of replays, including Super Slow Motion and quick highlights of key actions from every match.

Complementing the on-site coverage, SKY TV built a centralized indexed media server at the International Broadcast Centre (IBC) in Auckland.

Composed of four networked XT2 servers, the indexed media server was used to manage the recording of all rugby matches feeds as well as unilateral feeds. Ingested material is logged using IPlogger, part of EVS’ content management suite IPDirector. The advanced browsing system of IPDirector was also used by production and post-production teams to instantly retrieve specific match actions for summary, highlight and magazine-style programme creation in Final Cut Pro. Using EVS XF2 technology, the system also provided the official archive of all matches of the event.

SKY TV New Zealand is one of the first broadcasters to deploy the new generation XT3

ESPN STAR Sports (ESS) and now TV, one

The Masters, The Open Championship and

of Asia’s biggest sports content providers, have launched ESPN Player, a broadband sports network with live and on-demand premier sports content, exclusively in Hong Kong.

US Open on ESPN Player with the additional

In addition to the sports events broadcast on television, ESPN Player also carries other exclusive content and extended camera coverage.

multiple views of designated holes such as the celebrated Amen Corner at The Masters and crucial sections of the golf course such as the 18th hole.

- Football fans can watch live and on-demand matches of this year’s FA Cup. ESPN STAR Sports’ Managing Director, Mr. Manu Sawhney, said, “Hong Kong is a key pay-TV market with a high demand for quality sports programming with strong potential for Internet viewership. This new broadband sports network signifies ESPN STAR Sports’ commitment to sports fans in Hong Kong that will enrich their viewing experience with a fresh, relevant and innovative way to engage

- motorsports events in the Formula One (F1), World SBK and the MotoGP. In addition, F1 fans can get closer to the action for the first time with a “driver’s-eye view” from the cockpits of nine F1 drivers.

Ms. Janice Lee, PCCW’s Managing Director of

- Golf fans can tune in to golf majors such as

NEW

cameras on the green. Viewers can enjoy

Highlights of top sports content available on ESPN Player include:

- Grand Slam tennis events in the Wimbledon and the upcoming Australian Open. Fans can enjoy unprecedented coverage of the two Grand Slam events, with the opportunity to watch additional live matches not covered on television.

Intercom goes Real-Time IP

Visit www.evs.tv

now TV Brings ESPN Player to Hong Kong

Following the successful launch of ESPN Player in Singapore and Malaysia, Hong Kong sports fans can now watch ESS’ lineup of sports content on this new and innovative broadband service. ESPN Player aims to change the way viewers experience sports, providing users with the flexibility to access live and on-demand world-class sports content anytime, anywhere.

Connect AVB

with their favourite sports.”

TV & New Media, said, “now TV is a pioneer in providing the best sports viewing experience for fans in Hong Kong, and ESPN Player

Connecting intercom panels over an IP-based LAN environment has been the dream of many system planers.

Riedel’s AVB product line provides a communication solution fulfilling the demands of professional intercom users. Based on official IEEE next generation Ethernet standards AVB makes it possible to utilize facility and enterprise LAN data infrastructures for real-time intercom applications. This allows for new approaches in system and facility design providing significant savings in infrastructure investments.

provides an added dimension in our sports coverage of top world-class events. Together with our long-standing partner ESS, we are delighted to offer viewers the finest lineup of sports content in a manner that allows them to enjoy it anytime, anywhere.”

Visit www.espnstar.com

www.riedel.net

ACQUISITION www.content-technology.com/acquisition

The Cup Runneth with Sony F35 With more than 60 drama titles to his credit and a career stretching from the late 1960s, Sydneybased DOP David Burr ACS has film in his blood.

So when long-time collaborator director/producer Simon Wincer asked him to shoot his new feature project, The Cup, using a digital camera, Burr researched thoroughly before selecting his weaponry.

Having worked on feature films for over four decades Burr is well experienced in the art of 35mm film production.

“The Cup was originally going to be shot on 35mm film but it had a long gestation and by the time it got up Simon had some experience with HD photography and thought the format might be suitable for this film.”

The Cup tells the true triumph over adversity story behind the 2002 Melbourne Cup when jockey Damien Oliver lost his only brother in a tragic racing accident just days before the great race.

Following research of digital formats, Burr spoke to fellow cinematographer Dean Semler ACS ASC regarding his digital experiences. Semler had used Panavision’s Genesis camera, developed in conjunction with Sony, which prompted Burr to take on Sony’s F35 CineAlta camera.

The F35 uses a super 35mm-sized CCD sensor and PL lens mount, allowing cinematographers to use 35mm film lenses and flexible depth-of-field control. According to Sony, the F35’s sensor provides exceptional image quality, wide dynamic range and captures an extremely wide colour gamut.

Working with the team at the rental company Gear Head, Burr put the F35 though a series of latitude and exposure tests - the results convinced him the camera was the right choice for The Cup. “It was basically my first sort of real experience shooting in digital so I was learning from day one about a different format,” said Burr. “I photographed the film fairly simply without a lot of detailed lighting mainly because we had only nine weeks to shoot the film and we had a lot of locations. Simon likes a lot of coverage so we nearly always used two F35 cameras.

“We weren’t trying to achieve any specific look other than contemporary and, as the film was set in Ireland, Dubai and Australia, we wanted Ireland and Australia to look a little different. This difference in looks was somewhat weather dependent but we also had the opportunity to tweak the relevant scenes in the colour grade.”

The two cameras recorded to their docked HDCAM-SR tape units and output was also fed to AJA portable disk recorders for on-set playback.

Hands-on Most scenes were shot using Angenieux Optimo 17-80 and 24-290 zoom lenses.

“We had one on the A camera and one on the B camera,” says Burr.

“Occasionally we put on a Canon 150-600 and very occasionally we’d use one of the Zeiss Master Primes, just because they were a little faster. We also used a fair bit of Steadicam and we fitted it with a little 14-40 lightweight Angenieux Optimo and that worked fine.

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“Basically Simon and I treated both cameras as we would film cameras really. We just treated them as a couple of Panaflexes and I know that data wrangling had to go on but it didn’t get in the way at all.

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“I felt reasonably at home with it. All the usual bits and pieces, like the follow focus and the matte box and the motors you put on from time to time - they all worked just as if they were on a film camera.”

While Burr is happy to make the most of the advantages of digital production he is mindful he has to adapt to some changes. Using on-set 17” monitors

DOP on The Cup, David Burr ACS.

enabled instant feedback but meant physically moving away from the camera.

“I think a main benefit from a cameraman’s perspective is that what you see is what you get there on the day. You don’t have to guess how much your particular negative is going to see into the shadows or how much of the highlights it’s going to hold. Now you can see the results there and then - you don’t have to wait 24 hours for rushes.

“And, digital cameras can allow DPs to be a bit more daring - you can be daring with film but if you stuff it up, by the time you realise you’ve stuffed it up, it’s too late.

“Whereas, with this HD system you can push it and if you think you’ve gone too far, you can back off a bit there on the day, you don’t have to go back and reshoot.

“When it comes to lighting the set with film I’d be looking at the ground glass through the viewfinder and judging the final tweaks to the lighting. With the F35s, I was judging my lighting on the monitor. Simon occasionally would want to see playback for whatever reason and the option was always there but mostly we used those monitors to judge the image.

“The images recorded by the F35 are very clean and sharp and I kept thinking, ‘we’re going to have to dirty this up a bit at the DI - it’s just too sharp’. But, that’s coming from someone with a film background who’s used to film grain and a little float in the projector gate - if you speak to young kids these days who have grown up with computers, they think sharper and cleaner is better and that’s the image they’re happier with.”

Burr said Wincer was happy with the move to an all-digital production and believes his next film will go the same way.

“And I’d be more than happy to follow him. I certainly still like film and I currently shoot mostly film. But if I was offered another feature film and the producer or director wanted to go with an HD format I’d be quite happy to do that. I’m looking forward to the new Sony F65 and would consider using it when it is released.”

Visit http://pro.sony.com.au

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Copyright 2010 JVC Model picture is the GY-HM790U with optional Accessories. All trademarks and brand names are the property of their respective proprietors. Playback compatibility not guaranteed on different types of products due to variation on supported recording modes *2 MP4 is the compliant format used on the XD CAM EX * SxS is a flash memory card designed for professional video cameras with a high speed PCI Express Interface.

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Panavision Gets the Drift Geoff Hall ACS used a combination of ARRI ALEXA and Red Epic cameras supplied by Panavision on Drift, Morgan O’Neill’s surfing action film, featuring Sam Worthington.

O’Neill’s script, set in 1972 in the wine and surf haven of Margaret River, Western Australia, is based on the true story of two brothers who battle killer waves, straight society and ruthless bikers to kick-start the modern surf industry.

Hall, who used the ALEXAs for all his land-based shots and the Epics for the numerous water shots said, “I needed to work with a company who could supply very specific kit for this project. The film had a complex surf component that required the latest camera technology in order to get the results I was after. That company was Panavision. The ALEXA with its 800ASA rating meant I could get the most out of the short winter days. “The Epics gave me surf footage shot at frame rates that I couldn’t get with any other camera. The camera package Panavision supplied worked brilliantly and their service and support was exceptional, especially given that we were working a long way down in the south west of Australia.”

As with many surf action movies, Hall needed to use a variety of styles and angles to achieve the look he wanted, complimented only by his choice of cameras.

Hall used one ALEXA on the main unit and had the second as a backup and for Steadicam.

Hall also had to combat some serious time, weather and surfing conditions during the shoot commenting, “The main unit had very wet weather

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system cameras for live production, the HDC2500, is claimed to be the world’s first professional camera utilising a carbon fibre body panel making it 45 times stronger than plastic and three times stronger and cooler than magnesium.

The HDC-2500 with its Ethernet trunk interface is also compatible with all current peripherals including its predecessor, the HDC-1500R. In addition, the HDC-2500 is equipped with a 3G fibre transmission system as standard which enables faster data transmission, suitable for 3D use and features a 1080/100i output.

The camera utilises advanced HD digital signal processing with 16 bit A/D converters. It also boasts newly developed CCD sensors which are highly sensitive and new Digital Signal Processors.

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of footage shot in violent conditions - the new Epics provided just that, being punished in up to 30-foot-high waves at times.”

He added, “For the surf component I wanted dreamy, ultra slow motion along with the ultimate flexibility that 5K capture gives for stabilisation

Sony’s latest addition to its range of

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Geoff Hall ACS on location for Drift.

When combined with Sony’s SR-R1000 storage deck, the HDC-2500 is equipped for covering sports and other fast-moving content. Footage can be slowed down significantly without compromising image quality. The HDC-2500 can be connected by up to 4km of fibre. The HDC2500 also features a 12bit (4:4:4) RGB capability.

Visit http://pro.sony.com.au

Panasonic’s HPX250EN P2 HD camera comes with powerful zoom lens and high quality Full-HD 10-bit 4:2:2 recording capabilities.

The AG-HPX250EN Memory Card Camera Recorder incorporates new technology in the lens, camera section and recorder section. This compact unit offers a level of performance that approaches full-size, shoulder-type broadcasting camera recorders. It’s also the first handheld model to support AVC-Intra codecs. Combined with three 2.2 megapixel MOS image sensor, it enable high-quality recording of Full-HD, 10 bit, 4:2:2 full sample broadcast-level images.

The AG-HPX250EN features the progressivecompatible U.L.T (Ultra Luminance Technology) image sensor (1/3-type 2.2 megapixel MOS sensor) that is used in broadcast P2HD camera recorders. This image sensor offers high sensitivity and low noise, to enable shooting in low-light conditions. In Professional AVCHD PH mode, they can record high-quality Full-HD images. In AVC-Intra mode, they can record highquality Full-HD images.

The AG-HPX250EN is equipped with a newly designed, large diameter zoom lens, with a filter diameter of 72mm. The 22x zoom lens covers a wide field of view, from wide-angle to telephoto, without a conversion lens. The lens is provided

and the surf unit was in the Winter surf of Western Australia every day. It was a very tight 32-day shoot. The ALEXA is the best camera I have worked with. It sees into the dark in a way the human eye can’t, which means I can think about shooting in ways that I wouldn’t have in the past.”

Drift is currently in post production.

Visit www.panavision.asia

with three rings – a mechanical (cam-type) zoom ring, a focus ring and iris ring – for the same kind of manual operation that you get with an interchangeable lens.

Offered for the first time in a handheld camera recorder, the AVC-Intra is a codec based on advanced MPEG-4 AVC/H.264 moving picture compression technology. It uses an intra-frame compression system to achieve high compression, high image quality and high editing performance.

You can select AVC-Intra 100 for full 10 bit 4:2:2 full-sample recordings with 1980 x 1080 pixels or AVC-Intra 50 for video quality similar to DVCPRO HD and twice the recording time. The AG-HPX250EN also offers DVCPRO HD, DVCPRO 50 and DV recording.

GENLOCK input and TC/input/output allow synchronisation of multiple cameras, which is suitable for multi-camera live and recording systems, while HD SDI/HDMI output allows for broadcasting and professional system operation.

VFR (Variable Frame Rate) enables film-camera style image effects with overcranking for slowmotion and undercranking for quick-motion effects. 1080 setting: up to 30p, 720 setting: up to 60p (both at 59.94 Hz).

Visit www.panasonic-broadcast.com.au

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For more information go to www.panasonic-broadcast.com.au Panasonic Australia. Phone: (02) 9491 7400 Email: broadcastsales@panasonic.com.au *Lens shown is sold separately

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Canon’s Shot at Digital Cinema 1080, each offset a half pixel horizontally and vertically. The sensor brings out for signals, the greens are ‘summed’ and the result is a “super green” that has extended dynamic range making it especially suitable for VFX productions.

With the headlining endorsement of director Martin Scorsese, Canon launched the Cinema EOS range at Hollywood’s Paramount Studios.

On show were a number of shorts/trailers shot with the C300, along with a panel discussion.

Afterwards, C+T caught up with Mr. Masaya Maeda, Canon’s Managing Director and Chief Executive of Image Communication Products Operations.

C+T: It was mentioned the EOS C300 is the first step in a long process. What is the roadmap of products that will spring from this release?

Canon’s Mr Masaya Maeda with the C300.

Originally intended for the still photography market, the late addition of video recording propelled Canon’s EOS 5D Mark II DSLR camera into the world of motion pictures and television production.

Building on that momentum Canon recently launched the Cinema EOS System which includes: Seven new 4K EF Cinema Lenses—four zoom lenses and three single-focal-length models — which complement the company’s current line-up of interchangeable EF lenses for EOS SLR cameras; The EOS C300/C300 PL interchangeable-lens digital cinema camera, equipped with a Super 35mm-equivalent CMOS sensor; and a new digital SLR camera currently under development that features a 35 mm full-frame CMOS sensor supporting the recording of 4K video (see page 38).

A large part of the EOS C300’s secret sauce is its CMOS sensor which captures 1920 x 1080 pixels of reds, 1920 x 1080 of blues and 1920 x 2160 of green, which are two greens, 1920 x

MM: As you know, our camera is a newcomer in this particular industry and to the new C300 that we announced yesterday we would like to use that as a communication tool, a communication tool to communicate with the film industry to find out their needs and to take those needs and feedback or introduce them into new future products.

C+T: Does Canon have any plans to launch 3D cameras?

MM: We don’t have any concrete plans to launch a 3D movie system. To get 3D imaging, the two cameras must be as close together as possible, so one of the factors that we took into consideration when we were designing the C300 was to have as slim a body design as possible.

C+T: With the introduction of the Cinema EOS range, what will become of the 5D? MM: Well, we have every intention to continue supporting the 5D Mk II. C+T: What type of metadata does the C300 camera generate and how that feed into the post production process.

MM: One of the things we use with the EF lens combination, the data that is recorded is the type of lens that was used to shoot the footage and then if you want a film that can involve computer graphics, you then have a record of what lens was used for post production.

C+T: With large data files, what provision is there for offline editing?

MM: The camera itself does not record any proxy files. We are now working with external recording vendors like AJA so they can record SDI output, for example, so the end user can utilise products as such as offline editors.

C+T: Can you load presets into the camera?

MM: There is a SD card other than the CF cards for recording. The SD card actually is there to load settings you’ve put into the camera so you can bring them back up or you can take that SD card and take it to the other cameras.

C+T: The C300 has Genlock functions. How does it fit into a broadcast context?

MM: It was based on an assumption that it could be used for those and for television broadcasting applications as well.

C+T: The C300 is able to shoot in very low light.

What impact do you think the camera will have on how DP’s light their productions?

MM: A lot of the feedback that we’ve gotten is that, from the director’s point of view, they would like to use as little lighting as possible to make it as simple as possible and we’ve seen quite a bit of positive feedback with regard to how simple that is becoming or how minimal amount of light is required using this camera.

C+T: There are manufacturers that talk about 4K, 5K. How far can we go in terms of resolution?

MM: With regards to the size, in terms of the lens, in terms of resolution, it will be a while before we reach the limit so there is still a way to go. So, a 100 megapixel capability is something that if the need was there, we could create that.

Canon C300 – First Impressions

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“ It’s answered a lot of dreams I suppose we’ve had recently as digital cameras are becoming more and more versatile. This one, because it’s so small, I think is its key thing - small size and good image quality.

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“ It’s 1920 x 1080 output but it looks good and you’ve got it in a really compact small camera that modular, ready to go, pull it out of the box, shoot, bang, for under 20 grand. “ I guess it revolutionises things once again. This one again takes it even further

coming from their DSLR lineage. It also definitely owes a lot to FID and it also then takes what they’ve done with their video cameras. I did a bit of work with the launch of the XF300 video camera and it’s taken all the best things out of that camera and joined it with the best things out of IP and joined the two together. I sort of see the camera as a melding of those two camera lines that they had and it’s pretty interesting.”

– Toby Oliver, ACS

“ I think it’s very impressive. It’s got many advantages over the technology that’s around at the moment. The high ISO rating is fabulous. I tested it in the other room there and there was next to no noise at all which is brilliant and it’s ergonomically designed, very ergonomically designed so that in its raw mode it fits into your hand and weighs next to nothing. The compact size of it, ergonomic design and high ISO, it gives me a lot of freedom for night shoots and things like that.”

– Geoffrey Hall, ACS, DP Red Dog

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Cook The Raw Ingredients Yourself

By Peter Parnham

General manager of ARRI Australia, Stefan Sedlmeier, says the level of interest in the new workflow is similar in Australia, where three feature productions have been shot using ALEXA’s ARRIRAW data recorded to on-board recorders.

The new workflow is an alternative to the normal ProRes output from the ALEXA digital camera and is aimed at high end 2K cinema or VFX heavy productions that are willing to trade off the extra bulk of the camera and extra post-production step for the resulting increase in image quality.

At this end of the super 35 single chip digital camera market, the ARRI ALEXA camera jostles for position with Red, Sony F35 and Panavision Genesis cameras. But allowing ALEXA productions to tap into the uncompressed, unvarnished, raw output directly downstream from the sensor is now a major point of difference for the ALEXA, made possible in part by the ability of recent solid state recorders like the Codex Onboard to record at high data rates.

ARRIRAW is uncompressed 12 bit Bayer sensor linear encoded data sent over a standard dual link HD-SDI connection to any compatible recorder certified to accept ARRI’s T-Link protocol.

The T-Link protocol is quite different to the kind of data that normally flows from an HD-SDI output. Normally an ordinary native 1920 x 1080 three chip ENG camera has a photosite for each colour at each position, producing a full set of data values. So too, does the Panavision Genesis and Sony F35 single chip CCD cameras – both actually super sample in the vertical axis.

On these cameras, deriving an uncompressed HDSDI signal and sending it to a suitable onboard recorder is a relatively straight forward matter of

essentially bypassing the recording devices, but the raw sensor signal has to be shoe-horned into one of the 10 bit HD-SDI formats.

But a Bayer pattern sensor – a common design in CMOS still and video cameras – subsamples colours. An ALEXA Bayer sensor is 2880 photosites wide, consisting of 1920 green photosites and 960 blue photosites or red photosites on alternative lines creating a mosaic of colour subsample. It’s a mosaic that can’t be viewed without being constructed into a viewable picture format by interpolating the colour information – the process of de-Bayering.

There might be less colour photosites per line on a Bayer pattern but there are more photosites across the image.

“Although it’s a Bayer pattern, every pixel sees luminance,” says Sedlmeier. This allows the deBayering software to construct a full colour image 2880 pixels wide. The image could be used at that resolution but is more commonly scaled down to a standard format at the same time.

ARRI says that a 2K image – used for digital cinema – shows a visibly better resolution when de-bayered from an ARRIRAW file than if up scaled from a 1920 x 1080 HDTV picture.

The ALEXA camera is already capable of deBayering the image so it can record with its built-in formats, ProRes 4:2:2 or ProRes4:4:4.

In the process it bakes in the exposure index, white balance and processing steps, while simultaneously producing viewfinder feeds and monitor feeds, no mean internal processing feat in a camera of that size in real time.

The reasoning behind the ARRIRAW file option is that it gives you the time and the power of an optimised post-production suite to apply to rendering the images and you can tweak the parameters according to the material. If you don’t like the result you can always refer back

Stefan Sedlmeier shows Codex Onboard recorder fitted to an ARRI ALEXA camera at Panavision Auckland

to the original and repeat the process. Nor are you limited to ARRI’s software - you can use any software you care to write, or obtain as a plug in for your post suite. It is clear that camera manufacturers like ARRI and Red have made the shift to a new paradigm. How good your picture looks is no longer about your sensor specifications and engineering, it is also a battle fought in software, in particular how well an image can be constructed from a colour subsampled Bayer mosaic.

All this new flexibility suits David Edgar, managing director of Future Reality, who was also at the Auckland event. He says recording to the Codex Onboard recorder – which will record a variety of formats off a variety of cameras – is only the first stage in the Codex workflow solution, and points to the portable Codex Lab 3 as an example.

“The Lab 3 is a post house in a box,” he says. “A lot of productions, particularly in Australia, are a long way from the post house so they need to have the backup and deliverables capability on set.”

A simple docking transfer station is also available for Codex Onboard recorders.

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NZ cinematographers and camera crew recently turned out in record numbers to a presentation at Panavision Auckland by ARRI and Future Reality, the Codex distributor.

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ALEXA Update Enables High Speed & More According to ARRI, the release of SUP 5.0

High Speed mode.

Other key features of ALEXA SUP 5.0:

marks another milestone in the continual process of expanding and refining the ALEXA camera toolset.

High Speed mode allows ALEXA cameras to capture slow motion images using Apple ProRes codecs (up to 422 HQ 16:9) and Sony 64 GB SxS PRO cards, eliminating the expense of carrying a separate high speed camera.

 60 fps ARRIRAW over 3G Dual Link

By using the same Super 35 sensor area as Regular Speed mode, High Speed mode maintains the same depth of field and angle of view for all lenses, along with ALEXA’s wide exposure latitude, high sensitivity, natural colorimetry and organic, film-like image quality.

 Horizontal Image Mirroring (3D)

The latest software update incorporates a range of improvements to the functionality of ARRI ALEXA cameras, including the option to purchase a High Speed mode that permits shooting at up to 120 fps.

Following the Anamorphic Desqueeze license, High Speed mode is the second ALEXA software upgrade to be made available as a license.

While SUP 5.0 - with its many other improvements - is a free update for ALEXA customers, the High Speed mode it enables is an entirely new feature and can only be activated through the purchase of a license key at the ALEXA License Shop. Each license key is coded to a particular camera and can be selectively enabled or disabled, allowing rental facilities control over which cameras are sent out with

Recording such high data rates requires the use of SONY’s new SxS PRO 64 GB cards. These cards are built to the same standards as the SxS PRO 32 GB cards, while offering twice the recording capacity and over twice the data rates. Even without the High Speed license, the SxS PRO 64 GB cards allow recording of ProRes 4444 at 60 fps (with SUP 5.0).

Twin-Lens 2D/3D Handheld Camcorder shooting on the fly.

A wide range of shooting situations are covered by the Twin-Lens, from 32mm wide-angle shooting (29.8mm for 2D shooting) to 10x optical zooming (12x for 2D shooting, 23x for shooting with Intelligent Zoom).

Panasonic’s HDC-Z10000 is an integrated twin-lens 2D/3D camcorder that is compatible with the AVCHD 3D/Progressive standard. The camcorder provides broadcasting image quality for 2D and 3D filming, manual operations for professional use and uncompromising audio quality.

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Featuring Panasonic’s Double 3MOS System for recording high-quality Full-HD 2D and 3D images. This advanced system mounts two 3MOS sensors (with an effective pixel count for 6.57 megapixels)2 for superb colour and detail reproduction. The two large-diameter F1.5 lenses independently mounted on the left and right are treated with Nano Surface Coating, for the first time on a camcorder, significantly reducing ghosting and flare to produce crisp, clear image rendering.

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Enhanced manual functions are included such as three independent rings for adjusting the zoom, focus, and iris control to create the intended image precisely. An Intelligent Auto (iA) function and new image stabiliser, HYBRID O.I.S+ let users capture clear and steady images even when

 60 fps HD-SDI 4:4:4 over 3G Dual Link  60 fps ProRes 4444 when using SxS PRO 64 GB cards  ARRI Look Files for playback of QuickTime/ ProRes Log C files  Reel & clip number on MON OUT  Secure camera display dimming  Active look indication  Dual record error handling  Open Camera Access (OCA) initiative  Support for Lens Data Display for Focus Puller (ALEXA Plus only) Visit www.arri.com

Canon 4K Digital SLR Camera Under Development

The 3MOS System additionally provides the same effects for 2D, achieving precise and sharp image quality in combination with progressive recording. The twin-lens stands out when shooting in low-light conditions and enables the user to record bright images with minimal noise in low-light situations.

Utilising the ultra-high-speed of the newly developed Crystal Engine Pro II, with its enhanced resolution and noise reduction, optimal Full-HD image quality is achieved even in detailed image parts. The same level of performance is also realised for 2D image quality in combination with Full-HD 1920 x 1080, 50 progressive recording.

Canon Inc. has announced that the company is developing a new-concept EOS-series digital single-lens reflex (SLR) camera. Incorporating an enhanced version of the video-capture capability offered in the current EOS-series lineup, the new camera is aimed at cinematographic and other digital high-resolution production applications.

In addition to built-in microphones for recording Dolby Digital 5.1-channel surround sound / 2-channel stereo, the HDC-Z10000 features two XLR audio inputs with a 48-V phantom power supply for external microphone use. Clear audio is recorded with minimal noise.

The model will be equipped with a 35 mm fullframe CMOS sensor and capable of recording 4K video (at a frame rate of 24P, with Motion-JPEG compression. Cropped to APS-H-equivalent size, dimensions measure approximately 80% vertically and horizontally of a 35 mm full-frame sensor, when recording in 4K.)

The camcorder also boasts close-ups of approximately 45cm for 3D macro shooting which is (approx. 3.5cm when shooting in 2D) while maintaining an equivalent 32mm wide angle of view with a twin-lens 3D camcorder.

Visit www.panasonic-broadcast.com.au

Further details regarding the new EOS digital SLR camera currently under development, including the product name, specifications and scheduled launch date, have yet to be decided.

Visit www.canon.com

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KNOWLEDGE / SOLUTIONS / SUPPORT

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LEDs – the State of the Art

By Ian Muir, Gekko Technology

The increasing use of LED based fixtures in film and TV has created debate as to their real capabilities and suitability. Opinions about LED-based fixtures are often based on outdated, poorly implemented technology, exaggerated claims from manufacturers and the general distrust of the higher echelons of Hollywood, so it can be difficult to formulate a balanced view of their real merits.

So what constitutes a fixture of reliability and quality, that we would trust as we would old favourites based upon traditional technologies such as Tungsten, Fluorescent or Strike source?

In terms of their physical characteristics there are a few fundamentals to consider first before looking at their artistic qualities.

Efficiency Power efficiency of an LED currently ranges from 5-6 times that of a traditional tungsten light source to as much as a factor of 20 – they are more efficient than tungsten, HMI (including all strike sources, CSR, MSR etc), Halogen, and fluorescent tubes.

The only real method of assessing efficiency accurately is through use of a light meter and knowledge of what a comparative light source would produce for the same power consumption. It is important to measure like for like, factoring beam angle, rather than relying on optimistic peak photometric readings that are often unreliable.

Types of LED The first LEDs used commercially as indicator lights in home appliances and then in first generation film and broadcast fixtures were of the ‘throughhole’ type. The most common soft panels still use this type of technology, including many from China, but you generally get what you pay for. If there is an issue with this iteration of the technology, it is in its colour accuracy and level of output (they tend to lack punch), all issues which are better addressed with state of the art surface-mount LED technology.

Surface-mount LEDs are like many other modern solid state components in that they affix directly to the face of a circuit board. Most commonly they are seen now in car side and tail lights and continuing investment by the core technology providers is in surface-mount devices.

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With both through-hole and surface-mount technology, colour and consistency are achieved entirely by the lamps originator having a suitable binning arrangement with the LEDs manufacturer (‘binning’ is simply a test and classification process that sorts finish product, as it is impossible to predict the exact finished characteristics of the devices through manufacture). This ensures that only LEDs which conform to certain parameters of efficacy and colour temperature accuracy are delivered. The reality of this to a high-quality fixture builder is that something less than 1 percent of any type of LED produced are suitable for use in film and broadcast, which naturally has a cost implication for the final product. Both the cost and quality issues can be negated by sourcing LEDs to a much wider tolerance but quality of output is then inevitably compromised.

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The latest film and broadcast lighting products are remote phosphor devices.

These work by clustering together “raw” blue LED’s (generically known as a blue “pump” or “gun”), behind a substrate such as acrylic coated with a phosphor. The blue pump projects onto the acrylic, which excites the phosphor to derive a white light output on the reverse side, the colour temperature of which is dictated by the formulation of the coating. This has great promise in the implementation of the technology depending on the formulation of the phosphor coasting. In addition (and slightly theoretically)

the more powerful the blue pump the greater the light output.

The claim made by manufacturers is that by removing the phosphor directly from the LED, the issue of maintaining colour temperature accuracy by binning is negated. The problem is the tolerance of the phosphoric coating to drift in colour of the blue pump which excites it. A small drift in blue (+- 2nm) will cause a subsequent and significant alteration in the final colour temperature of output.

The only way to control this is by careful binning of the underlying blue LED’s to ensure consistency. This places the same constraint on the manufacturers to produce colour accurate fixtures, as they face with the use of surface mount LED’s.

At the cutting edge of development in LED technology is the multi-chip array.

This is a surface-mount LED which has the ability to host multiple colours.

These are mixed to produce the final colour temperature output, unlike through-hole and simple surface-mount LEDs which are reliant on the colour space of a single device.

“ A more realistic life-span would probably

be in the region of 20,000 hours. The maths extrapolates this to eight hours per day, five days per week for 10 years.

”

In conjunction with the LEDs, a significant level of sophistication is also required in the associated drivers required to control the array. While still fundamentally an LED, this represents a sea change in technology.

Firstly colour temperature output is the controllable product of a mix of devices creating a broad spectrum (mixed wavelength) of light controlled by calibration and on-board software, and not simply a suitable binning arrangement with the manufacturer.

Secondly, output from a single multi-LED chip can be much higher, allowing for the first time the production of focusable lamps that produce a hard shadow, much the same as a tungsten-based Fresnel.

Thirdly, because there are multiple components on one LED chip, software control can allow the introduction of a colour-changing dimension. In practical terms this extends to the production of whites between about 2900 K and 6500 K, as well as saturated colours.

Currently highest realistic output of single array LED lamps incorporating this technology approaches direct comparison with a 1 kW tungsten source.

Dimming LEDs can be driven using two basic methods, either by constant or discontinuous current. Both have issues in their use which have implications for use in image capture.

acquisition Lamps driven by constant current are dimmed by reducing the voltage that the LED receives to reduce intensity. However changing the input voltage on an LED changes its colour temperature output and the greater the change in voltage, the greater the colour temperature shift. This is problematic in image capture, where gel may be required to maintain colour temperature of a dimmed fixture which in turn reduces intensity yet further.

The alternative method of driving an LED is with a discontinuous current. The device flickers at a rate which is not visible to the naked eye and in a highquality fixture, the camera.

To dim a fixture discontinuously often involves a technique known as pulse width modulation (PWM) which entails rapidly switching the LEDs on and off.

If the gap between the LED being on in the cycle is lengthened, the eye and camera see the lamp as being dimmed.

The benefit of this is that, at all points, the LED is powered at a consistent voltage, minimising any colour drift as it dims.

This can introduce another issue should the fixture not be designed for use with a camera. For the camera not to see the flicking of the LED (at 25 frames per second or more), it requires a switching rate of about 800 Hz. If the lamp is to be used in high speed applications then a rate of 35 kHz and above is required, which will allow shooting to a rate of between 7,000 to 8,000 frames per second. High frequency ballasts on fluorescent lamps are at around 20 kHz which allows shooting rates of up to 1,000 frames per second.

The more recent multichip array technologies, because of their broad spectrum characteristics use a combination of software algorithms and voltage change to maintain colour consistency while dimming. As dimming is not a linear process, accuracy can be maintained by the complicated process of on-board number crunching.

Life-expectancy Life-expectancy for an LED should be defined as its continuing ability to produce usable levels of light output with no variance in its original colour temperature. This is often expressed with terms such as ‘L70’, the associated value of which expresses the time elapsed to a point at which the LED output drops to 70 percent of its original.

A more realistic life-span would probably be in the region of 20,000 hours.

The maths extrapolates this to eight hours per day, five days per week for 10 years.

Once again the better multi-chip array technologies provide longevity by the use of the ubiquitous software control in combination with closed loop feed back, to boost colour channels that start to under perform, as a consequence of age degradation. Total life is again difficult to predict as the clever sums are compensating for the loss in output, so comparing this technology with simple ‘L70’ devices is not easy, but on the up side a guarantee of 100 percent output is achievable and arguably more useful. This does make the provision of warranties by manufactures in relation to colour temperature accuracy and level of output, far more realistic.

consumables such as bulbs or tubes.

In the case of multi-chip array technology, they are colour tuneable reducing the need for gels as their colour can be altered on-board or remotely via DMX. All of the above reduces the volume of equipment and supporting infrastructure. In the case of a spacelight replacement, the cable to run the lamp is reduced dramatically as the current requirement drops sixfold from 25 amps to 4 amps in the UK. A staggering 11,000 amps would be required to run 200 traditional spacelights in the US.

Colour Spectrum The acid test for any fixture used for film and broadcast is the quality it renders subjects during image capture, on its own and in conjunction with lamps based around other technologies. Simply put, if it is not in the source, it will not end up in the camera.

LEDs, like fluorescents, are known as discontinuous light sources. The Sun produces a broad spectrum of light that can be depicted as a spectral power distribution curve, which expresses the intensity of the various colours which go to make up the final temperature of white light experienced. When represented as a curve it has a smooth arc as it traverses from blue through green and yellow to red.

Any light source can be broken down in this manner and it is the nature and ‘completeness’ of the spectral curve resulting from its output which dictates the ultimate quality of the light source.

A discontinuous light source produces colour at far fewer points along the spectral curve, tricking the eye and camera into rendering the resulting output as a single shade of white light. The perfect discontinuous source for image capture would have an infinite number of peaks between 400 and 750 nm and no gaps in the spectral distribution.

The quality of the light produced by the LED is determined by the quality of the phosphors and dies contained within it, which dictate the final colour of white light emitted.

Meters don’t work with LEDs and fluorescents so the best test of colour quality is to look at images that have been shot with a particular LED light source to see if there are any obvious aberrations. Issues that may exist with the colour quality of a single-colour LED are negated by the cutting edge multi-chip LED array. More advanced LED chips of this type will contain seven different colours. In addition to the obvious red, green and blue, there are intermediate hues which create a much more complete spectrum of light.

The spectral curve of the output produced is therefore what is expected from traditional light sources.

The requirements of the camera to interpret the output accurately are more than satisfied, as is their ability to work in conjunction with other light sources. With multiple colours on the chip software can modify the relative intensities of each to alter the colour temperature of output. This can be especially useful if matching other less-than-perfect sources elsewhere on the shoot.

Heat

Summary

Despite their apparent cool running LEDs do produce heat, which needs to be managed with good fixture design. There is no heat transmitted in the light beam but the heat produced does need proper dissipation if the lamp is not to risk colour shift as its temperature rises. (Temperature is a significant factor in the performance and life of LEDs). The manufacture of an LED lamp should incorporate sufficient cooling to ensure that it can accommodate operation in environments with high ambient temperature, without changing colour.

LED technology is now more than capable of illuminating a subject for capturing quality digital or film images either digitally. As with any other technology, it is the quality of the light source which has a direct bearing on the final result.

The heat produced is minimal compared to traditional fixtures and the knock-on benefit is a greatly reduced requirement for air-conditioning.

Major broadcasters use an air-conditioning metric of 2.5:1 which, when compounded with a conservative technology efficiency of 5:1, gives an overall power saving of 12.5:1.

Accumulated knowledge in the use of quality lighting for film and broadcast should provide the best benchmark for evaluating whether an LED fixture is right for the job. If it’s well thought out, robust, versatile, has the right accessories and its output renders well on film or digital media (especially when compared to the lights you all ready trust), then surely it’s a good light.

Visit www.gekkotechnology.com

In practical terms, LED lamps can now provide both hard and soft sources of high-quality light.

Their low power requirement means that they can be run on batteries or any of the generally available voltages found on a film set (12 to 40 V).

This makes them highly portable and highly resilient without need for

acquisition

Versatility

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Sony’s new picture & reference monitors: Quality & performance to suit any need.

PVM

Luma

BVM-F

BVM-E

Sizes: 9", 15", 17", 20", 21", 23", 24", 42"

Sizes: 7", 17", 25"

Sizes: 17", 25"

Features: HD-SDI 1 HDMI or DVI 2 Audio Level meter 3 time code 4 I/P modes Auto White Balance 3 Tally & Markers

Features: 3G-SDI (x 2) 5 RGB 4:4:4 5 HDMI Auto White Balance 6 Time Code 5 Audio Level Meter DC operation (17")

Features: 3G-SDI (x 2) RGB 4:4:4 HDMI Auto White Balance 6 Time Code Audio Level Meter 7 DC operation (17")

Picture Monitor

AVAILABLE NOV 2011

Sizes: 17", 25"

Features: 3G-SDI (x 2) RGB 4:4:4 HDMI Auto White Balance 6 Time Code Audio Level Meter 7 DC operation (17")

Reference Monitor PVM Features: Waveform Audio

BVM Advanced Features: Option port x 4 (BKM x 6 selections) Dual Link 7 DisplayPort (x1) Interlace display Pixel zoom HD frame capture 24P/PsF@72 Hz display 3D analysis 7

BVM Advanced Features: Option port x 4 (BKM x 6 selections) Dual Link 7 DisplayPort (x1) Interlace display Pixel zoom HD frame capture 24P/PsF@72 Hz display 3D analysis 7 Display Cinema Features: 2K (2048 x 1080 RGB/XYZ) Input ASC CDL 6 User LUT 6 P&P (Wipe, Butterfly, Blending)

LCD Panel

OLED Panel

Panel: TN (10 series) & IPS LCD panels From WVGA (9") to Full HD (21"+)

Panel: Stunning OLED performance Full HD (1920 x 1080) 5 RGB 10 bit Driver

BVM-F Panel: Strictly controlled tollerance in addition to the standard panel performance.

BVM-E Panel: Designed as the highest performance panel.

Used for the most critical picture evaluation needs.

Engine: 10 bit

Standard Engine: 10 bit

Professional Display Engine: 12 bit Accurate gamma control of extreme black details.

Cutting-edge I/P convension with extremely low process delay.

Sophisticated non-linear cubic convention colour management.

Professional Display Engine: 12 bit Accurate gamma control of extreme black details.

Cutting-edge I/P convension with extremely low process delay.

Sophisticated non-linear cubic convention colour management.

May require option card.

HDMI or DVI – models differ.

Not 10 or 30 series.

4 Not all models.

1 2 3

5 6

Not applicable for PVM-740.

Supported by firmware V1.1 or later.

SO11601/C&T

sony.com.au/monitors

6 7

Supported by firmware V1.1 or later.

Option board required for BVM.

6 7

Supported by firmware V1.1 or later.

Option board required for BVM.

“SONY” and “make.believe” are trademarks of Sony Corporation.

“Sony’s Luma LCD monitors had the range and quality we demanded.”

“ For our studio control rooms, we use Sony Luma monitors extensively. Luma was our choice due to their range, cost effectiveness and our trust in the brand.”

Michael Day, Network Technology Solutions Manager, Network Ten

Sony Luma LCD monitors deliver a higher quality picture for a cost effective price, with a range of features and benefits that surpass standard LCD monitors. The Luma range comes in 8 different sizes, from 9" to 42", across 11 different monitors including passive polarity 3D panels.

For more information, see your Sony specialist.

The new Luma monitor range.

SO11601/L/C&T

sony.com.au/monitors

“SONY” and “make.believe” are trademarks of Sony Corporation.

“LUMA” and are trademarks of Sony Corporation.

“Put the new Sony PVM OLED next to anything and you will see the amazing difference.”

“ They’re so sharp, the detail in the blacks far exceed anything we’ve seen before at this level. And from past experience Sony engineers really know how to put together a product that lasts.”

Rob Burton, Engineering Projects Manager, Cutting Edge

With brilliant, highly accurate pictures across 7", 17" and 25" models, the PVM series of monitors harnesses Sony Super Top Emission OLED technology. Experience the best high and low luminance detail reproduction, fastest picture response times, better dynamic range and brilliant contrast performance in all environments.

To see the difference, contact your Sony reseller today.

The new new PVM PVM monitor monitor range. range.

The SO11601/P/C&T

sony.com.au/monitors

“SONY” and “make.believe” are trademarks of Sony Corporation.

“TRIMASTER EL” and are trademarks of Sony Corporation.

“The decision for Sony BVM-E was simple it was the most accurate picture I’ve ever seen.”

“ I didn’t expect it to be as good as it was, especially in the blacks and the saturation. I’ve always used CRTs and the tubes have been as good as you could get but I was surprised at the difference between them and the BVM-E ...In my opinion OLED supersedes them completely.”

Danny Scotting, Senior Colourist, Post Op Group

The new Sony BVM-E OLED monitors are the definitive tool for reference grade monitoring. Featuring 12 bit panel and signal processing, all the advantages of Super Top Emission OLED and the options colourists and graders need like User-LUTs, S-Log Gamma, 2K image display, Picture and Picture modes and a host more. With Sony BVM-E, Black is Black.

The new BVM-E OLED monitor range.

SO11601/E/C&T

sony.com.au/monitors

“SONY” and “make.believe” are trademarks of Sony Corporation.

“TRIMASTER EL” and are trademarks of Sony Corporation.

post production

Sponsored by

www.content-technology.com/postproduction

Animal Logic ‘Block Booked’ for LEGO Film international reputation of Sydney as a film location.

“Not only will the securing of LEGO enable Animal Logic to retain staff through an ongoing work schedule but it will also place Sydney in a strong position to secure further work should sequels be planned later.”

Acting NSW Premier and Minister for Trade and Investment Andrew Stoner has announced NSW will be the production base for a new animated feature film based on the popular children’s construction toy LEGO. Warner Bros. has contracted Academy Awardwinning Sydney animation studio Animal Logic to make the family entertainment comedy at Fox Studios Australia, where Mr Stoner made the announcement alongside Animal Logic CEO Zareh Nalbandian.

The NSW Government has helped secure the production for the State’s film industry with assistance from NSW Trade & Investment’s State Investment Attraction Scheme.

“Congratulations to Animal Logic for beating strong international competition from the US and Canada to secure this major animated film production,” Mr Stoner said. “The production of

LEGO will see up to $48 million spent in NSW, which will include commitments to industry research, development and training. The film will employ over 200 people during its peak.

“The LEGO film will be based on the popular children’s LEGO building blocks and include licensed LEGO characters.

“Originally designed in the 1940’s in Denmark, LEGO has achieved international appeal and this film is sure to be a hit with children around the world,” Mr Stoner said.

“The film’s directors will be Phil Lord and Chris Miller, who co-directed the 3D animated comedy Cloudy with a Chance of Meatballs (2009) which grossed $239 million worldwide.

LEGO will be an innovative film incorporating the latest animation and photo-real techniques which will demonstrate the strength of NSW creative technology skills and enhance the

According to Zareh Nalbandian, “LEGO is further testament that Sydney is now established as one of the world’s great digital animation centres. With LEGO, Animal Logic continues to develop and produce ground breaking digital entertainment and to build a talent base that’s second to none anywhere in the world.”

Steve Papazian, President of Worldwide Physical Production for Warner Bros. Pictures said, “I want to extend my appreciation to the NSW Government for its continued support.

We look forward to building upon our valued relationship.”

LEGO is due for release in 2014 with Warner Bros. both producing and distributing the film internationally.

The LEGO film is being written and directed by Lord and Miller, with Chris McKay serving as co-director. Dan Lin and Roy Lee are producing.

LEGO Company’s Jill Wilfert will executive produce and Lin Pictures’ Seanne Winslow will co-produce.

Visit www.animallogic.com

Industry Not Frightened to Launch Animated Series film and television VFX studio in Alexandria, NSW.

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Ambience Entertainment Producer, David Webster says, “This Australian series is a great example of how an industry can work together from both a financing and creative point of view and cross state borders to maximise talent and support for the project. Figaro Pho will employ a team of 47 people in Sydney, 22 creative, post, and story board artists in South Australia, and a team of 10 in Victoria including writers, story editors and production staff.”

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Omnilab Media’s Ambience Entertainment, in partnership with Chocolate Liberation Front (CLF), recently announced the commencement of animation on the Australian animated TV series The Adventures of Figaro Pho, by children’s illustrator and creator/director, Luke Jurevicius, at Iloura’s

The 13 half-hour episodes follow the charming and mischievous character, Figaro Pho, who suffers every weird and wonderful phobia from A to Z. Additional collaborator, Creative Director, Deane Taylor, (Popeye, The Pink Panther, Ren & Stimpy, and Tim Burton’s A Nightmare Before Christmas) provides his unique and imaginative art direction.

The property is based on 26 shorts originally created for ABC TV in 2008 and has significant

contribution from the national broadcaster and South Australian Film Corporation who came on board early and remained committed to the project over several years of development. The new series was developed in assistance with ABC3’s Commissioning Editors, Carla de Jong and Simon Hopkinson.

The series was awarded Best Animation Series in The World at the 2009 Kidscreen awards, Best Overall Animation and Best Direction as voted on by international children’s broadcasters and two AFI awards.

ZDF Enterprises has secured distribution rights for Europe, the Middle East and Africa, while Distribution 360 has rights for Canada. ABC Commercial, which is also the distributor of the original shorts, holds distribution rights for the rest of the world including the USA, Australia, Asia and South America. The series will air on ABC3 in 2012.

Visit www.omnilab.com

post production

Iloura, Boffswana Open in Sydney Sunita Gloster, CEO of Omnilab Media’s Creative Services Division, recently announced a restructure of the company’s advertising services under the Iloura brand and will open a purposebuilt studio in East Sydney. Iloura Advertising will provide visual effects, animation, design, and colour grading. Also housed in the studio will be creative technology company, Boffswana.

In Sydney the Iloura team will be led by Alastair Stephen, Executive Producer of Commercials who currently holds this position at Digital Pictures.

The first new recruit to the Sydney team is former

Animal Logic Lead 3D Artist, Jonathan Dearing – appointed as Head of 3D. Dearing specialises in pre-vis, on-set supervision, animation and visual effects and has worked with leading local and international agencies and production companies for over 10 years. Digital Pictures’ Finnegan Spencer will also join the team as Design Director.

Boffswana, continues to be steered nationally by Robert Stock as Executive Producer and Stephen Van Elst, Design Director.

Leading Iloura’s advertising team in Melbourne is new recruit, Hamish Macdonald as Executive

Producer, Advertising. Macdonald was Executive Producer at XYZ Studios and previously Producer at Exit Films and brings a wealth of experience on both sides of the agency/production company relationship. Sigi Eimutis, continues as Head of Commercials in Melbourne. Simon Rosenthal now focuses on leading Iloura’s film visual effects and animation business.

The Iloura Sydney studio will be located at Omnilab Media head office in East Sydney and is due to open later this year.

Visit www.omnilab.com

Velocite Editor’s History of the Craft When award-winning editor John Buck went looking for a comprehensive book about editing that had the facts he needed to settle an argument, he found none. So he sat down and wrote one. Over the next four years using everything from snail mail to Skype chats, Buck compiled over 100 interviews with the engineers, designers and editors who built the devices that empowered a modern craft.

Timeline, a History of Editing is now available as

an ebook.

Timeline contains exclusive interviews with all of the key players including Randy Ubillos, Bill Warner, Adrian Ettlinger, Ralph Guggenheim, John Molinari, Bruce Rady, Dave Bargen, Ivan Maltz, Bill Ferster, Glenn Reid, Ron Barker, Chet Schuler, Paul Bamborough and the QuickTime team. It gives an insight into the development of CMX, Montage, Final Cut Pro, Avid, EMC, Media 100, EditDroid, Lightworks, DVision, iMovie, in:sync, Premiere,

Ediflex, ImMIX, Link, and many other systems for the first time.

Editors Thelma Schoonmaker, Barry Alexander Brown and Herb Dow also add their memories to the mix.

Timeline is available over two volumes at the Amazon Kindle, Apple iBooks, Barnes and Noble Nook, and Sony Reader stores.

Visit www.timelinebook.tumblr.com

Turnkey Solutions • Non-linear Editing systems • SAN Network solutions • Shared Project solutions • FCP / Avid Shared Solutions • Backup & Archive Solutions Found From Website PDF

Pre / Post Sales Support • Design & Spec Studio solution • Onsite Installation • Hardware Onsite Service • Onsite Service Contracts

TM

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.com.au

Pro Services Training • Final Cut Pro & Motion training • Avid & Adobe training • Media Composer training • SAN install & training

post production

YOUR IT SPECIALISTS

Ph: (02) 9280-233347

post production

Agile Developments Boost Pablo Quantel has previewed the latest developments for Pablo, adding even more useful and productive tools. These include Geofix2 advanced S3D geometry correction, group effects creation, advanced integration with OpenEXR and DNxHD soft mount support.

Matrox and the Promise of Thunderbolt

These latest developments are in addition to the 59 new features and five feature release packages added to Pablo since May this year. This is the result of a new agile development approach in Quantel.

Matrox Video Products Group and PROMISE Technology, Inc. has demonstrated multi-layer realtime editing of uncompressed HD projects using Matrox MXO2 LE MAX video I/O devices and PROMISE Pegasus RAID storage connected to the latest Apple iMac via the allnew Thunderbolt technology.

All the new features have been released as quickly as possible to shorten the time between development and real-world customer feedback. This agile approach is allowing Quantel to respond quickly to user requests for additional features and boosts reliability.

Developed by Intel and brought to market with collaboration from Apple, Thunderbolt technology is a high-speed I/O technology running at 10 gigabits per second that brings together high-speed data transfer and high-definition (HD) display on to a single cable.

Quantel has also demonstrated new developments for its Pablo PA conform, preparation and workflow software – CUDA GPU processing, a full frame S3D-capable output and Genetic Engineering connectivity.

Matrox MXO2 devices provide broadcast-quality video and audio capture, monitoring, output, and H.264 encoding for use with leading editing and content creation applications. The PROMISE Pegasus R6 is a 6-bay hardware RAID storage solution designed to unleash the raw power of Thunderbolt technology.

Pablo PA now supports nVidia Quadro graphics cards, and benefits from CUDA GPU processing. CUDA support enables new levels of interactivity and even realtime playback of Stereo3D content.

Visit www.matrox.com/video and www.promise.com

Pablo PA also now supports dual monitor operation with a Quadro graphics card. The second monitor provides full frame picture display including sideby-side for realtime display of S3D media.

Genetic Engineering connectivity enables Pablo PA to work on Quantel’s GenePool shared storage. Pablo PA can look directly into the GenePool via Sam, work on a clip and publish the results back.

Chyron Extends BlueNet to Adobe

Shot selection and conform verification on soft mounted media can also be handled on Pablo PA, and the result published to the GenePool, localising media as required.

ality of Adobe Premiere Pro CS5.5 software, a robust, cross-platform video editing platform, available within Chyron graphics workflows.

Visit www.quantel.com

Film Scanning, Image Enhancement Cintel has launched two new User Interface options for the imageMill2 Data Enhancement and Restoration System, as well as a number of upgrades for the diTTo evolution 2K/4K Film Scanner. The imageMill2 data enhancement system is capable of faster-than-real-time 2K DPX file image processing. imageMill2 features simultaneous film grain management and digital noise reduction (GRACE), image stabilisation (STEADY) and dust/scratch and digital defect reduction (ORIGIN). imageMill2 is available as a full workstation system with 4Tb of local RAID storage, or alternatively as a plug-in PCI card.

post production

FLOW is the new user interface providing a set of tools including a full Multi-Format and Multi-Resolution Project Timeline, full Project Management and Library functions, 3D-LUT management, Waveform, Histogram and Vectorscope Monitoring and Timecode/Edgecode burn-in.

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Chyron has unveiled the new BlueNet Plugin, which makes function-

Integrated into Chyron’s BlueNet workflow suite, the plugin allows Internetconnected staff and freelance editors working anywhere to modify, import, and render graphics within an Adobe Premiere Pro timeline. This powerful integrated solution brings much greater speed, convenience, and efficiency to the creation of video packages containing high-quality multilayered and keyed graphics.

BlueNet fully addresses broadcasters’ requirements for fast end-to-end graphics workflows. Leveraging Chyron’s acclaimed suite of graphics tools, the solution streamlines ordering and graphics asset management, collaborative graphics creation, and real-time playout, thereby minimizing the cycle time from creation to air in news and sports workflows.

Editors may take advantage of Adobe Premiere Pro functionality, provided through familiar Adobe windows and menus, not only to create new packages, but also to version, rebrand, and repurpose existing video packages.

Visit www.chyron.com

COLOURFLOW includes all of the features in FLOW plus Primary Colour Correction, Zoom, Pan, Rotate scan effects, Blanking tools, Automatic Scene Detection, Dynamic Events and EDL export.

Drying system for ARRISCAN Wet Gates

Cintel International has also announced a range of three ‘Film2Film’ 2K/4K Image Restoration Workflow packages.

scanner, designed to be used alongside the 16 mm and 35 mm Wet Gates for archive and restoration workflows.

The ‘film in’ part of each workflow is the diTTo evolution 2K/4K film scanner from Cintel, which has unique optical dust and scratch concealment tools, as well as pin registration and non-pin capabilities. CCG’s DEFINITYHD film recorder provides the ‘film out’ function. Between these processes, each ‘Film2Film’ package includes imageMill2.

The ARRISCAN is increasingly being adopted by the world’s leading film collections and archives as the ideal tool for digitizing historic, fragile and irreplaceable film materials. In response to customer demand, ARRI has developed a series of archive tools and accessories, including an Archive Gate and a Sprocketless Transport.

‘Film2Film300’ is the basic package, which includes COLOURFLOW for imageMill2 plus 18Tbytes of storage.

The ARRISCAN was the first high-resolution scanner to offer a wet gate system. It uses a significantly less toxic fluid than the industry standard Tetrachlorethylene to delicately clean away dust and fill in scratches.

Institutions that have invested in ARRISCAN Wet Gates include the British, Polish, Lithuanian, Austrian, Chinese and Brazilian national film archives.

The ‘Film2Film400’ package takes the contents of the 300 package and adds the sophistication and power of RAIN colour correction from Marquise Technologies, a fibre channel network including a total of 24Tbytes RAID storage and full HD monitoring.

The top-of-the-range package, ‘Film2Film450’, includes everything in the 400 package plus DIAMANT from HS-ART, which provides more manual and automatic image restoration tools, and a total of 40Tb RAID storage.

Visit www.cintel.co.uk

ARRI has released a warm air drying system for its ARRISCAN film

The new ARRISCAN drying system can be retrofitted to existing Wet Gates and will go out as standard with new deliveries.

Visit www.arri.com

SPACE by GBLabs.

The Ultimate Scalable Central Storage Solution.

SPACE is a high performance central storage system optimised for digital content creation in any mix of Mac, Windows or Linux clients.

SPACE is safe, fast, cost effective and easy to install with existing cabling and client adaptor cards.

Features • Raw Disk Performance 1,550MB/sec (3,000MB/sec with SSD) • Supports 44 streams of DV, HDV, or DVCPro50 (900 streams with SSD) • Supports 17 streams of uncompressed SD, DNxHD 220/220x, ProRes 422(HQ) or DVCPro HD (146 streams with SSD) • Sixteen Hot Swap high performance 3.5” enterprise class HDD or SSD • Available in 16TB, 32TB, 48TB and scalable to petabytes • Dynamically expand capacity or double performance with SPACE EX • Replicate, backup and disaster recover with SPACE Echo • RAID 6 operation for ultimate data protection • Default 4 x 1G Ethernet (GbE) ports and optional 10GbE

post production

Avid Introduces Media Composer 6 New 64-bit Media Composer, Symphony and NewsCutter offer workflow speed, flexibility and time savings for Mac OS and Windows Avid has announced new versions of its flagship video editing systems— Media Composer version 6, NewsCutter v ersion 10 and Symphony v ersion 6.

According to Avid, Media Composer version 6, Symphony version 6 and NewsCutter version 10 have been rebuilt from the core on an entirely new open, 64-bit architecture that raises the bar for performance, flexibility and productivity.

With this version, Avid is also introducing a new User Interface—designed to speed workflows while simultaneously preserving the same functionality that so many professionals have built their careers on. In addition, these systems include support for third-party hardware, AVCHD and Red Epic support with Avid Media Access (AMA), an Avid DNxHD 4 44 codec, and support for Avid Artist Color.

Together with existing Avid features such as AMA, for direct access to filebased media; Avid PhraseFind, powered by Nexidia, and Avid ScriptSync , for phonetic searching and editing; and real-time Mix and Match, allowing multiple formats in the same timeline — Media Composer, NewsCutter and Symphony systems are designed to meet the creative and technical demands of the broadest array of editing workflows.

Users can leverage existing hardware investments and easily add Avid editing systems into current workflow configurations thanks to the new Avid Open I/O, which enables support for popular video and audio cards from AJA Video Systems, Blackmagic Design, Bluefish444, Matrox and MOTU. Users can also incorporate Avid’s high-performance hardware video accelerator, Avid Nitris DX into film or TV workflows through its availability as a standalone hardware purchase. Nitris DX is available with one or two Avid DNxHD or AVC-Intra chips and supports full resolution and full frame stereoscopic workflows.

post production

With Symphony software, users are given greater flexibility and choice for on-set and mobile editorial and colour work, or meet increased facility

50

capacity—now available as a software-only solution.

On the audio side, there is increased flexibility for editorial and finishing with enhanced P ro Tools i ntegration and 5.1/7.1 surround and extensive metadata management, which allows the transfer of more session data from Media Composer to Pro Tools. Additional metadata is available in the AAF interchange format. Extensive 5.1/7.1 surround support is also fully compatible with Pro Tools through improved AAF capabilities.

3D stereoscopic workflows offer full resolution, real-time editing, mixed eye workflows as well as a deep toolset, with title and conversion control. Editors can also easily export metadata into Avid or other third-party finishing systems for grading and high-end effects.

Users can preserve full colour information from HD RGB 4:4:4 sources without compromising system performance or storage through the new Avid DNxHD 444, a high-quality HD codec.

Avid DNxHD 444 can also help significantly enhance real-time HD production productivity with high colour detail, and is also a suitable as an archiving format.

New Editorial Capabilities Avid has given users greater flexibility in high performance colour correction with support for the Avid Artist Color control surface within Avid editing systems.

Time to editing is sped up by eliminating time-consuming transcode, rewrap, and log and transfer processes through expanded AMA, which now offers native support for AVCHD and RED Epic as well as the ability to encode Apple ProRes (Mac OS-based systems only).

The new Avid Marketplace offers in-system access to stock footage from Thought Equity Motion and also enables customers to browse available video and audio plugins along with other products in the Avid Store to complete a suite.

A new Customer Assist Tool, offers direct, in-app access to guides, help, and configuration information.

Up to 2.5 times faster encoding is available with Sorenson Squeeze v6.0.4, included with Media Composer, NewsCutter, and Symphony software.

Visit www.avid.com/mc

Boris Continuum Complete 8 AVX

Digital Film Tools’ Plug-ins for Avid

Boris FX has announced that Boris Continuum Complete 8 AVX (BCC 8 AVX) is now available. BCC 8 AVX delivers 200+ comprehensive VFX and compositing filters to Avid Media Composer, NewsCutter, and Symphony.

Flicker Remover and Videoscope tools, integrated Beat Reactor technology for audio-driven effect animation, a new Film Glow filter, and support for 64-bit operating systems headline the Version 8 release. BCC AVX gives Avid editors access to a comprehensive VFX and compositing plug-in suite of 200+ filters, including 3D Objects such as Extruded Text, 3D particle effects, image restoration tools, lens flares and lights, chroma keying and compositing, a full suite of colour correction tools, time-based effects such as Optical Stabilizer, warp and perspective effects, and blurs, glows, and cinematic effects. All BCC AVX filters take advantage of either multiprocessing or OpenGL hardware acceleration. Over 1000 professionallydesigned presets are included free with every installation of BCC. Customers can save and freely share their own presets and build customised preset collections tuned to the specific needs of a project.

Digital Film Tools has announced that its Avid plug-in product offerings - Composite Suite Pro, PhotoCopy, Rays and zMatte - are now 64-bit and compatible with Media Composer and Symphony version 6.0 as well as NewsCutter version 10.0. Composite Suite Pro provides tools to combine multiple images, as well as colour correction, blur, grain, matte manipulation, lens distortion, lighting effects and edge blending. DFT PhotoCopy, meanwhile, allows users to copy the brightness, colour, tone, detail, grain and texture from one image and apply them to another, or, pick a preset look from movies, paintings, or photographs. DFT Rays creates light ray effects quickly and easily such as shafts of light streaming through clouds, rays filtering through a forest canopy, beams of light on a foggy night or rays shooting out from text. Finally, DFT zMatte provides intelligent blue and green screen keying that is easy to use, yet provides the tools needed when presented with a challenging shot - including DV and HD de-artifacting, colour suppression, matte manipulation, colour correction, edge treatment and light wrapping.

Visit www.borisfx.com

Visit www.digitalfilmtools.com

post production

Party Support For AMC 6 Blackmagic Design Desktop Video 9.0 Blackmagic Design has announced Desktop Video 9.0, a major new software update with advanced capture and playback for the Avid Media Composer (AMC) 6 family of software including Avid Symphony and Avid NewsCutter, for both Windows 7 and Mac OS X. Desktop Video 9.0 is available for download now and free of charge for all Blackmagic Design customers. This update includes support for all current DeckLink, Multibridge, Intensity and UltraStudio models.

Bluefish To Offer Free Plugins Bluefish444, manufacturer of uncompressed 4K/2K/HD/SD SDI

The combination of Blackmagic Design hardware and the flexibility of AMC lets users work with virtually any media format including Uncompressed 10 bit YUV and RGB, Avid DNxHD, Panasonic DVCPRO HD, Sony XDCAM and more.

Blackmagic Design’s UltraStudio 3D and DeckLink HD Extreme 3D take full advantage of new advanced 3D editing support in Media Composer 6, saving time and creating a much more fluid editing experience for 3D projects.

Desktop Video 9.0 Key Features  Certified by Avid for AMC 6, Avid Symphony, Avid NewsCutter.  Uncompressed and DNxHD capture and playback in AMC 6.  RealTime effects in AMC 6.  Advanced dual stream 3D workflow capturing left and right eye to separate files in AMC 6.

video cards, has announced future support for AMC 6, Symphony 6 and NewsCutter 10 through its high-quality SDI I/O, available on Windows and Mac. Bluefish444 has worked closely with Avid engineering and product management throughout 2011 to tightly integrate AMC 6, Symphony 6 and NewsCutter 10 with the entire range of Epoch and Create video cards.

As a result, Bluefish444 customers can now use Avid’s unique time-saving tools and advanced workflows, including seamless integration of the Avid DNxHD codec. Support for Avid software, together with Bluefish444 bundled Symmetry and Fluid software, provides a flexible post production workflow solution from Bluefish444 at an ultra high quality 12 bit processing of SDI I/O. A ll Bluefish444 customers with an Epoch or Create video card will be able to access the Avid plug-ins free of charge from the Bluefish444 homepage Visit www.bluefish444.com

Visit www.blackmagic-design.com

AJA Backs AMC 6

Mojito with that Media Composer?

Matrox Video Products Group announced support for AMC

AJA Video Systems announced support for the latest releases of AMC 6.0, NewsCutter 10.0 and Symphony6.0 with all of AJAs newest desktop solutions and mobile I/O devices.

version 6 with the entire range of Matrox MXO2 I/O devices and the new Matrox Mojito MAX card. Not only do Matrox I/O products provide broadcast-quality input and output, they also let users deliver H.264 files for the web, mobile devices, and Blu-ray up to five times faster than software alone, without sacrificing quality. Other features include 10-bit hardware scaling, HD monitoring with the Matrox HDMI Calibration Utility, and 5.1 and 7.1 surround sound monitoring using professional connections.

The current family of KONA cards, KONA 3G, KONA 3, KONA LHi and KONA LHe Plus, will all support AMC 6.0, NewsCutter 10.0 and Symphony 6.0 with the addition of Avid Open I/O enabling support for third-party audio and video interfaces. AJA’s Io Express portable video I/O device already supports AMC and NewsCutter, offering HD/SD capture, monitoring and output; AJAs recently announced Io XT will offer a similar feature set for Thunderbolt-enabled workflows.

Matrox has also announced the Matrox Mojito MAX, an SDI/HDMI/analog HD/SD video and professional audio I/O card that includes an onboard Matrox MAX H.264 encoding accelerator.

With KONA 3G, Avid editors can have access to cost-effective, high quality video I/O.

Matrox Mojito MAX provides broadcast-quality input and output for leading editing apps including Adobe Creative Suite 5.5 Production Premium, Apple Final Cut Studio and Final Cut Pro X, as well as the new AMC 6. It also lets users deliver H.264 files for the web, mobile devices, and Blu-ray up to five times faster than software alone without sacrificing quality. Other features packed into this ¾-length PCIe card include 10-bit hardware scaling and inexpensive HD monitoring with the unique Matrox HDMI Calibration Utility.

Visit www.matrox.com/video

In addition to the AJA KONA and Io family of products, the company is also working jointly with Avid to build support for the Avid DNxHD video codec into Ki Pro Mini, enabling further production efficiencies to AMC. AJAs Ki Pro Mini is a portable video recorder, facilitating direct camera-to-edit workflows that enable the digital acquisition of the highest quality and most-popular post-friendly codecs.

Support for AMC, NewsCutter and Symphony will be available via AJAs KONA family of products and Io Express and Io XT with AJAs Version 10 software release, available as a free firmware download.

Visit www.aja.com

post production

For the first time, Avid customers can use Blackmagic Design’s latest Thunderbolt, USB 3.0 and PCI Express video capture and playback devices.

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newS operations www.content-technology.com/newsoperations

Robotic Heads in Parliament

Seven News Chooses Sony XDCAM HD sony australia has completed the roll out of a multi-million dollar deal with the Seven Network for the supply of Sony XDCAM cameras for the network’s electronic news gathering (ENG) operations across Australia.

The Seven partnership with Sony is part of a replacement program that encompasses all ENG cameras for the network.

The deal includes a total of 60+ PDW-700 XDCAM HD422 disc camcorders, two PMW-500 XDCAM HD422 memory camcorders for the network’s Los Angeles bureau, and a large quantity of supporting PDW-F1600 decks, PDW-U1 drives and PDW-HR1 field stations.

The new XDCAM camera systems will allow speedy transfer of footage from remote news locations back to the station – enabling high quality news coverage to get to air in less time.

magna systems and Engineering has supplied and installed the Australian Parliament’s Department of Parliamentary Services with seven independent multi-camera robotic camera control systems (six fixed and one portable) consisting of 42 camera robotic heads to accommodate the Parliament’s new Camera Robotic Control Solution and supporting production equipment. The Department of Parliamentary Services (DPS) is the service department for Australia’s national Parliament.

Designed with Cambotics and supplied by Magna Systems the Camera Robotics Solution provides advanced robotic camera management to single and multiple operators tasked with the complete vision direction, production and technical direction process for an event within each of the Parliament chambers. It also supports the control of any group of up to eight robotic camera heads and integrates and controls new Sony HD cameras and Fujinon lenses via new Sony CNUs.” The Magna System solution is based around Cambotics robotics heads and control system, a company devoted exclusively to manufacturing automated heads and pedestals for television broadcast stations.

Magna Systems and Engineering Product Manager David Clemesha said, “Our solution includes the Cambotics Series 600 robotic heads and the custom writing of software to interface to microphone triggers, Video Character Generators and Camera Control Units (CCU). The software works on triggers so when a Member of Parliament speaks, the mic sends a cue to the robotic system which, in turn, identifies the member’s position and instructs the robotic heads to pan, tilt and zoom towards the speaker. The graphic system is also triggered pushing the relevant graphics to air. It really is a very efficient system.”

“In an extremely competitive news environment, TV crews on the ground need to get video feeds of high quality back to their stations almost immediately for transmission to viewers,” said John Albiston, Technical Services Manager, Melbourne, Seven Network (Operations) Limited.

“Flexibility of the XDCAM professional disc was a primary consideration regarding workflow and integration into our existing plant.

“The ability of the Sony system, in conjunction with third parties, to automatically extract rushes and FTP them back to base was considered key in this fast-paced news environment.”

Rushes are imported to Final Cut Pro in the field and FTP’d to the local station via 3G. In addition, 2.5GHz analogue and digital links are also used for real-time contribution.

Discs transported back to base undergo baseband ingest to Quantel server platforms. This will migrate to file-based ingest once the Quantel systems are upgraded.

Albiston said the ease-of-use, robustness and operational flexibility were all primary considerations in investing into the Sony XDCAM cameras and associated systems.

Garry Rhodin, General Manager, Business Solutions Division, Sony Australia and New Zealand, said, “This partnership represents a significant milestone in the changing face of newsgathering and broadcasting in Australia.

“We see Seven as a pioneering network, constantly at the forefront using technologies to deliver a superior service to its audiences.

“With this deal, Sony will hold around 80 percent of the market share for ENG with all cities and virtually all regional commercial networks in Australia now using XDCAM for their newsgathering.”

The new Sony camera systems have been rolled out to Melbourne, Adelaide, Perth and Brisbane newsrooms.

Cambotics Product Specialist Miles Spellman demonstrated the robotic heads, control systems and joysticks to key APH and DPS staff.

Both Sydney and the Seven Queensland regional markets already use XDCAM.

Visit http://www.magnasys.tv

Visit http://pro.sony.com.au

newS operations

SBS Picks Ross OverDrive Automated Production Control

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australia’s special broadcasting Service (SBS) has selected

ensure uninterrupted operation.

Ross OverDrive to automate production of SBS’s national newscasts. Ross local business partner Techtel will design, supply and install a complete production system including Ross OverDrive, Vision Production Switcher and other 3rd party equipment.

“We are excited to work closely with SBS to provide enhancements that

OverDrive will include new enhancements specially developed for SBS that provides a high level of dynamic system redundancy with mirrored systems, parallel signal paths and virtually instantaneous changeover to

will benefit SBS as well as many of our other OverDrive clients,” said David Ross, CEO of Ross Video. “Since acquiring Codan Broadcast last year, and adding R&D, manufacturing, sales and support in Australia it is gratifying to see a continued increase in our business down under.”

Visit http://www.rossvideo.com

Come and see us @ SMPTE 2011, Stand H13.

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SEND IT … to the web Viewcast Niagara, the next generation in Multi-Format Web streaming. … to your network Kyrion CM4101 / DR8400, the first commercially available 4:2:2 / 10 Bit H.264 Contribution Pair.

Includes MPEG2 HD & SD. Migrate to MPEG4 while maintaining compatibility with all your MPEG2 Equipment. … to everyone SMD 989 DVB-S/S2 Satellite Modulator. Supports Multistream with Variable Coding and Modulation (VCM).

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news operations

Freelancers Recognised

by Rory Peck Awards The Rory Peck Trust recently celebrated an outstanding year for freelance talent at the 2011 Rory Peck Awards at London’s BFI Southbank.

In a packed out house, a highly moving ceremony celebrated compelling work of the highest quality from Belarus, China, Egypt, Kenya, Libya and Zimbabwe, demonstrating an extraordinary contribution to this year’s newgathering.

The Rory Peck Award for News was won by Ahmed Bahaddou for Rebels in Western Libya. Commissioned and broadcast by Associated Press, Ahmed’s entry s hows dramatic footage of Libyan rebels defeating forces loyal to Gadhafi to retake the strategically important village of Al Majabira.

Bahaddou had been covering the story of Libyan refugees crossing into Tunisia when he decided to see for himself what was happening in the western mountain region.

The judges praised “the extraordinary enterprise of this cameraman who essentially hitch-hiked his way with the rebels into the frontline.”

One said the footage was “everything you would want and more. It is incredibly composed shooting. The audio is particularly strong. You can almost feel the bullets whistling past you.”

Meanwhile, the Rory Peck Award for Features was awarded to Abdallah Omeish for Libya: Through the Fire. Omeish travelled to Benghazi in February 2011. The city had declared itself liberated but was still suffering from snipers and bombardments from Gadaffi’s regime.

Abdallah filmed chaotic scenes and terrible injuries in local hospitals, the outrage of local people under attack by the Gadaffi regime, and the fear on the faces of captured mercenaries. But the centre-piece of the film is the story of Mohammed Nabbous - the first person to broadcast from within Libya and report on events in English and Arabic. Abdallah follows Mohammed’s story from his first attempts to set up an independent satellite TV station to his eventual death when he is shot and killed while out filming.

Jezza Neumann picked up the Sony Professional Impact Award for Zimbabwe’s Forgotten Children. The film shows the harsh reality of life for three children - Grace, Esther and Obert - struggling to survive in Robert Mugabe’s Zimbabwe.

We see Grace searching in rubbish dumps to find bones to sell; Esther who must care for her baby sister and her mother who is dying of AIDS; and Obert who pans for gold to make money to feed himself and his grandmother knowing he can never earn enough for the education he craves. Although the film was shot mainly undercover, Jezza and his team were questioned by security forces twelve times during the shoot.

Viewer response to the film led to enough funds being raised to secure the future of the three children and to a campaign for more widely-available primary education in Zimbabwe.

Finally, the Martin Adler Prize was presented to Libya fixers Osama Alfitory and Sulman Ali Zway. A non-competitive honour, given at the discretion of the Rory Peck Trust, the Martin Adler Prize recognises the dedication and bravery of local freelancers who have played a significant role in the reporting of a major news story.

Known by international journalists as the “A Team”, Suliman Ali Zway and Osama Alfitory, found themselves in every corner of the country during Libya’s revolution, helping journalists deliver accurate and ground breaking news.

newS operations

B oth had made comfortable livings working in the construction business but in early February, when many young people in eastern Libya were volunteering to help visiting journalists, the two men joined the wave.

Suliman worked briefly with an Italian television crew, and for reporters working for the Washington Post. Osama first worked with a New York Times Magazine reporter.

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Separately, they worked - often voluntarily - with many of the world’s biggest international news organizations, including the BBC, the New York Times, PBS and CBS. Working together they helped to probe allegations of a death squad in Benghazi and reveal the psychological toll of the war, among other stories.

Both are now journalists in their own right and have penned articles on difficult subjects for a new Libyan magazine, ‘The Libyan’.

Visit www.rorypecktrust.org

Portable BGAN Terminal Hughes Network Systems has announced the availability of its new 9202 Class 2 portable Broadband Global Area Network (BGAN) terminal. Fully compatible for operation over Inmarsat’s global BGAN satellite service, the Hughes 9202 is available with built-in, multi-user Wi-Fi access and a full 64 kbps ISDN data channel.

Available with a weather rating of IP55 (enclosure protected against dust and water jets), the 9202 incorporates a built-in RJ11 connection for voice and fax service, and is extended L-band ready.

Users can connect at IP broadband speeds up to 464 kbps, taking advantage of built-in, multi-user Wi-Fi access and automatic context activation (ACA) - including the ability to transmit SMS messages via the integrated user interface (IUI) without requiring a connected laptop, PDA, or other device. Shipping is due to begin in December 2011.

Visit http://BGAN.Hughes.com

AP to Market British Movietone News The Associated Press has been appointed to market the iconic British Movietone News archive in Europe, North America and the Middle East. This signature deal with Newsreel Archive Pty Ltd brings to AP a vast quantity of British and international news stories covering the period 1895 to 1986 and elevates AP Archive to being the definitive source of news and historical archive footage. British Movietone has been in the same private ownership since 1929 but the collection was recently purchased by Newsreel Archive Pty Ltd to be managed by Absolutely Wild Visuals, Australia.

The British Movietone Newsreel archive presents some of the most memorable images of the 20th Century in a fully digitised library of more than 2000 hours and 48,000 international newsreel clips from 1895 – 1986 categorised and fully searchable in the genres of significant historical events, war, political figures, royalty, celebrities, sport, transport, places, culture and lifestyle.

Visit www.aparchive.com

RRsat Boosts Transmission for SNG RRsat Global Communications Network, a provider of content management and global distribution services to the broadcasting industries, and NovelSat, developer of 3G-Sat modulation technology, NS3, have announced that recent live testing of its NS3 modulation solution resulted in a 26% data rate increase over DVB-S2.

NS3 achieved a rate of 8.25 Mbps compared to DVB-S2’s rate of only 6.54 Mbps, over a 3MB carrier. With an expected impact on small data terminals and Satellite Newsgathering (SNG) services, the capacity boost can be translated into usage of a much smaller antenna, namely around a 35% smaller antenna diameter, for similar data rates.

Visit www.rrsat.com and www.novelsat.com

SNG Antenna Control The new Hiltron HSACU SNG controller provides fully-automated satellite auto-acquisition. Full control of the Hiltron HSACU can be performed locally or from a remote IP browser. Local control is achieved via front-panel pushbuttons and a colour touch-panel graphic display.

Fully automated acquisition of accessible satellites can be achieved within less than 2 minutes. An internal DVB-S/S2 tuner is provided for satellite verification. Heading determination is via GPS and/or a fluxgate compass. The HACU-DSNG includes dual-axis compensation of truck inclination. It is compatible with resolvers, potentiometers. inclinometers and direct-current drive-motors.

Visit www.hiltron.de

news operations

G.D.B. International

Avid Announces Enhancements for NewsVision and ISIS Avid NewsVision lets customers quickly create and deliver highimpact news, and promotional and long-form content.

The NewsVision turnkey solution is easy to implement for local and regional HD news production, and features broadcast-proven products including Avid AirSpeed Multi Stream video server, ISIS 5000 shared storage system, and a choice of NewsCutter or Media Composer editing tools.

Meanwhile, ISIS 7000 2.4 is a solution for reliable, high-performance real-time shared storage. The latest release expands total storage capacity by more than 60% by increasing the supported ISIS Engine count from 12 to 20.

The latest release of the NewsVision solution doubles storage capacity to 32TB, which allows for up to 875 hours of storage (50 Mbps media).  Video Server: Provides an additional AirSpeed Multi Stream video server for redundant playout or for customers who require more than four I/O channels.  Playout Automation: Offers iNEWS Command for automated news, video, and graphics playout and NRCS integration.  Newsroom Computer System: Delivers iNEWS NRCS capabilities with 20 iNEWS journalist clients.  Asset Management: Provides Interplay Production asset management, including 10 Interplay Access or Interplay Assist seats.

Meanwhile, ISIS 7000 v2.4 provides more than 60% capacity and supports the Avid Interplay Production and Media Asset Management systems as well as Avid Media Composer and NewsCutter Nitris DX products.

It also supports Pro Tools, AirSpeed, AirSpeed Multi Stream, and Apple Final Cut Pro. Features include:  An increase in supported ISIS Engines from 12 to 20 delivers up to 640TB raw capacity and 320TB ISIS Mirror-protected high performance storage for a 24×7 operation.  Aggregate system throughput increases to 8 GB per second.  Gold Disk Certification.  Qualifies Final Cut Pro 7 clients for integrated, open workflow Visit www.avid.com/newsvision and www.avid.com/US/products/ISIS7000.

Concert for Newsroom from Clear-Com Clear-Com’s ‘Concert for Newsroom’ is specifically designed for integration with newsroom applications such as Associated Press’ ENPS (Essential News Production System) to allow AP’s newsroom members using ENPS news applications to communicate with other newsroom members who also have access to Concert for Newsroom.

Ideal for SNG applications, Concert for Newsroom will assist busy reporters chasing stories in the field to get in touch with their editors, producers and other production team members with the click of a mouse.

To start a chat with Concert, ENPS users need only scroll through their contacts and click the appropriate name or icon to initiate a call and/or chat, simultaneously.

In cases where multiple members need to have a conference about a story, the user can drag-and-drop multiple contacts into a conference, or members can double-click on a session link and join the call – all while working within ENPS stories.

Concert for Newsroom interfaces with external audio systems, including partyline systems, paging systems, program feeds and other matrix systems using a four-wire interface over a standard IP network.

It is compatible with Windows 7 and XP. Visit www.clearcom.com

For your nearest dealer or to arrange a demonstration:

storage + asset management www.content-technology.com/mediamanagement

Foxtel Implements Dubsat Syndicate for TVC Workflow Dubsat has announced that it has fully implemented Dubsat Syndicate, its new broadcast media management software application, into Foxtel’s day-to-day TVC workflow. Dubsat Syndicate enables Foxtel to streamline its traditional, complex workflow requirements with media agencies MCN and Ignite Media Brands and take advantage of their modern broadcast environment.

Dubsat Syndicate is a new, fully integrated, cloud-based service, which automates and streamlines advertiser, media agency and broadcaster workflows, approvals and delivery of TVCs. This removes the need for any manual intervention or re-keying of data and improves business-to-business communication.

Grant Schuetrumpf, Dubsat CEO, said, “Foxtel came to us with the challenge of developing and implementing an accessible way to handle TVC file transfers that would simultaneously involve their media agencies and broadcast channels. We met that challenge with Dubsat Syndicate, a new cloud-based service that encompasses airtime management confirmations with file-based material delivery through syndication. Essentially, this allows TVCs to be spilt and made accessible to their respective media agencies and broadcast channels much earlier in the delivery process leading to better management and TVC fulfillment.”

Dubsat Syndicate was developed in close collaboration with Foxtel, MCN and Ignite Media Brands, who each contributed hands-on situations and

experiences to ensure Dubsat Syndicate met each of the businesses requirements in the TVC booking confirmation and delivery workflow.

Dubsat Syndicate also offers high quality transcoding in any format tailored to the specifications of broadcasters and ‘push and pull’ delivery models which cater for the specific requirements of a diverse range of media receive sites.

Visit www.dubsat.com.au

It’s All About the Metadata

By Karl Soule, BDM, Professional Video APC, Adobe We have seen an exponential growth in the amount of video

storage + asset management

being consumed and produced globally. According to the global Cisco Visual Networking Index Forecast (2010-2015), by 2015, 15 billion minutes (27,716 years) of video content will traverse the Internet every month. Internet video traffic will be 81%t of all consumer Internet traffic in 2015, up from 50% in 2010.YouTube now estimates that 48 hours of video content are uploaded to their site every minute of every day, and that number will only increase in the next few years. There are over three BILLION views on YouTube a day. That’s a staggering statistic, and obviously YouTube is but one source of video content on the web.

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However, finding the relevant content online is still, for the most part, a guessing game. While most forms of web content have embraced searchability, one of the last bastions of “asset-opaqueness” is the world of video. Typically, online search is limited to keywords that are entered in manually during the uploading process. An even worse search experience happens with our own videos. Finding something in a library of unedited video assets requires a lot of manual searching, fast-forwarding through clip after clip. Digital Photography was revolutionised by tools that enable cataloguing and searching the metadata imbedded by the camera, and by easy-to-use ingest tools that enable the photographer to add rich descriptions of their pictures as they bring them into the computer. Why has video lagged behind in this world of rich media assets?

The first issue is time and effort in adding the metadata. The best type of metadata is the type that exists in the asset without a lot of extra work – automatic metadata created by the camera, for example. Too often, in the fast-paced world of video production, no one has the time to manually enter in metadata, and there’s a perception from most editors that it’s easier to jump in and start cutting rather than take the time to tag all the raw assets for easy searchability. However, this gut instinct goes against what most

studies have shown - metadata is the most valuable the sooner it is brought into the pipeline. The most expensive metadata is the metadata that is entered manually into finished assets. Metadata enhances every step in the video workflow – from searching raw assets, through editorial and finishing, and into final deliverable assets, for traditional broadcasting, mobile devices, and the web.

The second issue has to do with workflows. It’s very important for all applications to have at least a basic understanding of metadata preservation. In the video production process, a clip may go through several lifetimes – first in the original format shot on camera, then in an intermediate format that an editing application prefers to use, then finally, a finished deliverable asset. If video applications are not metadata friendly, it’s too easy for descriptive data to get stripped out, and require manual reentry. If, at any point in the workflow the metadata is lost, then that’s a major loss of time, and it should be treated with the same importance as a loss in audio or video quality. Until all applications respect metadata, and provide tools for preserving and enhancing it, we will be left with manual search.

It’s more important than ever for video professionals to familiarise themselves with new industry developments and features, especially new frontiers like open standards for metadata in the video space (such as XMP).

Video editing software that supports this trend, incorporating export/output functionality which enables users to select and choose which metadata ends up in the finished asset, is key to managing metadata requirements.

At Adobe, we are working actively with search companies, like Google, to ensure their engines can actively read the metadata in web video files. By taking a leadership role in the area of video metadata, and by providing an open standard that others can adopt and modify to their needs, we hope to see the days of “video opaqueness” as a thing of the past.

Visit www.adobe.com.au

storage + asset management

Affordable MAM Solutions Masstech’s Emerald version 7.5LE for broadcast, news, sports, post production and digital archiving workflows digitally preserves footage using file based archiving where scaling is not required. Integrating into Newsroom Computer Systems (NRCS) like AP-ENPS and Avid’s iNEWS via Media Object Server (MOS) protocol, Emerald enables newsroom staff to research archived content, search slugs linked to video archives, browse archived content, and quickly make shot selections without moving from their desk.

Meanwhile, TOPAZ+XT (TOPAZ plus Extended Tools) utilises Masstech’s HQS (high quality speed) technology and DRAC (distributed redundant adaptive cluster), together with extended tools for operational flexibility to manage content across multiple production and business systems.

Emerald and TOPAZ+XT are open platform systems with over 150 standard interfaces including connectivity to Avid, Apple Final Cut Pro, Adobe Premier, video servers, automation and more. Masstech’s FEE-Free limitless online spinning disk and data tape storage expansion license further reduces the cost of ownership and a media framework with over 150 interfaces is built into the products as standard. Ingest directly with XT from memory devices or baseband video powered by Masstech’s CUB-2000 board for highquality ingest that solves interoperability issues. TOPAZ+XT is a Workflow Manager that automates content flow throughout a facility. Users can design sophisticated data paths which include automatic material movement, HQS transcoding, transrating, deletion, preparation, metadata sharing and updating of third party systems. Visit http://masstech.com

Asset Management for VFX Eyeon Software recently announced that Generation AM, Eyeon’s new asset management front end for visual effects, was added to its lineup of technologically-advanced software. With tight deadlines, revision management, and team-based requirements, Generation AM excels at providing a flexible desktop for studios to manage many projects, shots, versions, and elements. Customisable, scriptable, and designed for teams, Generation AM is simple to integrate and to manage existing production environments.

Generation AM provides a project shot tracking and review system that interfaces directly with leading asset management and production workflows, such as Tactic and Shotgun, via Python scripting, which can be tailored to every studio’s pipeline.

The native, fully cross-platform redevelopment of Generation now provides a full 64-bit application. Generation AM is an optimised interface, rather than a web browser, capable of playback and review of 2k, 4k, and stereo sequences, with 3D LUT calibration. Generation AM also provides a direct workflow for RED, including RED EPIC, and OpenEXR images. Offering a product agnostic workflow, Generation AM works seamlessly with 3D, finishing, and compositing applications.

Generation AM boasts a new collaboration workflow interface which allows the artist to quickly set shot status, assign, check, and track changes.

Visit www.eyeonline.com

Dialogue Search for Final Cut Pro of audio analysis and dialogue search technology for the media and entertainment industries, to launch Boris Soundbite, a tool to locate footage by finding any word or phrase spoken in multimedia files.

Nexidia’s dialogue search technology quickly and accurately finds any word or phrase spoken in recorded media. With Boris Soundbite, video editors, producers, and journalists will be able to instantly play all occurrences of a spoken phrase in their media, then insert the take into their Final Cut Pro project, organise clips around keywords, and even find replacement words for problematic audio.

SAN Storage for Editors Developed by Accusys, ExaSAN is a complete SAN solution designed for collaborative workgroup applications, including but not limited to Editing and other Post Production finishing tasks.

ExaSAN is built for high performance, cost-effective deployment of storage. Using PCI Express (PCIe) technology, ExaSAN puts the benefits of shared, scalable, and high-performance storage within easy reach of post production shops’ conscious budgets. ExaSAN Compact solution is designed for small size post production workgroups which include four to eight members to share storage and collaboration, which can improve workflow and save both time and money. ExaSAN PCIe2.0 DAS solution hires (adapts) the latest PCIe2.0 technology to optimize the performance. Each RAID system can offer 20Gb bandwidth to support high-end post production tasks.

ExaSAN provides the following features: Flexible Deployment Options ; High Performance with Throughput Optimization and Protection; Centralized Monitoring and Administration; Shared Access for Systems and Storage; and Scalable Capacity and Performance.

Visit www.accusys.com.tw

Key features of Boris Soundbite include: Combine multiple phrases and standard Final Cut Pro metadata terms to search hundreds of hours of media in just seconds; Preview results in the Soundbite player; and One click places selected clips into a Final Cut Pro project, including markers for each dialogue match and in/out points.

Boris Soundbite incorporates several features previously unavailable to Final Cut Pro users, such as: Soundbite supports Mac OS X 10.5.8 or later; Soundbite can access content stored on network drives that are mounted to the machine; and to further increase accuracy, users can select which audio channels to search. Visit www.borisfx.com and www.nexidia.com

Object Matrix Nearline Archiving Object Matrix has launched MatrixStore nodes, including the the 2 terabyte Mini node, used for on set data wrangling, and the 48 terabyte node that uses the latest 3 terabyte drives. MatrixStore is a turnkey clustered storage appliance that acts as a pre-production or nearline archive enabling content producers or owners to keep their data online and available for use 24/7 whilst avoiding filling up more expensive editing storage platforms.

One of the benefits of MatrixStore is that new nodes can be added to an existing MatrixStore cluster.

Object Matrix recently announced InterConnect, its new archive plug-in for Avid Interplay. InterConnect allows content to move seamlessly, to and from Avid storage whilst keeping the Interplay Asset Management engine up to date. All this is achieved without the need for the Avid Archive Server.

MatrixStore features include: Guaranteed ingest with metadata protection and search; Secure Ingest Vaults; Production/Project parking to a Nearline Vault in Avid, Adobe and Final Cut Workflows (one click operation); Archiving Legacy assets to a local, online library vault using DropSpot, InterPlay, Cantemo Portal, Vidispine, Phoenix7 and CatDV; and MatrixStore scales from 12TB to 2PB+ with an elegant plug and scale architecture.

Visit www.object-matrix.com

storage + asset management

Boris FX recently has announced it will partner with Nexidia, a provider

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storage + asset management

Solid State Storage for Video GB Labs has launched Space SSD (solid state drive) networked storage for video editing. Part of GB Labs’ Space family, Space SSD offers broadcasters and post production companies SSD storage that is more than 30 times faster than traditional spinning disk storage.

Space SSD is a shared storage system that allows online editing of 2K and 4K DPX files in a shared environment. A key benefit is speed, delivering over 3000MB/sec which manages the equivalent of 9 streams of 2K DPX, 900 streams of HDV, 146 streams of Pro-Res 4.2.2 or 30 streams of uncompressed HD. In conjunction with Space SSD, GB Labs’ new Space file transfer software allows users to easily and quickly move data to larger, cost-effective storage such as Space 48TB. The key benefit of SSD technology is to provide fast IOPs (Input/Output Operations Per Second) to simultaneously read and write operations without degrading performance.

Visit www.gblabs.co.uk

SGL Integrates with Dalet SGL has announced that its flagship software SGL FlashNet is fully integrated with Dalet’s Enterprise MAM solution. The new integration allows users of Dalet Enterprise MAM to harness the scalability and flexibility of SGL FlashNet directly from within the Media Asset Management interface. Using XML processing, raw or wrapped content can be sent to disk or tape archive by operators, simply by right-clicking or dragging and dropping as Dalet titles.

Once in the archive, content is deleted from local storage using Dalet Enterprise MAM’s media purge rules.

All archived assets are fully searchable using Dalet Enterprise MAM’s search functions, and are easily restored to local storage using the MAM interface.

Partial File Restore (PFR) is performed using the Dalet Media Logger system, where low resolution copies of the content can be viewed, in and out points marked and new smaller clips retrieved from the archive.

For all archive and restore operations, queue priority support enables users to prioritise important operations using fully configurable queue management. The new integration also provides operators with complete error reporting and logging throughout.

Visit www.sglbroadcast.com

Workflow Advancement, Interoperability and Collaboration ScheduALL has announced the development of a suite of tools that answers the media and broadcast industry’s requests for effective system interoperability, collaboration and connected workflows, both within the enterprise and across global supply chains.

ScheduALL Chorus is a flexible solution enabling interoperability with virtually all disparate third-party software systems (including ingest, playout, DAM, content movers, financial tools and HR systems), as well as hardware providers, such as Miranda, Evertz and Net Insight. The Chorus framework provides multiple levels of connectivity, including intelligent agents, APIs and dedicated interfaces.

ScheduALL Weave is a process-based web technology that streamlines and accelerates workflows, collaboration and operational productivity.

ScheduALL Weave enhances the ScheduALL product and technology framework by adding intuitive workflow screens and reusable project- and process-based templates. ScheduALL Weave serves as the main platform for

TerraBlock Shared Storage Solution Facilis Technology, a developer of shared storage solutions for postproduction and content creation, has unveiled version 5.2 of its TerraBlock SAN. The new software release delivers enhanced performance and flexibility through data protection and load balancing, inter-server mirroring, multi-user write spanned volumes and more new features.

storage + asset management

TerraBlock is Facilis? high-capacity, multiplatform, shared storage system supporting 4 & 8 Gb Fibre and 1 & 10 Gb Ethernet through the Facilis Shared File System. Version 5.2 highlights include:

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 FastRAID Inter-server mirroring- Maintain an exact copy of volume data in real time on another enclosure;  FastRAID multi-user write spanned volumes- Load balance and increase performance;  Recovery priority and pause - Assign priority to drive recovery activities or client workload and pause recovery entirely for full bandwidth to client workstations; and  Adobe Premiere project sharing - Open the same project on multiple Adobe Premiere workstations without conflict or overwrite.

Visit www.facilis.com

the ScheduALL Chorus interoperability framework; together, these tools can be integrated with virtually all third-party software systems and hardware, such as routers, to move content, and trigger subsequent workflows.

ScheduALL Hitch is a mobile access platform that gives users 24/7 access to their ScheduALL systems, from any location, directly via smartphones or tablets. ScheduALL Hitch lets users view, reserve and update resources, bookings, schedules and work orders in real time.

AVvA+ is the evolution of ScheduALL’s free cloud-based collaboration platform. This ‘pay as you go’ subscription model builds on AVvA’s core scheduling and resource booking abilities to offer additional tools to help users better manage their businesses. These include three optional modules delivering financial, reporting and collaboration capabilities, including realtime invoicing, project quoting and interoperability with third-party systems.

Visit www.scheduall.com

LTFS Archive Appliances All Cache-A’s LTO-5 based products now include LTFS (Linear Tape File System) capability, including the company’s flagship product, ProCache5, Power-Cache and the desktop Prime-Cache5.

Based on open source software, LTFS enables users to interchange content across different operating systems, software applications and physical locations. It combines the economy, robustness, high density and low power of tape with the functionality and usability of a hard drive to provide an archive solution for professional media and entertainment customers.

LTFS is now completely integrated into the Cache-A archive appliance and customers can select the mature .tar format or the new LTFS format on a tape-by-tape basis. Also, existing Cache-A LTO-5 customers using .tar can download a free software update and start using LTFS without additional cost or needing to transfer existing tapes.

Like Cache-A’s .tar based format, LTFS provides a self-describing file system on an LTO cartridge. This provides application independence, transportability and protection from obsolescence.

Visit www.cache-a.com

MEDIA IN THE CLOUD New Video-8 Cloud Company Scores with Rugby League will purely specialise in and handle only cloud-based Media Asset Management Solutions. The new company is called MV8 and will be based in Artarmon, Sydney.

MV8’s cloud-based MAM offering has Dalet’s Enterprise MAM solution at its core and is across their entire business. MV8 also uses Dalet’s WebSpace to offer their clients real-time, remote access to their media, meta-data and automated workflows.

According to MV8 and Video-8 MD Gareth Collins, “Video-8 will continue offering its traditional telecine, video duplication and conversion, technical QC checks and DVD authoring to the television production industry while MV8’s sole focus will be on cloud-based MAM, our high-end data centre solutions and high-speed network across Australia and beyond.”

one central source of NRL footage which will serve as its main library, in the cloud.

“All in all, the total number of games in 2011 came to 269 - that’s a lot of footage,” he says. “MV8 Media also have archive footage going back to 1920 which we will be digitising and ingesting into our MAM system.

While all the games are not complete and some footage is highlight reels from years gone by, the NRL is progressively investing in digitising over 13,000 hours of footage that is currently on tape and film. All of this will then be instantly accessible to them from the cloud via our MAM service.

The central source of NRL footage being created by MV8 Media will be used to preserve the history of the game and as a production resource for any programmes needing game footage.

The NRL are managing over 13,000 hours of digitised footage - including the last two years of games - in high definition. Each current season includes all premiership rounds, the Toyota Cup series, finals, grand final and State of Origin.

“MV8 Media’s cloud-based MAM system makes it possible for the NRL to allow productions access to the library and to easily search, find and use valuable and significant moments from the rich history of Rugby League,” says Collins. “Also, on the NRL’s behalf, we are looking out for footage that will address any gaps in the archive. This is a groundbreaking and worthwhile service for one of Australia’s leading and truly innovative sporting bodies.”

According to Gareth Collins, MV8 Media is digitising, ingesting and creating

Visit www.video-8.com

The first key announcement from MV8 Media is that Australia’s National Rugby League has signed up to its cloud-based Media Asset Management (MAM) service.

‘Transcoding to Cloud’ Appliance

Cloud Provides Standards-Agnostic Content Sharing

Fujitsu Frontech North America Inc. (FFNA), a provider of IT-based business solutions, and Broadcast International have jointly announced the ‘CodecSys powered by Fujitsu’ video transcoding appliance, as part of the NuVola Private Cloud Platform solution.

edial, the provider of Media Asset Management (MAM), T Hierarchical Storage Management (HSM) and Business Process Management (BPM) software has announced that FORTA (Federation of Spanish Regional Television Channels) has installed Tedial’s Media Amigo cloud-based platform.

The CodecSys powered by Fujitsu appliance combines Broadcast International’s patented multi-codec video transcoding software platform with Fujitsu’s server hardware.

CodecSys powered by Fujitsu encodes and transcodes both live and filebased video streams and assets. It is easily tuned to deliver higher quality at current bandwidth rates or maintain current quality at much lower bandwidth requirements. Its Services-Oriented-Architecture enables modular components to be easily integrated or extended to other applications or processes, while dynamic codec swapping ensures optimal treatment of each video scene or segment.

As well, its workflow orientation integrates seamlessly with video management components across the network and allows users to deliver video streams to multiple devices, with multiple profiles and formats, all from a single ingested video stream.

“CodecSys powered by Fujitsu migrates the process off the back of a local or distributed server network and up to the NuVola Private Cloud Platform layer and allows all aspects of the solution to be purpose built for performance, efficiency and availability,” said Steve Jones, Senior Vice President and General Manager, CodecSys Division, Broadcast International. “Our multimedia and video streaming solution leaps past legacy performance limitations, whether delivering live or file-based media, by continuously matching the right codec with the requirements of each scene.”

Visit http://us.fujitsu.com/NuVola

FORTA is an association of public broadcasting networks covering 12 regions across Spain. Tedial’s Media Amigo allows content to be shared between each broadcaster in the association across all their respective sites. Each site has independent systems that use different technology, vendors, metadata models and file formats that are not mutually compatible.

To enable the sharing of content each broadcaster subscribes to specific content types or relevant media groups. Once video and non-video files become available they are automatically delivered to subscribers in their own working format. Users can also search for media already made available in the system and request copies of it. Again, when the files are received they arrive automatically in the native format of the recipient.

To enable the sharing of media, FORTA acquired a dedicated IP network connection between FORTA Central System in Madrid (1Gbps) and each of the affiliated broadcasters (100Mbps). This provides the means for the automatic delivery of media files using the subscription service.

The Media Amigo platform uses Tedial’s Media Process Manager’s (MPM) media tools to carry out on-the-fly file processing that may be required for the recipient, including codecs, wrappers and aspect ratio. This guarantees media compatibility for every single subscriber.

Visit www.tedial.com

MEDIA IN THE CLOUD

Video-8 Media recently launched a new company which

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MEDIA IN THE CLOUD

Harness the Cloud for Content Storage Management

By Phil Jackson, Front Porch Digital

According to Gartner, demand for cloud technology is on the rise, with cloud-related spending expected to overtake generic IT spending in the next four years. Cloud technology offers remarkable benefits for almost every kind of business, which is why it’s quickly becoming a global IT standard. The main driver behind this change is flexibility. The cloud’s flexibility makes it possible for organizations everywhere to deploy their required IT infrastructure on demand without investing much capital. In other words, the cloud expands and contracts to meet the business needs of the moment, and you only pay for what you need, when you need it.

“Broadcasting in the cloud” can have different meanings depending on the perspective and particular needs of an organization.

To Front Porch Digital and its customers, it means using private, public, or hybrid cloud services for content storage management (CSM). With cloud CSM, an organization can replace much of its in-house, dedicated, capitalintensive equipment with cloud services that perform all the necessary and complex platform integration, metadata management, packaging, scheduling, transcoding, and delivery tasks. And cloud CSM enables delivery to all necessary channels, from traditional broadcast to online.

Content owners who use Front Porch Digital’s DIVASolutions can easily expand their existing on-site capabilities by adding cloud services. They’ll benefit from almost infinite scalability, lower costs, enhanced resilience, and security, while losing none of the trusted video lifecycle-management capabilities they have come to depend upon. In Front Porch Digital’s unique approach, built-in content distribution capability is a standard feature, so distribution is tightly controlled automatically based on predefined and automated policies. The cloud CSM service ensures content gets delivered efficiently – internally or externally – while fulfilling format and transport method requirements.

MEDIA IN THE CLOUD

In the past an asset might go through many reruns based on the popularity of its content, whereas now an organization can realize profit from an asset through multiple channels in many regions constantly and simultaneously.

Cloud-based technologies are going to change the way broadcasters do business and monetize their assets. That’s why we at Front Porch Digital have invested in a range of solutions to migrate, manage, and market content within one seamless workflow. In fact, we are so confident in the cloud’s ability to reshape video lifecycle management and multichannel global delivery that we’ve built our entire corporate strategy around it. Cloud services represent our largest R&D investment in more than a decade.

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The result of this investment is an integrated cloud-based environment for managing assets on a global scale, from any device and any location. Known internally as LYNX, it is the first solution in our industry to embrace the cloud for enterprise-scale CSM. LYNX offers media organizations a next-generation approach to global asset management with an outstanding range of benefits in adaptability, on-demand scalability, capital cost reduction, and simplified maintenance.

LYNX is tightly integrated with Front Porch Digital’s existing DIVArchive technology, and is designed for media organizations that face not only the traditional pressures that come with managing mission-critical assets, but also the many additional challenges of successful operation in today’s industry – namely, constantly changing organizational structures, the need to consolidate operations, and the increasing reliance on outsourcing. LYNX technology

provides a route to sustained profitability in such fluid and competitive operating conditions by offering rapid infrastructure deployment on demand, matching IT investment to revenue opportunities, and making it easier to bring new channels to market at the lowest possible cost in the shortest possible time.

Scalability, security, and efficient use of available bandwidth are the keys to implementing cloud-based solutions for CSM. As part of the LYNX program, Front Porch Digital is developing unique solutions to address each of these concerns.

LYNX will leverage the latest cloud and Web services technologies to provide the foundation for a range of networked and distributed solutions. The first of these solutions is DIVApublish, our online publishing tool. By integrating with partners in adware, syndication, analytics, and content delivery, DIVApublish delivers media in a simple, streamlined way to myriad locations and devices while maximizing market results. DIVApublish is available immediately.

Also under development is a hosted disaster recovery (DR) service for existing DIVArchive customers, a private/hybrid cloud service that allows global media enterprises to centralize critical assets and consolidate operations, and a public cloud service with DIVArchive functionality offered on a SaaS (software as a service) basis. The DR service is scheduled for launch in Q4 2011, with continuing rollout during 2012.

The DR service offers a hosted, secure DIVArchive infrastructure in the cloud, with an integrated, tape library facility. Ingesting and managing data tape content from customers, the service affords an inexpensive off-site backup capability, with the option to update the DR site via automated online replication. New client software will give users a dashboard view of stored assets. Three restore options will allow secure, online, “over the wire,” ondemand restoration (to include transcoding to alternate format inline), offline duplicate tape restoration overnight, or offline overnight duplication of an entire tape library. This hosted tape facility will also be offered as an archive option for cloud-based archive customers so that their assets can be archived to tape, rather than stored indefinitely on the expensive, shared spinning disk of typical cloud platforms.

The cloud represents an opportunity for organizations to manage assets on a global scale while massively improving efficiency and evolving with everchanging business goals. Front Porch Digital puts the power of the cloud in its customers’ hands. Together with the new modular architecture of the DIVArchive platform, LYNX cloud-based CSM environment will give Front Porch Digital customers a vastly more agile way of meeting their enterprise-wide workflow and CSM needs.

Visit www.fpdigital.com

MEDIA IN THE CLOUD

New Challenges of Digital Storage

By Bang Chang, Vice President for Storage, SeaChange Everybody’s gone tapeless. But just when you think that installing disk-based equipment at the core of a media production workflow is the cure-all for operational inefficiencies and the sole torchbearer of high quality content, the era of digital storage has brought about a new set of challenges:  Small metadata files and large media files are not being handled equally well. Some storage systems are designed for small file space efficiency; others for large file real-time performance. The sheer volume and variety of files in today’s media environment require both.  Optimized performance for random access of metadata and for realtime streaming of media files are being offered by individual solutions.

Storage arrays are typically used to provide high IOPS (I/Os per second) for random access, while purpose-built broadcast storage is for high real-time throughput. But not one for both.  A storage solution must be quick to comply with capacity, performance, and budgetary requirements of companies at the moment; at the same time, it must be scalable for future growth.

Digi-savvy broadcasters that implemented tapeless workflows would typically have a storage infrastructure that consists of multiple storage classes, storage tiers, and storage islands, with various systems addressing portions of the workflow. The resulting complex infrastructure defies the very goal of digital organization – centralization. Moreover, capital and operational expenses soar in this type of structure.

A truly tapeless workflow therefore calls for a new generation of storage that is specialized for media applications and is useful to all aspects of the digital workflow – an adaptive media-centric storage. An adaptive mediacentric storage unifies and simplifies the storage infrastructure in a tapeless workflow, cutting down costs and enabling rapid deployment of applications for new revenue streams.

Given the complexities and variety of media assets in a broadcast scenario, the new generation of media-centric storage needs must be able to adapt to different aspects of the tapeless workflow:  File layout policy. An adaptive storage must support both space efficiency for small metadata files and performance optimization for large media files. File layout is not a quick “one size fits all” fix. It must accommodate the oft-conflicting requirements of metadata files and the media files they point to. Via a user-defined policy, the new adaptive storage conforms to a space-efficient layout first and then shifts to a performance-optimized layout when a large media file is detected, while staying transparent to the media application.  Cache policy. An adaptive cache policy should provide both high IOPs for random access and high real-time throughput for sequential access.

Cache refers to the volatile or non-volatile memory that storage vendors use to optimize the performance of their systems. Cache policy optimizes the system for random access or high throughput. Storage system performance is anchored on the cache policy of a storage system. An adaptive storage system is able to detect access patterns and adapts a cache policy based on user-defined policy. The need for different classes for storage for different access patterns is thereby eliminated.  Scalability. In the cutthroat media environment, users must be enabled to scale online storage two ways – vertically (capacity expansion) and horizontally (performance expansion).  Adaptive policies. Administrators require the ability to tune and define policies, to be able to customize these policies according to unique workflow needs and application performance requirements.

SeaChange Universal MediaLibrary Grid is a good example of this new generation of adaptive media-centric storage. The UML Grid supports adaptive file layout policy, adaptive cache policy, and vertical and horizontal scalability that makes it the ideal storage platform for all aspects of today’s tapeless workflow.

Visit www.schange.com

IS YOUR HEAD IN THE CLOUD? As many of you will know Mv8 Media through our sister company Video-8 Media has a long association with the broadcast industry. It’s at the core of what Mv8 Media does now and has been at Video-8 for over 30 years.

In short, Mv8 Media and Video-8 understand the broadcast industry.

Our understanding is due in part to the fact that we are positioned between the people who create the content, broadcast the content and distribute the content.

Put simply, we understand your business.

We also understand that for you to move any part of your business into the cloud it has to make sense – logistically and financially – and that you’ll need someone with experience, understanding and a proven solution who can help you.

That’s where Mv8 Media come in.

Cloud based service delivery Media asset management Broadcast industry services Technical quality assessments

8 med a The clouds are forming, call us today. +61 2 9438 4144 mv8media.com Mv8 Media 21 Dickson Avenue, Artarmon NSW 2064 info@mv8media.com

MEDIA IN THE CLOUD

Introduction to Quantel QTube

By Trevor Francis Global Marketing Manager for Broadcast Systems, Quantel

It’s currently very hard to share professional workflows over the internet. For a sharing process to be truly valuable it must share not only the media, but the metadata and, crucially the ‘recipe’ – how the parts were assembled. If we can share all three, then a user in one place can re-shape or add value to pictures and sound assembled elsewhere, and is not bound by the earlier editing decisions.

Original Clip

Edit Clip

The Quantel File system will create a Globally Unique IDentifier (GUID) to define the original clip and count every frame within it. The boundaries between the scenes might be described as shown in the next picture.

GUID: 001A 456B 789C Original Clip 0

100 101

200 201

300

QTube is designed to provide distributed access to stored content, including growing files. It is scalable to the numbers of users in the largest global organisations and can provide frame-accurate editing of video and audio so that nonlinear workflows are globalised.

If an operator or an automatic system were to log the scene changes, they could be described in the following way:

With QTube:

The metadata in the right hand column can be assigned to ranges of frames in the original clip. This set of descriptive information can be easily wrapped inOriginal an XML schema Clip and passed between automated processes.

 An editor in the HQ studios can build a timeline composed of content stored in any regional office, bureau or even an outside broadcast unit.  A producer in a regional studio can take that timeline and re-purpose it for local consumption, without repeating all the work.  Primary viewing, shot selection and even finished editing of live recordings in an OB van can be completed from HQ, a regional studio, or a hotel room.  An overseas correspondent can complete a news story using local ENG material, archive content from a regional studio and an animated graphic created in the HQ studios – and file the completed timeline ready for broadcast.  A producer can work from home, with no loss of access to media.  People can collaborate, sharing media and creative decisions wherever they are.  Through the API, the processes behind QTube can be automated.

001A 456B 789C {Start 0; End 100}

The Red scene

001A 456B 789C {Start 101; End 200}

The Green scene

001A 456B 789C {Start 201; End 300}

The Blue scene

The same model can be used to express the edit in the same terms:

Edit Clip

001A 456B 789C {Start 101; End 200}

The Green scene

001A 456B 789C {Start 201; End 300}

The Blue scene

Two lines of XML can be used to describe an edit which could consist of terabytes of data. This efficiency is a key ingredient for working over the internet, where unnecessary movements of data have to be minimised.

The diagram shows the Identity layer superimposed over the Virtual File System:

The technology of QTube QTube is a synergy of technologies developed by Quantel and commercial, off the shelf products.

QTube requires at least one version of media to be stored on hardware that can deliver media files at real time or better.

MEDIA IN THE CLOUD

Quantel’s Virtual File System has provided Quantel users with media at broadcast or proxy quality, as required by the task in hand. The user has no need to select the media type, it happens automatically. In the Enterprise sQ solution there are currently two explicit copies of media which are created and stored whenever media is ingested or created.

With QTube, the Virtual File System has the ability to ‘offer’ qualities of content which do not exist, but which can be created on demand.

Virtualisation can be applied to image size, file wrapper (eg MXF, QuickTime) or compression scheme.

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Identity Identity is a powerful concept which underpins all Quantel systems. Identity is a model which can be overlaid on media files to provide a unique and immutable description of every frame of video (and every sample of audio).

Below is a clip of video containing three scenes: red, green and blue.

Below that is an edited version of that clip, containing the green and blue scenes only.

Identity Virtual File System

Quality 1

Quality 2

Quality 3

Quality 4

Quality 5

Working together, the Quantel Identity model and file virtualisation build a solution whereby any clip or any selected frame can be accessed immediately in any quality. This leads perfectly towards the distribution mechanism, which is based on Microsoft Smooth Streaming and IIS. The Identity model is the key to sharing ‘history’ – the editing decisions applied to media. History helps build the key QTube workflows, which allow users to share content and the ability to see and modify earlier editing decisions.

MEDIA IN THE CLOUD Microsoft IIS and Smooth Streaming Quantel have chosen Microsoft IIS 7.5 as shipped with Windows Server 2008 R2 as the web server. The Microsoft Web server offers proven industrial strength security and scalability; half of the top ten busiest web sites in the world are running IIS. Microsoft IIS also offers Smooth Streaming with adaptive bitrate technology for web delivery, so that most modern browsers and Apple mobile devices can work with QTube out of the box.

Smooth Streaming demands a set of qualities of media, which are provided by the Quantel Virtual File system and the file virtualisation technology. So Smooth Streaming is effectively ‘fooled’ into believing all qualities exist for all media on the storage. This flexible and extensible technique eliminates the need for banks of transcoding systems, storage and media management.

The most powerful operational benefit is the support for live recordings or growing files: because the proxies are created on demand, the virtualising technology can draw frames from the storage typically 20 seconds or so after they are laid down.

Security A broadcaster must protect valuable assets in the most robust and secure manner. For QTube, Quantel recommends the provision of a DMZ (Demilitarised Zone) that is built by using one or more firewalls, with a single port configured for access to the QTube webserver installation. This port can be any number – it is not constrained to well-known ports such as 80 or 443.

The IIS Web Server is then configured with server certificates, and exposes HTTP over SSL/TLS (known as HTTPS) on the port designated for QTube support. IIS is configured to disallow HTTP over port 80, and Anonymous authentication is disabled.

There is now a choice: use basic authentication, and test the credentials of the users against the local Windows installation on the web servers themselves or against an Active Directory domain. An alternative is to use Digest Authentication, which requires mapping of users from an Active Directory domain. Either way, full AD with group policy can be used to authenticate users.

On the client side QTube can enforce a mutual authentication scheme where certificates can be issued to each client and users cannot login unless they can also supply a user name and password. In addition two tokens are required by a user to log in - the client certificate and the username password pair. This client login scheme could be tailored to meet the most exacting standards of security, such as using RSA tokens (which change over time).

With this setup, both client and server can trust each other (SSL with certificates at both ends proves identity), all communication is encrypted (all HTTP traffic is carried over SSL – at whatever bit encryption the customer desires), so there can be no chance of man-in-the-middle or replay attacks.

The operator needs to supply user name and password, so that a stolen laptop does not compromise the site security.

QTube Browser – QTube Browser runs in any web browser supporting Silverlight. The application downloads automatically as soon as an authenticated user logs on to a QTube Transformer. The browser consists of four tiles: a database search window, a viewer, a bin creation pane and a bin sharing space. QTube Browser functions include: Viewing – with selection of audio tracks; Annotation of points of interest and general metadata editing; Creating and sharing of bins; Downloading selected content as MXF or WAV files for use in other editing systems. Uploading content, from file-based cameras, is in development

QTube Edit – QTube edit is based on the same user interface style as the server-based editors, sQ View/Cut/Edit. It has the familiar Quantel timeline, supporting frame-accurate video editing and full audio functions, including level controls, equalisation and voice-over. QTube Edit allows local ingest of SD or HD media, which can be mixed on the timeline with remotely stored content. The preservation of the standard Quantel interface and scalable range of interfaces and capabilities is key to preserving the integrity of the Quantel workflow beyond the confines of the studio. This has been achieved by reengineering the server communications back-end to the editor while leaving the UI totally unchanged. Media caching techniques used in the studio-based editors are retained in the remote version. Once content has been viewed it is stored locally on the client PC. This smooths the viewing experience for the user and relieves bandwidth demand on the QTube transformer and the host storage. QTube Edit is, in its initial release, a cuts-only video editor but will acquire the ability to create video effects. The Identity model described above allows the editing software to detect which content is server based and which is either stored on the editor or rendered from existing media. Where effects are created on media held on remote storage, the most efficient process is to create the new, or ‘Delta’ frames close to that storage.

Search Service – indexes storage and provides web services database connection

Frame Magic During the viewing and editing of remote content, no high-resolution media is moved from the servers to the remote clients. The picture below shows the virtualised blue home clips viewed in the QTube Browser or Editor.

When new media is created movement of clips between remote clients and studio-based storage obeys Quantel’s Frame Magic rules. The rules ensure that a single instance of source frames is reused in every child clip and that movements and copying are minimised. Where content is accessed and modified over variable internet connections, any reduction in the movement of full-quality media has huge benefits, particularly in time, but also in the loading of the system components, including the media storage and the QTube Transformers.

In this way all traffic, every picture or sound asset is fully encrypted. Every time the essence is streamed, it is encrypted differently, so that there is no way to cache the essence anywhere on the internet, no internet device even knows it is video!

Outside the DMZ, the only cache for the essence in this scheme is the cache in the client PC – after the encryption has been decoded. The basic RAM cache used

by QTube Edit is flushed as soon as the software is stopped. Further, Windows explicitly forbids access to RAM from alien processes without authorisation.

Auditing is another consideration, and IIS again offers complete control.

Every frame of essence is logged in the IIS audit trail, so who asked for what when is fully answered by the IIS logs and the way Quantel have mapped the essence into files with a strong identity scheme.

QTube is supported by Quantel’s V4 and V5 Enterprise sQ server systems and consists of four Quantel product components:

QTube Transformer – The QTube Transformer is a PC application, which hosts the Virtual File system and provides the virtualisation of stored media for use by Smooth Streaming. Versions of the QTube Transformer and Search Service handle Quantel sQ storage, generic IT, ‘Cloud’ storage and other manufacturers’ proprietary file systems

Expand

Compress

MEDIA IN THE CLOUD

The Quantel QTube Products

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MEDIA IN THE CLOUD RESTful paths

In an ENG operation, selected sequences from locally acquired content may be mixed with server content. On publish, just the red frames are moved, minimising the transfer of what could be 100 Mb/s media. The published edit AAF file (and the manifest) will point to these selected red frames and the blue frames of the server-based footage.

A QTube Transformer has a root directory which is accessed via a path in the form: http://{address}/{domain name}/.

The root directory of the Transformer will automatically open the Authentication dialogue and then, on successful log-in, load the Silverlight QTube Browser.

To assist with the real-time workflows around news production, QTube will offer secondary compression of media before transmission and automatic expansion back to full image size at the receiving station.

The user will select the degree of additional compression based on time available, moderated by the organisation’s quality standards, of course.

Quantel offers automatic calculation of extra compression based on the quality of media to be moved, the available network bandwidth and the time allowed.

Users can resend later with less or no additional compression. Additional compression is never lossless, but the subjective quality is adequate for breaking news, where a perfect piece of video delivered late may be worthless.

The QTube API is not, at the time of writing, generally released but future features and workflows to be offered include.

Stills: The QTube Transformer will retrieve the full-quality video data and will synthesise a still file, on demand

Quality media download: Support the download of full-quality media in a number of forms. The folder has the semantics of a Quantel video port, ie it will automatically translate a mixed format, mixed resolution clip to a single image size and compression

Streaming files: A streams folder provides access to virtual Smooth

QTube Effects Rendering

Streaming and Apple Live Stream files.

Editing beyond basic news stories requires the addition of video effects, including transitions, keys, DVE, colour-correction or graphics. All require the creation of new media, which is not currently stored on any of the attached servers. When working over Internet connections it is necessary to minimise the movement of full-quality media, required to build the new, or ‘Delta’ frames. For this reason, QTube will handle the rendering close to the destination server.

Metadata folder: XML files are synthesised on demand by the QTube Transformer. The metadata can be adapted to any schema to include taxonomy and ‘folksonomy’ (unstructured) metadata tagged to the logical clip interrogated. Another useful call is the ‘Clip Manifest’. This is another set of XML that describes the composition of a logical clip. The XML file is synthesised on demand by the QTube Transformer. In this example the metadata follows the taxonomy of the Quantel sQ system used in the demonstration suite but could be adapted to any schema, to include taxonomy and ‘folksonomy’ (unstructured) metadata tagged to the logical clip interrogated. Another useful call is the ‘Clip Manifest’. This is another set of XML which describes the composition of a logical clip.

QTube API QTube is both a suite of Quantel products and a platform to allow other parties, our customers and industry partners, to build interfaces and workflows using the QTube tools.

Restore: This feature will be exploited in a future version of the QTube

QTube design conforms to REpresentational State Transfer (REST) principles.

RESTful interfaces simplify the implementation of large scale systems by eliminating the need for components to track the state of communications – each message contains all the information needed to act upon it. Put simply, QTube behaves like the internet. Media and metadata can be accessed via unique paths which are free of context, so will always point to the same assets. An address for a clip stored on a server in London will always locate that clip, from anywhere, until it is moved or deleted.

Browser. MXF files may be uploaded to storage.

Publish: This feature is included in V1.0 of QTube Browser. The user can create a logical subclip on the storage formed from selected clips or subsections of clips.

The QTube API is a developing project. The descriptions above are an illustration of the functions which may be built by any customer or manufacturer wishing to build customised workflows on the QTube platform.

All the features of the Quantel QTube Browser, below, are available as part of the API.

Conclusion

Each of the four tiles, the player, search tool, bin creation and bin sharing are available as pre-built components.

QTube technology has the potential to change the way we work in media production – joining people, content and workflows, wherever they are.

The QTube API has more extensive features, only some of which have so far been exploited in Quantel products. These features have value to Media Asset Management, genealogy tracking and media movement. For the latter, video, stills, audio and metadata files are available on demand, synthesised into the required form by the QTube Transformer. QTube is a powerful tool for managing workflows between systems separated by geography and systems from different manufacturers.

We can build bridges between existing workflows provided by multiple vendors, extending the benefits of Identity-based media management to all. Change can be introduced as evolution, not revolution – ensuring that the quality and reliability of output is not compromised. Through the QTube API, we can build completely new workflows, increasing productivity and maximising the utility of media assets.

Quantel sQ Server

Visit www.quantel.com

QTube Transformer Search Service

QVFS

IIS QTube Browser

IT Storage

QTube Transformer

MEDIA IN THE CLOUD

Search Service

Third Party

IIS

QTube Transformer Search Service

Third Party

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QVFS

QVFS

IIS

QTube Transformer

QTube Edit

QTube API

AUDIO Digital soundwaves

www.content-technology.com/audio

Nine Network Installs Solid State Logic can be used as a sound stage. GTV-9 produces a local and a nationally distributed daily news program, a weekly children’s program and sports programming. On top of this are local news and ad-hoc productions of infomercials and other such programming. Because of the console’s flexibility, the C100 is used for all programming types.

“We produce the long-running Sunday Footy Show (AFL) using the C100,” explains Delmenico.

“This is a panel-type program presenting discussion of football related news stories that arise each week, a review of the last several games and a preview of upcoming matches with team lineups. Other productions include, Kids’ WB; A Current Affair and Footy Classified.

“The GTV-9 studio complex produces live or near-live programming 365 days a year, covering all types of productions,” says Steve Delmenico, Resource Manager for GTV. “The new facilities were designed from the ground up to give us more production capability within a fine-tuned smaller space than the old facility. The choice of the C100 console was straightforward as our engineering staff is very experienced with SSL consoles. The C100 gives us a powerful platform that is highly-reliable, flexible and expandable while delivering great sound.”

GTV-9’s C100 has 32+8 faders addressing a total of 96 DSP channels. SSL’s Alpha-Link Live, AlphaLink 8RMP and BRIO units look after I/O, using the MADI X8 to route between the data centre, studios and two control rooms. Pro Tools® and Enco DAD are used for audio capture, editing and playback.

The new facility includes two control rooms, Control 31 and Control 32, which serve a production studio and a multi-purpose room that

“We really appreciate the workflow benefits that the fibre optic connections in the C100 provide,” states Delmenico. “With SSL’s MADI-based

Steve Delmenico, Resource Manager for GTV, with new SSL C100 HDs Digital Broadcast Console.

converters and remote mic pres, we can easily deliver audio from any stage to the console and that greatly enhances our production options.

We have been broadcasting in both stereo and 5.1 surround and, once again, the C100 gives us the flexibility to create both mixes at the same time. GTV-9 is primarily responsible for serving the Victoria market in Australia and the C100 elegantly helps us to fulfill that service mandate.”

Visit www.solidstatelogic.com

Pro Tools 10 and HDX Hardware

Fairlight Boosts StageOne and SAFC

Avid has announced Pro Tools 10 alongside Pro Tools HDX Hardware. Pro Tools|HDX gives users more tracks, more headroom, and up to five times more dedicated DSP power to tackle even the most massive music and post-production projects.

The South Australian Film Corporation (SAFC) recently increased its production capacity with the purchase of a Fairlight Xynergi system with 2 XE6 Fader Sidecars. The new equipment has been installed in the ADR/Foley recording studio in Adelaide, Australia and operates in conjunction with a Fairlight HD Pyxis. This provides editing and replay capability of HD quality QuickTime / MJPEGA / Avid DNx and various other video file formats.

Key features include:  Five times more power per card than Pro Tools|HD Accel;  Mix bigger mixes faster with 256 tracks and double the I/O per card, plus four times more ADC;

The new Fairlight equipment adds to a growing capacity at the SAFC, including:  Two soundstages (1,000sqm and 400sqm);

 Higher resolution sound and more headroom with the floating-point architecture;

 A sound mixing theatre (Harrison console) with Dolby Premiere Accreditation;

 Increase power and track counts by adding additional cards;

 A 96-seat screening theatre; and  ADR/Foley Recording.

 Supports the AAX plug-in format for better workflow and sound parity with native systems;

 Get the sound of System 5 console EQ and

 Speed up editing and mixing with Clip Gain, and adjust and match gain levels, pre-mixer;

 Access to over 500 additional Pro Tools

 Export mixes directly to SoundCloud.

Meanwhile, StageOne Sound in Sydney, the world class mixing stage proven on Baz Luhrmann’s Australia with Academy Award winning rerecording mixer Andy Nelson, operates a full 3D-capable facility running a Barco DPK20c 2K 3D digital projector with the XpanD 3D system, and has just installed a Fairlight Pyxis G2 System.

Images for mixing are projected via this Fairlight HD <3D> Pyxis, capable of replaying HD quality QuickTime / MJPEGA / Avid DNx and various other file formats.

Visit www.avid.com

Visit www.fairlight.com.au

dynamics with the Avid Channel Strip plug-in; commands when using EUCON controllers;

 Use multiple audio formats within a session, including interleaved files, without file duplication;

 Create extra long-format projects for sequential

 Greater responsiveness on slower hard drives via an enhanced disk handler;

 Open fade-heavy sessions faster and get better

 Record in low-latency mode, with direct monitoring when using third-party audio interfaces;

versioning with an extended 24-hour timeline; responsiveness with real-time fades; and

AUDIO

GTV 9 (General Television Corporation), owned

by Australia’s Nine Network, recently moved into a new production facility in Melbourne to streamline production workflow. A Solid State Logic C100 HDs Digital Broadcast Console was chosen as the centerpiece for audio production, based on the positive experience with a C100 in the previous facility. The new C100 services both national and local programming including sports, news and children’s offerings.

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AUdio

Linear acoustic – CALMing TV Audio Tim Carroll, President and Founder of Linear Acoustic, was recently in Australia to meet with customers and compare progress in tackling loudness. The recipient of four technical Emmys, however, feels it is almost time to move beyond this subject that has troubled legislators and broadcasters alike.

“Any time I’ll do a presentation, I’ll say ‘look we’ll talk about audio but I don’t want to talk about loudness any more’,” he says. “I wouldn’t say that’s solved, but something interesting is happening in Australia, to say one thing about loudness, and that is it’s not being legislated by the government.

“The Free TV group have done what the industry in the US said they were going to do but the government wouldn’t wait and decided they had to make legislation anyway. Over the last year, as an industry, if we knew then what we know now I’m not sure we would be doing things exactly the same way.”

background noise relies on certain things happening. One of them is that you’re paying attention to me, you’re hearing what are called fricatives so it’s the hard consonants, the C’s and the T’s and the parts that allow the edges of words to stick out from words around it but also from background noise.

Carroll also feels there was also a rush by the ITU standards committee to release the next version of its loudness specification.

“What we’ve found out, sadly, was that compressing, because you want the quiet stuff, not the noise but in the original programme the quiet stuff to be up and the loud stuff not to be too loud, that compression also rounds off the edges of dialogue. You can’t keep those fricatives and reduce dynamic range at the same time.

“It really hasn’t been proven out enough,” he says. “In places where you’re trying to make the media happy, legislation is fine, but in places where you’re trying to make consumers happy it’s probably a different approach.

“Is it legislation versus quality? Are you trying to make the viewers happy or the programme producers? I can make viewers happy. I can take a process and crank it up and the viewers will not complain, but that does a disservice to the people spending time producing content properly.”

Carroll points to an historical over-reliance on the production sector to include metadata in its content that would flow through the broadcast plant and dictate how audio behaves when it reaches the consumer.

“We had a decade of proof that it was too complicated,” he says. “It just didn’t work. So, we’ve been asking a lot of questions. Are your viewers happy? Are your programme suppliers happy? What if we could give you a way to satisfy both?

“It’s making sure that production practices are good, but that you don’t rely on something that is as difficult as metadata but, at the transmission site, metadata is not ignored, that something a little smarter is done there.”

“So, we have to do two things. We have to extract the dialogue, work on it and then put it all back together. So it ended up fitting but it was a completely different approach.”

Another challenge Carroll sees for audio on mobile devices is the issue of portability, when the listener returns home and places their device in a dock or cradle for play-out on a much larger device such as a wide screen TV.

“ Are your viewers happy? Are your

programme suppliers happy? What if we could give you a way to satisfy both?

”

As Carroll sees it, one improvement in the ITU spec is the implementation of a safety gate which takes into account quiet periods and fade-outs in the overall measurement of a piece of content.

“If you have a 30 second piece, and it’s 28 seconds of silence and two seconds of full scale, guess what? It’s going to measure and say, ‘let’s see, if I measure this everything is fine’ when that’s actually not the case.

“The meter should be waiting and then only start integrating when it detects audio. That’s a good thing.”

Next on the product road map for Linear Acoustic is an entry level box called Aero Lite.

“There are applications where a customer doesn’t need a metadata connection, for example, they don’t need Dolby encoding because there is still a lot of MPEG on the air,” says Carroll. “So, Aero Lite is a box that doesn’t have any options. It comes with SDI, it comes with analogue, it comes with AES, it’s a single power supply and it comes with the same presets that exist in the larger products.”

The company is also focusing on refining its Aero File file-based loudness manager and the Aero Mobile loudness manager for mobile TV, a device Carroll describes as part compressor and a lot of psychoacoustics based on hearing research.

AUDIO

To illustrate the differences between mobile listening and sitting in a lounge room, Carroll pulls up a spectrum analyser app on his iPhone.

66

“If you look at that background noise you can see when I’m talking it’s fairly flat. That’s fairly wide band,” he says. “So, my speech above that

He says that metadata built into the AAC codec, which is part of the US ATSC mobile television standard could provide a solution.

“When you drop your device into the cradle, the set will know ‘I’m a larger set, I don’t need portable mode metadata, I can use regular line mode’, which is for higher quality reproduction.

“You know that every single Dolby decoder manufacturer has metadata capability. Every one, it’s been tested. And I think the same is true for Apple, but I’m a little bit concerned about the open source devices, Android, because there is nothing that requires them to pay attention.

They don’t have to do it right. So that’s what the crux of the work in mobile is right now.”

From a company perspective, Linear Acoustic recently moved into new headquarters, something Carroll says will enable it to have separate facilities for testing and production.

“You’ve got to maintain two separate plant facilities and so I ended up doing [testing] at home. I ran out of space there. So, the new facility allows us to keep stuff set up, continue to test it, do a lot of more tests. It doesn’t really change the way the company does things. We’re still, more than ever, very picky about quality.”

Visit www.linearacoustic.com

AUdio

Trilogy Launches Intercom Anywhere The Echo Nest and EMI Music Team Mobile Application for ‘OpenEMI’ and App Innovation Trilogy Communications has unveiled its Intercom Anywhere solution; a mobile application for its Gemini distributed matrix intercom system.

Audio mixing and routing will continue to take place in the Gemini matrix, however individual users will access the intercom via a virtual panel on their mobile device and a VoIP connection over standard TCP/IP networks. Mobile users will have access to up to 32 simultaneous voice channels for direct and conference style communications.

The Echo Nest and EMI Music recently announced an initiative to put thousands of songs and music-related content in the hands of application developers around the world, representing the most extensive collection of its kind to be made available in this way.

The Echo Nest and EMI have created a ‘sandbox’ for application developers, hosted and managed by The Echo Nest, which offers developers creative briefs and opportunities to collaborate on building apps for EMI’s artists.

While launching Gemini, Trilogy has taken great care to ensure that Gemini will continue to integrate with its existing Commander, Orator and Mercury systems. In addition, Gemini operates with all of Trilogy’s current panel range.

Revenues are shared between developers and rights holders, and EMI will handle all licensing and clearance requirements, and marketing of the apps.

Approved apps will be released by EMI, with the underlying intellectual property in the app retained by the developer.

Visit http://www.trilogycomms.com

Visit http://www.echonest.com

RTW Present TM3 TouchMonitor

Softube are Avid AAX Compatible

RTW was pleased to showcase the TM3 TouchMonitor, the latest addition to the company’s TouchMonitor range at InterBee 2011.

Avid recently announced the all-new Pro Tools HDX digital audio workstation and Pro Tools 10 software, delivering greater performance, higher sound quality, and new capabilities.

The TM3 includes features of the larger TM7 and TM9 versions. The unit’s 4.3-inch touchscreen allows for horizontal and vertical placement. It is ideal for editorial offices, edit suites and small control rooms looking to stay ahead of the loudness control curve.

Featuring PPM and true-peak instruments, the TM3 offers loudness metering in compliance with all globally relevant standards. The basic version handles analogue and digital stereo audio, while the 5.1 option adds the support of six-channel digital input. RTW expects to begin shipment of the product in the second quarter of 2012. Visit http://www.rtw.de

Pro Tools HD 10 introduces the new AAX (Avid Audio eXtension) plug-in format, enabling better workflows and sound parity when sharing sessions between DSP-accelerated and native-based Pro Tools systems.

Softube has worked closely with Avid during the AAX and Pro Tools HDX development cycle and offer support for its entire line of plug-ins for this new format.

Visit http://www.softube.com

AURUS Direct Access Console

N EXUS Digital Audio Network DISCOVER STAGETEC INNOVATIONS

AUDIO

STAGETEC MEDIAGROUP AUSTRALIA PTY. LTD. email: australia@stagetec.com.au Phone: +61 2 8011 0500 www.stagetec.com.au

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RADIO The original broadcast media

www.content-technology.com/radio

Preference for DAB+ in Regional Australia A report tabled in Australia’s Federal Parliament in October will assist with the rollout of digital radio in regional areas of the country, according to the Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy.

The review of technologies for the transmission of digital radio broadcasting services in regional Australia was required by section 215A of the Broadcasting Services Act 1992.

The framework for the introduction of digital radio was intended to provide the radio industry with a ‘digital footing’ to enable it to compete in a rapidly-changing environment in which technological developments, such as MP3 players and the internet, are changing listening patterns and reshaping the way audio content is created, distributed and consumed.

The submissions to the review highlighted the desire of the radio industry, organisations and members of the public to see digital radio rolled out to regional areas of Australia. Submissions acknowledged that there are a number of issues, such as availability of suitable spectrum, terrain diversity and technical limitations associated with such a rollout.

Recurrent themes raised in the review included:  The importance for regional consumers of high-quality audio, additional digital-only services, good value receivers, and good geographic coverage across regional areas.

Submissions argued that regional listeners should receive equivalent benefits from digital radio as those available to listeners in the five metropolitan licence areas. They

also expressed the desire for a regional rollout as soon as practicable.  A preference for DAB+ as the primary digital radio technology in Australia as this system is currently in operation in metropolitan licence areas and a range of receivers is available. DAB+ was acknowledged as a technology that can aggregate and broadcast multiple services through a single multiplex, thereby allowing a number of broadcasters to share transmission costs.

However, contributors noted that DAB+ can only operate on VHF Band III (or on L-Band, which has not been successful in other countries) and requires a large amount of spectrum for each multiplex.  A general acknowledgment that DAB+ may not suit all regional licence areas due to spectrum congestion on VHF Band III, which is also used for digital television services, and potentially higher costs for broadcasters in areas with a small number of services.  A preference for DRM (DRM30 in the medium frequency bands and/or DRM+ in the very high frequency bands) to supplement DAB+ services in regional areas.

DRM was acknowledged as a spectrumefficient technology with relatively low transmission costs and the flexibility to operate across a number of broadcasting bands. A number of contributors expressed a preference for DRM (either DRM30 or DRM+) to supplement regional coverage if DAB+ is unable to provide effective coverage in regional areas.

 Reserving spectrum in the medium frequency and very high frequency bands to enable digital radio services to be provided in regional areas. The Minister has issued guidance to the ACMA that, to facilitate the future rollout of digital radio to regional Australia, 14 megahertz of spectrum in VHF Band III should be made available in each metropolitan licence area for digital radio purposes. Both DAB+ and DRM+ can operate in VHF Band III. DRM can also operate in VHF Bands I and II. Submissions said that if DRM technology is adopted, the most suitable spectrum should be identified and reserved. Some suggested that reserving the soon-to-be-vacated VHF Band I analogue television channels will allow more options in determining suitable technologies for digital radio in regional areas.

The full report is available online at http://www. dbcde.gov.au/regionaldigitalradio

Regional Digital Radio Review ... What They Said “ The ABC considers that DAB+ in VHF Band III should be the primary platform for digital radio throughout Australia. DAB/DAB+ is the only proven digital radio technology with widespread international support for which receivers are readily and widely available.

It presents the most viable technology for coverage of all metropolitan areas, regional centres and towns in Australia in the shortto-medium term. “ – Australian Broadcasting Corporation

RADIO

“ Commercial Radio Australia has concluded that DAB+ is still the most suitable and accessible technology for regional rollout.

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“ Any discussion of other technologies at this stage would add a significant amount

of confusion and uncertainty to the issue from a retailer and receiver manufacturer perspective and undermine the work already underway by commercial and public service broadcasters to make DAB+ digital radio a success that has already been recognised throughout the world.”

– Commercial Radio Australia

“ We believe that DAB+ is the appropriate technology to roll out to regional Australia in the context of digital radio remaining a complementary service for the foreseeable future. “ BA believes it is prudent to assume that DRM will be necessary to fully replicate wide area coverage of AM services in at

least a significant number of regional and rural markets.”

– Broadcast Australia

“ The CBAA supports the immediate focus being on consolidation and development of DAB+ as the core digital radio technology.

It is acknowledged that remote area and large coverage AM broadcast services will be difficult to replicate using DAB+ and for those situations other technology options should not be discounted. Right now, it is clear that regional (as well as metropolitan and remote town based) services ought to be planned under a presumption of DAB+ technology and operating in VHF Band III.” – Community Broadcasting Association of Australia

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Radio

Hong Kong Releases DAB Trial Report

E1 format for testing purposes, in the later part of the trial period

The Hong Kong SAR Office of the Telecommunications Authority (OFTA) has released a report into Phase 2 of DAB digital radio tests conducted in the territory by Digital Broadcasting Corporation HK Ltd.

DBC also arranged a trial for re-broadcasting the DAB service into Hong Kong’s Cross Harbour Tunnel and Lion Rock Tunnel on 8 – 10 Jun 2010 and on 7 – 8 Jul 2010 respectively. The DAB re-broadcasting system was a standalone system, not connecting to any of the existing equipment of the tunnel. A yagi antenna was used to pick up the off-air DAB signal. It was fed into a DAB repeater. The signal was amplified to 2 Watt RF output and then radiated into the tunnel through another yagi antenna.

Phase Two of the DAB trial was conducted from 15 May 2010 to 14 Nov 2010. Transmission power was increased from 500 to 1800 Watt ERP. The result revealed that the signal strength in the targeted coverage area was enhanced, however, not sufficient.

The objectives of the Phase Two trial were: (i) to extend the DAB service to the Tsuen Wan area in the ‘New Territories’ north of Hong Kong island, and (ii) to test the operation of a multi-station Single Frequency Network, by setting up a transmitter in Golden Hill FM station, northwest of Kowloon Bay. However, due to commercial issue, the installation work was not be implemented in the trial period.

The basic configuration of the DAB system remained unchanged from Phase 1 testing with audio encoding and multiplexing equipment installed in the office of Digital Broadcasting Corporation, near the Wan Chai area of HK Island. Through an IP based data line, a DAB ensemble was fed to FM transmitting stations at Mount Gough, near HK’s The Peak to the south, and Beacon Hill, northwest of Kowloon Bay. The IP format was changed to

According to the conclusions of the report, the transportation format for delivering the DAB ensemble from studio to transmitter had a time delay effect on the broadcasts.

The report also stated that while transmission power was increased from 500W to 1800W for both transmission stations, the measurement result revealed the targeted area still could not achieve 90% coverage and be classified as “Acceptable”.

“There was room for improvement,” the report said. “It would be a better choice to serve the crowded city by using multi-signal sources coming from different directions. However, it would be easier to increase the transmission power for further testing under limited number of stations.”

Visit www.ofta.gov.hk

Australia Sees Jump in Digital Radio Sales

Indonesian radio broadcasters from public and commercial stations recently visited Australia, to hold technical and policy meetings with key digital radio stakeholders, attend the National Radio Conference on the Gold Coast and visit the Darwin DAB+ trial being conducted in similar climatic conditions to those in Indonesia.

Despite a weak retail market, sales of digital radios recorded their

The delegation also visited the TXA Australia Artarmon tower site in Sydney to inspect the DAB+ antenna, transmitters and multiplexes which are jointly owned and operated by the broadcaster consortiums and have been established to minimise the shared costs of DAB+ infrastructure.

The Indonesian radio industry and regulator are jointly considering DAB+ as a possible digital platform and with a population of more than 237 million people; adoption would make it one of the largest DAB+ markets.

RADIO

For the main terrestrial trial, outdoor field strength measurement was conducted throughout the trial period. More than 18,000 samples of measurements were collected during the drive test campaign. The results of measurements were analysed and compared with that of Phase One.

Indonesian Digital Radio Group Visits Australia

Hosted by Commercial Radio Australia, the Indonesian radio delegation which included senior representatives from the PT Radionet Cipta Karya, PT Ramako Radio Group, Radio Republik of Indonesia and PT Siprama Komunindo met with commercial and public service broadcasters, plus industry regulator the Australian Communication and Media Authority (ACMA) and the Department of Broadband Communications and the Digital Economy (DBCDE), to discuss the successful switch on of digital radio in Australia.

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The number of DAB channel was increased from 7 to 20. Different combinations of DAB, DAB+, audio bit rate and data bit rate were tested.

According to DBC, “The change of configuration was easy and the multiplexing system proved quite reliable.”

Visit www. digitalradioplus.com.au

biggest quarterly jump since Christmas 2010.

Official data relating to digital radio in Australia was released by Commercial Radio Australia (CRA), showing close to 100,000 DAB+ digital radios were sold in Q3 2011 alone, according to the GfK Marketscope report, bringing the total number of DAB+ digital radios sold since August 2009 to 603,932.

These figures also highlight the fact that nearly 500,000 additional digital radios have been sold since July 2010 at which point sales of digital radios were at 150,000.

The recent sales figures include the Father’s Day retail cycle in which 42 commercial radio stations in the five state metropolitan capitals played a series of digital radio Father’s Day ads that focused on the affordability of digital radio, using the tagline “from as little as $59”.

Commercial Radio Australia chief executive officer, Joan Warner said, “These are great sales figures and show that radio’s call to action to our listeners to try and buy digital radios continues to work, even in a tough retail environment.”

Official Nielsen radio survey results for metropolitan Survey 7 2011, show that the number of people listening to digital radio is moving rapidly towards the 1 million mark with 940,000 people listening to digital radio each week.

Some 7.6 % of listening to radio is now via a DAB+ digital radio device in the five state metropolitan capitals with Time Spent Listening (TSL) to radio via a DAB+ digital radio device also continuing to grow at nearly 12 hours per week (11 hrs 56 mins). TSL to digital radios has once again outstripped TSL to radio via the internet which is at 5 hours and 56 minutes.

Ms Warner said CRA is now developing the strategy for a digital radio Christmas campaign with details to be announced in early December.

Visit www.digitalradioplus.com.au

Radio

New Features from Frontier Silicon ifor German DAB+ Frontier Silicon, the supplier of digital radio and connected audio solutions has announced the launch of new software for its widely adopted DAB/DAB+ platforms. This latest release not only brings advanced text and image capability with DL Plus and RadioVIS technology, but also provides a 20% improvement in power consumption.

DL Plus is an advanced text feature currently broadcast as part of ​the new national DAB+ service in Germany. Dynamic Label Segment (DLS) already allows a radio station to broadcast streaming text information to the display of a digital radio receiver. DL Plus, which is upwardly compatible with DLS, builds on this capability by allowing the listener to choose which text content they are interested in, giving access to relevant information such as artist name or song at the touch of a button.​ “In launching the new DAB/DAB+ services in Germany one of our major objectives was to ensure that customers have access to some of the value added capabilities that digital delivery has to offer,” said Chris Weck, Technical Manager at Deutschlandradio.​ Another key feature of this latest software update is an implementation of RadioVIS. Part of the RadioDNS hybrid radio standard, RadioVIS enhances the listening experience by using an internet connection to provide graphics and text synchronised with the audio broadcast by the radio station. By integrating RadioVIS seamlessly into its iPhone App, Frontier Silicon has enabled this advanced technology to be implemented in a low cost radio receiver simply by using the screen and IP connection of the iPhone when docked.​ “RadioDNS is supported by broadcasters in the US, Europe and Asia-Pacific, who recognise the strength of combining broadcast radio and IP in one seamless experience,” said Nick Piggott, Chairperson of RadioDNS. “With Frontier Silicon bringing RadioDNS technology to their customers, we expect to see a wide range of hybrid radios coming to the market in the next twelve months.”​ In addition to providing these new features, Frontier Silicon’s latest software also represents a significant gain in the battery life of products using the technology, further reducing the cost of ownership of portable DAB/DAB+ receivers.​ Visit www.frontier-silicon.com

First Australian Vehicles with DAB+ Hino Australia has become the first truck manufacturer in the world to include a digital audio broadcast (DAB+) multimedia unit as standard equipment across its range of trucks.

Hino’s multimedia unit features a large 6.1-inch high-definition touch-screen, DAB+ digital and conventional AM/FM radio receivers, CD and DVD player, USB and SD input, and is Bluetooth enabled.​ All Hino 300, 500 and 700 Series trucks manufactured from September 2011 onward feature the all-new Australian-designed multimedia unit as factory-fitted standard equipment. There is an optional truck-specific satellite navigation system.

The all-new Hino multimedia unit has both SD card and USB slots to enable full compatibility with the latest MP3, iPod and digital devices, and has both front and rear auxiliary inputs.​ Up to three Hino rear-vision cameras can be installed and viewed on the screen in a variety of configurations (including viewing all three simultaneously in a split-screen arrangement).​ In a world-first for an OEM vehicle manufacturer, the system provides access to both AM/FM radio and the new DAB+ digital radio network being rolled out in major centres around Australia.​ Commercial Radio Australia chief executive officer, Ms Joan Warner, congratulated Hino on the announcement and thanked them for their support of digital radio. “Hino is leading the automotive industry by including digital radio as standard and we are very pleased Hino truck drivers, who spend a great deal of time in their vehicles will now be able to experience digital radio,” said Ms Warner.​ BMW and Audi have announced DAB+ digital radio as an option in a range of vehicles but Hino is the first manufacturer to include it as standard.​ Visit www.commercialradio.com.au and www.hino.com.au

Southern Cross Austereo Logs On with Hostworks

Southern Cross Austereo is said to create more hours of live content than any other broadcast media in Australia and can reach 95% of Australians each week via regional free-to-air TV networks, national radio networks, online, mobile and unique one off events. ​ Hostworks specialises in the provision of mission critical, high transaction websites, video streaming, complex web hosting and demand management. The company services all the major online and digital media market leaders in Australia including ninemsn, Network Ten, ABC, Prime, Ticketek, Carsales, Seek, realestate.com.au and AHL. The company employs 100 people across Australia and operates multiple data centres with two core facilities housed in New South Wales and South Australia.​ The partnership will see the utilisation of core Hostworks products ​ including Elastic Computing Next Generation Backup, Managed OS and Egress networks.

Southern Cross Austereo is the result of a newly merged Southern Cross Media and Austereo. The continuing expansion in to digital media remains a strong focus of this combined entity and Hostworks is on board to ensure the seamless delivery of the online environment for Southern

Cross Austereo.​ “With the radical increase of the accessibility of digital media, Southern Cross Austereo is uniquely positioned to lead the charge as our audiences continue to expand their consumption of digital content. This provides us with the opportunity to work with Hostworks to enable the provision of compelling and engaging cross-platform media solutions for our clients,” said Ryan O’Sullivan, Digital Operations Director.​ Paul Mullen, Managing Director of Hostworks said, “This partnership signifies Hostworks reputation as the provider of choice for Australia’s leading media and entertainment organisations. We look forward to working with Southern Cross Austereo.”​ Hostworks is a wholly-owned subsidiary of Broadcast Australia Pty Limited.​ Visit w ww.hostworks.com.au

RADIO

Southern Cross Austereo, Australia’s leading media and entertainment company, has signed Hostworks to provide it with a managed online environment encompassing audio streaming and key radio station websites.

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TRANSMISSION Signal distribution, test & measurement

www.content-technology.com/transmission

Sky Racing Expands Streaming Services with Elemental Quinto Communications has announced the sale of a 4CH Elemental-Live Encoding System to Tabcorp’s Sky Racing Channel. The system will be used to deliver adaptive streaming to iPhone, iPad and Android devices through Sky’s TAB Sportsbet Mobile Application.

The Elemental Live Streaming Encoder utilises its GPU processing technology offering unprecedented density while executing simultaneous processing and encoding of multiple adaptive bit rate outputs in various formats (H.264, VC-1, MPEG-2 WMA and others).

Encoding profiles at Sky range from 150kbps

up to 840kbps for SKY1 and SKY2 programs and a single 40kbps stream for the Sky Sports Radio (audio only) channel. In total the encoder is outputting 11 streams with GPU utilisation averaging only 17 percent.

Sky Racing’s Broadcast IT Manager Alex Harradine quoted “We are very happy with the Elemental encoder’s reliability and performance.

It has provided a good platform to expand our steaming offering and vision quality is absolutely outstanding”.

According to Quinto’s Chief Operating Officer Tom Pavicic, “Elemental-Live is quickly proving

Sky Backpacks at Melbourne Cup At this year’s Melbourne Cup and Spring Carnival Sky Racing trialled the TVUPack 8100 3G backpack, supplied by Magna Systems, to help perform live crosses to the studio, store and forward and supply track updates.

Magna Systems Product Specialist David Clemesha said, “Sky Racing telecasts more than 82,000 races each year to millions of viewers in Australia and around the globe. For this year’s Melbourne Cup and Spring Carnival they were looking for a high quality 3G backpack which would help their cameramen on the ground get better pictures to the studio quickly and more efficiently.”

The TVUPack 8100 3G backpack accepts HD/ SDI camera signals, transmits in HD and outputs in full HD over wireless and mobile networks.

This means cameramen can easily deliver an HD quality signal using the mobile broadcasting

backpack. The TVUPack also features HD output in 720p or 1080i at 25 or 30 frames per second with its SDI interface.

Clemesha continued, “The TVUPack 8100 also allows remote operation from the studio master control room leaving the camera operator to focus solely on getting the best footage possible.”

The compact TVUPack 8100 also has advanced networking and compression technologies with its high-powered H.264 video encoding engine delivering a vivid HD signal, even with limited bandwidth. TVU’s Variable Bit Rate (VBR) technology automatically adjusts the bit-rate according to the total available aggregated bandwidth.

TVU’s Inverse StatMux technology allows the TVUPack to fully utilise the available bandwidth of multiple 3G/4G data connections.

Visit www.magnasys.tv

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The Playroom Launches iTunes Aggregation & Encoding

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The Playroom has become an approved aggregator and encoding partner for iTunes in Australia after having gone through a rigorous supply chain management audit process.

The Playroom has achieved its status with iTunes in part due to the company’s background and experience in broadcast and video production and management.

The Playroom MD Tom Kennedy explained, “The Playroom has been working with iTunes for over two years and is now expanding our offer as part of our digital VOD and IPTV services. We also have hired new technology specialists and developed new processes and platforms for iTunes. As a result The Playroom now provides file distribution and aggregation services for iTunes TV sector and have been awarded approved Encoding Partner status, too. The quality and excellence levels at which iTunes now accepts partners and suppliers have been raised and thus we had to undertake a strict supply chain management audit process in order to get these accreditations.”

Tom Kennedy concluded, “We are currently supplying aggregation and encoding services for the television content providers with the film industry squarely in our sights. Our focus is on this new form of digital file delivery and this is very much where we see growth. The Playroom is already providing file receipt rather than tape-based services for Warner Bros. and The Movie Network Channels and a significant number of QC file delivery and receipt services for other content producers. The iTunes aggregation and encoding side of our business looks set to grow significantly throughout 2012 and beyond.”

Visit www.theplayroom.tv

to be the streaming appliance of choice for customers that require simultaneous adaptive bit rate streams in multiple distribution formats with uncompromised efficiency and quality”.

Elemental-Live is also available as a single SDI/ HDSDI/IP input channel encoder (1RU) or a four SDI/HDSDI/IP input channel encoder (4RU) both of which offer multiple adaptive streaming outputs supporting output targets for Adobe Flash, Microsoft Silverlight, Apple HTTP Adaptive to name a few.”

Visit www.quinto.com.au

QLD Broadcasters Make Digital Switch It was a new transmitter at Wonga Beach in Far North Queensland which became the final piece of infrastructure required to support digital switchover in regional Queensland on December 6.

According to Australia’s Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, “The new transmitter will improve the reliability and quality of television services to the area now and after the switchover.

“A key objective of the Gillard Government’s digital switchover is to close the gap that exists for so many and ensure all Australians can access the full suite of digital televisions services regardless of where they live.”

Visit www.digitalready.gov.au

Sri Lanka Begins DVB-T2 Roll-Out Harris Broadcast Communications has received an order for a DVB-T2 UHF TV transmission solution from Sri Lanka Rupavahini Corporation (SLRC), the State Television Network in Sri Lanka, following the government’s decision to standardise on DVB-T2 for its migration from analogue to digital broadcasting. This order represents the first DVB-T2 transmitter sale in South Asia by any TV transmitter vendor.

The Harris DVB-T2 solution for SLRC will include multiple Harris Maxiva ULX UHF transmitters to support eight over-the-air digital channels, and allow the national broadcaster to retain local flavour through targeted DVB-T2 channel insertions in specific regions.

Visit www.harris.com

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Short Bursts

A long-term partner of Thomson Video Networks, Ideal Systems has worked with the company successfully on several large regional projects in the satellite, terrestrial, and cable markets. Supported by Thomson through the VAR program, Ideal Systems will now take the technical lead on new bids and projects, providing first-line customer support and professional services from its local offices throughout the region.

Visit www.thomson-networks.com

PT Mega Media Indonesia has selected Irdeto’s conditional access (CA) solution to launch ‘Parabola Orange TV’ pay TV services.

Parabola Orange TV broadens Indonesia’s

access to digital TV broadcast services through a combination of post-paid subscription and a Prepaid Plus concept while offering unlimited free-to-air viewing.

Irdeto provided Mega Media Indonesia with its Cloaked CA solution, a software-based conditional access solution that enables Parabola OrangeTV to offer premium content while having the flexibility to adopt a wide variety of business models. The solution is fully upgradeable over the air.

Visit www.irdeto.com

Pacific Television Center (PacTV), a Los Angeles-based independent, global transmission and production company, has announced the launch of a new, full-time circuit for Universal Sports Network. The platform, dedicated solely to support the network’s international sports coverage, aggregates content from London, Sydney and Los Angeles and delivers it to Westlake Village, where Universal Sports Network is located.

The circuit will run 24/7 and will deliver content for the network.

Visit www.UniversalSports.com and www.pactv.com

Oregan Networks has been selected by Singapore’s MediaCorp as a key enabler of its up-coming Over-the-Top (OTT) interactive TV service on set top boxes. Oregan Media Browser provides the media player and run-time environment for the User Interface applications, which allow users to interact with live and on-demand content via onscreen graphical overlays.

RRsat is offering services on its second DVB-S2 MCPC platform on Malaysia’s MEASAT3a satellite. The SD/HD video channels on the MEASAT-3/3a satellites currently reach over 50 million pay-TV households in the Middle East, North Asia, South Asia, South East Asia, Australia/Oceania and parts of Africa.

Oregan Media Browser incorporates adaptive bitrate streaming of high definition video assets. The set top box platform is remotely upgradeable, to allow MediaCorp to futureproof its service and application offerings.

RRsat has provided an end-to-end managed fibre and satellite uplink and teleport service, including optional playout, via MEASAT-3a since October 2010. The first RRsat DVB-S2 platform is booked almost entirely with HD/3D channels .

Visit www.oregan.net

Visit www.rrsat.comi

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Thomson Video Networks has announced that Asian systems integration company Ideal Systems has become a value-added reseller (VAR), distributing and supporting the entire Thomson Video Networks product line in Hong Kong, Macau, and Taiwan.

Ideal Systems is the first integrator in the AsiaPacific region to join Thomson’s intensive VAR program, which reinforces partner skills and autonomy through dedicated training schemes, technical assistance during the projects phases, and second-line service-level agreements.

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Media Server with Analytics Wowza Media Systems recently announced a partnership with Skytide to give CDN and IPTV providers tools for building scalable and manageable networks. The solution combines Wowza Media Server 3 software with Skytide’s Insight for CDNs analytics and reporting application.

Skytide Insight for CDNs leverages the per-session logging collected

by Wowza Media Server software, and turns it into detailed reports that guide decision-making for capacity planning, service quality, pricing and billing. It also analyses and aggregates the highly fragmented data generated by adaptive bit-rate streaming from multiple protocols supported by Wowza Media Server software, and transforms it into meaningful reports in minutes.

Wowza Media Server 3 is software that simultaneously streams live and on-demand media to any screen – Adobe Flash, Microsoft Silverlight, iPhone, iPad, Android, other smartphones and tablets, smart TVs, and IPTV/OTT set-top boxes. It provides a single extensible platform for a variety of features, including live transcoding for adaptive bit-rate (ABR) streaming; any-screen, time-shifted playback, and content delivery with multiplatform digital rights management (DRM).

Visit www.wowza.com

Grass Valley Extends K2 Server Grass Valley has announced an extension of the K2 media server family with K2 Edge. Housed in a compact 1 RU chassis, K2 Edge is a robust and proven Linux-based system with a purpose-built, high availability architecture for mission-critical 24/7 playout applications.

The K2 Edge range is available in three levels of capability:  K2 Edge Express, for entry level channels with minimal graphics needs;  K2 Edge Pro, for main-line channels with more sophisticated graphics such as picture-in-picture;  K2 Edge Elite systems, which offer switching for up to four HD sources and multichannel 2D and 3D graphics complete with DVE moves including credit squeeze.

Customers can easily migrate, via a software license, to any of the levels of capability within the K2 Edge range. Each K2 Edge system includes two features originally developed by PubliTronic, the Grass Valley K2 TX/ MAM asset management system, with a central database and Grass Valley Cobalt playout automation software. The K2 TX/MAM server uses a webbased GUI to control all assets including video clips, audio clips, captioning, metadata, and graphic elements. The Cobalt playout automation system manages all on-air events, and for increased reliability, runs completely independent from the database.

For creating the on-air look of a channel, Grass Valley Channel Composer is available as a software option that manages the import and animation of 2D and 3D graphics, creates animations, and links graphics templates to data sources for real time on-air presentation. A fully integrated channel graphics composition and management tool, Channel Composer runs on Windows and Mac platforms and is integrated with the K2 TX/MAM server where templated graphics and a data stream can be defined and then referenced together as “live” elements in the on-air playlist.

TRANSMISSION

The Grass Valley K2 Edge multichannel, integrated, automated playout system is based on the technology platforms developed by PubliTronic, which was recently acquired by Grass Valley.

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K2 Edge will be focused on integrated playout where all the needed functions—media playout, channel graphics, asset management, and automation—are included in one tightly integrated system. K2 Summit Transmission clients and servers will continue to provide the basis for content ingest, preparation, and archiving, as well as playout. K2 Summit and K2 Solo will continue as production servers for live events.

Visit www.grassvalley.com

Volicon Observer 6.0 with Loudness Monitoring Volicon has introduced the integrated real-time loudness monitoring capabilities of its Observer version 6.0 video monitoring and logging system to the cable market. The Observer Remote Program Monitor (RPM) and MPEG Transport Stream (TS) systems offer loudness monitoring tools that help cable operators to maintain compliance with the Commercial Advertisement Loudness Mitigation Act (CALM Act) (ATSC A/85 RP) and the European Broadcast Union (EBU P/LOUD R 128) specification by monitoring and logging the audio, video, and BS.1770-2 loudness measurements, while providing an easy method to export a “visual affidavit” to address loudness complaints quickly and easily.

Observer provides a constant on-screen record indication of both loudness and loudness range measurements. Adjustable short-form (e.g.

10/15/30/60s) and long-form (hours/days) measurements enable quick comparison of ad loudness with surrounding content. To speed mitigation of loudness complaints, users can instantly access the conflicted area of the broadcast by date or time navigation; view loudness measurements; troubleshoot loudness according to an acceptable range; and then export ads - all with integrated audio, video, and measurements as evidence of compliance.

Visit www.volicon.com

Bridge Technologies Enhances microVB with OTT Analytics Bridge Technologies has begun shipping an enhanced version of its microVB miniaturised digital media probe for subscriber premises. With its ability to report second-by-second data on all traffic passing through the set-top box, combined with new functionality for analysing OTT service quality, the microVB 2.0 provides data-gathering capabilities that allow operators to monitor every factor influencing QoS and the viewer experience, including interactions between triple-play services, contention for bandwidth with Internet streaming media, and OTT service degradation.

The microVB 2.0’s OTT capabilities make use of specialised parameters developed by Bridge Technologies for monitoring ABR streams. The device offers an extensive protocol breakdown of all packets flowing between the residential gateway and the set-top box. Performance details such as peak, average, and total bandwidth are given for all the packets categorised into 25 separate protocol summaries. The data is graphically represented to assist quick appraisal. microVB 2.0 networks are readily scalable, with each central microVB server supporting thousands of microVB probes in individual subscriber premises. To simplify deployment across a wide range of network configurations, the microVB self-connects to the server using either multicast or unicast protocols and streamlines the administration of large networks by automatically naming each stream.

Up to four simultaneous streams can be supported by each microVB, with each stream measuring continuous data including bandwidth, MLR (media loss rate), IAT (inter-packet arrival time), and RTP (realtime protocol) drops. The microVB sends the collated data to Bridge Technologies’ MDC controller/server for detailed analysis and graphical presentation. All data are made available in XML format by the MDC to allow customised analysis by third-party systems.

Visit www.bridgetech.tv

TRANSMISSION

Energy Efficient High-Power Transmitter

Latest Products

To help broadcast

The R&S THU9 boasts efficiencies of up to 28% for COFDM standards and up to 30% for ATSC standards. The transmitter can handle all common digital and analog TV standards.

Rohde &S chwarz has used what it says are innovative approaches to transmitter system configuration.

Attenuation was significantly reduced throughout the whole RF chain, and the amplifier integrates advanced efficient power transistors in 50 V LDMOS technology. Specially developed power supplies are another key aspect of the design. They allow the transmitter control unit to optimize the transistor supply voltage, which results in exceptionally high efficiency.

Another decisive factor for boosting efficiency is the liquid cooling system.

The pumps operate in active standby, increasing transmitter availability.

Coolant flow is calculated based on the system configuration and the number of amplifiers. Pump speed is adapted to the coolant flow, saving energy and extending transmitter life.

The R&S THU9 provides 15 kW total output power for COFDM standards in a single rack, with maximum output power per rack of 18.5 kW for ATSC and ATSC Mobile DTV, and 30 kW for analogue TV. Depending on the configuration, as many as four single transmitters can be accommodated in one rack. If necessary, they can be combined into an N+1 system. The MultiTX concept makes optimal use of floor space and cuts down on infrastructure costs.

In such an all-in-one configuration, the pump unit and the bandpass filter are integrated in the rack.

The new R&S TCE900 transmitter control exciter can be configured as a transmitter control unit or as an exciter using plug-in boards. Since the base unit is always the same, the network operator can change the functionality directly at the transmitter site. The exciter can be software-switched from analog to digital TV standards such as DVB-T/-H, DVB-T2, ATSC, ATSC Mobile DTV and ISDB-T/ISDB-TB. Multiple transmission standards can be installed on one exciter. The transport stream can be fed to the R&S TCE900 exciter via the conventional ASI interface or via Gigabit Ethernet. External IP ASI gateways are no longer required, saving additional space and money.

The R&S THU9 features an ergonomic operating terminal and is easy to access. The display unit with touchscreen retracts into the rack when not in use. The GUI of the R&S THU9 is straightforward and provides different views, allowing the user to check system status at a glance. A configuration guide leads the user step-by-step through all the menus required to accomplish a specific task. This ensures fast operator training. A LAN port and a USB interface are provided for exchanging configuration data.

Visit www.rohde-schwarz.com

Fibre Optic DDT-4690 & DDR-4690 8 Channel Fibre Link - Takes up to 8 SD-SDI or ASI over a single fibre.

DDT-4624 & DDR-4624 3G/HD/SD Quad Fibre Link - 4 Independent Fibre links on the one card.

- Each link takes either 3G-SDI, HD-SDI, SD-SDI or ASI.

DDT-4620 & DDR-4620 3G/HD/SD Single Fibre Link - Takes either 3G-SDI, HD-SDI, SD-SDI or ASI.

Network Adapters MMM-4682/PC & MMX-4682/PC 4 ASI to STM-1 Combiner/Decombiner with optical - Maintains original ASI rate, packet size and coding.

- Suitable for Single Frequency Network use.

MMM-4730 & MMX-4730 4 ASI to ASI & G.703 Combiner and Decombiner - Suitable for combining ASI signals on either ASI, E3 or DS3 links.

MEM-4552 Ethernet over ASI adapter - Ethernet port automatically set for either 100 Base-T or 1000 Base-T operation.

- Selectable ASI rates from 1 Mb/s to 213 Mb/s.

Distribution & Protection Switching DDA-4009 3G/HD/SD/ASI/STM-1 Dual 1 In, 4 Out (1 In, 8 Out) Reclocking/Non-Reclocking Distribution Amplifier - Selectable for either 3G/HD/SD-SDI/ASI or STM-1 operation.

- Independent dual or single operation.

- Optional bypass relay of one of inputs to one of outputs on loss of power.

DDA-4320 ASI/SDI/STM-1 Path Protection Switch and DA - Selectable for either ASI/SDI or STM-1 operation.

- Can be used as a distribution amplifier on its own, or as a protection switch when paired with a 2nd unit.

OFS-4020 5 x 1 Optical Switch - Cascadable to create a larger switcher.

Ph: +61 (0)2 9439 3744

Electronics

www.irtelectronics.com

TRANSMISSION

network operators must reduce the energy consumption and infrastructure costs of their systems, Rohde &S chwarz has released the R&S THU9 high-power transmitter.

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CLASSIFIEDS Events CABSAT 2012 Managed and hosted by the Dubai World Trade Centre, CABSAT 2012 is the leading Digital Media and Satellite expo for the Middle East, North Africa and Southern Asia. Two successful cable and satellite platforms will be brought under one powerful industry event and will be held from 28 February – 1 March 2012 at the Dubai International Convention and Exhibition Centre.

The show will present major global players and leading technology innovation in broadcast and digital media, including latest communication technology, recording and editing equipment, HD & 3D TV and cinema, IPTV/ Mobile TV, content creation, management and delivery technology.

I​t is also the region’s showcase for the Satellite industry featuring leading global companies supplying convergence technology and services to varied sectors such as broadcast, telecom, oil and gas, NGO’s, military applications etc.

CABSAT 2012 caters to one of the fastest growing communications markets in the world. The Middle East TV audience is set to rise by almost 20% over the next 3 years and 19 new satellites are due for launch in the Middle East alone by 2013.

CABSAT is now in its 18th year. In 2011, it hosted 10,162 visitors from 103 countries. More than 770 companies from 55 countries, including 11 national pavilions showcased their latest products and services.

Visit http://www.cabsat.com

What’s On january

march

International CES 10 - 13 January Las Vegas www.cesweb.org

Asia-Pacific Broadcasting Union Digital Broadcasting Symposium 2012 6 - 9 March Kulua Lumpur, Malaysia www.abu.org.my

FIPA -Festival International de Programmes Audiovisuels 23 - 29 January Biarritz, France www.fipa.tm.fr

february ISE2012 – Integrated Systems Europe 31 Jan - 2 Feb RAI Amsterdam www.iseurope.org CSTB 2012 7 - 9 February ​Moscow Crocus Expo, Russia ​www.cstb.ru BES Expo 2012 11 - 13 February Pragati Maidan, New Delhi, India www.besindia.com

CLASSIFIEDS

Broadcast Video Expo & The Production Show 14 - 16 February Earls Court 2, London www.broadcastvideoexpo.co.uk

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MobileWorld Congress 27 Feb - 1 Mar www.mobileworldcongress.com CABSAT MENA 28 Feb - 1 Mar www.cabsat.com

ad:tech Sydney 14 - 15 March www.ad-tech.com/ MUDFEST 17 March mudfest.com.au iptvworldforum 20 - 22 March London, UK www.iptv-forum.com CCBN2012 – China Content Broadcasting Network Expo 21 - 23 March Beijing, China www.ccbn.tv Sign & Digital UK 27 - 29 March NEC, Birmingham UK www.signuk.com ad:tech Melbourne 28 - 29 March www.ad-tech.com/​ mipdoc &mip formats 30 - 31 March Cannes, France www.mipworld.com

Advertiser Index ABE – Australian Broadcast Exhibition..................... 3

Magna Systems & Engineering..........................15,37

Amber Technology.......................13

On Air Solutions............................53

AVC......................................... 69, OBC

Panasonic........................................35

Blackmagic Design......................... 5

Powermedia Systems..................47

Broadcast Papers..........................17

Quinto................................................ 9

Eureka Pacific.................................49

Rohde and Schwarz.....................73

Fuji Film....................................78-79 GDB International.........................55

Riedel Communications ............................................ 27, 29, 31

Gencom Technology....................11

Salzbrenner Stagetec...........28, 67

Grass Valley....................................23

Sony...........................................42-45

Hagemeyer (JVC)..........................33

Storm FX..........................................19

Harris...............................................IFC

Techtel............................................... 7

IBC.....................................................77

Video-8............................................61

IRT Electronics...............................75

Videocraft.......................................39

RAI Amsterdam Conference 6-11 September : Exhibition 7-11 September

Catch the Industry’s Imagination Enter the IBC Innovation Awards and share your applications of innovation.

This is your opportunity to be part of one of the most prestigious award ceremonies in the electronic media, entertainment and technology industry. If your organisation has applied an original solution to a real-world challenge to move the industry forward, then IBC want to hear about it.

The IBC Innovation Awards are unique in the sense that they recognise how manufacturers, vendors and end users work together to achieve a real benefit, be it technical, creative or commercial. The Awards celebrate the visionary application of technology and the innovation that was achieved through collaboration.

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time shifter The Parkes Radio Telescope Australia’s Most Famous Downlink

On a hot and windy day in 1961 an inauguration was spoiled by dust

could see the benefits.

whipping around, and drowned out speeches. It was October 31 and the Parkes Radio Telescope was unable to even tilt for the crowd as planned due to the overwhelming bluster.

It took sizable contributions by the Carnegie Corporation and the Rockefeller Foundation, two American philanthropic organisations, totalling half the cost, before Prime Minister Robert Menzies could be persuaded to fund the rest.

Throughout the 50-year history of The Dish, it has been responsible for many scientific discoveries, including locating most of the 2000 known pulsars in the universe and being integral to understanding the nature of quasars.

It has helped map our galaxy and find others. It has been upgraded to the point that it is now 10 000 times more sensitive than when it was opened, and equipped with technology that had not even been dreamed of when planning began in 1951.

There was no way that anyone could have foreseen the historical impact this 64-metre dish would have, nor that it would still be among the bestperforming radio telescopes in the world. While The Dish may have had a facelift or two, very few scientific instruments operate for 50 years. Even fewer can name a film among their accomplishments and, yes, even a Google Doodle commemorating their Golden Jubilee.

Yet despite all this, the most famous moment for the grand old lady of astronomy came just eight years into her illustrious career. At 12:56pm Australian Eastern Standard Time (AEST) on Monday 21 July 1969, The Dish became part of one of the defining moments of human history, as it relayed TV images of Neil Armstrong taking man’s first steps on the moon.

Six hundred million people tuned into the broadcast, which, by 1969 figures, was an astounding one fifth of mankind. The Parkes Radio Telescope was not the only tracking station sending signals back to Mission Control at Houston.

The Honeysuckle Creek station outside Canberra and NASA’s Goldstone station in California were primarily being used during the first few minutes of the broadcast, until the superior quality of the Parkes signal led to NASA staying with them for the remainder of the 2 ½ hour telecast.

However, not everything went to plan. At 6:17am (AEST) Armstrong and his fellow astronaut on the Apollo 11 mission, Edwin ‘Buzz’ Aldrin Jr., put down the Lunar Module (LM) ‘Eagle’ on the Sea of Tranquillity. At this time, the moon would not have risen enough to be seen from Parkes for another seven hours.

This may sound as though timing was on their side, but as anyone who has seen the 2000 film ‘The Dish’ will know, the inauguration was not the only major event that was threatened by wind.

While waiting for the Moon to rise, fully tipped over and ready, The Dish was struck by a series of 110 km per hour gusts of wind, enough to make the control room shudder and shake. The integrity of the structure was under threat, as the telescope crashed against its zenith axis gears. Thankfully the winds died down and, just as the Moon rose into view, Buzz Aldrin activated the TV camera.

tIME SHIFTER

The signals were transmitted over purpose built microwave links to Sydney before being split. One of the signals went to Houston for the international telecast, but the other went to the Australian Broadcasting Commission (ABC) studio at Gore Hill. This signal is the one that Australian audiences saw and, because the international signal had to travel halfway around the globe via the INTELSAT communications satellite, Australians saw Armstrong’s steps 0.3 seconds before anyone else in the world.

80

All of this came from a dish that could barely find the funding to get built.

When it was proposed in the 1950’s by Taffy Bowen, chief of CSIRO’s Radiophysics Laboratory, there was little chance of the Government funding such a large undertaking in an area that so few knew anything about, despite Australia being world-leaders in radio astronomy. They were far more interested in funding research into wheat and wool, areas they

The Parkes Telescope during construction.

Photograh – David McClenaghan, CSIRO

Unfortunately for the astronomers at Parkes, Armstrong decided to forego his scheduled rest before attempting a moonwalk, opting to go immediately. Due to this decision, the moonwalk should have been done and dusted by the time The Dish could even pick up a signal. Luckily for Parkes, it took so long for Armstrong and Aldrin to equip themselves in spacesuits and depressurise the LM cabin that the moon was just rising over Parkes as they left the module.

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