Content + Technology February 2010 issue

cT PLUS Winter Olympics

ISSN 1448-9554

content

technology VOLUME 7 ISSUE 1 > FEBRUARY 2010 PP: 255003/06831

MAGAZINE

Media Production Management Delivery

Cloud Computing & Outsourcing

Digital Signage

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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 Email: papers@broadcastpapers.com Sales & Marketing Manager: Daniela Huelsen Tel: +61-(0)410 880 557 Email: dh@broadcastpapers.com

Design & Layout: Crunch Design Tel: +61-2-9310 5393 Email: greenroom@ crunchdesign.com.au Printing: Pegasus Print Group 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.

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Production Manager: Lucy Salmon Tel: +61-(0)2-9332 2221 production@broadcastpapers.com

Also see C+T in PDF at www.content-technology.com VOLUME 3 > ISSUE 5

<< 18

CONTENTS 04

NEWS Australian First for SBS and Omneon MediaGrid, People Moves.

10

TAKING STOCK Thomson Becomes Technicolor, Video-8 Acquires TVD Broadcast, Oz Suppliers Form Peak Body, the Year Ahead.

14

<< 20

CLOUD COMPUTING & OUTSOURCED SERVICES The Evolution of Sohonet.

18

SYSTEMS INTEGRATION A Preview of the New ABC Brisbane.

20

3D – THE THIRD DIMENSION Cane Toads: The Conquest

24

ACQUISITION Salvation Army on the Kokoda Track, Q-Balls in the Rainforest, New Lenses, Pro AVCHD Camcorder.

28

SPORTSCASTING Vancouver Winter Olympics.

34

NEWS OPERATIONS News Channel for ABC, Covering the Black Saturday Bushfire, ENG Spectrum Review, Public Affairs Channels Takes Cisco.

36

POST-PRODUCTION Top Grades from Oktobor at Florida Uni, Coa.TV Dances with Small Tree, Deluxe Wields Catapult, Graphics Round-Up.

40

STORAGE & ASSET MANAGEMENT AMWA, EBU Form Interop Task Force, iPhone App for Video Data Rates, MPEG Web Search Query Format, Asset Management Software as a Service, Production Challenges Beyond HD.

<< 28

42

DIGITAL SIGNAGE TehTarik.TV Launches D-Signage with Interactive Edge, Val Morgan Superscreens, Digistor Brings New Dynamic to D-Signage.

46

RADIO Warner Wins ABU Lifetime Achievement Award, Triple J iPhone App, Extra Digital Spectrum Sold at Auction, Factum Fall-Back for CBAA.

50

AUDIO Soundcraft Makes News in Perth, Funding for Aussie Start-Ups

52

TRANSMISSION, SIGNAL DISTRIBUTION, T&M Australia Closes Door on ‘Datacasting’, Mildura Leads Oz Into DTV Future, ACMA Revalues Spectrum, Satellite Coverage for DTV Blackspots, Digital Dividend Greenpaper.

c+t 56

CONFERENCES, EXHIBITIONS, ROADSHOWS

58

OFF-AIR What Happens on Tour … gets Printed Right Here.

63

C+T SHOP, C+TV’S GUIDE TO ONLINE INTERVIEWS, plus CLASSIFIEDS

64

BABBLING BROOKS Gerry Brooks – Down the High Def Road!

Editor’s Welcome

Free Ride on Spectrum – Not Exactly

By Phil Sandberg Understandably, there will be an outcry at the recent announcement by Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy giving a licence fee rebate to commercial terrestrial TV broadcasters.

Television Licence fees were $286.8 million in 2008-09. According to the Minister, “Licence fee rebates will be 33 per cent in 2010 and 50 per cent in 2011 to ensure that commercial broadcasters can continue to invest in new Australian content.”

After the ‘to and fro’ between subscription and free-to-air interests over the last two decades, the move could be seen as yet another free kick to the terrestrial sector, in the same “ballpark” as the sports anti-siphoning list.

Free-to-Air broadcasters are in the home straight of digital switchover. It has been and will continue to be an exercise not without considerable cost.

However, no-one could argue that the subscription sector did not also have to build new infrastructure from scratch - at considerable cost. It took Foxtel ten years to record an operating profit.

But, as outstandingly innovative and successful as Australian pay-TV is, it does not reach 100% of television homes and, perhaps, never will.

On top of this, neither the terrestrial broadcasters nor the Government want a transition that ends in a shambles – there’s too much to lose. The political cost would be too high.

According to Senator Conroy’s announcement, “The rebate is also in recognition of the current level of licence fees in Australia compared with other countries such as the US, UK and Canada, and the new technology and commercial challenges facing the sector, including the switch to digital television.”

Then there is the supposed quid pro quo element to the announcement.

According to Senator Conroy, “the rebate recognised the importance of the Australian Content Standard in ensuring TV audiences have strong levels of Australian programs.”

Let’s hope this is where the rebate does indeed go. Content producers and post houses in Australia could certainly do with the work and audiences

could be better served by programmes which don’t comment on themselves in real time with phrases such as “journey”, “I just want Australia to see the real me” and “Tonight, our vote goes to ...”

So, where does this leave us in terms of choice?

In spite of itself, Freeview has begun coagulating into an offering comparable to that of any multichannel operator. It may seem like a free kick, but will it score goals?

Freeview Versus Subscription TV GO!

TV1, Fox 8, Movie Network

ONE

ESPN, Fox Sports

ABC 3

Nickelodeon, Disney, CBeebies

Seven Two

UKTV, Fox 8, Lifestyle, Movie Network

ABC News Channel

CNN, BBC World, Fox News, Bloomberg, CNBC

Traditional FTA Channels

Retransmitted

Tivo PVR/broadband device

iQ PVR/broadband device

Predictions: Network TEN adds ‘Video Hits’ music channel (perhaps combined with comedy), (because of bandwidth constraints) a joint venture documentary channel emerges and a women’s channel is launched (sans ‘boning’ of course). All would carry high levels of new Australian content.

Thanks for Reading Phil Sandberg Editor/Publisher papers@broadcastpapers.com T: +61-(0)2-9332 2221

Visit www.content-technology.info 2 Editor’s Welcome

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2010 Deadlines

• Recruiting/Staff Management • Recruiting/Staff Management

March/April 2010 Vol 7 Issue 2 Editorial/Advertising Bookings – February 24th, 2010 Ad Material – March 1st May/June 2010 Vol 7 Issue 3 Editorial/Advertising Bookings – April 2nd, 2010 Ad Material – April 27th July/August 2010 Vol 7 Issue 4 Editorial/Advertising Bookings – June 21st Ad Material – June 25th September/October 2010 Vol 7 Issue 5 Editorial/Advertising Bookings – August 20th Ad Material – August 27th November/December 2010 Vol 7 Issue 6 Editorial/Advertising Bookings – October 15th Ad Material – October 22th For more information, visit www.content-technology.com or call +61-(0)2-9332 2221 or +61-(0)414 671 811.

Email: papers@broadcastpapers.com Sales enquiries: dh@broadcastpapers.com or call +61-(0)410 880 557

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{NeWS + people

Media Industry Technologist Certification - www.mitc.tv For the latest news, visit www.smpte.org.au

Australian First for SBS and Omneon MediaGrid

Australia’s Special Broadcasting Service (SBS) has contracted Quinto Communications to supply and install an Omneon MediaGrid intelligent filebased Storage Solution that will be the corporation’s core media storage and media production server.

The unique media organisation’s television, radio and online departments are charged with delivering multilingual and multicultural content reflecting Australia’s multicultural society. Although the smallest national network in Australia in terms of staffing and budget, SBS punches well above its weight and transmits material in more languages than any other broadcaster in the world.

To significantly improve operations, plan for future growth and reduce running costs, SBS needed to centralise its vast array of media assets with a cross platform storage system.

“The first time we saw the Omneon MediaGrid in some detail was NAB 2007 but we were still moving media around with portable disks.

Our network infrastructure was only 10/100Mb around the building so we weren’t ready,” explained Peter Stavrianos, Manager Broadcast Engineering, SBS. After spending two years updating the core data and network infrastructure, including centralised video routers and a new 10 Gigabit Ethernet system, the engineering team was ready for the next big step.

However the unusual requirements called for the storage to be placed on a corporate network as opposed to it being used in a pure broadcast production environment.

“We needed storage that we could treat like a common network share for the entire business not just the one department,” said Stavrianos.

“The reason we did that is we’re predominantly an Apple FinalCut Pro facility with nearly 50 FinalCut Pro and ProTools systems all across the organisation, with the majority in Sydney. Many of those facilities are already on the corporate network because they’re being used by our graphics and online departments.

4 News

Because we’re in radio and we do all our own print media as well as video production, our designers needed fast disk-based edit storage that they could still be on the web with while accessing live material and being able to edit.”

At SMPTE 2009 SBS engineers assessed and short listed the available systems and invited three suppliers to supply a demo system to trial in-house.

The Omneon MediaGrid supplied through Omneon’s local distributor, Quinto Communications, was one of those systems installed and put through its paces.

“The selection process was very technical, we ran many tests where we looked at throughput, connectivity and network specifications,” said Randeep Rana, Manager Broadcast IT. “We use the DV100 codec in the facility for HD so all our throughput tests were done using 100Mbps video.

“What was crucial for us was that the material could be put on the grid, edited on the grid, and then left on the grid - that’s why it was so important to have fast throughput rather than a standard storage device where you would need to pull and push items around.

“We looked at data packets and how equipment was communicating across the network. Over the previous two years we’d spent a lot of time building up a standard operating environment for our FinalCut systems so that we had one FinalCut build regardless of department and one graphics build for our designers to support. The new system had to work into that environment. The guys from Omneon and Quinto came out, installed the drivers on our FinalCut workstations and our staff started using it straight away.

“Throughput was very good, but more importantly it just worked when we put it in and that was very important to us,” continued Rana. “We spent some time with other vendors tweaking the performance of their systems but most efforts opened up the door for other issues that the MediaGrid didn’t have. I think our users preferred the Omneon MediaGrid because of that

seamless workflow. Not only did our tests on the MediaGrid work the first time - we never had an instance where the operators had to slow down or wait. So technically it beat its competitors in our own tests in our environment. Operationally it did better and the costs per terabyte were quite reasonable across the board - so it suited us perfectly.”

The SBS consultative selection process approved the Omneon MediaGrid as the winning system so SBS, Omneon and Quinto engineers, worked together to configure the custom build for the final order.

The equipment quickly arrived and installation began in late December 2009.

“A new NLE system for news and sports will be going in and we’ll be using the MediaGrid as an interim stage to bring that department’s work onto the rest of the network, or vice versa and as an entry point for promos material,” explained Stavrianos.

“As much as you want one big device it makes sense to buy systems that suit the requirement and just try to find a really good unifying infrastructure.

That’s where the MediaGrid comes in as it helps us join all these individual purpose built systems and create one storage solution rather than hundreds of little workflows.”

Quotas will also be assigned where every department will have a public area and an internal area. In this way each group will have write access to

their own media but read access to everyone else’s.

The new Omneon MediaGrid systems allows SBS to provide flexible data redundancy as required throughout the facility and will simplify the operation of the broadcaster’s just completed Disaster Recovery facility.

It’s massively scalable architecture will also enable SBS to easily expand its operations to keep pace with its increasing HD demands such as the 2010 World Cup and other content outputs such as STUDIO, SBS’s new arts and entertainment channel on Foxtel and Austar.

“What we’ve got to do as technologists is create the infrastructure that allows the business to very quickly change and evolve. The biggest hindrance with some of the other systems we looked at was the limitations in the scaleable architecture. All of them were scaleable but they would come with little idiosyncrasies around how they scale, or what they could scale. They came with limitations or restrictions that didn’t suit us, whereas the user sees no difference when we expand the MediaGrid - people feel like they’ve just got one space that’s theirs, even though we know it’s been separated over multiple systems or multiple nodes.”

A move to virtual servers combined with the installation of the Omneon MediaGrid system has resulted in a massive saving in rack space, energy

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Continued page 6

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With exciting new 3 Gb/s SDI connections built in, Broadcast Videohub allows twice the SDI data rate than normal HD-SDI. Use 3 Gb/s SDI for high resolution real time 2048 x 1556 feature film editing. 3 Gb/s SDI has full compatibility with SD, HD and 2K in 4:4:4 or 4:2:2 all with a single BNC cable.

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SBS and Omneon Continued from page 4 loads and cooling requirements.

“The model of virtualisation and bringing everything into one bigger storage system that can automatically change over units if there’s a failure, is the model we like to apply to everything we do,” said Stavrianos. “So the MediaGrid fits perfectly into that style of architecture. If a node fails it just drops off, moves the data or makes another copy of the data in another location. It’s seamless to the user so we can turn things on and off for maintenance without slowing down the production facility. There’s a misnomer that broadcast systems are more expensive than some of the IT systems out there. A lot of people just think ‘let’s go buy a cheaper, PC-based system’ but when you weigh up the costs of integration and building the infrastructure for it and you look at the way they deal with outages, it’s not that much more expensive at all, in fact the Omneon Media Grid is on par with other systems I would say.”

With the use of the Omneon MediaGrid SBS is confidently looking to an all digital, file-based future with more channels and a greater internet presence. A centralised ingest area with Omneon Media Grid integration will enable full access to all media for all staff throughout the facility.

“Right now we’re looking at putting our Promos, Graphics, Marketing, Audio Post and Radio production departments on the MediaGrid along with all our CD music libraries,” detailed Stavrianos. “We’re looking for it to become a transfer medium for corporate or internet video that needs to get into the news room and sports production facility and it’s also going to become a staging area where we can move media to our web team. So the MediaGrid has a very crucial, central role at SBS.” Quinto’s General Manager, Tom Pavicic added “this was a lengthy project that required a lot of discussion and testing with the client, but in the end we new that the Omneon MediaGrid was the best fit for SBS considering their specific workflows, throughput requirements and future cost effective scalability expectations.”

Polling in Palestine RDS

A STAND

+ people

MediaCorp Ceases TVMobile Singapore’s MediaCorp has discontinued TVMobile (TVM), its free-to-air mobile digital television broadcast service.

According to a MediaCorp statement, “When TVM was launched in 2001, it was the only platform that offered quality digital content to public commuters. In as much as TVM provides a rich source of entertainment and information to commuters, the resources required to operate and maintain the service are substantial. Having carefully evaluated the viability of the service, MediaCorp has decided to discontinue the service upon expiry of its current agreement with SBS Transit.”

MediaCorp will re-deploy its TVM staff to other operations.

Tieline, Innes Partnership

Tieline Technology has announced that Innes Corporation has joined as a new distribution partner for its range of digital broadcast IP audio codecs.

“It is with great delight that Innes Corporation can announce the addition of Tieline into Innes Corporation’s portfolio,” said Deborah Ford, General Manager of Innes Corporation. “Tieline IP codecs are the only ones in the world that are capable of sending digitally encoded audio over 3G/4G wireless networks, IP/Internet networks, standard POTS/PSTN telephone lines, ISDN, X.21, satellite (ISDN and IP) and GSM connections. ” Visit www.innescorp.com.au and www.tieline.com.au

Quinto Distributes AmberFin

Magenta Video Network Joins openGear Ross Video has announced Magenta Video Network’s partnership to expand the openGear terminal equipment platform. Magenta Video Network develops IPcentric digital video processing solutions for professional broadcast Contribution and Distribution, Studios and IPTV markets. openGear is an open-architecture, modular frame system designed by Ross Video and supported by a diverse range of terminal equipment manufacturers.

The platform offers clients the freedom to choose technology from a wide range of products to meet the needs of a broadcast, production, or distribution facility while maintaining a compatible openGear frame infrastructure.

Visit www.magentavideo.com and www.rossvideo.com

Delivering Online Video Ads The US-based Interactive Advertising Bureau (IAB), has released “VAST 2.0”, an update to the Digital Video Ad Serving Template that it created in July 2008 to standardise the communication protocol between video players and servers.

VAST 2.0 includes updates that: • Permit optional tracking of companion ads and other ad elements • Provide support for multi-part creatives • Allow for a broader range of digital video ad products • Clarify many technical requirements to ease implementation Documents released by the IAB include: • Video Player-Ad Interface Definitions Guidelines (VPAID) • Digital Video Overview Document • Digital Video In-Stream Ad Format Guidelines and Best Practices • Digital Video In-Stream Ad Metrics Definitions Visit www.iab.net/digitalvideo and www.iab.net/vast

6 Standards

NeWS

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AmberFin has announced the addition of Quinto Communications to its Asia Pacific network of resellers.

Under the agreement, Quinto Communications will resell AmberFin’s iCR ingest, video conversion, automated/assisted QC and transcoding software tools in Australia and New Zealand.

Commenting on the agreement, David Abel, Worldwide Director of Partner Management at AmberFin, said, “Quinto has a strong heritage and reputation in the region, and its market expertise will help us increase our presence in the Asia Pacific region.”

Visit www.quinto.com.au

Sony Oz Selects Tektronix Tektronix, Inc. has announced that Sony Australia Limited has adopted Tektronix WFM8300 advanced waveform monitors to support aftersales service for Sony’s professional and broadcast video equipment. The Tektronix waveform monitors will also be used in the installation, diagnostic

and acceptance testing of Sony equipment at customers’ premises.

With the advent of 3Gb/s digital video, Sony Australia is facing increasing demand from customers to provide technical support for 3G-capable Sony equipment.

Visit www.tekmark.net.au

Amber on the Case with CP Amber Technology has supplied CP Cases products to Thoroughbred Racing Productions (TRP) which purchased Amazon cases for equipment such as camera components and tripods, camera rain covers and backpacks for cameras & accessories. Recent sales also include the OB Group. CP Cases products include rotomoulded cases, soft bags, 19 inch rackmount and ½ rack cases, the new lightweight E-Rack, aluminium camera cases, wet weather camera covers and other broadcast solutions.

Visit www.ambertech.com.au

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News 7

{NeWS + people

Media Industry Technologist Certification - www.mitc.tv For the latest news, visit www.smpte.org.au

Everett New GM for Oktobor

New Zealand visual effects and animation studio Oktobor has announced that Bruce Everett has been appointed as their new General Manager.

Known as a strategic forward thinker, Everett brings a hands-on, craft producer and filmmaker’s eye to the role of GM having previously enjoyed significant success as Group Director of Post-Production for the world famous Pinewood Shepperton PLC and Managing Director of St. Anne’s Post for Ascent Media in the UK. Bruce Everett’s appointment as GM of Oktobor is effective immediately.

Oktobor also has a new Senior Producer, Digital, in the form of Amanda Kabel, while Cristina Casares brings with her to Oktobor a 14-year Animator/ Director/Producer background in the industry. Oktobor’s second new Account Manager Zoe Jones returns to Oktobor after a short hiatus having previously been a Producer at the company.

Visit www.oktobor.com

FSM Hooks Wanda for VFX Sydney post production company FSM today announced that leading 3D talent, Andreas Wanda, has been appointed as VFX_3D Supervisor. Andreas will join FSM with over ten years experience in 3D from on-set to leading 3D teams for major TV commercials. Most recently Andreas spent two years at Animal Logic where he managed several high profile projects including feature film the Knowing. The TV commercials Andreas worked on have won several awards including: a Gold Pencil at the AWARD Awards, for Visual Effects on the Sony Kiss ad; and a Gold World Medal for 3D Animation on the Heineken Past Experience ad at the New York Festival’s International Advertising Awards.

Chelleri Dives In at Pebble Beach Pebble Beach Systems, a leading provider of automation solutions to the broadcast market, has announced the appointment of Alex Chelleri as President, Pebble Beach Systems APAC to drive its expansion into this key region.

Chelleri, who has many years of experience with a number of well known Asia-Pacific companies in the Broadcast and Film industry, has been based in Hong Kong for the past 16 years. Having held key roles with companies such as Ampex, Dynatech, Scitex Digital Video, Leitch, Quantel and more recently Snell, who merged with Pro-bel earlier this year, he is exceptionally well qualified to take on this challenging position. Pebble Beach Managing Director Peter Hajittofi welcomed Chelleri to his new role.

“Alex’s solid grasp of operations in the region, and his vast wealth of technical and commercial knowledge made him a natural choice to help Pebble Beach expand its operations into the Asia Pacific market,” he said. “We’re delighted to welcome him on board.”

Visit www.pebble.tv

8 News

New SecretaryGeneral for ABU

OmniBus Appoints Wood

Javad Mottaghi has been appointed the next ABU Secretary-General.

Mr Mottaghi, 54, is currently Director of the Asia-Pacific Institute for Broadcasting Development (AIBD).

He succeeds David Astley, who has been Secretary-General since July 2002. Mr Astley is leaving the ABU at the end of June.

An Iranian citizen, Mr Mottaghi has headed the AIBD since August 1998.

He served Iran’s national broadcaster, Islamic Republic of Iran Broadcasting (IRIB), in various capacities from 1978 to 1996, notably in the fields of sports, production and news.

Mr Mottaghi has long been active in ABU activities. He was IRIB’s Liaison Officer for both the ABU and the European Broadcasting Union until 1996. Visit www.abu.org.my

OmniBus Systems has announced the appointment of Iain Wood as regional sales manager responsible for market development in the Middle East, India, Asia-Pacific and Africa. Wood’s appointment marks the expansion of the company’s activities in these regions, driven by growing sales and demand for OmniBus products, and in particular for the flagship OmniBus iTX ITbased transmission and automation platform. Wood’s extensive industry knowledge and contacts in the Middle East, Indian, Asian and African markets reflect his expertise in the field of automation, gathered during 20-plus years in the industry in senior roles with Drake, Omneon and OmniBus. Visit www.omnibus.tv.

Technology Leading you into the future…

Affordable Prompting Autocue have introduced a new range of flexible low cost prompting packages: • Screen sizes available from 7” to 17” • Professional colour Flat Sceen displays • High brightness • Free prompting software with Starter Series

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• • • • •

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8, 16 or 32 inputs with audio embedding SD/HD/3G autosensing inputs Two independent outputs (1920 x 1080p) Inpependent layouts on each display Clocks, UMD, Timecode etc Automatic fault monitoring with on-screen fault display

Performance Measurement

• High resolution waveform, vector and gamut displays • Picture and Audio monitor • 4 separate colour monitoring and analysis displays • Eye and Jitter Measurments • Dolby measurement and display • 3G/HG/SD Test Generator • Comprehensive error detection and logging • Simultaneously monitoring of two independent SDI inputs.

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LED Camera Lights The acclaimed PAGLight is Halogen, HMI and now LED

Alastair Stephen Moves to the Lab After eight years with Engine and much deliberation, Alastair Stephen has taken on a new career challenge and as of the 15th February will be joining the Omnilab Media Group, heading up the design and commercials division of the Lab Sydney as Executive Producer.

“My time at Engine was an amazing journey and I had the great privilege to work with so many great clients and individuals that truly embraced the philosophy and passion of the company,” he said. “I’d like to take this opportunity to thank each and every one of you for the support which made the business the success it was during my time there.”

• • • • • •

OmniTek’s new OTM1000 packs all your monitoring requirements into one portable package:

Ostrowski Over to JVC Strengthening its commitment to the Australian market, JVC Commercial has announced that Michael Ostrowski has joined their team.

Based in Sydney, Ostrowski joins as National Business Account Manager. Ostrowski will focus primarily on business development within the JVC Commercial division by building on current business relationships, strengthening JVC Commercial’s presence in the market, developing new business opportunities and managing key accounts. Critically Ostrowski will initially be responsible for JVC’s new range of Super Flat screens and 3D panels. Ostrowski brings extensive industry experience with him to JVC Commercial having spent 22 years within JVC selling their camcorder and audio lines to dealers nationwide. Ostrowski also has significant knowledge of the photographic industry having spent many years working with Minolta.

Dual Channel Multi-image Display

• • • • • •

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QUINTO COMMUNICATIONS PTY LTD SYDNEY (02) 9894 4244 MELBOURNE (03) 9558 9377 AUCKLAND (09) 486 1204 Back To Contents Page Email: sales@quinto.com.au

www.quinto.com.au

taking STOCK

“ inspiration. partnership. support ”

- THE BUSINESS OF CONTENT+TECHNOLOGY

Thomson Becomes Technicolor An Ordinary and Extraordinary Shareholders’ Meeting of Thomson (Euronext 18453; NYSE: TMS), chaired by Frederic Rose, Chairman and Chief Executive Officer, in the presence of the Board of Directors and of Thomson’s senior management, has seen shareholders of the Group approve a raft of resolutions, including those pertaining to the Restructuring Plan made public by Thomson on 9 December 2009, and already approved by all creditors’ committees (Suppliers, Lenders and

Noteholders) on 21 & 22 December 2009.

In addition, the shareholders approved the change of name of the Group to “Technicolor”. As of February 1st, the Company will trade on NYSE Euronext Paris under the Technicolor symbol (TCH).

As proposed by Frederic Rose, the roles of Chairman and CEO will be separated under a new governance structure, following the conclusion of the sauvegarde proceeding expected in February. The position had been combined in 2009 in light of the

Your global partner in media technology solutions, providing you with product, design and full integration services.

crisis facing the company.

According to Frederic Rose, “We are delighted that Shareholders have given their full backing to our restructuring plan. This is a new start for our Group under the Technicolor brand”.

The results of the votes and Thomson’s Ordinary and Extraordinary Shareholders’ Meeting audiocast are available on the Company’s website: www.technicolor.com

genCom TeChnology - supplier of QualiTy eQuipmenT inCluding

Video-8 Acquires TVD Broadcast Continuing its strategy of growth and expansion, digital media migration specialists Video-8 today announced that it has acquired the business assets of TVD Broadcast, which include the trading name, intellectual property, contact details and web domain.

Video-8 Managing Director Robert Scott said, “TVD Broadcast is one of Australia’s leading DVD, Blu-Ray, multimedia, duplication and replication specialists. We have also been very fortunate to keep all the key TVD staff including Rodney Capon (Production Management), Warren Delbridge (Client Services/Facilities), Andrew Frame and Daniel Farr (Production and Operations).”

The TVD business will be integrated into Video-8’s existing operations, with the new company trading under the Video-8 name whilst keeping the existing TVD website during the transition period to help customers easily find TVD, its services and staff.

Rodney Capon added, “The TVD team is delighted to now be a part of Video-8 as our companies complement one another perfectly.

Warren and I have already made contact with many of TVD’s valued clients and have received very Video-8 Managing positive feedback from Director Robert Scott. everyone.”

TVD clients will also benefit from Video-8’s wide range of services including HD (SR, HDCam, HDD5), telecine, Dolby E (encode/decode/frame rate conversions), Alchemist Platinum and Teranex conversions, Digital Asset Management and Media

Migration and the disk duplication and Pro Media products offered by their Silver Trak division.

Robert Scott concluded, “TVD has an excellent reputation in the market as a fair and efficient provider of high quality duplication services and the TVD team will make a great contribution to Video8’s future growth. We are all very excited about this and it follows hard on the heels of our successful acquisition of Silver Trak in September last year.

In addition to growing the business, the TVD team helps infuse it with new blood and fresh ideas. It’s a great start to 2010, which is already looking to be a very good year.”

Video-8 have also appointed Dino Vaccher as their new Financial Controller. Vaccher brings extensive accounting experience with him to Video-8 and was previously with Serco Sodexo Defence Services.

Visit www.video-8.com

10 Taking Stock

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What a Positive Year Ahead!

Media Staff & Strategy by Karl Jansson* As I mentioned in the December edition of C&T, 2010 will be a very exciting but challenging year ahead. If only three words could be used to reflect the type of key required to open up 2010 it would be “Expertise”, “Technology” and “Mobility”.

For some, these words will be blatant obvious, for others there will be a question mark!

The following comments and assumptions have therefore been made from observations and discussions with our clients from within the Broadcast Community who have projected growth for this year.

From pipelined positions ready to be released to pending mergers and acquisitions, there has been a consistency of approach that is referenced to the following three keys that will be integral to their success.

In addition, and as reported in the December edition, recruitment consultancies in general were hit by a rogue wave in 2009 well before companies outside the banking community felt the sea spray.

Although other recruitment consultancies are not as industry specific as our selves, they too are now poised for pending growth across other industries, so it appears that the Australian and Asia Pacific region has a few ticks on its health card already.

Expertise

As predicted in earlier articles, 2010 is shaping up to expectations because the level of “Expertise” is growing at a phenomenal rate, mainly due to the amount of R&D accomplished during 2009.

With sales last year suffering because of the Global Financial Crisis, some resourceful companies with foresight were consolidating their efforts and redirecting resources.

Whilst other companies were waiting for the GFC to appear in their rear vision mirror, the more proactive ones were working on developing an edge over their competitors.

The main objective this year and can be heard throughout many HR corridors, will be to Identify gaps of expertise, then swiftly source them throughout the first quarter of 2010 before setting into place a retention program to protect their investment.

For some companies who didn’t see, nor plan for an early 2010 recovery, they will be slightly behind the eight ball, but not out.

Safeguarding their market position whilst combating further market encroachments by their competitors will be paramount.

increase in the use of Psychometric testing.

This is the type of testing that will ensure a standard level of intellectual and culture compliance is met, as well a level of fluency that will be cross referenced with existing, valued staff.

Staff retention will be noticeable in the formation of new company policies this year.

Technology

For most it will be “Technology” in equipment, either software or hardware, but broadly speaking it’s more the Intellectual Property of the business that will drive change.

Ok, the term refers to patents or trademarks or copyrights, but it also refers to legal property rights over creations of the mind, both artistic and commercial, that includes methods and processes.

In short, successful companies this year will have the edge certainly because of new product launches, but it also will come from the essence of creativity that has flowed through from all levels of staffing and management.

Management will govern the future of their business by means of new directions, new methods and of course there will be a culture shift, not so much a heavy change.

Inter-company Technological change however will be highly visible from carrying more PDAs through to the reporting structure and methods of data collection.

There will be a tighter and more fluid way of dealing with day to day business issues from Sales through to Engineering.

Mobility

This year more so than any other previous year will see an increase in the mobility of key staff and personnel to where the action is, so the level of cohesiveness in communication will need to be fluid.

Therefore to ensure this occurs there will be an

Applying the Who, What, Where, When and Why to Mobility.

Recruitment is projected to be most robust in the Asia Pacific region during the first quarter of 2010, while the Americas and Europe will indicate moderate signs of opportunity. Two thirds of countries are estimated to be currently in this development phase, whilst the remaining countries have posted negative hiring expectations mainly due to the indigenous economic climate of their country.

By example, while Information Technology in the US dropped significantly by several percentage points throughout 2009 it’s estimated that the rate of expansion this year will be doubled. So, whilst the US is not seen to be a mover and shaker in Q1, it will show significant growth by Q3.

From my sources, I’m starting to see an increase in the number of jobs that are being created throughout India, Singapore, Taiwan, Hong Kong and Australia in Q1 and Q2.

However, throughout countries such as Ireland, Spain and some parts of Europe there is some slow growth, but it’s estimated that it won’t be till Q4 or early 2011 before any encouraging employment figures become obvious within this region.

So in summary, as an Employer, this is the year to be pro-active, show visible change to the market, show growth, show ownership, and most importantly show appreciation to those you value.

For without these elements your nearest competitor will see your company as a potential source of talent.

For Employees, work with your Employer and don’t be too hasty to accept any headhunted offers too quickly.

If your loyalty is valued and recognised by your current employer then you have one key element that may not be replicated easily within a new culture elsewhere.

More haste, less speed in 2010!

Karl Jansson is General Manager of “BroadcastJobz. tv” and “J-Curve Broadcast Recruitment Consultants”.

Email: corporate@BroadcastJobz.tv Web: www.broadcastjobz.tv & www.jcurve.tv

Read the Blog Online at www.broadcastjobz.info 12 Taking Stock

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Cloud Computing

CLOUD COMPUTING & outsourced services From Digital Courier to Global Freight Train Dominic Case Traces the Histories of FIBRE and Sohonet.

Back in 1995, Sydney film processing lab Atlab ran a roll of rushes negative on its newly-refurbished telecine, and saved the output, not onto videotape but as a compressed Avid file on a server at Avid’s headquarters in French’s Forest.

The test, for a system that was to be known as the Digital Courier, was part of a series of proposals to link a number of postproduction houses – concentrated in Sydney’s Crows Nest and Artarmon district – by high speed broadband in a project known as Crows Net. The model was a similar, already highly successful network linking postproduction houses in London’s West End: Sohonet.

Despite keen interest from post houses and telcos, the costs of connectivity made the project prohibitively expensive at the time. Now, fifteen years on, Sohonet itself, grown to become the global industry’s largest high bandwidth provider, connects most of the major Australian digital production and postproduction houses with each other and the rest of the world. The latest addition to the network is Efilm Australia, the digital partner of Deluxe Australia, formerly known as Atlab. The wheel has turned full circle.

Fifteen years ago, the Digital Courier tests used an ISDN connection, pairing two or more conventional copper telephone lines, to give data rates in increments of 64 Kbps. Today, the Efilm Australia connection has a base speed of 50Mbps, which can be ramped up on demand to provide data rates up to 500Mbps. What’s more, the network connects the facility not just to close neighbours in Sydney, but to Efilm’s Melbourne and Los Angeles operations as well as customers in London, Auckland and elsewhere.

David Edgar, the Australian Director of Sohonet, sees the latest connection as a bonus for the entire Australian industry. In a recent press release he said “we are pleased to be bringing the EFILM facilities into Sohonet’s global network. It marks a significant step forward in Australia’s capacity to provide services to the international production community.”

It’s been a slow (and not always steady) growth and development curve for broadband at the level required by the production industry. Shortly after the Crows Net project, a report to the Federal Government’s Science and Innovation Committee (PMSEIC) highlighted the cost of bandwidth as a major inhibitor to the development of Australia’s otherwise vibrant postproduction and digital effects industry. (This was in the year of The Matrix, shot in Sydney at Fox Studios and with the award-winning

14 Cloud Computing

Sohonet Headquarters, London.

visual effects work done at Sydney’s Dfilm and Animal Logic). Out of the report came the industrybased company FIBRE (Film Industry Broadband Resources Enterprise), charged with the goal of making broadband easier and more affordable, with service and price structures that met the very specialised needs of the film industry.

FIBRE recognised that digital effects houses often collaborated on large projects and so local connections between facilities, or between the effects house and the film-out facility, would improve efficiency. Also that Australia’s working day was evening or night-time in Los Angeles or London, so file transfers could gain a working day rather than lose two while data tapes were physically flown around the world.

FIBRE also knew that telcos were geared up to provide consistently steady streams of data for banking networks, but not for the on-again offagain film business, where a facility might transfer terabytes of data one month and none the next.

Pricing models at the time worked for long-term, large volume connections, mostly centred in the inner city, but not for companies whose need for high speed bandwidth was contingent on their landing a bid for work on a feature – which may or may not even go into production.

The group’s members included most of the leading facilities in Australia: Animal Logic, Cutting Edge, Digital Pictures and Atlab among others – but at first the business case was not convincing enough even for FIBRE’s own members. When it came to the size of pipe necessary to transfer the very substantial files involved in digital effects, the costs were still prohibitive. Locally, a taxi or courier ride was

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cheaper and almost as quick: internationally there simply wasn’t enough regular long-term business for more than one or two Australian companies.

At the same time, Sohonet was expanding from its central London base. The company, formed initially by several of the leading Soho digital effects houses, had been bought by a Scottish energy corporation, and then reclaimed in a management buyout. The new CEO, Dave Scammell, was well-placed to understand the needs of the sector, having previously been international sales manager for Quantel.

Sohonet knew the same things as FIBRE knew, and was building a network and a business accordingly.

The two companies were born from the same gene pool. And so in 2005 Sohonet acquired FIBRE. Whereas FIBRE acted mainly as a broker or retailer of services, Sohonet provides an actively managed network, with Points of Presence (POPs) in major Australian capital cities as well as in Auckland New Zealand. This was previously (and quite literally) the missing link, allowing Sohonet subscribers in the same capital city to communicate with each other almost as easily as within their own LANs. But more importantly, Sohonet has grown from its origins running underneath the pavements of Soho to become a global media network with hubs and fibre capacity both within and between centres in the United States, Canada, New Zealand, Australia, France, Netherlands, Germany and Italy. Through its relationship with other network providers it can reach other locations via satellite, or more fibre links.

One aspect where Sohonet claims ascendancy over other general-purpose providers is in its purposedesigned network management and transmission protocols. Digital data has to be transmitted with one hundred per cent reliability, and so verification of data is critical. Networks designed for general purpose traffic are generally very ineffective when the massively large files used for film-resolution images are being transmitted. Sohonet claims that an unmanaged 100Mbps connection between Los Angeles and London may only deliver speeds of 2 or 3Mbps, whereas with correct tuning by Sohonet, individually profiled for each customer, speeds of 95Mbps are routinely possible, with no additional hardware costs required.

In Australia, Sohonet’s customers include Animal Logic (Sydney & Los Angeles); Cutting Edge (Brisbane, Chippendale and The Entertainment Quarter), and now EFILM (Sydney, Melbourne and Los Angeles).

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Live Production, now under control.

Cloud Computing Sohonet also provides services at all three major Australian studios, including Warner Roadshow Studios on Queensland’s Gold Coast, which was recently connected for a large US production as well as several current Australian productions. At Melbourne Central City Studios, Sohonet has provided services for The Knowing and The Pacific, as well as for Superman at Fox Studios in Sydney.

But broadband services are not just about providing digital dailies services during production and carrying effects files between digital effects houses in Australia and production headquarters in the US and London. Deluxe Australia has seen other applications too. The Lane Cove, Sydney based facility incorporates the former Atlab processing and release printing laboratory, Digital Intermediate house EFILM Australia, and StageOne Sound, Australia’s newest, world-class sound mixing studio. According to Deluxe’s Creative Services Manager Anthos Simon, recent overseas productions seeking to shoot or postproduce in Australia have demanded high speed connectivity as a matter of course. US-based studios need to see dailies during production as well as postproduction work, whether segments required for work by other facilities, or the latest cut of reels or the entire feature.

At the same time, within Australia EFILM’s increased participation in creative digital postproduction services is making fast communication with other Australian digital houses essential. Deluxe provides stand-alone film scanning and recording services associated with its negative processing lab, a service often used by both large and small digital effects facilities. The company is also able to exchange work between its Sydney and Melbourne (formerly Cinevex) operations, optimising the use of both key creative staff and data storage capacity. While the sporadic nature of film production and post work in Australia was at first a difficulty when it came to maintaining cost-effective broadband connectivity, Sohonet’s scaleable network also allows its clients to spread their work around more evenly between their facilities in different cities or countries.

In a recent statement, Anthos Simon described another growing use of the network. Deluxe Australia’s core business is manufacturing bulk 35mm release prints of US studio features and trailers for the Australian and South East Asian markets. Instead of shipping negatives, studios are now delivering more

and more mater material in digital format. Already the vast majority of trailers they print are supplied by fast broadband, and full length features are may soon be sent this way. Deluxe records the digital data out to film on its laser recorders, prior to making bulk 35mm prints.

Reviewing the range of applications for their Sohonet connection, Simon said “With Sohonet’s ability to connect to Europe and North America through their fast, reliable and secure network, our increasing need for bandwidth becomes more and more of a reality.”

Across the Tasman, Sohonet has recently signed up the relatively new digital postproduction company Toybox in Auckland New Zealand. CEO Michael Bach explains that the company is building its international business, and the connectivity was a vital ingredient. As with most subscribers to Sohonet, the move has been triggered by a particular production.

Toybox is working on a UK/NZ co-production Ice, a climate change disaster film based on a James Follett novel, directed by British director Nick Copus, for NZ’s Screentime and UK’s Power. As well as sending material to London for approval, Toybox will send the final digital master via the Sohonet pipeline to Efilm in Sydney for film recording.

Bach also notes the strategic opportunity presented by the Sohonet connection: “as the first site in Auckland, we’ll be well placed as a hub for connectivity here”.

Apart from highly efficient high-speed connectivity, there are other differences from a conventional service provider. Support doesn’t end where the cable comes through the wall.

Sohonet says “We expect our clients to call us for advice on all aspects of their connectivity. We maintain a very close relationship with hardware suppliers to the media industries, and make it our business to know the connectivity limitations and advantages of typical applications.”

The network also offers conventional internet connections, and points out that dedicated line between two branches of a company can easily carry all its corporate traffic such as emails, intranet and accounting systems as well as its production files.

The film industry in Australia has struggled for many years to see stable financial viability. Domestic production levels have been historically low for several years and the changes to the government’s

production funding mechanisms have resulted in some degree of uncertainty for producers and investors. Internationally, the Global Financial Crisis has depressed production levels worldwide as investment funds have dried up, and ironically, its relatively lighter impact in Australia has resulted in an exchange rate that devalues the location rebate offered to international producers, and all but eliminates the cost advantage that US producers seek for their runaway productions.

However, all is not doom and gloom. According to David Edgar, Australian Director of Sohonet, the addition of a new trans-Pacific submarine cable into Australia has provided much needed competition in international connectivity. This has increased the available bandwidth, resulting in significantly better value for money for transfers to and from overseas customers, and making production and postproduction in Australia more competitive in the world market. Moreover, the 40 per cent Producer Rebate for qualifying Australian features has already attracted some international finance to locallybased productions, blurring distinctions between domestic and international sectors of the industry.

There are more co-productions, while the sometimes overlooked PDV-only sector (post and digital work done in Australia for otherwise entirely non-Australian shows such as the Harry Potter films) has become well-established with several companies building substantial portfolios.

Digital processes are now all-encompassing in every stage of the film pipeline. From the growth of all-digital productions such as George Miller’s Happy Feet 2; Guardians of Ga’Hoole , and animation for Bones at Sohonet’s long-standing user Animal Logic; to the almost universal use of Digital Intermediates in postproduction, and the long-awaited arrival of digital cinema exhibition, mainly on the back of 3D productions; data is everywhere. At last, fifteen years after the Crows Net experiments and nearly ten years after the formation of FIBRE, a fast and ubiquitous data communications network to connect the Australian industry both internally and to the rest of the world is no longer a prediction or a “nice to have” item, but a necessity and a reality.

Dominic Case is currently a film technology & strategy consultant: he is a former Director of FIBRE Pty Ltd and of Sohonet Pty Ltd. You can reach him via case@unwired.com.au

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Identifying Cloud Standards

16 Cloud Computing

including usage scenarios for cloud interoperability, the cloud service lifecycle and a cloud reference architecture. The white paper also highlights the incubator’s ongoing activities, including the formation of new sub-groups and upcoming informational specifications. The “Interoperable Cloud” white paper is the first document released by the DMTF Open Cloud Standards Incubator. It will be followed by a series of informational specifications concentrating on cloud security, infrastructure protocols and data artifacts. The incubator has already formed new sub-

groups to begin addressing these areas.

The resulting specifications will address the interfaces between cloud service providers and cloud service consumers, and between cloud service providers and cloud developers – collectively known as the cloud provider interface.

Cloud interoperability standards that result from this work will be designed to reduce lock-in and increase agility for cloud computing adopters taking advantage of a multi-provider, mixed cloud environment. For more, visit www.dmtf.org/cloud

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Contact your local Techtel office for a live demonstration.

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With members including Advanced Micro Devices (AMD), Citrix, Dell, EMC, Fujitsu, HP, Hitachi, IBM, Intel, Microsoft, Novell, Oracle and Sun, the Distributed Management Task Force (DMTF) is tasked with a mission of creating standards that enable interoperable IT management. The group recently released a new white paper entitled, “Interoperable Clouds – A White Paper from the Open Cloud Standards Incubator.” It summarizes work within the DMTF Open Cloud Standards Incubator,

Systems Integration

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INTEGRATION

Consultants working with the ABC on the development include: • Architect - Richard Kirk Architect • Construction - Leighton Contractors Pty Ltd • DEGW • Cundall • Arup Acoustics • Aurecon • Gamble McKinnon Green • Lincolne Scott • Cardno Alexander Browne • Certis • Access All Ways

ABC Unveils New Brisbane HQ Late last year saw the Queensland Premier, Anna Bligh and ABC Chairman, Maurice Newman AC, unveil concept designs for the ABC’s new Queensland headquarters.

The purpose-built facility, located at South Bank in the arts and cultural centre of Brisbane, will be a state-of-the-art broadcast centre, capable of meeting the ABC’s expanding technological and operating requirements.

Dubbed the Brisbane Accommodation Project, the establishment of broadcasting facilities on the site has been undertaken by ABC Capital Works under the stewardship of Project Director Ray Moore, Michael McGowan (Queensland State Director and BAP Project Coordinator) and Peter Bedford, Project Technical Manager.

18 Systems Integration

The move offers long-term creative and commercial synergies for arts and educational institutions at South Bank.

The ABC has established a strong team of internal broadcasting specialists and external contractors to deliver the project.

The new building will be approximately 15,500 square meters in size and house up to 450 ABC staff and facilities, including program output areas, (such as Australian Story, Landline, Stateline, ABC News, 612 ABC Local Radio), as well as transmission and support functions.

The building will also house members of the Queensland Symphony Orchestra (QSO).

The move offers long-term creative and commercial synergies for arts and educational institutions at South Bank. It is located alongside QPAC, the Conservatorium of Music and Griffith University’s College of Art and School of Film and Television.

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“The designs for the new facility demonstrate the ABC’s commitment to providing staff a sustainable, modern and healthy working environment,” Managing Director Mark Scott said.

The ABC abandoned its previous headquarters at Toowong in December 2006, as a result of staff health and safety concerns following the detection of a cancer cluster. ABC staff were then re-located to eight different sites across Brisbane. The new building will bring staff together in a modern facility, significantly increasing efficiency and work flow.

“I would once again like to thank Brisbane staff for their resilience and for enduring the disruption caused by the relocation. I am very pleased that we can now work towards building an environmentally sustainable broadcasting hub that will allow Brisbane to function at its full potential,” Mr Scott said.

Ms Bligh said she was pleased to announce that a development lease has been granted to the ABC for this project. “On completion, the ABC will be located in the cultural hub of Brisbane, where its neighbours will include the Queensland Performing Arts Centre, Griffith University and the Queensland Conservatorium of Music,” she said.

The Chairman thanked the Premier and the federal government for supporting the relocation from Toowong to South Bank. Mr Newman also praised ABC staff for their patience and pledged that the ABC would endeavour to have the new headquarters ready as soon as possible.

Timeline for the project: On Site Early Works - January 2010 Construction – Start of February 2010 Technical Fit-out - March to December 2011 The building is scheduled to be completed in late 2011 – early 2012.

C+T will present a detailed tour of the new facility closer to completion.

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The Third Dimension

- Stereoscopic Production & Exhibition

Cane Toads has 3D on the Hop With the world still in the grips of ‘Avatar’ fever; Cutting Edge recently completed post production on Australia’s first ever live action 3D feature film which is set to premiere at the Sundance Film Festival.

‘Cane Toads: The Conquest’, a Participant Media, Discovery Studios, Screen Australia, and Radio Pictures presentation was written and directed by filmmaker Mark Lewis.

According to Lewis, the making of Cane Toads: The Conquest became a giant, 22-week road trip across Australia, following the path of the toad across four different states, from the damp rainforests of Northern Queensland to the arid outback of Western Australia.

“It was the first 3D digital production ever shot in Australia, which meant the crew had to invent as they filmed, forging unique equipment and solutions that would work in the country’s extreme environments along the way, while capturing everything from macro close-ups to grand vistas in glorious 3D. “The complexity of each camera setup was multiplied by the need to consider and apply every facet of 3D technology: inter-axial distances, convergence ratios and differences between the left and right eye cameras.”

Lewis’ solution comprised two pairs of highresolution digital cameras set in two 3D mirror rigs: one for interviews and wide vistas, and the other for close toad and macro setups. Each set of cameras was tethered to a custom built recording deck.

Two computers allowed complete software control of the individual cameras, shutter speeds, frame rates, live ‘looks’, and playback preview. The computers provided live feed to a custom designed real-time 3D preview monitor. Images were recorded down to

Plunging into 3D, Director Mark Lewis.

separate hard disk drives for each eye, in the cameras’ native RAW format.

Hard drives were sent back to the production office from location where they were backed up to a RAID system connected to an edit-station and custom render station for editing and preview.

DI post production was completed by Cutting Edge’s long-form division at their Entertainment Quarter offices adjacent to Fox Studios in Sydney. With 3D techniques and technology still evolving, both Cutting Edge and the production company, Radio Pictures, certainly had their work cut out for them.

According to director Mark Lewis, “What impressed me most about the business ethic and attitude of Cutting Edge, was at our very first meeting,

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when they heard the word “3D” uttered from my lips, they enthusiastically embraced the idea and were unrelenting in their quest to meet our very complex and challenging post path and needs.”

Shot digitally as a live action 3D production, the camera set-up was a custom rig, using the Silicon Imaging 2K cameras and was designed and built for Fern Street Films by Paul Nichola, VFX Supervisor and Stereographer.

“We were faced with considerable unknowns for the delivery of a 3D final master for Cane Toads. Cutting Edge ‘cut through’ all the issues with considerable gusto and to their credit delivered our needs in an exemplary manner,” said Paul Nichola.

Cutting Edge started the Conform and DI process Enclosed stereo rig for underwater shots.

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20 The Third Dimension

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INS B EG T N EX TH MON

The Third Dimension in mid-November 2009, which included a total of four weeks colour correction by Senior Digital Colorist Adrian Hauser.

“We did a lot of research prior to starting the grade,” said Hauser, “both with equipment manufacturers and by talking to several 3D aficionados’ overseas. Being live action 3D, the source imagery was going to need to be balanced [colour wise] prior to any creative grading; something you wouldn’t expect to have to do with computer generated 3D imagery.

“Balancing the Left and Right Eyes took a little longer than predicted, but getting them correctly balanced was a crucial step in our workflow, which had to cater for Print Film, 2D DCI, 3D DCI and Television deliverables.”

According to Stuart Monksfield, General Manager at Cutting Edge Sydney EQ, “3D in the home is going to take off sooner than you might think. Three manufacturers have just announced domestic 3D TV sets which will ship later this year, plus a 3D camcorder has been announced and several 3D capable BluRay players. Working with Sony, we have already produced several 3D BluRays, and now our Outside Broadcast Division is already considering ways to handle 3D in our fleet of HD OB trucks.”

To be able to grade and view 3D content, Cutting Edge has invested in upgrades for their DI grading theatre. “The Baselight grading system and our Barco 2K projector both needed upgrades for 3D,” said Monksfield. “The Baselight upgrade was straight forward, but the choice of which of the three alternative 3D projection systems to go for was more involved. Ultimately we chose the Dolby 3D system as the best available. The 3D content we create here at Cutting Edge can be viewed on any of the common

Stereo car rig for roadside shots. Note dual lenses in plastic on underside of pole.

Monitoring in Stereo.

300mm stereo rig.

Third Dimension

3D projection systems, but Dolby 3D was perfect for our in-house viewing system.”

Dolby 3D uses a colour filtering technology that provides realistic colour reproduction and extremely sharp images without the use of a silver screen to deliver the 3D experience. The Dolby 3D filter wheel is inserted into the light path before the image is formed, providing a stable and sharp picture. The 3D filter wheel inside the projector easily moves out of the light path allowing the flexibility to show both 2D and 3D movies in the same auditorium.

When it came to Cane Toads at the Sundance film festival Dolby 3D was also the system of choice, along with Dolby Digital Surround Sound.

“The Sundance Film Festival was very pleased with the entertainment experience Dolby 3D and Dolby Surround Sound brought to the success of the U2 3D premiere in 2008,” said Sarah Pearce, Director of Operations, Sundance Film Festival. “The audience actually felt like they were at a U2 concert. In addition, Dolby’s eco-conscious solution appeals to Sundance as the high-quality, reusable Dolby 3D glasses deliver both an enhanced and environmentally friendly 3D viewing experience.”

An annual event, the Sundance Film Festival takes place in Park City, Utah, at the 1200-seat Eccles Auditorium. To enable the 3D screenings, Dolby Production Services teamed up with Barco to provide two DP-3000 digital cinema projectors, dual stacked (side by side). The Barco projectors are Digital Cinema Initiative compliant and feature Texas Instruments’ Digital Light Processing digital cinema technology to deliver the best combination of brightness, image sharpness, and colour accuracy to every seat in the auditorium.

“Working with Russell Allen of Dolby Production Services and the team from Barco at the Eccles Auditorium set-up was a delight,” said Mark Lewis, writer, producer, and director of Cane Toads: The Conquest. “They not only managed to make my toads look beautiful in Dolby 3D, but they made them sing in Dolby Surround Sound.”

For more, visit the following web sites: www.canetoadstheconquest.com/ www.cuttingedge.com.au/ www.dolby.com/consumer/motion_picture/ ddcinemas/

22 The Third Dimension

JVC Takes on

JVC has seen the demand for its commercially released HD 3D LCD screens grow significantly in recent months.

JVC 3D LCD screens are currently being used by production and post production houses Australia-wide and are available from specialist JVC 3D resellers including Future Reality, Inition 3D, Jumbovision and Gencom Technology.

Inition Managing Director Asia Pacific, Christopher Sutton said, “Our most recent sale was to Melbourne-based VFX house Iloura and we have another 6 potential sales. We are also in discussions to sell 500 JVC 3D LCD screens into India to cover the IPL cricket. Part of the success of the JVC screens is the fact that they are passive not active which makes them cost effective and they use lighter glasses, as well as there being no eye fatigue due to flicker. They also don’t need double the bandwidth to broadcast in stereo, have good image quality and work perfectly as a 2D screen as well.”

Gencom Technology Sales Specialist Lyndsey Thompson says, “We have sold two screens in New Zealand, one to Digipost and one to Park Road Post and the response has been great.

Both are being used in review of stereo shoots for 3D film production and 3D animation. Clients are happy with them and I believe most of the larger post houses will purchase them over the next twelve months and the Rugby World Cup will drive some corporate sales too.”

Future Reality Director, David Edgar added, “We utilise the JVC 3D LCD as the primary display when demonstrating our suite of industry leading 3D creation products and have recently supplied another JVC unit which is being used as the on-set preview display for a major new stereo feature currently in production in Queensland.”

JVC’s current 46-inch 3D LCD screen, the GD463D10, is only 39mm thick and uses JVC’s unique high-quality 3D visual engine to deliver a natural, flicker-free visual experience. The GD463D10 provides flicker-free 3D images by adopting the Xpol polarizing filter method and battery-free passive-type circular polarizing filter glasses. Video input is compatible with industry standard line-by-line and side-by-side 3D formats.

JVC’s 3D decoder circuit translates images into the optimal Xpol display format and demonstrates the ability to accommodate subtle gradations and shades of colour. JVC also recently announced the IF-2D3D1 Stereoscopic Image Processor, which works as a 2D-to-3D converter and as a 3D L/R mixer for video content producers. The IF-2D3D1 is designed to help 3D content producers convert archived 2D material and shoot original content in 3D. Visit www.jvcpro.com.au

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Grant Blackley CEO Network Ten

Senator Stephen Conroy Minister for Broadband, Communications and the Digital Economy

Dawn Airey Chairman & CEO FIVE (UK)

Mark Scott Managing Director ABC

Shaun Brown Managing Director SBS

Marcus Arthur Managing Director Global Brands BBC Worldwide

Harold Mitchell AO Executive Chairman Mitchell Communication Group

Chris Chapman Chairman ACMA

Updated programme - visit www.acevents.com.au/broadcasting2010 for details Celebrating its 8th year the Australian Broadcasting Summit 2010 comes during a time of great change and opportunity for the industry.

Consumer digital adoption is growing; so far over 53% of Australian households have made the switch. Digital multi-channeling is rapidly expanding, but how are viewers and advertisers responding? Innovative content, 3DTV, on-demand technology, IPTV, and new media platforms are all contributing to a new broadcasting environment. This essential forum offers senior stakeholders a platform to discuss and debate these pressing issues and explore strategies successfully ensure a strong, secure future for the industry.

Spaces are limited: Over 250 executives already registered

This is your opportunity to be a part of this influential event.

REGISTER NOW www.acevents.com.au/broadcasting2010 Tel: (02) 8908 8555 Gold Sponsor

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Sponsorship available Contact Blandina on 02 8908 8514 to find out more Back To Contents Page

Shoot. Edit. Share.

ACQUISITION

Now faster with Sony NXCAM and XDCAM EX.

Salvation Army Shoots Kokoda Trail << <<

(L-R) Documentary makers Peter March, David Scarborough and Richard Cause on the Kokoda Trail.

He concluded, “We want to thank Panasonic for their support with the second camera and we’d like to particularly thank Andy at Videocraft was really helpful when it came to answering questions in relation to what we would require to take on this shoot. The other thing that really impressed us was Videocraft’s willingness to go the extra mile and help us obtain additional loan P2 cards from ABC TV facilities, which we were otherwise not going to be able to afford to purchase.”

The Red Shield Defense Service’s Kokoda Track documentary will be aired in 2010.

Visit www.videocraft.com.au

Dion Beebe Up for US Honours

<< <<

Shooting the Red Shield Defence Service documentary on Papua New Guinea’s Kokoda Trail.

Recently the Video Production Department at The Salvation Army in Sydney was approached to film a documentary on the Red Shield Defence Service’s (affectionately known as Sallymen) involvement on the Kokoda Track during WWII. A group of Sallymen from throughout Australia took part in an historic hike on which a memorial was laid paying tribute to the Red Shield Defence Service men who bravely served during the war.

Richard Cause, Technical Producer of CPR Productions for the Salvation Army Australia East THQ explained, “Given the significance of this event and the historical importance of the Sallyman during the Kokoda campaign, we saw this as an opportunity not to be missed. Having used Videocraft over the years, we thought we’d ring them to enquire about what the team consisting of Peter March (Journalist), David Scarborough (Editor) and myself (Cinematographer) might need to film a documentary such as this.

“So we were obviously after something that 24 Acquisition

was lightweight, compact but also high quality. It also needed to be able to withstand the very rough conditions of this infamous trail.”

Cause contacted Videocraft NSW State Manager Andy Liell recommended the Panasonic HPX172 camera.

“We took Andy’s advice and used two Panasonic HPX172 cameras, one we already had and one Andy helped us get through Panasonic Australia. The team first looked at using an alternative, but after researching it decided that the HPX172 was the better option. The first reason for us deciding to take the P2 was quality.

The project needed to be shot on the highest quality, yet most compact format.

“The second reason for us choosing the Panasonic was weight. Being that we were going to be carrying this gear along one of the world’s most gruelling hikes, we found the P2 to be the most suitable camera sizewise without compromising quality.”

Cause and his team found the cameras to be very light and user friendly. He continued, “Also, having a solid-state format, it was easy to review clips that were shot over the course of each day and not have the hassle of cueing the tapes back up.”

The documentary was shot in very high humidity areas, something that brought its own challenges and surprises.

Cause explained, “Not recording onto tape, which can be affected by the moisture, was a bonus and another reason we chose the P2. We were also shooting in very muddy, slippery and steep mountainous areas and we found the P2 rugged enough to cope with the occasional bang or drop.”

The shoot went particularly well and Richard Cause and his team were very grateful to all those who helped make it happen.

The finalists in the feature film category of the 24th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards competition are Barry Ackroyd, BSC for The Hurt Locker, Australian Dion Beebe, ASC, ACS for Nine, Christian Berger, AAC for The White Ribbon, Mauro Fiore, ASC for Avatar and Robert Richardson, ASC for Inglorious Basterds.

The winner will be announced during the ASC Awards celebration here at the Hyatt Regency Century Plaza Hotel on February 27.

Beebe previously won the ASC Award for Memoirs of a Geisha in 2006, and earned another nomination for Collateral. This is the ninth nomination for Richardson (Born on the Fourth of July, JFK, A Few Good Men, Heaven & Earth, The Horse Whisperer, Snow Falling on Cedars, The Aviator, The Good Shepherd).

All films eligible for the Academy of Motion Picture Arts and Sciences Oscar competition were candidates for the ASC Outstanding Achievement Award. Last year’s ASC winner in the feature category - Anthony Dod Mantle, BSC, DFF for Slumdog Millionaire - went on to take home the Academy Award.

The association previously announced its TV nominees. They are: Alar Kivilo ASC, CSC for Taking Chance, Rene Ohashi, ASC, CSC for Jesse Stone: Thin Ice and Jerzy Zielinski, ASC for The Courageous Heart of Irena Sendler in the television movie/miniseries category. In the episodic/pilot television category, nominees include Eagle Egilsson for Dark Blue, Jeffrey Jur, ASC for FlashForward, Michael Price for Ugly Betty, Christian Sebaldt, ASC for CSI: Crime Scene Investigation, and Glen Winter, CSC for the Smallville.

Visit www.theasc.com

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From the African savannahs, to a home-grown documentary, there’s no better way to capture your story than with Sony NXCAM and XDCAM EX camcorders.

Featuring the latest in file based technology and a choice of recording media* (SxS, Memory Stick, and SD) for direct interfacing, you will experience faster workflow and easy connectivity with peripheral devices.

HXR-NX5P (1/3 - inch)

Along with longer recording times and a range of advanced creative features such as Slow and Quick motion, customised picture profiles and gamma curves for superior image reproduction, NXCAM and the new additions to the XDCAM EX range will change the way your stories are shot, edited, and shared.

For more information email us at production.au@ap.sony.com *Recording media compatibility is dependent on model.

PMW-350 (2/3 - inch)

sony.com.au/production

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PMW-EX1R (1/2 - inch)

Acquisition

Acquisition

Q-Balls Track “Celebrities” in Oz Rainforest What could be worse than a bunch of Australian B-list celebs left to their own devices in the Queensland bush? A bunch of British B-list celebs left to their own devices in the Queensland bush ...

Britain’s ‘I’m a Celebrity ... Get Me Out of Here’ has again been in production from Springbrook National Park on the Gold Coast thanks to Camera Corps Q-Ball robotic camera heads.

A total of six Q-Balls were chosen by Gearhouse Broadcast as part of an 80-camera flyaway production system for the programme’s ninth series.

Produced by ITV Studios, the programmes are being transmitted in Britain by Granada Television (weekdays) and LWT (weekends) and on TV3 in Ireland. Over 40 hours of live programming are being sourced from 24/7 content captured over several weeks of production.

Camera Corps provided a total of 27 point-ofview cameras including six Q-Ball heads, remote pan/tilt mounts and camera controllers.

According to Camera Corps’ Director of Operations, Matt Frost, “We fielded a production crew headed by David Sisson, one of our most experienced operators. In addition to one silverfinished and five black-finished Q-Balls, we supplied 18 other remote heads, each holding a Panasonic 800 daylight camera paired with an under-suspended Sony FCB-EX1010 night-vision camera for IR shooting.

These were mounted on Minishot remote heads operated via our multi-camera control system which can handle up to 72 cameras of different types.

For the ‘Bushtucker’ trials we supplied three Iconix HD-RH1 HD/SD miniature cameras, set to SD, and four Toshiba TU-63. We also supplied all the control, cables and lenses as well weatherproof covers - a very important detail in this part of Australia which is certainly no desert.”

Housed in a robust 115 mm diameter sphere machined from solid aluminium, the Camera Corps Q-Ball is a complete HD/SD dual-mode colour camera

with motorised pan/tilt and zoom. It can be rotated laterally or vertically at any speed from 4 seconds to 20 minutes per revolution through an unlimited number of turns. Integral high-precision low-noise motors allow the camera to be repositioned smoothly during live shooting rather than merely between shots. Designed to allow rapid exterior or interior rigging and derigging, the Q-Ball weighs 1.3 kg including mounting shaft and can be operated at any angle.

The integral camera incorporates a 1/3 inch 2 megapixel 16:9 CMOS sensor delivering 1080i/720p HD or 625/525 SD, both at 50 or 59.94 Hz and in 16:9 or 4:3 aspect ratio. Signalto-noise ratio is >50 dB. Focus can be controlled manually or automatically. The Q-Ball is fully compatible with Camera Corps’ range of pan/tilt and CCU controllers. Its interface delivers up to four channels of audio embedded into the SDI feed. It operates from 9 to 18 V DC power supply.

Visit www.cameracorps.co.uk

4K “Mystery Prime” Lenses US and European equipment distributor and manufacturer Band Pro Film and Digital has introduced its own ultra-high performance PL mount prime lenses, designed to deliver optical performance for true 4K imaging and beyond.

After three years of design and prototyping, the new T1.4 lenses, still code named “Mystery Primes” within Band Pro, will eventually total 15 different focal lengths, ranging from 12mm to 150mm. Delivery of production models of eight of the lenses will begin in mid 2010.

“A unique use of aspheric technology and cutting-edge mechanical cine lens design provides the ‘Mystery Primes’ with unmatched evenness of illumination across the entire 35mm frame and into the corners with no discernable breathing,” said Michael Bravin,

Chief Technologist of Band Pro. “Suppression of colour fringing into the farthest corners of the frame is superior to any lenses I have ever seen.”

The entire set of “Mystery Primes” features unified

Telephoto Lens for HD Production Canon’s new KJ22ex7.6B is a telephoto lens covering a generous range of focal lengths while also providing a modest wide-angle of almost 65 degrees in the 16:9 HD image format. This provides a very flexible image framing range especially for outdoor applications.

The central design criteria for this new lens sought a balance between size, weight, and HD optical performance intended for HD News and many HD production applications.

The optical performance of the KJ22ex7.6B has been improved on a number of fronts compared to its predecessor KJ21ex7.6B. The new lens deploys Large Diameter Aspherical lens elements that contribute to a better control of comatic aberration, geometric distortion, and corner resolution. Curvature of field and chromatic aberrations have been reduced by use of special optical materials that include Fluorite and Hi-UD glasses. Computer optimization of both the optical and optomechanical designs contributed to achieving a high-performing telephoto lens within a compact and lightweight body.

Contact Canon Optical Division on 02 9805 2000.

Visit www.canonbroadcast.com

26 Acquisition

distance focus scales, common size and location of focus and iris rings, and a 95mm threaded (for filters) lens front - all allowing quick interchange of lenses in a busy production environment. Another feature is an integrated threaded net ring in the rear of the PL mount.

Designed to be light in weight yet rugged on the set, the mount and lens barrel are manufactured using lightweight high strength titanium materials.

For example, a typical Mystery Prime weighs just 3 lbs (1.4kg).

The core set of “Mystery Primes”, which will start delivering by June 2010, includes 16mm, 18mm, 21mm, 25mm, 35mm, 40mm, 50mm, 65mm, 75mm, and 100mm lenses. Additional focal lengths will be delivered in a second phase.

Visit www.bandpro.com

Follow-Focus System Fluid head developer OConnor has introduced a new line of professional camera accessories engineered to fulfill the needs of today’s high-end cinematography.

The first OConnor camera accessory – with more to come – is a modular cine-style follow-focus system. The compact and low profile unit enables quick, tool-free mounting on standard rod systems. This new OConnor cinestyle follow focus is compatible with all standard followfocus accessories and driver gears. OConnor’s new follow focus integrates elegantly with all camera and lens systems in use.

The OConnor cine-style follow focus will be available for pre-order in March. Delivery is scheduled to begin in April.

Visit www.ocon.com

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Pro AVCHD Camcorder Sony has unveiled the first product in its recently announced NXCAM family brand, the HXR-NX5P, which utilises professional implementation of AVCHD technology to deliver seamless production workflow.

The entry level file-based camcorder uses both Memory Stick Pro Duo recording media and an optional HXR-FMU128 128GB Flash Memory Unit to offer professionals and semi professionals the very best in hybrid recording.

Along with the Memory Stick Pro Duo, users are also able to record content on SD/ SDHC cards, ensuring compatibility with a wider range of consumer portable devices.

The HXR-NX5P is the first camcorder by Sony to combine low-cost consumer memory cards with the latest AVCHD technology. AVCHD has been widely adopted in the consumer camcorder market and, with further developments in non-linear editing tools and IT products, Sony has now created a professional offering designed to allow maximum versatility and cost-effective video production.

The HXR-NX5P features Sony’s newly designed G Lens which provides excellent resolution, colour and contrast, in combination with 3 x 1/3-inch Exmor CMOS Sensor system using ClearVid array for excellent low-light sensitivity. The HXR-NX5P can record 1920 x 1080 images at 24Mbps (50i or 25p), as well as supporting 720/50p and Standard Definition recording.

The HXR-NX5P also features a GPS function which embeds GPS metadata when recording. Both the time and location can be displayed on playback, allowing media assets to be organised efficiently using the content management software supplied with the camcorder. This function is ideal for locating footage from specific geographical locations and displaying the information graphically using third-party mapping software.

Further adding to the functionality and versatility of the HXR-NX5P for professional users are a range of features such as HD/SDI video output, XLR connectors for audio input, PCM audio recording, timecode functions, colour bar generator and viewfinder markers.

Along with the Memory Stick Pro Duo, users are also able to record content on SDHC cards, ensuring compatibility with a wider range of consumer portable devices.

Visit www.sony.com.au/production

OUR SMALLEST SOUND PRO The new MKE1 Whether for musicians and live shows, or for broadcasting applications, the MKE 1 – Sennheiser’s smallest clip-on microphone performs at its best in all situations where a microphone needs to be virtually invisible and still offer outstanding sound quality.

Reliability Sweat protected by a newly developed protective membrane, the MKE 1 stands up better than other clip-on microphones to harsh live conditions. It’s special gauze and multi-purpose cap offer additional protection from moisture so that it only picks us what it is meant to pick up - perfect sound. The MKE 1 is robust in every respect. The Kevlar™ reinforced cable with moulded antikink sleeve minimises handling noise and makes this a microphone you can rely upon completely.

DOP Milne Selects Cartoni for RED Leading Australian Cinematographer, Lachlan Milne, recently selected Cartoni’s Sigma Head camera support for his Red Camera System and Prime Lenses package.

John Walsh, Gencom Technology’s Sales Engineer said, “Lachlan is very particular about the quality of his equipment and presentation to his clients. He had to be confident that Cartoni could provide the versatility and performance in a high quality Support Head before committing to a purchase.”

Lachlan Milne is an internationally recognised Director of Photography. He is film trained with HD experience and is skilled in all genres of filmmaking – documentary, short film, music video and commercials. He has won both international and local awards including Best Cinematography at the 26th Palermo International Sports Film Festival in Italy for his work on the documentary ‘The Away Game’.

Visit www.gencom.com

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For more information contact; Australia: Free Call: 1800 648 628 New Zealand: Free Call: 0800 100 755 www.sennheiser.com.au/ct Follow us: twitter.com/SennheiserAU_NZ

Acquistion 27

OLYMPIC RELAYS

SPORTSCASTING No Business Like Snow Business for Panasonic Panasonic Corporation,

the Official Worldwide Olympic Partner in the Audio and Visual Equipment category for the Vancouver 2010 Olympic Winter Games, is providing a full line-up of High-Definition (HD) equipment to support the broadcast of the Olympic Games, delivering the largest supply of AV equipment for any Winter Games in the company’s history. Through cooperation with the International Olympic Committee (IOC), the Vancouver Organizing Committee for the 2010 Olympic and Paralympic Winter Games (VANOC), and Olympic Broadcasting Services Vancouver (OBSV), Panasonic will supply its HD video equipment to the competition venues and broadcasting locations making the Vancouver Games the first Olympic Winter Games to be broadcast completely in HD format.

Following Beijing 2008, all international video signals for the 2010 Winter Games will be produced and distributed in HD format from the International Broadcasting Center (IBC) to rightsholding broadcasters around the world. In addition, the HD video signals will also be used for the first time for display on the LED Large Screen Display Systems in the competition venues and BC Place Stadium where the Opening and Closing Ceremonies will take place, making the 2010 Winter Games the first “HD Olympic Winter Games” with all the Olympic videos to be delivered completely in HD. At BC Place Stadium in downtown Vancouver, Panasonic will install three LED video screens with a total display area of 243 m2 (approximately 1.4 times the size used in the Torino 2006 Main Stadium). Together with Panasonic’s professional sound systems and Plasma Display Panels, the Panasonic AV systems will deliver spectacular images to enhance the excitement and spectacle of the Opening Ceremonies.

Panasonic’s DVCPRO HD has already been selected as the recording format for the 2010 Winter Games. The company has delivered large numbers of broadcasting equipment such as the P2HD series solid-state memory news gathering system. The 2010 Winter Games is the ninth Olympic Games in which Panasonic’s digital technology has been used as the recording format since the Barcelona 1992 Olympic Summer Games.

In addition, Panasonic will support a safe and secure Olympic operation by providing high-quality picture and high-sensitivity surveillance camera systems for the indoor and outdoor Olympic facilities, the surrounding areas and highways.

In cooperation with VANOC and Bell, a Premier National Partner and the Exclusive Telecommunications

28 Sportscasting

Partner for the 2010 Winter Games, Panasonic will also provide an HD Video Conference System as a means to link the two Athletes’ Villages in Vancouver and Whistler for the first time. The Panasonic system combines HD video conference units with Full HD Plasma Display Panels and HD camcorders which will link the Villages with H.264 high-resolution images and high sound quality resistant to audio cutoff. The Panasonic HD Video Conference System allows coaches and athletes to communicate without travelling between the Villages by providing vivid images and clear sound that make them feel as if they were in the same room. This system will also be used for the welcome ceremony of the Villages to unite athletes. This will not only save time and money required for the athletes to move between the Villages but also help reduce CO2 emissions, ensuring an effectively-run Olympic Games with environmental considerations.

AV equipment supply for the venues includes: • 29 LED Large Screen Display Systems at 15 venues for a total of 953 m2 • 91 Professional Audio Systems at 17 venues • TVs - Approx. 3000 units • DLP Projectors - 17 screens • Monitoring and Surveillance Cameras - Approx.

1200 units • HD Video Conference System The above includes Olympics-related sites such as the competitions venues, Athletes’ Villages, the Main Press Center and official live sites.

Broadcast equipment supply for the venues includes: • P2HD/DVCPRO HD Recorders - Approx. 160 units • P2HD Camera Recorders - Approx. 50 units • Monitors - Approx. 600 units • Multi format live switchers - 12 venues, 16 units Visit http://panasonic.net/olympic/

Foxtel’s Olympic First While Australia’s Nine Network will be presenting the Vancouver Olympics over its free-to-air services, Pay TV provider Foxtel will carry its coverage over four dedicated High Definition channels, as well as four Standard Definition digital channels available in 5.1 surround sound.

Up-to-the-minute information about the broadcast, results, athlete profiles and more will also be available through the interactive application on the television platform.

Foxtel’s coverage of the Vancouver Olympic Winter Games will feature more than 340 hours of live coverage, compared with only 10 hours live coverage of the 2006 Torino Olympic Winter games. Foxtel will offer 1600 hours of total coverage, compared with only 100 hours total coverage from Torino.

The television broadcast will be complemented with mobile, broadband, and interactive platforms making the coverage available ‘anytime, anywhere.’

The 24/7 broadcast will also include every gold medal and every competing Australian live and in full and two extra days of event highlights.

Foxtel’s coverage will be carried over four dedicated subscription television channels which mirror the four Vancouver competition settings.

Whistler channel will feature cross country skiing, ski jumping, biathlon, bobsleigh, skeleton and luge, Creekside will host alpine skiing, ice hockey finals, and curling finals, Vancouver will show all figure skating, short track speed skating and speed skating, while Cypress channel will cover free style aerials, moguls, snowboarding and ski cross.

Foxtel subscribers will also be able to record the Vancouver Olympic Winter Games to the Foxtel iQ and IQ2.

All channels will be available to watch online with a standard broadcast subscription.

The mobile service is available through a separate fee with compatible Telstra Next G phones.

Telstra Next G customers will have access to Foxtel’s four dedicated 24 hour streamed Vancouver 2010 channels.

The four channels streamed to Telstra Next G customers’ mobile phones will be identical to those broadcast to Foxtel customers as part of Foxtel’s wider Vancouver 2010 coverage.

Visit www.foxtel.com.au/vancouver2010.

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Omneon Inc.

has been selected to provide storage, processing, and a high-speed content distribution platform to support NBC’s live HD production workflow and to streamline delivery of all Internet and VOD content during the network’s coverage of the XXI Olympic Winter Games.

An Omneon MediaGrid active storage system at the NBC Highlights Factory in Vancouver will be integrated with the high-performance EVS XT[2] production server to enable fast, seamless access to high volumes of HD media in live and near-live broadcast production. The Omneon MediaGrid also will leverage Omneon ProXchange to transcode edited content for rapid delivery via the Omneon ProCast CDN content distribution system to NBC’s “30 Rock” facilities, where a second Omneon MediaGrid system will be the media access point serving all of NBC’s new media delivery outlets.

Throughout the Vancouver Winter Games, the EVS XT[2] production server, along with the EVS IPDirector suite, including the IPEdit on-the-fly editing solution, will be used for HD live and near-live ingest, production, and playout. Feeds from host broadcaster Olympic Broadcaster Services Vancouver (OBSV) as well as NBC-created feeds will be recorded on the XT[2] servers in Avid DNxHD codecs and made available on the 144-TB Omneon MediaGrid system as self-contained MXF OP1a files through XTAccess, the EVS intelligent gigabit Ethernet network gateway. Operators also will be able to capture and manipulate video from the Omneon MediaGrid system for production and playout.

Omneon ProXchange will leverage the advanced grid-based architecture of the Omneon MediaGrid system and transcode finished clips and packages into Sony XDCAM HD422- compatible 50-Mbit long GOP files at faster-than-real-time speeds. The Omneon ProCast CDN will then transport media nearly 3000 miles over a dedicated AT&T OC-12 circuit to the 36-

Sportscasting

TB Omneon MediaGrid system in New York. NBC’s MICAH internal distribution system will use the New York Omneon MediaGrid system to stage all content being repurposed and distributed through NBCOlympics. com, mobile providers, EST outlets, and the network’s SD and HD VOD services. Equipped with Omneon ProXchange, this Omneon MediaGrid system also can provide file transcoding as needed.

NBCOlympics.com will provide coverage of more than 400 hours of live competition events from Vancouver. In addition, the site will offer more

than 1000 hours of on-demand access to full-event replays from broadcast and host-feed coverage of all 15 sports on the Winter Games program, as well as extensive highlights such as event recaps, bestof montages, commentator analyses, and athletespecific clips. Powered by Microsoft Silverlight technology, the video player will present video in HD quality and offer DVR-style controls (allowing users to pause and rewind live Olympics video coverage), enhanced navigation and more.

Visit www.omneon.com

In a joint venture with SVT, Sweden’s national broadcaster, Finnish Broadcaster YLE will gather every commentary and intercom signal in Vancouver and Whistler and route them to Helsinki, where they will be distributed to YLE production units for mixing. Close collaboration between YLE, Lawo’s hardware engineers and DSA Volgmann, Lawo’s R&D partner, has delivered a system for real-time audio routing and simultaneous scheduling, remote control and monitoring of all matrices which will work across half the world.

YLE is using its own Studio 25 in Helsinki, which is equipped with a Lawo Nova73 HD Matrix and mc²66 digital console, as the main production unit for its broadcasts. For HD production, it will use the resources in its HD-1 OB. Commentary and intercom signals will be gathered in two location facilities in Whistler and Vancouver, equipped with Lawo zirkon and crystal consoles and Nova 73HD Matrices, and supplemented by SVT’s two Lawo mc²66 digital desks. From there, signals will be scheduled with DSA Line Scheduler systems and routed to and from Helsinki via EBU’s FINE Network’s Nimbra AES Service. In Whistler, Vancouver and Helsinki, commentary audios in two languages will be inserted in the Nova 73 HD’s cards to the correct SDI signal’s audio channel for EVS Farm, which operates on an SDI basis only. The return audios from the production units will be collected to Nova Matrix in Helsinki and distributed via two matrices in Canada to venue.

German public broadcasters ARD and ZDF have commissioned system integration specialist Media Logic to provide technical services during their coverage of the Olympic Games in Vancouver.

Both broadcasters will offer their viewers extensive coverage of the games and these reports will be produced on location in HD from the International Broadcast Centre, using ARD and ZDF’s Mobile Produktionseinheit (mobile production unit). Media Logic, which is also Fairlight’s German distributor, is providing speech-editing equipment, including three audio workstations. The company, in conjunction with its partners, has spent the last seven months completing an extensive integration of sound-editing into the HD-compatible network and content-management solution, Avid ISIS – Interplay. Audio editing is completely based on Fairlight technology and is surround compatible. The system allows a native playback of HD-formats directly from the Avid ISIS System. This assures a fast workflow for audio-editing without any format conversions, resulting in a direct path between more than twenty Avid video editing systems, audio editing and the broadcast transmission server. The associated video editing system, Avid Media Composer 3.5, has also been integrated and adapted for the specific workflow in Vancouver.

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Sportscasting 29

Sportscasting

Singapore Readies for Youth Olympics With the Opening Ceremony on 14 August 2010, the Singapore Youth Olympic Games Organising Committee (SYOGOC) is firmly on schedule with its preparations for the first edition of the Youth Olympic Games (YOG).

Ticket sales will be launched shortly. The IOC has also recently launched the YOG “Cube”, its new interactive Youth Olympic Games micro-site on www. olympic.org.

“The YOG will be available on all broadcast platforms in Singapore and will reach out to more people around the world”, said SYOGOC Chairman and IOC Vice-President Ser Miang Ng. The International Olympic Committee (IOC) has signed agreements with MediaCorp, SingTel and StarHub to become the official broadcasters within Singapore for the inaugural Youth Olympic Games in Singapore in 2010.

Olympic Broadcasting Services (OBS), the host broadcast subsidiary wholly owned by the IOC, will be responsible for delivering to these three organisations, as well as to broadcasters around the world, a number of live broadcast feeds and a 24-hour Youth Olympic News Channel, which will incorporate two daily highlight programmes. The coverage will embrace all broadcast platforms, including free-to-air television, radio, cable television, mobile phone and online.

Sky Channel Goes Cross-Platform with OmniBus OmniBus Systems, the provider of comprehensive broadcast automation, content management and workflow solutions, has announced that Sky Racing in Australia has chosen OmniBus iTX for the multi-platform transmission of four television channels, one online and two mobile TV channels.

Sky’s iTX installation is configured with the iTX GFX real-time 3D graphics module, chosen for the television channels, to allow the generation of dynamic live 3D graphics being fed from multiple data sources in coverage for a variety of programming, including racing. “iTX offers us a dynamic transmission and automation platform with some exceptional high-

end graphics capabilities and the ability to scale very easily to accommodate new channel launches for TV, Web and mobile,” said Carl Petch, Sky Racing chief engineer. “These are mission-critical channels. The live racing coverage we provide is used by the wagering industry, so a very high standard of robustness is essential, as is a tight integration with our existing workflows and asset management system.”

“As the OmniBus distributor in Australia and New Zealand, it’s very exciting for Quinto Communications to be installing Australia’s first iTX system at Sky Racing,” said Tom Pavicic, Quinto Communications’ general manager. “We are creating an iTX support team in Australia for Sky

Racing and future iTX deployments; this local support base is a critical step in successfully introducing the iTX platform to Australia. This is a very powerful transmission platform with features that open up a lot of possibilities for all kinds of broadcasters in Australia. iTX is perfect for Sky’s multi-platform service, making the launch of channels to traditional broadcast format, Web and mobile a highly streamlined operation.

The iTX system makes it possible to create an entire high-quality, no-compromise multi-channel transmission infrastructure for less than the cost of a conventional automation system alone.”

Visit www.quinto.com.au and www.omnibus.tv

Telex Hits OSB for Six Magna Systems and Engineering has announced the sale and installation of new Telex kit to NZ outside broadcast services provider OSB. On Site Broadcasting (OSB) owns and operates three major state of the art high definition outside broadcast vehicles and three standard definition vehicles in New Zealand.

According to Magna NZ’s Keith Brewer, “We delivered and installed new Telex RVON-1 kits to work

with their existing Telex KP412 panels primarily for use for at national and international cricket games in NZ.” The addition of the Telex RVON-1 kits to the KP412 panels enables them to be used in remote positions such as commentary boxes, thus allowing commentators to talk to production staff in the OB vans and request playback of specific incidents during matches.

Brewer added, “The real benefit of the RVON

equipped panels is the ability to connect to remote sites and trucks using Voice over IP (Internet Protocol). In this instance it negates the use of running additional cables between buildings and the trucks. Communication is over standard IP networks. This enables communication between intercom panels where cabling would be impossible, such TV studio to remote sports venue or even different countries.”

Visit www.magnasys.tv

GlobeCast to Deliver FIM Superbikes

Content management and delivery company GlobeCast will provide contribution and world wide distribution of the FIM Superbike World Championships (WorldSBK) to broadcast rights holders for the next two years, following the extension of its relationship with the series promoter Infront Sports & Media.

GlobeCast will deploy a fleet SNG vehicles and fly away units to each stage of the competition, which takes place in a number of

30 Sportscasting

countries across the globe between February and October. It will also provide coordination and help desk services with dedicated staff to give technical assistance to rights holders before, during and after each race.

GlobeCast will also provide Infront with the facilities and resources for international broadcast delivery of each round to rights holders throughout Europe, Asia and the Americas. Services provided include uplink, space segment and transmission

via GlobeCast’s international satellite and fibre network.

After each race GlobeCast will playout the weekend’s WorldSBK highlights from its site in Rome, Italy. The feed will be routed via fibre and distributed via satellite in Europe, Asia and the Americas.

GlobeCast has worked with Infront for the contribution and international distribution of the FIM Superbike World Championships since 2007.

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The surprisingly affordable X50™ synchronizer/converter.

The latest member of the award-winning Harris family of 1RU video/audio processors, the versatile X50 fits any production environment — and even the tightest budget. Its industry-leading features include: • SD/HD up/down/cross conversion • Integrated color correction • Fully adjustable aspect ratio converters • 16-channel embedded audio processing • Optional 3 Gb/s and fiber I/O The X50 processor — the compact platform for any situation.

Learn more at broadcast.harris.com/X50 or contact your local Harris dealer.

Hong Kong +852 2776 0628

China +86 10 5172 2920

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Singapore +65 6358 1315

Japan +813 3526 8500

Sydney +612 9975 9700

India +91 120 477 5400

Sportscasting

Sportscasting

Bexel Connects in Vancouver Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, has been busy providing fibre optic support for the XXI Winter Olympic games.

“Our involvement in the Olympics began back in October when we started manufacturing cable assemblies in our Dallas facility,” says Scott Nardelli, Bexel chief business development officer. “We preterminated many of the cables in advance and shipped them to Vancouver for installation at the various venues.”

Due to installation requirements, some cables must be terminated on-site after installation which is where Bexel’s experienced technicians came in.

“We are able to provide the equipment and skills to fusion splice or repair just about any connector including SMPTE Hybrid connectors in the harshest environments regardless of the weather conditions or location,” adds Nardelli. “Terminating in a controlled environment is one thing, but working with a fibre optic strand about the size of a human hair in sub freezing temperatures on the side of a mountain is where our experience and techniques pay dividends.”

With over 8,000+ terminations/fusion splices, 340+ cables totaling about 48 miles and 135 Optical Distribution Frames (patch panels) located throughout most of the Olympic facilities, Bexel has had a crew of six people on location working full time since November.

MOOVing with Chyron UK broadcast graphics specialist MOOV is using Chyron’s Lyric PRO on HyperX platforms as the sole provider for all presentation graphics and design for BBC Sport during the 2010 Winter Olympics in Vancouver.

While based at the BBC’s Television Centre during the games, MOOV will use Chyron’s creative power to provide sophisticated, one-ofa-kind graphics in HD. MOOV will also have a designer onsite to help create programme openings, ‘coming ups’ and ‘headlines’ on the fly.

MOOV Managing Director Duncan Foot said, “During the Olympics there will be a huge number of hours of live and highlights programming on network television, online, and BBC Interactive via the Red Button. We will also be writing a custom interface to help manage results data and will be automating the creation of some graphics for use in edit suites at Television Centre.

“Those multiple requirements demanded the ultimate in graphic creation and deployment and for us, Chyron was the only choice when looking for a system to provide the quality, flexibility and reliability that we need to produce such a highprofile graphics package.”

Visit www.chyron.com

32 Sportscasting

In addition to terminating the fibre at the IBC, Cyprus and Whistler Mountain venues, Bexel is also providing fibre optic transmission equipment that will allow for a reliable camera signal to be sent from the camera positions on Whistler mountain to the production trucks located at the base of the mountain more than 3 miles away.

Bexel is using two different pieces of equipment to make sure the HD images captured on the mountain reach the production unit. Both are similar in function but vary in their application. SMPTE cameras already generate an optical signal but require SMPTE cable to properly power and operate the camera.

The equipment provided by Bexel eliminates the need for SMPTE cable by allowing the camera to power locally while still passing the optical signal to the CCU. Although it seems simple enough, safety mechanisms in the CCU prevent the camera from

EBU Goes ‘Live’ The European Broadcasting Union (EBU) and its Member broadcasters have launched “Vancouver Live” (www.eurovisionsports.tv/ olympics), a unique video portal for winter sports enthusiasts.

For the first time, www.eurovisionsports.tv/ olympics will be distributing a selected number of events through the portal’s HD Channel. Live video streams in this channel will be available at a higher definition (1280×720p) providing a compelling online viewing experience. ”Vancouver Live” will show the widest possible free to air broadband coverage of the Olympic Winter Games for European audiences and beyond. Live streaming will begin on Friday 12th February and continue for 17 days of competition. The video portal aggregates over 30 EBU Member broadcasters’ simulcast feeds, 6 EBU live feeds and a 24/7 Olympic News Channel showing more than 3,000 hours of live event coverage.

Access to www.eurovisionsports.tv/olympics is free for viewers; the EBU has worked with GE, an Olympic Worldwide Partner, to bring this premier event to online viewers across the EBU territories.

powering up unless it’s senses a connection to the CCU. This device simulates the connection allowing the camera to operate normally. The second device performs the same functions with one big difference; it actually converts the RF signal produced by the LDK 8000 triax backed camera to an optical signal for transmission to the CCU. Likewise at the CCU the signal is converted back to RF. “Single mode fibre is an important part of the overall solution and the best choice to accommodate the long distances commonly found in alpine sports,” adds Andy Berry, Bexel project manager.

The transmission equipment Bexel is providing will give the client the flexibility to use single mode fibre to send and receive signals from the camera while seamlessly interfacing with the existing SMPTE format found on the camera and CCU base station or conventional triax. While SMPTE still has a role in alpine events, it is somewhat limited by the long distances required. In addition, SMPTE cable also known as SMPTE Hybrid, has both copper conductors and optical fibres and is less economical as you typically need one cable for each camera.

By converting to fibre only and powering the camera locally, users can service 12-24 or more cameras on a single cable that is lighter, less costly, can be repaired more easily and is able to handle the extreme environment.

Visit www.bexel.com

NOS Streams

with Digital Rapids Digital Rapids and Nederlandse Omroep Stichting (NOS) have announced that the Dutch public broadcaster has selected Digital Rapids’ StreamZ encoding systems to power live and on-demand Internet and mobile coverage of the 2010 Olympic Games for audiences in the Netherlands.

Part of Netherlands public broadcasting system Nederlandse Publieke Omroep (NPO), NOS will supplement its television coverage of the Vancouver Olympic Games with up to eight simultaneous live streams on the Web and extensive mobile content. The StreamZ systems will encode source video feeds into Web-friendly streams for viewing through an interactive experience powered by Microsoft Silverlight technology, and into multiple formats for mobile viewing. The encoded live streams will also be archived for viewers to watch ondemand.

Visit www.digital-rapids.com

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Grass Valley Keeps Broadcasters on the Move High-definition production equipment from Grass Valley will be extensively used in temporary production studios and on-site at many of the venues in and around Vancouver to bring home the live and tapedelayed telecasts of this year’s Winter Games in HD to millions of worldwide viewers.

Mobile production companies from around the world, including Alfacam (Belgium), Corplex (Northfield, Ill.), Dome Productions (Toronto, Canada), F&F Mobile Productions (Clearwater, Fla.), Game Creek Video (Hudson, N.H.), and Trio Video (Chicago), will all be on-site at the various venues with HD production trucks that each feature numerous pieces of Grass Valley multiformat high-definition production equipment and systems. This includes Grass Valley LDK 6000 and 8000 Elite WorldCam HD cameras, LDK 8300 Super Slo-Mo (3X) camera systems, Grass Valley Kalypso and Kayak HD production switchers, Trinix and Concerto Series video routers, as well as GeckoFlex signal processing equipment.

The list includes: • Alfacam will have nine OB vans at the Games.

OB 20 and OB 34 will cover the Biathlon events, OB 30 will cover Snowboarding, OB 31 will cover Aerials, OB 32 and OB 35 will cover Cross-

country, OB 33 will cover the Ski Jump and OB 29 will cover the medal ceremonies. The ninth truck has been hired as a spare. Alfacam will be supplying Grass Valley LDK 6000 and 8000 cameras, 8300 Slo-Mo camera systems, and Grass Valley Kayak production switchers within their OB vans.

• Corplex’s “Iridium” and “Platinum” HD trucks will be on hand to cover each of the Alpine Skiing events using Grass Valley Kalypso HD production switchers.

• Dome Productions will have five mobiles working at the event, with “Horizon” and “Majestic” on site for Curling, “Spirit” and “Thunder” covering Hockey 1&2, as well as “Trillium” at the Figure Skating/ Short Track venue. In addition to the above “Tribute” will cover CTV domestic Hockey. The Dome Production trucks feature the LDK 6000 WorldCam HD cameras, Kalypso HD production switchers, Trinix and Concerto routers.

• F&F Productions will be working to assist in covering the captivating Opening and Closing ceremonies live from BC Place with its “GTX 15” and “GTX 12? production trucks, which each carry Grass Valley Kalypso HD switchers (with 90 inputs, 48 outputs, 3 mix/effects with program and preset, and quad

downstream keyers), and Trinix and Concerto routers controlled by the Grass Valley Jupiter routing control system. In addition, F&F’s “GTX 11” will cover the Ski Jumping and Luge events.

• Both Game Creek Video’s “Patriot” and “Freedom” (both equipped with a Grass Valley Kalypso and HD GVeous effects units) will also be on-hand to cover the Games. “Patriot” will be covering the Opening and Closing ceremonies, as well as Medal ceremonies for Hockey for CTV. “Freedom” will be working at Cypress Mountain (the snowboarding venue) “Northstar HD” will also be on hand as emergency backup and will carry a Grass Valley Kalypso HD production switcher.

• Trio Video’s “Rhythm” mobile unit, which carries a Kalypso 4ME, LDK 6000 HD WorldCam cameras, a Trinix HD (128X192), Concerto Series 128X128 AES & 96X96 analog router— controlled by the Grass Valley Jupiter routing control system — will be onsite for the Opening and Closing ceremonies, as well as for coverage of each of the Men’s Hockey competitions for Dome Productions and CTV. Visit www.grassvalley.com

Uplinking Canada’s Torch Relay SIS LIVE (www.sislive.tv), an independent supplier of uplink services, has been providing mobile satellite connectivity services for The 2010 Torch Relay as part of a contract awarded to Intelsat by IMAGE MEDIA Farm Inc. The Relay, the longest ever to take place in a single country, kicked off on October 30, 2009, in Victoria, British Columbia and concludes at the Opening Ceremony for the Winter Games on February 12, 2010.

IMF, a provider of complete contract HD video production services, is the official chronicler of the Winter Games.

SIS LIVE supplied a Yukon SUV equipped

with the Company’s Intelsat uPod, a fully integrated broadcasting solution that allows the execution of real-time broadcasting services more efficiently.

This service blends Intelsat’s space and ground infrastructure with SIS LIVE’s uPod to support webbased scheduling and transmission of live standard and high definition video, as well as voice and Internet communications.

The uPod has been uplinking SD, HD and data feeds via dedicated Intelsat satellite capacity for the majority of the 106-day Torch Relay. In total, the tour is visiting 1037 communities during its 28,000mile (45,000 kilometre) journey as it parallels the path of the northern lights. Video feeds have been

downlinked by broadcasters throughout North America, including Canadian Television (CTV) - the host broadcaster, The Canadian Tourist Board, and local TV stations.

In addition to uplinking traditional TV feeds, SIS LIVE’s Intelsat uPod has been providing a high-speed data connection to transmit massive quantities of high quality still images for access by the global print media community.

Over 3200 media outlets, from Russia to Australia, have subscribed to ServerDam (www. serverdam.com ), resulting in over three times the number of expected downloads.

Polecams for Polar Conditions A record nine Polecam systems have been commissioned to provide live video from the Winter Games. All nine will be working in full 1080i highdefinition.

TV Skyline, a broadcast equipment rental company based in Mainz is supplying a total of seven Polecam systems. Six will be deployed as sources for the Winter Games host feed and one will be allocated specifically to ZDF Germany. The six Polecams dedicated to the host feed will be fitted with Toshiba

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IKHD1 1080i HD cameras. Some of these will be working totally wireless.

One of the world’s most exerienced Polecam owners/operators, John Gillan, will be in Vancouver shooting with one of his two his HD rigs and covering the curling events. Born in Britain, John now lives in Los Angeles and commutes between the the USA and Europe. Pete Williams, South African born and now living in Canada, will be shooting the short track and figure skating with his HD Polecam rig.

Three of the Polecam rigs will cover sections of the Biathlon in Whistler Park. Others are designated for speed-skating, bobsleigh and the medal presentations. They will also be deployed to other areas as the Winter Games progress, and will also be used in the opening and closing ceremonies.

One of the nine rigs is being supplied by Polecam’s Belgian distributor, Studiotech Belgium.

See www.polecam.com

Sportscasting 33

News Operations

News Operations

news OPERATIONS

Australia Reviews ENG Spectrum

24-Hour Free-to-Air News from ABC The Australian Broadcasting Corporation is to launch Australia’s first free-to-air, 24-hour television news channel in 2010.

The station will run on the ABC’s High Definition channel, operating out of a new state-of-the-art studio in the foyer of its Ultimo headquarters in Sydney.

The new channel will broadcast a mix of specially produced content alongside existing news and current affairs programs.

It will draw on the resources of the ABC’s many regional and international bureaus to provide live continuous coverage of breaking stories from Australia and around the world.

The ABC also plans to take advantage of its multi-platform capabilities to keep audiences up to date in different formats and across an array of devices.

ABC Managing Director Mark Scott said the new channel was a vital part of the ABC’s charter obligation to inform the public and provide “innovative

<< <<

ABC Managing Director Mark Scott.

and comprehensive broadcasting services of a high standard.”

Mark Scott claims the new channel will not require any more funding from the Federal Government to begin broadcasting.

“We can draw on the investment already made in the ABC, through its major newsrooms in every state and territory, 12 international bureaus and 60

regional newsrooms, to deliver to Australians a topquality 24-hour news service that is comprehensive, independent and up to the minute,” Mr Scott said.

“By putting TV cameras in radio studios, we have already been able to put on television some of the outstanding agenda-setting radio interviews from ABC programs such as AM, PM, Radio National Breakfast and a range of local radio programs.

The ABC’s News Director, Kate Torney, said the News Division was committed to delivering news of the highest standard to audiences across a range of programs and platforms.

“ABC journalists around the country and around the world produce hours of original, quality content each day,” she said. “The news channel will give Australians more flexible access to our best reporting and analysis, along with an opportunity to watch breaking news as it happens.”

Announcements on program schedules and a launch date will be made in coming months.

The Australian Communications and Media Authority has released a discussion paper as part of its review of the pricing, planning and licensing arrangements for spectrum in the 2.5 GHz band. The 2.5 GHz band is currently used primarily by free to air TV broadcasters for electronic news gathering (ENG).

“This review has two important objectives,” said Chris Chapman, Chairman of the ACMA. “It is intended to identify how the 2.5 GHz band should be planned and allocated so that it accords with its highest value use.

“Also, we need to identify suitable long-term

spectrum arrangements to support the essential ENG services, especially since there has been uncertainty about the long-term spectrum arrangements for ENG services in Australia since the international identification and harmonisation of the 2.5 GHz band for wireless access services in 2000.”

The discussion paper sets out a preliminary view that ENG services could continue to operate in a part of the 2.5 GHz band. The remainder of the band would be made available for wireless access services via spectrum licensing in major metropolitan areas and may be available for both ENG and

Public Affairs Channel Adopts Cisco Australia’s public affairs channel A-PAC has installed a Cisco digital delivery system to provide connectivity between A-PAC’s Canberra and Sydney Studios.

A-PAC is provided nationally by the Australian News Channel Pty Ltd which also owns and operates Sky News and the Sky News Business Channel.

The Cisco digital video delivery system will provide delivery of its broadcasts of the Australian Federal Parliament. Supplied by local broadcast systems specialist Techtel, the contribution system comprises of Cisco Digital Media Encoders D9022

and D9844 and the new Cisco Digital Content Manager (DCM) D9901. The Cisco contribution system provides four live video feeds, all of which are multiplexed together using the powerful 1Rack Unit high Cisco DCM for the final emission from Canberra to Sydney. The Cisco DCM provides a single ASI output into the Telstra Digital Video Network where the signal is then transported to the Australian News Channel studio in North Ryde, Sydney. The Cisco encoder and multiplexer were tested by A-PAC on the Telstra DVN and were chosen for the facility based

wireless access services in other areas. If some ENG services do move from the 2.5 GHz band, additional spectrum in other bands will be required for these services to continue to operate.

The discussion paper, Review of the 2.5 GHz band and long-term arrangements for ENG, is available on the ACMA website. The closing date for comment is Friday 12 March 2010.

Submissions should be sent to 2.5GHzproject@ acma.gov.au, which is also the contact point for further information. on their ability to deliver high-quality MPEG-2 video while using very limited bandwidth.

The Cisco DCM provides additional flexibility that enables A-PAC to adapt to future network changes.

Already the multiplexer can be upgraded to provide contribution on IP trunks, bit-rate grooming, digital program insertion, transport stream scrambling, statistical multiplexing, SFN adaptation and recently introduced functionality for direct HD/SD-SDI inputs into the multiplexer for encoding into JPEG2000 or uncompressed video transport.

Visit www.techtel.com.au and www.a-pac.tv

Covering the Black Saturday Bushfires The February 2009 Black Saturday bushfires in Victoria was Australia’s worst peace-time disaster that left 173 people dead.

Coverage of Black Saturday was extensive and in many ways comprehensive. The journalists, photographers and television crews involved in the coverage faced major challenges in doing their work and were deeply affected by what they witnessed.

The University of Melbourne Centre for

Advanced Journalism has undertaken a research project aimed at exploring the experience of journalists, editors and news directors reporting on the Black Saturday fires.

The goal of the research was to allow those involved in covering the fires to reflect on their experiences, the quality of the coverage, the pressures they faced, and any lessons they learned for future coverage.

The research findings were launched at a

conference last November involving representatives from media organisations and key emergency services involved in the Black Saturday bushfires.

The launch was followed by a panel discussion with five journalists from a range of media reflecting on their experience of the bushfire coverage.

Podcasts from the conference and a copy of the report are available for download from http://www.caj.unimelb.edu.au/research/ bushfire_project

Avid Streamlines News Production Avid has unveiled Avid iNEWS (3.0) newsroom computer system (NCRS), Avid iNEWS Command (2.5) device automation system, Avid Unity™ ISIS (2.1) real-time media network and Avid AirSpeed Multi Stream (1.3) video server. iNEWS 3.0 and iNEWS Command 2.5 features include: • iNEWS Web Services API – Simplifies news production workflows by offering broadcasters the ability to integrate third-party systems such as groupware or automation with the iNEWS system.

• Enhanced iNEWS User Interface – Customers can preview a video associated with an Interplay

34 News Operations

production asset management sequence directly in the iNEWS workstation, create hyperlinks within iNEWS stories and standardize the entry of story data using drop down lists and checkbox fields.

• iNEWS Command Control of Third-Party Graphic Systems support for select third-party graphics systems like Chyron, in addition to Avid Deko graphics systems. Additionally, a graphics SDK/ API allows any vendor of character generators, to build plug-ins that leverage their device’s capabilities.

New features for Unity ISIS 2.1 include: • RAID 6 media protection

• Avid Unity ISIS File Gateway – Allows any contributor to store and access content such as graphics, still imagery, text or lower-resolution video in Avid Unity ISIS. • Mac OS X Snow Leopard client support.

New for AirSpeed Multi Stream 1.3 • AirSpeed Multi Stream Avid DNxHD support.

• AirSpeed Multi Stream IsoSync – Enables frameaccurate, simultaneous video capture from multiple cameras directly into Avid Unity storage systems through AirSpeed and AirSpeed Multi Stream servers for immediate editing.

Visit www.avid.com

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March 15, 2010 Cabana Bar & Lounge SYDNEY

March 17, 2010 The Limerick Arms Hotel MELBOURNE

Both AM and PM sessions available. Register at info@techtel.com.au or call (02) 9906 1488 for more info.

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News Operations 35

Post Production

post PRODUCTION

Top Grades from Oktobor at Florida Uni

Auckland-based

visual effects and animation studio Oktobor recently completed a series of TVCs for the University of Florida Health System, UF & Shands.

A good percentage of Oktobor’s work comes from outside of the New Zealand market, something that, according to VFX producer on the ads Steen Bech, is a good thing for the company’s creative output.

Bech said, “Our international work helps keep us fresh and at the top of our game. UF & Shands, as the project became known, was a good example of this and quite a unique set of TVCs. They began with Tracey Rowe from Robber’s Dog initially approaching us and asking how we would tackle the one page script and reference photograph.”

In the end Rowe produced five different scripts for the Oktobor team to quote on, each quite different Explorers, Anthem Rising, Teachers, Birth of Idea and Attractions.

Bech continued, “The first and probably the most unusual was Explorers. We were initially given a lithographic image of a traveller on a shoreline and the script that involved exploration and travel through time. It was quite a lot to get our heads around.”

Lead 3D artist on the project Gary Sullivan set about researching the five spots.

He said, “We had to look at all the resources available that were specific to South Western Florida as there were countless references to this part of the world and its history so we had to be as accurate and relevant as possible with our imagery. As a result we include period buildings, the story of Juan Ponce de León - the first Spanish explorer to arrive in Florida and a town called Cowford which features on the side of one of the buildings in the Explorers spot.”

Explorers also featured a movement through time related to the town of Jacksonville.

Bech and the team did a pre-vis of a section of the Explorers spot so that Rowe could see how the

36 Post Production

live action would look and so she could present it to the client.

According to Bech, the live action presented major challenges of its own. He explained, “We had some crazy limitations beginning with the fact that all the talent had to be actual doctors and the spots had to be shot in a real hospital working around the day to day operations. It was really hectic but we got the job done.”

The Explorers spot depicted a travelling through time sequence. As the reference shot was a lithographic one and open to many interpretations, a look had to be agreed.

Bech continued, “We had to settle on an achievable style and found a late 1800s lithographic look with a pencil shading that was softer. The client liked this immediately and signed off so we could then develop the entire sequence.”

The spot moved ahead quickly with Illustrator Anton Petrov doing style tests using the period research the team had obtained whilst Tracey Rowe shot the top and tail plates. A rough animatic was done of the whole commercial using basic shapes. Then each single frame would be taken to Petrov who would draw a beautiful lithographic image which, once complete, would be projected into the spot.

Sullivan added, “There was a lot going on in these spots, especially Explorers so we had to add in transitions to move as seamlessly as possible between time periods. In reality we had to go from the St. Augustine shoreline of the 19th century in the opening shot to the current UF & Shands building in 2009, or in other words a couple of hundred years, in 20 seconds.”

The team used a series of transitions to move between time periods including a floating leaf, smoke billowing from a train and slow camera movement to cover distance. A major fire at the turn of the century was also represented with smoke covering the city.

Bech added, “Anton had to draw 7K images for the

C

team to project and then Nigel Mortimer degraded the M images in Flame to get a paper like texture, chromatic Y aberrations and a level of grain.”

The second ad in the series of five was Anthem CM Rising which took a completely different direction.

Bech explained, “Anthem Rising was very particle MY heavy. The style frame we started with looked a lot CY like the end result. The basic premise was a series of CMY particles, which you eventually see are photographs of faces, making up a building. In truth the building K doesn’t actually exist and we had to go off a building plan, so it is still technically accurate.”

On Anthem Rising the Technical Director for 3D and also the lead for particle effects, rendering and lighting started the spot with a loose R&D on half a million particles. This time director Tracey Rowe and Flame artist Nigel Mortimer shot 2D helicopter footage that was then tracked to get a 3D tracked camera.

Bech continued, “We built a full CG version of the building that included a full 3D tree extension.

The camera then comes over the tree line where we also built all the trees, borders, clearings, walkways and pathways. Rhys played with the particle system to get the photos moving in the right way and we ran each possibility past the agency to get the one that everyone thought was perfect. In the end the agency liked the effect so much that they kept adding more and more photos which increased the render time but created an amazing effect.”

Key to the look of the Anthem Rising spot was the lighting and work completed in Flame.

Bech concluded, “We did 2D light effects in Flame adding fog rays inside the building. We also tightened the 3D with the live action creating an effect that was obviously unreal but not beyond the realms of possibility – it was magical but not hyper real.”

The five UF & Shands TVCs are currently being aired across the state of Florida in the USA. To view them, go to www.oktobor.com

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Post Production

VFX & Graphics

Coda.TV Dances with Small Tree

Tired of doubling up media over multiple workstations, Melbourne-based production company Coda.TV, known for its work on “Dancing with the Stars,” recently employed Cactus Resolutions Pty Ltd to install Small Tree’s complete GraniteSTOR shared storage system to streamline its workflow by eliminating unnecessary time delays.

Featuring four HD Final Cut suites packed with state-of-the-art editing systems, Coda.TV frequently requires multiple editors to work simultaneously on a single project. The GraniteSTOR installation features: a 16 bay GraniteSTOR ST-RAID direct attached shared storage system designed specifically for Final Cut users looking for economical, functional and easy to manage storage technology; PEG6, a 6-port Ethernet card; and Edge-corE ES4524D,

a 24-port Gigabit Ethernet switch. According to Rob Peile, Coda.TV’s managing director, prior to installing the GraniteSTOR system, the company’s editors had to deal with the complicated and tiresome transfer of media between systems.

“Editing is an art, and the common disruption our editors faced from having to copy files from one workstation to another was hindering the creative process,” Peile stated. “We needed a system that would enable our editors to access projects concurrently without clogging the network. With Small Tree’s GraniteSTOR system, our editing team is much more productive, and that is great for morale and even better for creativity.”

With five freelancers on the system at any given time working with XDCAM EX and ProRes HD footage,

Peile has been impressed with the Small Tree system’s reliability in addition to the technology’s affordability.

“We haven’t had a single issue with the Small Tree system pushing the material we work with,” Peile remarked. “And as if that wasn’t enough, not only was the Small Tree gear available at a substantially better price point than the alternative solutions, but having the technology on-hand has allowed us to bid on more jobs that would have been too expensive to work on under our previous operating procedures. Thus, we saved money installing GraniteSTOR, and now, having the technology is opening additional revenue opportunities for our company.”

Visit www.small-tree.com

Autodesk Partners with Digistor Digistor, an Australian digital solutions supplier for the broadcast and post-production market, has announced the company’s appointment as an Autodesk partner to sell and support the entire range of Autodesk Systems products including the new Autodesk Smoke Software 2010 for Mac OS X. Autodesk undertook a stringent selection process prior to the appointment of Digistor to ensure the establishment of the best partner for the region.

Smoke for Mac is a software-only editorial finishing tool and the first Autodesk finishing product designed to run on the Mac. Since the software’s Inter BEE technology preview in Japan last month, the creative community has been anticipating the

launch. As a software offering, Smoke easily integrates into existing Mac-based workflows using Final Cut Studio or Media Composer.

Complete Smoke for Mac OS X systems will include an Apple Macintosh Mac Pro, AJA KONA 3 card, storage, monitors and additional peripherals.

Digistor has proven skills to sell and support Smoke as a complete integrated solution. The company has broad experience in the broadcast and post-production marketplaces, with customers spanning the major post houses and television stations as well as independent professional production companies and education institutions. This, combined with existing arrangements in place to represent products which complete the

Deluxe Takes Up Catapult

XDT, developers of advanced software-based solutions for digital film, announced that Deluxe Australia has purchased the full suite of Catapult products including Catapult 4K, Catapult Bridge and Flipstream for both its Sydney and Melbourne facilities.

“We have extensively tested XDT’s Catapult technology and it has proven itself as a reliable product for our demanding pipelines”, says Anthos Simon, General Manager at Deluxe Australia. “The way in which Catapult handles uncompressed frame data has greatly increased our workflow options and added significant value to quality control and data management.”

Erik Otto, Managing Director of XDT, states, “We are extremely proud to have Deluxe on board. Their reputation for technical excellence is respected globally and our team looks forward to working with both the Sydney and Melbourne facilities.”

Catapult 4K is an integrated solution consisting of an enterprise-grade, redundant, 3RU server delivering a data rate in excess of 1200 Megabytes per second in RAID5 over 16 SATA HDDs with XDT’s unique Catapult Server software. Catapult 4K replaces the need for dedicated review systems with direct attached storage to deliver sufficient throughput. Real-time review of uncompressed film resolution frame sequences is possible direct from shared storage. Sequences can be reviewed by multiple concurrent client workstations over Ethernet or InfiniBand.

Visit www.xdt.com.au

38 Post Production

solution, including AJA KONA 3, SANman storage and Apple systems, makes the company the ideal choice as the Smoke on Mac partner.

Digistor has hired Helmut Lottenburger as Autodesk Applications Specialist. Having previously worked for DVS selling and supporting DVS’ high-end HDTV and film systems, Helmut has an extensive knowledge of technology for digital intermediate, digital cinema and associated storage. His responsibilities at DVS encompassed pre-sales, demonstration, support and training in all DVS products. At Digistor, Helmut will focus on Autodesk solutions.

Visit www.digistor.com.au

Animal Crowds in Subaru Animal Logic recently created seamless visual effects for Subaru’s latest brand campaign entitled ‘Crowd’ with a clever 60 sec television commercial.

Animal Logic followed Revolver’s Steve Rogers and agency Leo Burnett, Sydney into the streets of Kiev to help carry out their vision. The film depicts ‘drivers’ riding upon the shoulders of Subaru employees. The majority of shots were accomplished practically with a variety of rigs transporting the drivers above the heads of the crowd. Once the plates were back the in the studio, the team removed rigging and wires, giving the illusion that the drivers were carried effortlessly over the crowd.

To fill the streets with people, a mixture of crowd duplication, and digital doubles was employed, once again leveraging Animal’s extensive history with Massive software. Visit www.animallogic.com

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ParticleIllusion for After Effects Wondertouch by GenArts has announced the immediate availability of particleIllusion for After Effects (pIAE) for users of Adobe After Effects on Windows.

Available as a plug-in for the first time, particleIllusion for After Effects enables artists to create particle effects directly within After Effects, producing a more efficient workflow and significantly enhanced productivity.

Like its stand-alone sibling particleIllusion 3.0, pIAE is built on the industry’s most robust 2D particle generation engine. As a result, it features the same highly acclaimed speed and ease of use that have made wondertouch products so popular with more than 10,000 compositing artists around the world.

In addition, pIAE provides access to the thousands of existing wondertouch emitters — downloadable presets designed to allow users to effortlessly create natural, high-quality effects such as smoke, fire, explosions, sparkles, fireworks and countless abstract effects — without ever leaving the After Effects environment. particleIllusion for After Effects features include: - The same emitter search engine found in wondertouch particleView - Access to all top-level particle parameters, including size, life, number, velocity, etc. to further

Toon Boom Makes Harmony Available for Pilot Production Toon Boom Animation Inc. has announced the launch of a unique Pilot Production Program.

This program is ideal for anyone who has a concept and wants to pitch it to broadcasters, producers, investors at industry gatherings such as Kidscreen, Cartoon Forum, and MIPTV. With the Pilot Production Program, Toon Boom offers professional animators a unique opportunity to create their TV, Web or Film pilot using the most advanced animation software solution available on the market.

The Toon Boom Pilot Production Program allows animators to … * Produce a high-quality pilot using the world’s best animation production software * Create assets that can be reused once the project gets the green light * Rely on Toon Boom’s extensive expertise in animation techniques and production What Toon Boom will provide: * Free access to Toon Boom Storyboard Pro and Harmony stand-alone licenses for up to 3 months * Access to an in-house expert dedicated to the animation project. Certain conditions apply.

Visit www.toonboom.com/pilot-productionprogram/

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Maxon Partners with Py4D Developer

customise the particles for each project - OpenGL-accelerated rendering - Full support for HD content - The ability to load most of the more than 2,800 existing particleIllusion emitters in After Effects, including the popular “Pro Emitters” Artists using particleIllusion for After Effects can gain even greater control by using it in conjunction with particleIllusion 3.0. An excellent companion to pIAE, particleIllusion 3.0 grants access to all emitter settings and lower-level parameters such as colour gradients, particle images and initial angle settings.

Artists can also create new emitters and libraries, or move emitters between libraries using particleIllusion 3.0. particleIllusion for After Effects is available immediately for Windows users, and will be available in Q1 2010 for Macintosh users.

Visit www.wondertouch.com

GenArts Sapphire 5 GenArts Inc., the premier provider of specialised visual effects software for the film, television and video industries, has announced pricing for its GenArts Sapphire 5 licenses for Autodesk systems. A new Sapphire 5 license for Linux Flame, Inferno, Flint HD and Smoke HD will be priced at US$8,499. This price represents a US$1,500 decrease from Sapphire 4. Upgrades from Sapphire version 4 to Sapphire 5 will be priced at US$3,499. In addition, new Sapphire 5 burn licenses have been reduced 50% from version 4 to US$450.

Announced in November, Sapphire 5 will offer GPU-accelerated render speeds up to 700 percent faster than version 4, as well as support for full floating point workflows, enabling true photorealistic image quality with the highest dynamic range available.

Sapphire 5 render times have also been slashed dramatically so that batch jobs once requiring overnight processing are now “over lunch.” Such performance gains can considerably extend the life of the nodes in a render farm or even reduce the number of nodes required to process a project.

This increase in performance will dramatically change the complexion of the visual effects pipeline by lifting barriers to artists’ creativity, while significantly reducing infrastructure costs.

Sapphire 5 is scheduled to ship in the first quarter of 2010 for Autodesk users.

Visit www.genarts.com/5

Maxon Computer, a leading developer of professional 3D modelling, painting, animation and rendering solutions, has announced a strategic partnership with Tuningchannel, the developers of Py4D. Py4D provides access to the Python programming language for Maxon’s leading 3D application Cinema 4D, giving users an easy way to further customise application functionality and optimise workflow.

Python is a powerful, open source programming language with a comparatively simple learning curve. Python’s unique blend of simplicity and power excels in a wide range of software development tasks. Existing Python scripts and libraries can be utilised in any pipeline. Python also enables integration between software apps for the exchange of data and assets. Top production and engineering firms depend on Python every day.

Py4D is currently in open beta from Py4D and can access the majority of Cinema 4D’s functions. The goal of the strategic partnership between Maxon and Tuningchannel is to better integrate Py4D into Cinema 4D and bring the level of stability and ease of use which Maxon customers have grown accustomed.

“Python is easy to learn and provides similar access to Cinema 4D functionality as the C++ SDK,” commented Harald Schneider, CTO and co-founder of Maxon. “We want the Cinema 4D community to know that we are supporting the development of Py4D so they can confidently invest resources in Python and Py4D to enhance their own production pipelines.”

Visit www.py4d.com

Chyron Phases Out SD Chyron has been developing and supporting products on the SD CODI technology for many years. Due to industry migration to HD, Chyron has transitioned its entire product line to HD/SD switchable platforms and the following four products will no longer be available after April 1, 2010: • CodiStrator SD • CAL Box SD • CAL Box Squeezeback SD • DynaCrawl Support will still be available from Chyron’s customer support program “Chyron Cares,” with such benefits as an online Customer Knowledge Base, User Forum, and technical support from Chyron’s dedicated support engineers located around the world.

Visit www.chyron.com.

VFX & Graphics 39

Storage & Asset Management

Storage & Asset Storage Management/Whitepaper & Asset Management

storage &

ASSET MANAGEMENT AMWA, EBU Form Interoperability Task Force The Advanced Media Workflow Association (AMWA) and the European Broadcasting Union (EBU) have formed a new Joint Task Force to address the system integration issue in modern and complex TV production environments.

Hans Hoffmann, EBU Program Manager said, “the current situation is that we, as the EBU, see an increasing complexity in digital workflows and broadcasters report about system integration problems. The joint effort between the EBU and the AMWA to seek out to the industry for a common approach to integrate hard and software components in modern TV production facilities is a fundamental need of the whole media industry.”

Brad Gilmer, Executive Director of the AMWA said, “we believe that the development of the service oriented architecture (SOA) to meet the special requirements of the media industry will deliver great benefits to both manufacturers and broadcasters.

“File formats such as AAF and MXF have been an important step forward for the industry, but users need systems that interoperate, and that is the focus of this new work”.

The Task Force will begin by developing a joint Request for Technology (RFT). This RFT will be focusing on user requirements collected from EBU and AMWA Members but also from other interested parties in an open public process. The plan is to publish the RFT in early 2010.

iPhone App for Video Data Rates AJA Video Systems has released AJA DataCalc, a free storage requirement calculator designed for video professionals and is available now as a free download from the Apple iTunes Store here.

Designed as a fast and simple tool for audio and video professionals, AJA DataCalc can be used in the field during acquisition, or in the edit bay during post-production, allowing the user to calculate their storage consumption and data capturing requirements.

AJA DataCalc supports a wide array of video compression formats such as Apple ProRes, DVCProHD, HDV, XDCAM, DV, RGB and YUV Uncompressed and more. Video standards supported include NTSC, PAL, 1080i, 1080p, 720p, 2K and 4K. The application features an intuitive user interface where most settings can be entered with a simple finger scroll through lists of the most common file format configurations. Durations can be entered in units of days, hours, seconds or even in a precise time code frame count. A ‘More’ button allows the user to further select and specify frame rates, frame sizes, compression type; or in the case of audio: sample rates and bits per sample. From the ‘More’ page, press on the ‘Information’ icon to get to a ‘Summary’ page to review results and have the option to deliver the data via email.

Visit www.aja.com

The industry’s responses to the RFT will be evaluated against the requirements. It is expected that contributions will be based on existing technologies, which makes the Task Force confident in scheduling the end of the RFT phase during the third quarter of 2010.

It is the ambition of the Task Force to identify common solutions. For that reason, it is foreseen that the RFT phase will be followed by a necessary reconciliation phase seeking harmonization across the different submissions. Resulting specifications or interoperability guidelines will be developed and co-published between the two organizations in the course of 2011.

Visit http://wiki.amwa.tv/ebu

MPEG Web Search Query Format

MPEG has completed the first step toward enhancing its query format standard for fast and efficient web search requests. The MPEG Query Format standard (ISO/IEC 15923-12) or MPQF defines three main components: the Input Query Format to describe query requests to multimedia retrieval systems, the Output Query Format, a message container for retrieval results, and the Query Management Tools supporting service discovery, service aggregation and service capability descriptions. A new amendment to MPQF will enable the retrieval of data from an ontology (a rigorous representation of web data that describes the relationships amongst these data to facilitate their efficient retrieval) adding semantic expressions that can be used in request and result data representations, as well as a query type for SPARQL, a language supporting semantic web environment.

Visit www.chiariglione.org/mpeg/mpeg-tech.htm

Asset Management Software as a Service Media Migration and Archiving specialist DAMsmart has formed a strategic partnership with UK company Trans Media Dynamics (TMD) to offer the its premiere Media Asset Management system, Mediaflex, as a Software as a Service (SaaS), or hosted Digital Asset Management solution for any media organisation.

The partnership creates an efficient, cost effective method for organisations to digitise their legacy media archives, build a robust file based digital archive, and get the collection on the desktop and fully accessible to maximise digital file based workflows.

40 Storage & Asset Management

Mediaflex is a modular, flexible solution for the management of media archives, including physical and digital library management, ingest, storage, archiving, workflow, transcoding and electronic delivery. Advantages of the SaaS model available from DAMsmart include rapid deployment with less risk, lower upfront costs, no special hardware requirements, higher productivity at lower total cost of ownership, infinite scalability and the provision of easy access via the web for approved users.

DAMsmart customers can access their newly digitised libraries from anywhere in the world through

TMD’s iMediaflex webclient. iMedialflex utilises Silverlight technology from Microsoft to deliver rich web based video on any standard browser (PC or Mac) in high resolution, low bandwidth proxy formats with timecode. iMediaflex presents customers with a very powerful collection search engine to locate and view digitised libraries, and provides comprehensive logging and cataloguing of content with full metadata editing capabilities. This combines with web based work ordering and job management.

Call Joe Kelly on +61 (0)2 6242 6456 or visit www.damsmart.com.au and www.tmd.tv

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Production Challenges in a World Beyond HD

By Alex Grossman, Founder & CEO, Active Storage, Inc. At the recent Storage Visions conference held in January 2010 in Las Vegas, a lot of discussion centred around the requirements and challenges of producing and managing content for high definition broadcast. In my view, they are far greater challenges than those posed previously by standard definition broadcasting or the new workflows of the Internet, satellite/cable TV and 3G mobile.

While the Internet, satellite/cable TV, and 3G mobile have widened the distribution of all forms of content over the past five years, and significantly increased the need for content, the pressure to better understand high definition workflows is becoming more urgent within television stations and production houses, effects companies, animation specialists and the like. The supply side of our media industry is globally still coming to grips with the fact that HD requires significant change.

Simultaneously, the demand side is growing.

Consumer electronics are evolving to make viewing of HD content “anytime, anywhere” the norm for anyone over the age of 13. The distribution channels for HD content are now rapidly evolving to support the demand, however, there are some issues to face.

First, high definition content creation goes far beyond just handling larger files, although this is a significant capacity issue for all companies. In endto-end workflow terms, high definition file sizes can be 20 times larger than standard definition files.

Multi-user front-end Storage Area Networks (SAN) are required to accommodate editing, EFX, audio sweetening and transcoding.

Second, in the US at least, workflow is rapidly moving away from video tape to tapeless archives which need to be maintained at the highest resolution. Production times are shrinking as certain film and tape-based steps begin to disappear from the average production day. In parallel, early films are being digitised, restored and stored at very high resolutions while round-the-clock news production is increasingly becoming more economic with reporters carrying HD cameras, rapidly editing and filing stories on the go before uploading for broadcast.

Soon there will be HD content everywhere, but how will organisations manage it?

Third, the focus which exists for enterprise computing solutions is not the same as the focus required for media environments. This is an important point often lost on managers who are in the process of making purchasing decisions. The requirements

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for servers, computing and storage in the average enterprise differs greatly from environments which involve the creation, management and distribution of rich media content.

In the enterprise world, consultants and engineers talk about de-duping data, heterogeneous ILM, cloud storage providers. It’s all about moving, monitoring, sharing and protecting a lot of small pieces of data. By contrast, rich media environments are concerned with large data files, performance, 2K and 4K capture (for example 368MB/s per stream and often multiple streams), instant access to archived data (such as news, TV episodes, prerecorded footage or live), management of and thumbnail graphic representation of millions of video and audio assets, not to mention re-purposing assets in various resolutions and formats.

Looking for solutions to media environments using an enterprise storage mindset and model often turns out to be a headache at best and a mistake at worst.

Enterprise storage is not there, and may never be, because the requirements are often directly opposed to data centre requirements (for example IOPS vs.

Latency and GB/s throughput).

The diagrams below show this difference even more clearly.

While most of the industry grapples with high definition, there is light beyond HD already. 2K and 4K resolutions are being deployed today by many studios and many independents have pilots running.

After much investment and innovation, 3D production is the hot buzz and the film Avatar has proven it can be spectacular and popular when done well. The combination of both of these technologies along with 8K is not far off in the future.

So how do media organisations manage workflow as we go beyond high definition? First, producers of content, their managers and technical teams will need to come to terms with the departure of tape. Workflows will need to be tapeless as high definition, 2K and 4K or 3D content is far too large to expand the SAN in an ad-hoc fashion.

Second, data must be moved regularly to two stages: Archive and Deep Archive. Current data tape backup technology will not be able to keep up.

So, media asset management (MAM) will become critical.

Third, metadata handling will need to become much more superior. Already metadata is the bedrock of quality indexing and categorising for media assets internally and externally distributed, however - organisations will need systems, human resources and the processes which ensure metadata is logical, deep and comprehensive in order to help creators (such as producers, directors and editors) accurately search, locate and retrieve materials which might be located on a SAN or filed in an Archive or Deep Archive.

Finally, media organisations will need to think of their internal users and better optimise their storage and media asset management for easier multi-user environments. As resolutions get higher, things get more complex. Ease-of-use will become paramount to efficiency, reliability and productivity.

Visit www.getactivestorage.com and www.eurekapacific.com.au

Storage & Asset Storage Management/Whitepaper & Asset Management 41

Digital Signage

Digital Signage

digital SIGNAGE

Digistor Brings New Dynamic to D-Signage

D-Signage with Interactive Edge Malaysia-based digital signage provider and network manager, Be Digital has launched TehTarik.TV Channel (TTTV) in more than 12 chains of popular Mamak restaurants in over 40 locations across the Klang Valley area of Malaysia.

“We wanted a different digital signage network – one that’s engaging, useful and fun to watch,” said Mr. Ahmed Balfaqih, Technology Director of Be Digital.

“We did not want it to be like other digital signage networks where the traffic or content comes only from one direction, that is, from the owners to the audience.

We wanted TehTarik.TV’s audience to participate and engage in the content creation”.

The network is designed with two unique features.

The first feature highlights a fusion of Web, mobile and digital signage tools into one platform, which allows a free flow of content among them. This combined platform enables designers from Be Digital to create content using Scala and other software, as well as create a base for bloggers and forum members to discuss specific subjects. The dynamic integration also

allows audiences to participate through short message services (SMS) in various contests or through advertising of products and services. Tehtarik.TV integrates with a Web portal, www.tehtarik.tv, which enables viewers to check content shown in the screens or to follow up on their SMS interaction online.

The second unique feature highlights the content aggregation and creation that comes from all sources, including the Web, databases and the audience

themselves. TehTarik.TV plays diversified rich-media content that ranges from daily news, advertisements, community messages and informative trivia, entertaining video clips, forums and blog submissions to real-time short message services. The content is updated with live daily RSS newsfeeds from The Star, Malaysia’s leading English-language publication.

TehTarik.TV also acts as a digital menu board for some mamak restaurants. The flexibility of the system enables restaurant owners to adjust pricing or food offers immediately, driving better sales by adapting the menu content to suit different customer demographics at different times of the day.

Be Digital says it chose Scala as the tool for TehTarik.TV because it was a highly content-driven network, and Scala’s technology provided the ideal solution with extensive built-in scripting capabilities and support for other scripting languages that allowed the programmers to customize it for specific use.

Visit www.tehtarik.tv

Val Morgan Launches Superscreens Late last year saw Val Morgan Retail Media launch digital “Superscreens” in shopping centres across Australia using newly-developed technology to create four metre displays.

Telstra has signed on as one of five foundation advertisers who will use the superscreens to dominate the retail space.

“The superscreens use new full HD commercial grade LCDs with ultra-thin bezels to create four metre displays. The introduction of the superscreen innovation means that we’re bringing the large format outdoor advertising experience indoors,”

Val Morgan Retail Media Managing Director Anthony Deeble said.

The superscreens are installed in strategic locations in shopping centres to capture dwell time opportunities and maximize thoroughfare shopper traffic in high transit positions.

Along with Telstra, American Express, 20th Century Fox, Webjet and Goodman Fielder brand Veri Deli have all signed agreements to be the foundation advertisers.

Val Morgan is working with a number of shopping centre companies including Centro and

AMP to install the digital superscreens. The first superscreen will be installed at Sydney’s Centro Bankstown, followed closely by The Glen in Melbourne.

Val Morgan Retail Media reaches a fortnightly audience of 20 million shoppers nationally. The company has been at the forefront of digital technology within the shopping centre media segment, and was the first to introduce a digital signage network and other innovations including digital panels with directional sound.

Visit www.valmorganretailmedia.com.au

Atom-based Embedded Boards Advantech, the embedded platform and integration services provider has announces a new full range of embedded boards based on the new generation of Intel Atom N450/D510 processors. The Advantech Atom processorbased platforms range from Computer On Modules, 3.5”/5.25” Single Board Computers to Industrial Motherboards. These low power platforms provide targeted performance for energy-efficient and environmentally responsible solutions and serve a wide range of applications that include: POS, kiosk, digital signage, medical, and factory automation.

42 Digital Signage

Based on Atom N450/D510 processor solutions, Advantech developed a new series of embedded platforms in various form factors that include: Computer On Modules, Single Board Computers and Industrial Motherboards. The Advantech COMUltra SOM-7562, with a 84 x 55 mm board size, is the most suitable solution for personal handheld applications. The COM-Micro SOM-6763 and ETX 3.0 SOM-4463 will be ready at the end of Q1, 2010. For Single Board Computers (SBC), the 3.5” PCM-9362, 5.25” PCM-9562, and PC/104 CPU module PCM-3362 are all available for compact application development. Advantech will also be

Digital Signage

introducing a new Industrial Motherboard called IMB-212—bringing Atom efficiency to the MiniITX motherboard class. Finally, Advantech offers the half-size SBC PCI-7031 for highly expandable applications.

Advantech not only provide a comprehensive range of Atom-based embedded boards, but also multi OS support, including Windows 7, XPe, WinCE, QNX, and Linux. Plus, a variety of intelligent software API’s are bundled with Advantech Atom-based boards to facilitate application development.

Visit www.advantech.net.au

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Digistor Pty Ltd, a specialist supplier to the broadcast, post-production and digital media marketplaces, has launched a new business unit - Dynamic Visual Systems Pty Ltd - specifically to address the digital signage market in Australia.

“We have seen a shift away from advertising in traditional mediums and towards digital signage as the next generation in media distribution,” stated Digistor Managing Director, Andrew Mooney. “There are huge opportunities opening in this market for a dedicated, specialist digital signage supplier to provide turn-key solutions. Dynamic Visual Systems has been formed to address these opportunities.”

For some time, Digistor has been providing digital signage products through its distribution business unit, Adimex. Adimex distributes products from SmartAVI and others.

Dynamic Visual Systems has been established with key personnel in place who understand the many pitfalls in rolling out successful digital signage projects - from the selection of hardware/software platforms, the positioning of screens for maximum impact, the creation of eyecatching, effective content and exploring the possible advertising revenue opportunities.

“It’s not as simple as putting up a few screens and revolving a couple of slides on them in the hope of getting you message across,” stated Mr. Mooney. “Dynamic Visual Systems brings together all available technologies into a total, customised solution to match customer objectives.”

Dynamic Visual Systems has also been appointed as Australian Master Distributor for CoolSign software which can be used in single screen scenarios with the ability to scale to a network of up to 100,000 media players. The flexibility of the software allows diverse grouping of screen signage for updates, which can be as rolled-out by location for each office/outlet or as advanced product/time specific promotions. Built-in real time broadcast capability also provides for time critical and emergency messaging scenarios.

Contact Darren Coles, Business Development Manager, Dynamic Visual Systems on +61 (0)2 9906 4556 ext 217 or via darrenc@ dynamicvisualsystems.com.au Visit www.dynamicvisualsystems.com.au

Outdoor HD Digital Signage LCDs As LCD monitors become more commoditized, there is an increasing demand for applying them as advertising display media or digital signage boards. However, due to brightness, life time or operation temperature limitations, users generally find it difficult to use regular LCD monitors to serve outdoor-displaying or store window-dressing purposes.

Specially designed for window signage, outdoor and public digital information applications, AGL now launches a series of 22-inch, 24inch and 32-inch commercial LCD monitors with 1920x1080 full HD resolution, 1000 nit high brightness, excellent gray scale and high contrast ratio. As for outdoors, AGL also provides solutions suitable for outdoor LCD applications with the following features: • water proof • direct sunlight applicable • high reliable touch screen • wide ambient operation temperature (-30 to 60 C) • AGL LCD monitors also offer a ultra-long 100,000-hour life-time and three years warranty.

Visit www.appliedgreenlight.com

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World Class Digital Signage Solutions DSS & DSA Series Interactive & Digital Signage Solutions In addition to traditional digital signage that offers only one-way communication, where the network operators have little idea of audience reaction, Advantech also offer Interactive Stations that integrate value-added modules, converting it into an interactive signage platform: • Touchscreen to trigger reaction • Webcam for “gesture-based” interaction • RFID/ Bluetooth • Wireless communication for easy data sync • Optional all in one solution or standalone PC Easy Diversification, ideal for: Retail, Hotel Lobby, Restaurants, Exhibitions, Public & Government Transportation Services.

Advantech Australia Tel: 1300 308 531 or +61 3 9797 0100 E-mail: info@advantech.net.au or web www.advantech.net.au Digital Signage 43

Digital Signage

D-Signage Content Creation

With Xpresenter 3.0, X2O Media takes content creation to the next level, combining ease of use with broadcast-quality video graphics.

The Xpresenter Template Maker 3.0 authoring tool has been bolstered to integrate content management, making it more efficient than ever to create and schedule compelling content straight from the familiar PowerPoint interface. In addition, it includes an

extensive “smart” object library for the quick and simple creation of content featuring videos, images, PowerPoint slides, RSS feeds, live information sources, and much more. Version 3.0 also includes support for 3-D effects, enabling the creation of innovative elements such as crawling tickers and rotating graphics. Other enhancements to the platform include a more powerful digital asset management system, ad campaign management tools, and advanced rulebased scheduling tools.

Xpresenter 3.0 also features the newly announced Microsoft Office add-ins for PowerPoint, Word, and Excel, making it easy for users to update content. The Xpresenter Office add-ins appear as custom toolbars directly inside the Office Ribbon. This tight integration allows Xpresenter users to publish content directly from their favorite Office applications to display screens on the X2O network.

Other features include interoperability with TruMedia Technologies’ real-time audience measurement and proactive advertising solutions.

Visit www.x2omedia.com

Analysing D-Signage Viewers in Real Time Scala has partnered with TruMedia Technologies, a provider of real-time audience measurement and proactive advertising solutions, to provide the AlliO audience measurement system and AlliO Proactive Marketing Solution (PROM) to Scala Certified Partners.

AlliO PROM is an application programming interface (API) that enables real-time integration between the AlliO audience measurement system and Scala’s digital signage software platform.

Using PROM, end users can adapt their digital signage content to match viewing audience demographics for proactive advertising.

TruMedia’s AlliO uses sensors to analyse facial images of people watching the displays in real time, providing business-critical data such as audience counts, individual exposure times, and gender and age group demographics. This data can be used to select specific media appropriate for the audience. The result allows for better media planning and targeted advertising.

Visit www.tru-media.com and www.scala.com

Embedded Boards with Intel Core i7 Advantech has announced a new series of embedded boards based on the Intel Core i7 processor. The Intel Core i7 processor-based platforms by Advantech range from Computer On Modules, Single Board Computers to Industrial Motherboards. These high-end platforms provide targeted performance for multi-tasking and highquality digital media solutions.

Utilising the Intel Core i7 processor and Intel QM57 Express chipset-based platform, Advantech developed a new series of embedded platforms

in various form factors that include: Computer On Modules and Industrial Motherboards. The Advantech COM-Express SOM-5788, with rich graphic interface and great performance, is the most suitable solution for graphic intensive and dual display applications. Advantech will also be introducing a new Industrial Motherboard called AIMB-270—bringing top performance with power saving to the Mini-ITX motherboard class.

Advantech is also releasing four other industrial motherboard products based on the Intel Core i7

With genuine dual drive recording, the feature-packed new HHB CDR-882 DualBurn delivers twice the performance in the most demanding live and studio CD record/replay applications. And unlike consumer-derived technology, the CDR-882 is designed from the ground up with a massive steel chassis, robust IDE CD-R drives and audiophile circuitry to ensure uncompromised sound quality and long-term dependability.

processor. These include: Advantech’s Mini-ITX motherboard AIMB-280, MicroATX motherboard AIMB-580, ATX motherboard AIMB-780, and the PICMG 1.3 SBC PCE-5125.

Advantech also provides multi OS support, including Windows 7, XPe, and Linux. Plus, Advantech’s intelligent software API’s (SUSI) are bundled with Advantech boards to facilitate application development.

Visit www.advantech.net.au

• DiscSpan seamless recording across 2 or more discs • DualBurn simultaneous recording on 2 discs • High speed disc duplication • Industrial strength design and build quality • Professional cueing and seamless track increments

CDR-882 DualBurn: The ultimate CD recorder Australasia’s ONLY Dedicated Digital Signage Conference & Expo

Sydney Convention Centre, July 20-21, 2010

Be Seen on the

Fourth Screen!

44 Digital Signage

Digital Signage World Australia 2010 is an exhibition of the world’s leading D-Signage solutions providers alongside a world-class, applications-focused conference. Digital Signage World Australia 2010 where innovation is showcased, solutions are found and experience is passed on.

Truly a business and technology show, DSW is the only event that brings together end-users from all the key vertical markets and the advertising industry, all eager to engage with the entire digital signage value-chain.

Participating companies include: - NEC, JVC Professional, Dynamic Visual Systems, NetComm and TouchScreen Solutions.

Visit www.terrapinn.com/2010/digital/

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For your nearest authorised dealer in Australia: Free Call 1800 648 628 | email sales@syntec.com.au | www.syntec.com.au New Zealand: Free Call 0800 100 755 | email sales@syntec.co.nz | www.syntec.co.nz

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Radio

Digital is affordable...

THE ORIGINAL BROADCAST MEDIA

RADIO

ABU Award for Commercial Radio’s Warner On March 9, 2010, the Asia-Pacific Broadcasting Union will present special Lifetime Achievement Award to Joan Warner, Chief Executive Officer of Commercial Radio Australia, in recognition of her outstanding commitment and contribution to the development of digital radio broadcasting in the Asia-Pacific Region.

The presentation will take place at the ABU Digital Broadcasting Symposium 2010 in Kuala Lumpur, Malaysia. This event is organised by the Asia-Pacific Broadcasting Union (ABU) and will run from 9 to 11 March.

Commercial Radio Australia (CRA) represents 99 percent of all commercial radio broadcasters in the country. Ms Warner played a leadership role for the planning, rollout and implementation of digital radio for commercial radio broadcasters across Australia. She also played a leading role in bringing together both the Australian commercial and public broadcasters to achieve an all of industry DAB+ switch on.

Ms Warner’s lobbying of the Federal Government resulted in securing Band III spectrum for Australian broadcasters and radio industry management of the allocated spectrum. Australia now has more than 55 digital radio stations on air with the signal covering nearly 60 percent of the Australian population.

Successful implementation in Australia has provided a new impetus to digital radio in the Asia-Pacific region.

As CEO, she also oversees the whole of industry marketing campaign, Radio Codes of Practice, audience survey contracts and industry copyright agreements. Ms Warner is responsible for the annual National Commercial Radio Conference, Siren Creative Awards and Australian Commercial Radio Awards.

Ms Warner has worked at senior executive levels in the private and government sectors and holds four degrees including a Master of Business Administration and a Master of Education.

The award announcement follows on the heels of a visit by 20 radio delegates from eight countries to Sydney as part of an Asia-Pacific Broadcasting Union digital radio delegation. The delegation was hosted

by Commercial Radio Australia in collaboration with the ABU Technical Department and included representatives from MRTBN - Mongolia, RTHK - Hong Kong, RTB - Brunei, VOV - Vietnam, TBS Japan, LRN - Laos, RTM & IPPTAR - Malaysia and Mediacorp – Singapore.

The ABU delegation was made up of senior executives in engineering, programming and

46 Radio

<< <<

Commercial Radio Australia CEO Joan

Warner.

management eager to understand how Australia made the transition to digital radio and followed visits from Korean and Indonesian radio broadcasters.

Joan Warner said Australia’s successful switch on of DAB+ has created a great deal of interest internationally.

“The Asia Pacific region is an important market for DAB+. Radio listening figures are high and it’s a major manufacturing region. The adoption of DAB+ in these countries would go a long way to reinforcing DAB+ as the global digital radio standard,” said Ms Warner.

Leader of the study tour Mr Asaad Sameer Bagharib, Chairman of the ABU Technical Committee’s Digital Radio Forum said “The Australian commercial radio industry is a leader in the implementation of DAB+ and our members look forward to gaining valuable knowledge from our visit.”

The three day visit began with an orientation session at Commercial Radio Australia followed by tours of DMG and Austereo’s state of the art digital radio studio facilities. To understand the policy and regulation framework established in Australia, the group met with the Department of Broadband, Communications and the Digital Economy (DBCDE).

Spectrum and licensing arrangements were discussed with the regulator the Australian Communications and Media Authority (ACMA).

Part of Australia’s successful digital radio switch on has been attributed to the all of industry approach with public and commercial broadcasters working together to switch on DAB+. The ABU delegation also met with the public broadcasters ABC and SBS. The visit included a tour of the TXA Australia

Artarmon broadcast site to inspect the DAB+ antenna, the world’s largest DAB+ transmitters and some of the multiplexers.

Internationally, DAB+ digital radio technology has been adopted by Switzerland, Malta and Hungary with launches in Germany and Italy scheduled for 2010. DAB+ is also expected to be trialed and/or adopted in the Czech Republic, Malaysia, China, Indonesia, much of Scandinavia and other European and Asian markets.

The Digital Broadcasting Symposium 2010 is the seventh in a series of highly successful annual events staged by the ABU to help equip radio and television broadcasters in the region with the knowledge to C chart and manage their digital transition.

M This year’s theme is Leveraging the Digital Advantage. The symposium will take place at the Y Hotel Istana, 73 Jalan Raja Chulan, 50200 Kuala CM Lumpur.

MY Visit www.abu.org.my

and Pilot surface A standalone 12-channel console and digital audio router from $10k Only from Logitek!

CY

Triple J Radio Launches Free iPhone App An innovative free iPhone Application from ABC youth radio network triple j is the first in Australia to allow music downloads to your iPhone and gives triple j access to another platform to promote up and coming Australian artists.

The Unearthed iPhone App introduces users to a huge range of new music from unsigned Australian artists by delivering 50,000 tracks in a range of genres.

Tracks can be streamed, downloaded, added to personal playlists, and shared on social media and via email.

To aid listeners, there is a Featured Music playlist, a triple j Presenter playlist and weekly Unearthed podcast.

In addition to the free downloads, the App also gives access to stream ‘Unearthed Radio’, a continuous feed of the best tracks from triple j Unearthed music bank.

Both the App and music are free and the App is available in Australia and overseas.

Visit www.triplejunearthed.com

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CMY

K

Call Paul or Keith on

02 8882 7777 or contact sales@logitek.com.au

Logitek Australia www.logitek.com.au

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Console Router Systems

Radio

Extra Digital Spectrum Sold at Auction Late last year saw an historic moment for digital radio in Australia with commercial broadcasters paying more than AUD$7 million to buy excess spectrum capacity on the commercial multiplexes in each of the five launch cities in an auction held late last week.

In Brisbane, the successful bidders were Austereo, DMG and Australian Radio Network (ARN) (capacity sold for up to 20 new audio and/or data services); in Melbourne they were Austereo, Sport 927 and Australian Radio Network (ARN) (up to 12 new audio and /or data services), in Sydney they were Austereo, Supernetwork and Australian Radio Network (ARN) (up to 12 new audio and/or data services); in Perth they were Grant/Capital Broadcasters and Austereo (up to four new audio and/or data services) and in Adelaide it was Austereo (up to four new audio and/or data services).

Joan Warner, CEO, Commercial Radio Australia said the successful auction was good news for digital radio.

“The auction results and the extremely competitive bidding that occurred is a massive vote of confidence in the technology and demonstrates the support that commercial broadcasters have for DAB+ and its future,” said Ms Warner.

“The additional spectrum will allow the successful bidders even more creative opportunities to introduce many more programming alternatives for the listening audience and really exploit the power of the DAB+ digital radio technology.”

Under the digital legislation, each incumbent commercial radio station in the licence areas of Sydney, Melbourne, Brisbane, Adelaide and Perth has been allocated 128kb of spectrum on the commercial multiplex. Commercial operators are also required to reserve 2/9th of each commercial multiplex for joint use by wide area community stations in each licence area.

Spectrum remaining after the statutory entitlements of commercial broadcasters and communities are met is excess capacity. Under the legislation where demand for this spectrum exceeds supply, an auction must be held.

An auction for the excess capacity on each commercial multiplex was held for each city, the reserve price for spectrum was set by an independent econometrician and the auctions were conducted by auctioneers, Bonhams and Goodman.

As required by the digital legislation, funds raised through the excess capacity auction are to be used by the digital joint venture companies in each city for the promotion of digital radio technology in their markets.

Visit www.digitalradioplus.com.au.

48 Radio

Radio

NETIA Radio-Assist Integrates with MusicMaster Netia’s Radio-Assist 8 suite of digital audio automation software now interfaces seamlessly with the MusicMaster music scheduling system, providing users with a complete and cost-effective turnkey solution for handling music across a radio station. The combined solution allows users to access MusicMaster’s library-organization features and sophisticated rules-based playlist generation seamlessly alongside the powerful Radio-Assist 8 multimedia workflow management toolset. The MusicMaster playlists are then automatically integrated in Radio Assist 8 for playout.

MusicMaster is used to generate schedules for radio stations, music television networks, satellite broadcasters, and cable television channels, Internet streams, syndicated programs, restaurants, and nightclubs. Thanks to the open architecture of the two systems, MusicMaster can maintain a real-time awareness of content within the Netia Radio-Assist 8 server and apply rules-based intelligence in making playlist selections that enhance the broadcaster’s music mix and flow, reduce listener fatigue, and help increase ratings. After playout of a playlist, a report is automatically generated and sent back to MusicMaster for reconciliation.

Visit www.netia.com

Automation and IP-Audio Routing WideOrbit Inc., a leading provider of business management software for Media companies and Audio-over-IP pioneers Axia Audio have partnered to deliver fully-integrated Radio Automation and IP-Audio routing. WideOrbit’s WO Automation for Radio now provides comprehensive integration with Axia AoIP routing systems for streamlined radio operations.

WideOrbit’s Radio Automation solution, WO Automation for Radio (formerly Google Radio Automation), was acquired by WideOrbit in August 2009 and works seamlessly with WideOrbit’s traffic software.

The latest version of WO Automation for Radio provides next generation integration with Axia Livewire IP-Audio routing networks and networked mixing consoles-streamlining operations, lowering installation costs, and reducing hardware complexity. WideOrbit integrates seamlessly with Axia PathfinderPC, the Axia IP-Audio Driver, and the AudioScience 6585 Livewire audio card. The release also provides a Vmix widget, enabling Axia clients to control their Element Vmix configuration and faders directly from their WO Automation for Radio screen.

Visit www.wideorbit.com

IP Audio Codec Bridge-IT from Tieline Technology is a fully featured STL, audio distribution and remote broadcast IP codec which features: • Point-to-point mono and stereo audio over IP • High quality low-delay linear audio G.711 G.722, MPEG Layer 2, plus low delay Tieline Music and MusicPlus algorithms • Automatic fail-safe SD/SDHC card connection failover • Simultaneous analog audio and digital AES/ EBU outputs • Web-GUI for remote control and configuration • TieServer for automatic firmware upgrades • Tieline’s QoS Performance Engine for automatic management of IP connection streams.

Optional software feature upgrades available in

2010 include: • Multicasting capability (Point to Multi-Point over LANs and WANs) • Multiple unicasting capability over LANs and WANs like the internet • AAC-LC, AAC-HE v.1 and AAC-HE v.2 algorithms • TieServer PRO for simple one-touch buddy-list codec dialing • Tieline Network Management System for live status and alarm monitoring of hundreds of IP codecs over entire broadcast networks.

See Bridge-IT explained on the Tieline IBC2009 booth at www.youtube.com/ watch?v=uMi0SFp05pg Visit www.tieline.com

Omnia Audio Processing Presets To help facilitate the creation of new “signature sounds,” Omnia Audio has added a new section to its website. This new section contains a wide variety of presets created both by the broadcast engineering community, and by the Omnia Support team. Clients can download and use these creations as-is, or as the basis for new presets of their own.

The first presets available for download focus on the Omnia-6 and Omnia ONE processors, and the range of processing styles varies from “Vinyl” to “CHR” to “Urban,” and everything in between.

More presets for these and other members of the Omnia processor family will be posted on an ongoing basis, and user contributions are welcome.

Presets are available free at www.OmniaAudio.com/support/presets.html .

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Factum Fall-Back for Community Radio The Community Broadcasting Association of Australia (CBAA), the national body for community radio and television stations in Australia, has added redundancy to its current Service Multiplexing sites, using RSW100 seamless redundancy switching from Factum Electronics AB. The RSW100 is a 1:1 Redundancy Switch intended to be used in DAB transmission networks to provide backup redundancy protection. The RSW100 can be operated in automatic mode or manual mode. In automatic mode, the output from the RSW100 is determined by the status of System 1 and System 2 equipment chains. The switching does not cause interruptions in the transmission.

Features include: • Supports ETI (ETS 300 799) and STI (ETS 300 97) standard formats.

• G.703 (NI) interface (both input and output).

• Performs frame aligned switching between input streams. Frame phase is preserved, which makes the switching seamless.

• G.704 (NA) interface (both input and output).

• Timestamp of outgoing ETI frames.

• Selected input stream can be output via IP based interface.

• Two RSW100 can be setup in a redundant pair.

• Input channel selection can be set-up to be either manual or automatic.

• Performs Reed-Solomon decoding and byte de- interleaving for G.704 (NA).

• Performs CRC calculation according to DAB standards • A web interface is provided for monitoring and control.

• Reed-Solomon encoding and byte interleaving for transmitted NA frames (G.704) • SNMP v2 is supported for monitoring and control.

• External or internal clock synchronisation.

• Firmware and software can be upgraded via RS232 from a host PC. All required tools are provided.

• Excellent jitter rejection for the external PPS signal.

• All data inputs are ESD and over-voltage protected.

• For reliability, the RSW100 is equipped with two fully redundant power supplies.

Visit www.factum.se

Ten Million DAB Sales for Frontier Silicon

Frontier Silicon, the leading supplier of DAB digital radio receiver technology, has reached a record 10 million sales in DAB systems worldwide.

With over 12 million DAB units already in circulation – and with this total growing by more than two to three million per year – Frontier Silicon expects to reach 20 million sales in less than half the time it has taken to reach 10 million.

As Australia’s population peaks at 21 million, DAB+ is currently broadcast in five cities covering 11 million people in four million homes, making it the fastest growing DAB market in the world. Some 250,000 DAB related products will be shipped in 2010, with that number doubling to over 500,000 in 2011. The market is also unique in that commercial radio is driving the change - more than AUD$50m was invested across the initial state capital launches, in addition to the individual station and network investment in new services and content.

The Australian market for digital radio, widely considered a success for its early take-up of DAB+ as standard, continues to grow apace with Frontier’s complete silicon, software and module receiver technology found in over 90 per cent of DAB+ radios on sale in Australia.

Visit www.frontier-silicon.com

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Radio

Tune in to the comprehensive

pro audio range from Sony

The Professional Choice From wireless and wired microphones to versatile A/V mixers offering integrated control with a variety of projectors - Sony’s comprehensive range of pro audio solutions offers an assurance of reliability, quality and consistency.

With a host of systems and accessories to choose from, together with proven performance in broadcast, production and AV applications, it’s hardly surprising that Sony’s pro audio range is the professional choice.

PCM-D50 Linear PCM Recorder The latest addition to Sony’s family of portable audio recorders, built rugged and compact to withstand the demands of any environment.

• 96kHz/24 bit, virtually noise-free recording quality • 4GB internal Flash Memory, plus expandable Memory Stick Pro-HG Duo™ slot for up to an additional 4GB

www.sony.com.au/production proaudio.au@ap.sony.com 1800 017 669

Radio 49

Audio

Audio

Plug-on Transmitter

AUDIO

Soundcraft Makes News in Perth Channel 7 Perth’s news

control room has put its aging Euphonix 2000 mixing console to rest, replacing it with a Soundcraft Vi6 large-format digital live desk.

“We had a thorough look at the market and I have to admit that originally I really wanted a Studer Vista 5 console, but it wasn’t within our budget,” confessed Colin Graham, primary operator of the Vi6. “However in my researching I came across the Soundcraft Vi6 console and realised that it was really a Vista 5 without as much fruit, and the fruit that it was missing wasn’t what I was interested in anyway.”

Graeme Pennifold, Channel Seven’s Engineering Manager, states that there were other contenders but that they very soon focused on the Studer from an operational view. ”We liked the Vistonics control on the Studer, in fact that’s what really sold us, but we were amazed to find that the Soundcraft Vi6 also has the Vistonic control but in a console that is much more affordable,” he commented.

“The Vistonic interface on the Vi6 is very intuitive,” agreed Colin. “I would describe it as a fourth generation digital console. Digital consoles very

quickly got very powerful but you really needed to know what you were doing with them. They never really told you what you were doing with them all that clearly.

“Ease of operation is aided by simple things like use of colour and who was the genius who thought to drill holes in the monitor so that the knobs were linked to what you were looking at?! When you’re working as quickly as you have to in television, you really don’t want to think that much – you need to be able to react. Paging through things is dangerous to say the least. The fact that everything is only one or two levels down at most is really very helpful.”

Graeme and Colin report that since the arrival of

the Soundcraft Vi6 into the newsroom their jobs have been made a lot easier. Whilst Colin operates the Vi6 for the news reports Monday through to Friday, a range of freelance operators are in charge at the weekend. ”They are all experienced guys but may only be doing the news once or twice a month so such an intuitive console was a huge bonus,” Colin said.

“We did a staged installation for the Vi6 training of our casuals,” added Graeme. “They only needed two sessions each before they were comfortable with the operation of the console. When they first went on air Colin sat with them to hold their hands but soon found out that he didn’t need to.”

Colin pointed out that the console also sounds good, stating that not all digital consoles in that range do. He describes the sound of the Vi6 as warm with really good dynamics and EQ. ”They’re a little touchy,” he added. “You don’t want to get too brutal with them, but it sounds sweet and we can get a nice strong sound that doesn’t get blown away by the commercial breaks which is often a problem when you’re live to air.”

Visit www.jands.com.au

Funding for Aussie Start-Ups Two Australian companies working in the areas of music production and acoustic solutions have received Commercialising Emerging Technologies (COMET) funding from the Australian Department of Innovation, Industry, Science and Research.

The first, VFX Systems, has developed the ‘V-Machine’ which provides musicians, engineers, producers, and guitarists with a purpose built product to run Virtual Studio Technology (VST) plug-ins.

As a small box, it can sit on top of an audio keyboard, and can interface to any musical instrument

digital (MIDI) device. It runs VST plug-ins to synthesize the audio output, and therefore can generate many thousands of different instruments and effects. In addition to the hardware product, VFX Systems has developed both MAC and PC software suites to allow the user to manage the V-Machine. This software is used to load and configure plug-ins on the device, and to set up groups or banks of effects. COMET funding will be used for Strategic Business Plan Development and Market Research. For more contact Jefferson Harcourt on 03 8459 6999

Meanwhile, Silenceair International has developed the Silenceair range of passive acoustic noiseventilators for insertion in walls, doors and windows.

The ventilators allow good air flow but stop around 85% of airborne noise being transmitted. The ventilators do not have moving parts, do not consume energy and can be made from recyclable and biodegradable materials that provide fresh air without noise or energy consumption.

Contact Christopher Matthews on 02 9555 7215

Wireless Systems Manager A new version of the Sennheiser “Wireless Systems Manager” software makes working with the audio specialist’s microphone and monitoring systems even easier.

With the software, the equipment can be pre-programmed; it helps to locate free radio channels, shows where there may be reception problems, and clearly displays all transmitter and receiver parameters “live” on a computer. Version

50 Audio

3.2 of the software is available for download to Sennheiser customers free of charge. The new version makes it possible to establish networks with up to six locations and the new Wireless Systems Manager now also runs on Intel Macs.

With the Wireless Systems Manager, all of the settings for a transmission channel can also be set on the laptop instead of on the equipment itself. The sound or RF engineer can programme in advance

“off-line” – sitting in the office or on the tour bus.

At the site of operation the microphone receivers and monitor transmitters are simply connected to the laptop via an Ethernet switch and the data is transferred.

Via a connected receiver, the Wireless Systems Manager will automatically scan the frequency spectrum on location.

Visit www.syntec.com.au

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The SKP 2000 plug-on transmitter from Sennheiser can be used anywhere where a wired microphone must sometimes have wireless capability. It can be connected directly to the microphone instead of the XLR cable. The SKP 2000 features 48-V phantom power and can be used with all condenser and dynamic microphones.

For ENG applications, the 2000 series includes a diversity camera receiver, handheld transmitter, body-pack transmitter and now the new plug-on transmitter.

Thanks to “adaptive diversity” – the receiver uses the camera cable as a second antenna – reception is made even more reliable. The receiver can also be used to configure the corresponding transmitter. The settings stored in the receiver – including frequency, channel name, the low-cut and the sensitivity of the transmitter – can be sent to the transmitter quickly and easily via the infra-red interface.

The settings for several transmitters can be saved in the camera receiver so that it is possible to switch quickly between a handheld microphone and bodypack transmitter if required.

The diversity receiver can also be combined with the SKM 2000 handheld transmitter or the SK 2000 bodypack transmitter with a clip-on or headset microphone.

The 2000 series features high frequency agility and multi-channel capability, professional monitoring and control, well-designed menus and outstanding audio quality. Depending on the UHF range, the devices have up to 75 MHz switching bandwidth, on which as many as 64 compatible frequency presets are available for microphone systems.

Output power for the transmitter can be adjusted to 10, 30 or 50 mW. The US variant transmits with up to 100 mW. The wide audio frequency response (25 - 20,000 Hz for the bodypack transmitter [line], and 80 - 20,000 Hz for the handheld and plug-on transmitters) and audio sensitivity with a wide range of settings provide perfect audio quality. All portable devices can be used with rechargeable or standard batteries. Visit www.syntec.com.au

Ribbons for All Occasions With the AT4080 and AT4081, Audio-Technica say it has achieved the coveted ribbon microphone sound while solving the problems of fragility and low output that have historically plagued ribbon mics.

Equally at home in recording studios or live-sound settings, these all new microphone feature Audio-Technica’s MicroLinear ribbon imprint, which protects the dual ribbons from lateral flexing and distortion.

The AT4080, with an appearance like a classic ‘suspension cradled’ side-addressed condenser, is recommended for vocals, horns, strings, acoustic instruments, drum overheads, orchestras, ensembles and guitar cabinets. The AT4081, which looks more like a pencil condenser, is optimised for strings, saxophones and other horns, acoustic instruments, drum overheads, orchestras, ensembles and guitar cabinets; its low-profile stick design maximises placement options. Both mics excel in recording studios as well as in live-sound settings.

Powerful N50 rare-earth neodymium magnets provide high output levels, and the mics’ innovative dual ribbon construction offers increased sensitivity and SPL handling capability. Both microphones require 48V phantom power to drive their active electronics which enable them to deliver output close to condenser microphone levels.

Each is handmade in Japan, including ribbon corrugation, imprint and assembly and like all 40 Series microphones, each and every AT4080 and AT4081 is individually tested and inspected for 100 percent quality assurance. Visit www.tag.com.au

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Audio

Tune in to the comprehensive

pro audio range from Sony

The Professional Choice From wireless and wired microphones to versatile audio/ video mixers and recorders - Sony’s comprehensive range of pro audio solutions offers an assurance of reliability, quality and consistency.

With a host of systems and accessories to choose from, together with proven performance in broadcast, production and AV applications, it’s hardly surprising that Sony’s pro audio range is the professional choice.

UWP Series UHF wireless microphone package Each package has a transmitter and receiver - so you’re up and running straight from the box!

• Space Diversity Reception ensuring stable signal reception • Rugged and lightweight to provide reliability and mobility needed for field and venue applications

www.sony.com.au/production proaudio.au@ap.sony.com 1800 017 669

Audio 51

Transmission

transmission

SIGNAL DISTRIBUTION, TEST & MEASUREMENT

Australia Closes Door on ‘Datacasting’ The Australian Communications and Media Authority has approved a final extension of the Sydney datacasting trial service, operated by Broadcast Australia, until 30 April 2010. Beyond this final extension, the ACMA has decided not to allocate a television channel for any future extensions of the trial.

The Broadcast Australia trial datacasting service is generally known as DIGITAL FORTY FOUR and is available in Sydney to viewers of digital television on UHF Channel 35. The trial currently includes services such as National Indigenous television (NITV), the Australian Christian Channel (ACC), Teachers TV, the EXPO home shopping channel and an electronic program guide for free-to-air television.

According to ACMA, trials of new technology, authorised by way of a scientific apparatus licence, are ordinarily strictly limited in duration. The Sydney datacasting trial has been in operation, based on periodic extensions of its trial licence, since 2003.

The ACMA decision follows what it sees as “clarification of several aspects of the Government’s television digitisation policy in recent months”.

In mid-2008, the Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, announced that the Government was reconsidering policy relating to the two unassigned digital channels.

On 4 November 2009, the Minister announced the ‘Digital Pathway for Community Television’ – which commits one of the unassigned channels, Channel A, in Sydney for community television until 2013. The Government’s Digital Dividend Green Paper, released on 5 January 2010 makes no mention of any future auction of a channel for datacasting.

Commencement of a digital re-transmission of the existing Sydney community television service, TVS, is expected in March this year.

The ACMA has given Broadcast Australia one final licence period to assist in closing out its datacasting operations. As a consequence, the trial will cease on or before 30 April 2010.

“The reasonable prospect of a price-based allocation of datacasting transmitter licences, that could have provided a longer-term term home for the Sydney trial service, underpinned past decisions of the ACMA to keep extending the trial of technology that would be used to provide these services,” Chris Chapman, Chairman of the ACMA said. “As there is no likelihood of an auction of long-term licences for datacasting in the near future, the ACMA has decided the rationale for continuing a trial of such services no longer exists.”

52 Transmission

Broadcast Australia has said it is disappointed that the Australian Communications and Media Authority has announced its intention not to renew the trial licence.

“We don’t believe the public interest is being well served with this decision,” Graeme Barclay, Broadcast Australia Group CEO said. “The release of the Government’s Digital Dividend Green Paper in early January is manifestly a consultation or discussion document seeking views on the nature and shape of the future digital dividend and as such we don’t see this as representing any movement in Government policy on niche digital television services. The release of digital dividend spectrum is still several years away and the spectrum we are using is currently unassigned awaiting Government clarity on its future allocation.

It therefore seems counter-productive to remove these niche digital television services from Sydney viewers

at a time when the Government wants to see more people adopt digital technology.

“We continue to passionately believe in the value to the industry and the community of niche programming being available on a free to air basis,” Barclay continued. “We will be arguing in our response to the Green Paper that it is possible and practical to achieve the target of releasing 126 MHz of digital dividend spectrum and still have sufficient to enable new services, such as those being carried by Broadcast Australia in Sydney today, to be carried on a permanent basis. In this respect we look forward to the completion of the consultation started by the Green Paper and to the allocation of currently unassigned spectrum for new digital TV services.”

Broadcast Australia is currently using Channel 35 for the Sydney trial and confirms that the Sydney Community TV service will begin digital services in March 2010 using Channel 29.

“There is no conflict here,” says Barclay.

“Broadcasting the community television service does not require the trial services to be shut down.”

As of press time, the niche services on the Digital 44 channel were still considering their transmission options. A firm announcement on a Digital EPG from Freeview has also yet to be made.

Mildura - Leading Australia Into Digital TV Future The Australian Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, has confirmed that the town of Mildura and the surrounding Sunraysia region on the border of New South Wales and Victoria will switch to digital-only television on 30 June 2010.

Senator Conroy said, “Already 79 per cent of households in the Mildura and Sunraysia area have converted and are enjoying the benefits of digital television, such as improved picture and sound quality, new content and new channels.”

Senator Conroy has made determinations for switchover in Sunraysia on 30 June 2010, in Brisbane and Perth on 30 June 2013 and in Adelaide, Melbourne and Sydney on 31 December 2013. The determinations confirm the progressive regional switchover timetable announced in October 2008.

Determinations for specific switchover dates in other regions will be made as switchover progresses.

According to Executive Director of the Government’s Digital Switchover Taskforce, Andy Townend, “Most households in Mildura have already converted to digital television and we are working hard at a local level to ensure everyone has the information and assistance they require to get ready.”

Part of that assistance is the appointment of a Digital Switchover Liaison Officer, Kellie Boyce, who will be working with community groups and using local networks to help TV viewers make the transition.

Mr Townend also announced the publication of the 3rd Digital Tracker Survey, a quarterly analysis of national digital television take-up, awareness and attitudes.

Key results of the survey include: Nationally, 56 per cent of households have made the switch to digital free-to-air television; and Digital television viewers identified key positives of better quality picture (36 per cent), more channels and choice (28 per cent), and better reception (16 per cent).

The Rudd Government has made a commitment to complete national digital switchover by December 31, 2013.

Visit www.digitalready.gov.au

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Transmission

First Roll-out of MHEG-IC IMPALA, the International MHEG Promotion Alliance, has welcomed the beta release of the world’s first deployment of hybrid broadcast broadband MHEG Interaction Channel (MHEG-IC) by UK free-to-air satellite platform Freesat.

Freesat, which is owned by the BBC and ITV, will allow access to the highly successful BBC iPlayer catch-up TV service via the IP connection, supplementing its existing broadcast content.

The principles behind the MHEG-IC are to provide a seamless viewer experience of broadcast-delivered content augmented with content delivered over IP as an extension of the channel or network. The MHEG-IC gives access to streamed on-demand video content in addition to traditional text and graphics as well as the ability to support secure transactions.

MHEG-IC uses a sophisticated ‘Hybrid File System’ that enables broadcasters to create common applications that can work on both IP-connected and unconnected receivers in a seamless and user friendly way. The MHEGIC allows the application to determine whether or not an IP connection is possible (i.e. the receiver is equipped with the appropriate hardware and software) and whether or not it is actually available (i.e. has the user actually connected the receiver to the home network?).

The system enables decoding of MPEG-4 or MPEG-2 streams using the same hardware used for broadcast content.

Visit www.impala.org.

Transmission

Hybrid Broadcast Broadband TV The Germany-based Institut für Rundfunktechnik (IRT) has announced the completion of the first HbbTV (Hybrid Broadcast Broadband TV) interoperability workshop.

Representatives from over twenty different companies from across the value chain including broadcasters, software providers and CE device anufacturers attended the event to evaluate current HbbTV applications and implementations. The three day event took place at IRT in Munich, Germany.

Hybrid Broadcast Broadband TV or “HbbTV”, is a major new pan-European initiative aimed at harmonising the broadcast and broadband delivery of entertainment to the end consumer through connected TVs and set-top boxes. The HbbTV specification was developed to effectively manage the rapidly increasing amount of available content targeted at today’s end consumer. It is based on elements of existing standards and web technologies including OIPF (Open IPTV Forum), CEA, DVB and W3C. HbbTV has a wide range of supporters from across the broadcaster and CE industries.

Live satellite feeds containing HbbTV signalling plus test feeds, generated by IRT, provided the framework for 10 companies to host their applications. Over 10 manufactures and software vendors performed interoperability testing against 17 different applications and over a dozen specifically written feature test cases. A further 7 test cases focused on application lifecycles issues.

Visit www.hbbtv.org and www.irt.de

South Africa Selects MHEG-5 IMPALA, the International MHEG Promotion Alliance, has announced that South Africa – via its Digital Dzonga Advisory Council – has selected MHEG-5 as the interactive TV middleware for its digital switchover.

Following on from a successful DTT trial that began last year, the SABC, South Africa’s public broadcaster, led the process of developing a MHEG-5 profile for South Africa to meet some of the unique needs of the South African market. The South African MHEG-5 profile has now been finalised and can be obtained from SABC while the overall receiver specifications are now also being completed. The MHEG specification includes a platform-wide EPG that will allow consistent listings and onscreen branding. The profile also includes support for the delivery of a wide range of interactive services.

The Digital Dzonga Council is an advisory body appointed by government in 2008 to oversee South Africa’s migration to digital terrestrial broadcasting.

Aldred Dreyer, SABC Technical Project Manager, DTT, said, “We selected MHEG-5 because it is costeffective with lower royalties than other middleware solutions and it is an open standard and not proprietary to any one vendor. In addition it uses little memory.”

The MHEG Profile for South Africa is available at www.sabc.co.za in the press and media section.

Visit www.impala.org.

MPEG Enriches IPTV MPEG has completed the final standardization (ISO/IEC 14496-20 AMD3) of the technologies enabling the integration of metadata for the creation of rich user experiences for multimedia services such as IPTV. For IPTV services, the provisioning of services and content using very detailed metadata is of primary importance, and the key to success is to provide a rich representation of such information to enable the user to select among these services and content based on their personal interests. The new standard will facilitate the easy and efficient integration of the structured metadata used for this purpose.

Visit www.chiariglione.org/mpeg/mpeg-tech.htm

Enhancing Satellite Multimedia Performance A set of new specifications has also been issued for ETSI Broadband Satellite Multimedia (BSM) systems.

These specifications cover key issues needed in a functional framework for managing IP (Internet Protocol) services over satellite.

The approach used by ETSI’s Technical Committee for Satellite Earth Stations and Systems (TC-SES) has been to ensure that protocols developed for terrestrial IP networks by the IETF (Internet Engineering Task Force) are compatible with Satellite systems, using BSM-defined adaptation when needed.

The suite of four technical specifications on this topic produced by the ETSI project team STF-344, funded by the European Commission and the European Free Trade Association, is as follows: * TS 102 672: “Satellite Earth Station and systems (SES); Broadband Satellite Multimedia; Management Functional Architecture”.

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• TS 102 673: “Satellite Earth Station and systems (SES); Broadband Satellite Multimedia; Performance Parameters”.

• TS 102 675-1: “Satellite Earth Station and systems (SES); Broadband Satellite Multimedia; Performance Management at the SI-SAP [Satellite Independent Service Access Point]”.

• TS 102 675-2: “Satellite Earth Station and systems (SES); Broadband Satellite Multimedia; Performance Management Information Base”.

The Management Functional Architecture provides a framework for satellite network management and the Performance Management uses this architecture to define management functions that are linked to the existing ETSI BSM Working Group (BSM-WG) Quality of Service specifications.

Meanwhile, the BSM has also issued a new

technical report on Performance Enhancing Proxies (PEPs).

The Report is entitled TR 102 676: “Satellite Earth Station and systems (SES); Performance Enhancing Proxies (PEPs)”.

PEPs are widely used in satellite networks to improve the performance of the Internet protocols.

PEPs are typically focussed on improving throughput for protocols such as TCP and HTTP web page retrievals.

The report provides a review of satellite compatible PEP architectures, focussing on the most common implementations that function at the transport layer or at the application layer, together with the associated scenarios and protocol stacks.

The report also presents a security analysis and describes security solutions that can be used with PEPs. Visit www.etsi.org

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ACMA Uses Opportunity Cost to Value Spectrum The Australian Communications and Media Authority has decided to base annual fees for administratively allocated spectrum on the opportunity cost of the spectrum.

The opportunity cost is the value of the opportunity foregone by current spectrum use. It is the price that would be expected to emerge in a well functioning market.

The ACMA’s decision follows careful consideration of the issues raised in submissions to its discussion paper, Opportunity Cost Pricing of Spectrum: Public

consultation on administrative pricing of spectrum based on opportunity cost (released in April 2009).

“Opportunity cost provides a transparent basis for setting fees for administratively allocated spectrum and is intended to increase incentives to use spectrum efficiently,” said Chris Chapman, Chairman of the ACMA. As discussed in the ACMA’s response to submissions, issues raised by various stakeholders will assist the ACMA to transition towards fees based on opportunity cost.

Opportunity cost pricing may result in some licence fees increasing, and some decreasing. The ACMA will undertake a band-by-band assessment to determine the priorities for a licence fee review, and these priorities will be reflected in the annual Five-year Spectrum Outlook publication from next year. The ACMA will consult with stakeholders in considering specific proposals to amend licence fees for particular bands, including in relation to the 400 MHz band.

Visit www.acma.gov.au

Satellite Coverage for DTV Blackspots

The Australian Government will implement a satellite service to provide digital television to viewers in regional blackspot areas.

“All regional Australians will now receive the same television services as people in the cities,” said the Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy. “This is a fantastic outcome for people in regional Australia, many of whom have received limited television services for many years.

“For the first time all free-to-air digital television services, including the original three commercial and two national channels, as well as new digital services such as ABC2, ABC3, SBS TWO, GO!, 7TWO and ONE HD, will be available to all Australians, no matter where they live.”

Meanwhile, the satellite service will provide regional viewers with local news currently broadcast in their TV licence area via a dedicated local news channel.

While the final cost of the digital satellite broadcasting service will be determined following negotiations between broadcasters and satellite service providers, the Government is committing $40 million per year over the four-year forward estimates to build and operate the service, for the potential benefit of up to 247,000 households across Australia. This is an ongoing Government commitment.

Under an agreement reached with all television broadcasters across Australia, broadcasters will upgrade more than 100 existing regional analog ‘self-help’ transmission facilities to operate in digital, while the Government will fully fund and build a new digital satellite broadcasting service for regional viewers who are unable to receive digital television from those facilities.

The measures are part of Australia’s ongoing switchover to digital-only television and will be in place before analog services are switched off in each regional broadcast license area.

Viewers who currently rely on ‘self-help’ sites that will be upgraded by broadcasters under this agreement will simply need to install a high definition set-top-box to access a full suite of digital television channels.

Any regional households not able to receive digital television from the upgraded ‘self-help’ sites will be served by the new satellite, which will also carry the

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full suite of digital channels. In order to access the new satellite service, these households will need to install a satellite dish.

“The Government will provide a satellite conversion subsidy to eligible households currently served by ‘self-help’ transmission sites which are not upgraded to digital by the broadcasters,” Senator Conroy said.

Senator Conroy said that the Government will be

writing to ‘self-help’ transmission licensees detailing the new measures as well as providing further information to local communities.

The Government is currently consulting with broadcasters to identify the list of ‘self-help’ sites to be upgraded to digital for announcement in the first half of 2010.

Visit www.digitalready.gov.au

Responses Needed to Digital Greenpaper

The Australian Government has released a green paper seeking public comment on the benefits and costs of maximising Australia’s digital dividend.

The ‘digital dividend’ is the term used to describe the radio-frequency spectrum made available up as a result of the switchover to digital-only television.

“The transition to digital-only television will free up spectrum that is currently used to deliver analog television services,” Minister for Broadband, Communications and the Digital Economy, Senator Conroy said. “This valuable resource will potentially provide a once in a generation opportunity to encourage the introduction of new communications services and to improve existing services for the benefit of Australian businesses and individuals.

The green paper establishes a Government target of 126 megahertz (MHz) of contiguous ultra-high frequency spectrum. Achieving this will involve moving some digital television services to new channels.

Before making its final decision on the size and location of the digital dividend, the Government is inviting comments on the benefits and costs to the Australian community and economy of realising its target.

The deadline for comments is 26 February, 2010.

The digital dividend green paper is online: www.dbcde.gov.au/digitaldividend

NBN Switches with Pixel Power Gencom Technology’s business partner Pixel Power has been selected by NBN Television to streamline their channel branding using the new BrandMaster system. BrandMaster is the first master control switcher that combines a complete suite of automated broadcast graphic tools and full master control functionality in a single integrated device.

BrandMaster streamlines the signal transmission chain significantly – reducing the amount of equipment, power consumption and total cost to deliver a uniquely branded broadcast channel. It is also easily deployed for single and multi-channel environments and supports both standard definition (SD) and high definition (HD) video formats.

Mike O’Connell, Vice President, Business Development at Pixel Power said, “Because BrandMaster is designed to operate directly from the point of transmission it provides quicker playout, requires less manpower and doesn’t need any extra hardware. The system also offers the ongoing flexibility of software upgrades.”

Steve Brown, Digital Services Manager at NBN Television said, “We chose BrandMaster because it offered the best value for money for master switching and branding options. It has also integrated very easily and quickly with our existing systems.”

Visit www.gencom.com

Transmission 55

Talking technical

conferences

EXHIBITIONS & ROADSHOWS February

>>Broadcast Video Expo & The Production Show 16-18 February, 2010 Earls Court 2, London www.broadcastvideoexpo.co.uk >>RTS Television/Journalism Awards 24 February, 2010 London Hilton, Park Lane, London www.rts.org.uk

March >>Asia-Pacific Broadcasting Union Digital Broadcasting Symposium 2010 9-11 March, 2010 Hotel Istana, Kuala Lumpur Malaysia www.abu.org.my >>RTS Programme Awards 16 March, 2010 Grosvenor House Hotel, London www.rts.org.uk >>ad:tech Sydney 2010 March 16-17, 2010 Sydney Convention & Exhibition Centre www.ad-tech.com/sydney >>ASTRA 2010 18th March, 2010 www.astra.org.au >>CCBN2010 China Content Broadcasting Network Expo 23-25 March, 2010 China International Exhibition Center (CIEC) Beijing, PRC www.ccbn.tv >>iptvworldforum 2010 23-25 March, 2010 Olympia National Hall, London, UK www.iptv-forum.com

April

>>MIPDOC 10-11 April, 2010 Cannes, France www.mipworld.com >>NABSHOW Conferences 10-15, April 2010 Exhibits 12-15, April 2010 Las Vegas Convention Center www.nabshow.com >>MIPTV 12-16 April, 2010 Cannes, France www.mipworld.com >>The Internet Show Melbourne 2010 13-14 April, 2010 Melbourne Conference and Exhibition Centre www.terrapinn.com/2010/melbourne

>>Sign & Digital UK 2010 13-15 April, 2010 The NEC, Birmingham, UK www.signuk.com >>Broadcasting Scores!

Commonwealth Broadcasting Association Conference 17-21 April, 2010 Sandton Hilton Johannesburg, South Africa www.cba.org.uk >>The Internet Show Singapore 21-22 April 2010 Singapore International Convention & Exhibition Centre www.terrapinn.com/2010/Singapore

May

COEX, Seoul, Korea www.kobashow.com >>Internet Show Amsterdam 2010 22-23 June 2010 RAI - Amsterdam www.terrapinn.com/2010/amsterdam >>SatCom Russia & CIS 2010 22-24 June 2010 Moscow, Russia www.terrapinn.com/2010/satcomrus

July

>>Siggraph2010 Conference 26-30 July, 2010 Exhibition 27-29 July, 2010 Los Angeles Convention Center www.siggraph.org/s2010/

>>FMX 2010, the 15th Conference on Animation, Effects, Games & Interactive Media 4-7 May, 2010 Stuttgart, Germany www.fmx.de

>>Wireless Broadband World Africa 2010 12-15 July 2010 Sandton Convention Centre, Johannesburg, South Africa www.terrapinn.com/2010/wirelessza

>>The Internet Show New York 2010 5-6 May 2010 The Javits Center - New York www.terrapinn.com/2010/ny

August

>>HDTV RUSSIA 2010 11-14 May, 2010 Expocentre Fairgrounds, Moscow, Russia www.hdtv-expo.ru/en/ >>AES London 2010 128th AES Convention Conference 20-23 May, 2010 Exhibits 21-23 May, 2010 ExCel London www.aes.org

June

>>Dimension 3 3D Stereo & New Images Forum 1-3 June, 2010 Seine-Saint-Denis, Paris-Ile-de-France www.dimension3-expo.com >>Digital Signage Expo 2010 15-17 June, 2010 Messe Essen, Essen, Germany www.digitalsignageexpo.eu >>BroadcastAsia2010 CommunicAsia2010 Interactive DME 15-18 June, 2010 Singapore Expo www.broadcast-asia.com www.communicasia.com www.interactivedme.com >>KOBA 2010 15-18 June, 2010

56 Conferences Exhibitions & Roadshows

>>Australian Broadcast Exhibition Sydney, Australia www.abeshow.tv

>>

>>The Internet Show Africa 2-3 August 2010 Sandton Convention Centre - Johannesburg www.terrapinn.com/2010/africa >>BIRTV2010 22-25 August, 2010 Beijing, China www.birtv.com/english/

September

>>Submarine Networks World 2010 1-3 September 2010 Singapore www.terrapinn.com/2010/submarine >>IFA 2010 Consumer Electronics Unlimited 3-8 September, 2010 Messe Berlin Germany www.ifa-berlin.com >>IBC2010 Conference 9-13, September 2010 Exhibition 10-14, September 2010 RAI Amsterdam www.ibc.org

TRADES HOW SNAPSH OT

CABSAT MENA 2010

2-4 March, 2010 Dubai International Convention & Exhibition Centre www.cabsat.com Established in 1995, CABSAT MENA is the Middle East’s biggest event for the Digital Media industry. CABSAT MENA provides a platform for companies wanting to access the Middle East, North Africa and South Asian regions. The event is a showcase for the latest products and services from the entire spectrum of digital media from content creation to management to delivery.

Launched in 2009 as a parallel event for the satellite industry, Satellite MENA is the first ever event of its kind in the region, serving broadcasters, commercial entities, telecoms operators, government, NGO’s, military and many more. Satellite MENA aims to be the industry networking platform to explore business opportunities, formulate strategies and create partnerships for video, voice, data and IP communications over satellite. Visit www. satellitemena.com Held in conjunction with CABSAT MENA, both events will provide valuable synergy and yet individuality, as well as great networking platforms to explore business opportunities, formulate strategies and create partnerships.

If you’re looking for a trade media resource in the region, C+T recommends AV Specialist (also available in South Africa), published by legendary rugby and cricket pundit Kevan Jones.

Contact AV Specialist via Richie Ebrahim Tel: +971 4 4333149 Fax: +971 4 3697393 E-mail: richie@avspecialist.tv Website: www.avspecialist.tv

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As the foremost electronic media, broadcasting and entertainment forum in the world, the IBC Conference is the place to unveil the latest in engineering innovation and technological thinking.

The peer-reviewed Technical Papers Sessions remain the cornerstone of the conference, having become world-renowned for their up-to-the-minute reports and presentations on leading-edge technologies and their applications.

The IBC Technical Papers Committee now welcomes individual proposals for contributions to these sessions. It’s an excellent opportunity to put your technology, strategic thoughts and company on the global technology map – and help contribute to a successful 2010 Conference.

Submit your Technical Paper or Poster synopsis by Friday 12 February 2010

To find out how to submit your synopsis, visit:

the content

creation • management • delivery

experience

www.ibc.org/contributions

IBC2010 Conference 9 - 13 September Exhibition 10 - 14 September RAI Amsterdam

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Off-Air

Off-Air

>> >> Quinto >> >> Xmas 2009

>> >> CASBAA >> >> 2009

>> >> Amber >>Golf >> Day 2009

>> >> Amber >>Golf >> Day 2009

>> >> Amber >>Golf >> Day 2009

>> >> Amber >>Golf >> Day 2009

>> >> CASBAA >> >> 2009

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>> >> Sony >> Xmas >> Party 2009

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>> >> 2009 >> >> CASBAA

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>> >> CASBAA >> >> 2009

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Off-Air

Off-Air

>> >> Quinto >> >> Xmas 2009

>> >> Sony >> Xmas >> Party 2009

>> >> Quinto >> >> Xmas 2009

>> >> Omnilab >> >> Launch 2009

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>> >> Quinto >> >> Xmas 2009

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content

ESP Directory

+technology.info Media Industry Resources from C+T Magazine

Featured Videos

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www.content-technology.info 62 Off-Air

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ADVERTISER INDEX Advantech Australia................... 43 ARRI...................................... IBC Amber Broadcast...................... 13 Asia-Pacific Broadcasting Union... 18 Australian Broadcasting Summit... 23 Avid ................................... OBC Blackmagic Design...................... 5 Digital Signage World............... 44 Eureka Pacific........................... 37 Fujifilm/Fujinon.................... 58-62 GDB International....................... 7 Gencom Technology........... 11, 19 Harris..................................... 31

IRT Electronics............................ 6 Linear Acoustic......................... 53 Logitek................................... 47 Lumina Broadcast Systems......... 21 Magna Systems & Engineering... 15 Mediaware............................. IFC Omneon................................... 3 Quinto Communications.............. 9 Riedel Communications............. 29 Sony Australia............... 25,49,51 Syntec International.............. 27,45 Techtel................................ 17,35

Classifieds 63

BABBLING Brooks – The Last Word from Gerry Brooks

Down the High Def Road My wife and I have been travelling around over the last few months, - three weeks in New Zealand in September, family Xmas wanderings from Canberra to Wagga Wagga, to Melbourne, then via Princes Highway back up to Mollymook on the South Coast, before returning to Sydney.

In NZ, was quite surprised to find so many people subscribing to Sky Channel, mainly for “My Sky”.

They all wanted control - to choose what they wanted to record, and when they wanted to view it. They begrudged being tied TV Station schedules, at TV times. Commercials annoyed them mightily. Freedom to choose their own programming and then viewing times - and were happy to pay for that privilege, especially ad-free.

Most NZ-ers were aware of High Definition and the near-future demise of analogue TV. Many of our friends had upgraded to HDTV Plasmas or LCD screens – but none were into home theatres and surround sound. Seems stereo was still OK, thanks.

In Australia, I found growing numbers aware that analogue TV is being switched off in three years. The younger generations, of course, are well into new technology, dismissing analogue TV as “old hat” only watching that from sheer necessity. Computer games are a major pastime and generally more interesting than TV. Young ’uns would rather download programmes and view later, not study TV Times and tediously select from what/when available. Gather this is typical Gen Y lifestyle– rapid response, NOW. They prefer to sit down and watch several shows in a series one after the other, not wait a whole week to find out what happens next!

Surround sound and High Definition images are much more important factors to this group. They’ll go on the Internet to find the programmes that interest them, even if they have to pay for downloads. But cost-factors are often balanced against buying DVDs, either standard definition or Blu-Ray. Downloads have the other disadvantage of licensing restrictions like day-limits or number of views. Owning a DVD means any-time access and storage is just a sliver of shelf space, not computer time and/or disc space. I queried pic quality re viewing on computer versus TV, but was promptly told “No probs” - just connect wirelessly into the PS-3 and

watch it all on the TV anyhow.

Didn’t feel half so old-hat on learning that glitches come to Gen-Y’s too. One very geeky grandson was given a PS-3 for Xmas and tried to connect up. After a day with his usual ‘no-name’ leads, still no show.

Nada. Nix. Nothing, until he went and bought a Sony HDMI lead to connect into his home theatre.

Brand name blah.

I wonder how all this tech-savvy stuff will affect families in the future. Will the grandkids resist going around to the gran’folk’s place, as “they don’t even have broadband, let alone wireless”?

When we got to Mollymook, my 88yo fatherin-law eagerly tapped my brains about getting the new digital channels: he wanted to see what Go! was like. He was planning to ditch the back room’s old analogue TV with its antiquated VHS recorder, replacing it with LCD screen and set top box from the living room, and then buy a swish new set top box, possibly HDTV, for the living room. What did I think?

Immediate answer -“Nope”. It just needed a rescan in the set top box already there - simple and quick. He said Go! So, first thing was to adjust the picture settings away from “Dynamic” to reduce the over-contrast and over-coloured pictures, then to set the Plasma and the set top box to 16x9 aspect ratios to match and not have strange shaped people on the screen, or black bars top and bottom.

I then re-scanned the set top box and sure enough, the extra channels appeared. In the “old days”, (not all that long ago) the analogue tuners in the VHS recorders would allow you to allocate the channels to any button on the remote control you wanted.

However new digital tuners don’t allow for that so

you have to remember to select “7” or “72”; “9” or “99”; or “2” or “22” or “23”. Except when it’s different - like this particular set top box. It didn’t allocate Go! to 99, but some other number, and then I couldn’t change it! We ended up switching on and then father-in-law kept pressing the UP button until he got to the channel he wanted! I then tried to explain the use of the “guide” button and what an EPG was. Not sure I was successful. But, he declared the pictures “looked better now” and his wife Doreen was delighted.

On return to Sydney, I’d suddenly become set-top box aware, and found my own needed attention.

Although SBS, 7, 10 and the ABC were OK (and I had re-scanned for extra channels) the EPG on Channel 9 was missing entirely. After a quick chat with Nine’s Charles Sevior, I did another total re-scan.

Now 9’s EPG re-appeared, but on the ABC. Worse - each item on the EPG showed 3 times, with the starting schedule 1 minute apart. Also, selecting “72” brought up the 72 ID, but with low signal on the strength meter and no picture on the TV screen. By pressing the channel UP button, 72 ID then appears with full signal strength and normal pictures/sound.

Consulting with colleagues has elicited the useful information “perhaps you need to update the software in your set top box”. Now this is fine for me, having been in the industry for so long. Hopefully I am quite capable of doing upgrades, but what about people who aren’t tech-smart? Can they take their set top box back to the super-store or purchase-place and ask for it a software upgrade and “please add the latest channels”? Can they send it back to the maker for adjustment? Not likely.

The easy answer is, of course, to sell them the next new box, which then costs about half what they paid the first time and does twice as much, whether they need it or not. Their old one would, of course be thrown away, adding to the great electronic scrap heap in our landfills.

After the saga above, I dream of a much-needed new industry - recycling and updating and getting set-top-boxes installed correctly. Not much chance of that I guess. Just Babbling!

Gerry Brooks is an Independent Consultant. You can reach him via email at gerry.brooks@gmail.com

Read the Blog Online at www.babblingbrooks.tv 64 Babbling Brooks

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