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technology VOLUME 7 ISSUE 4 > AUGUST 2010


PP: 255003/06831

Media Production Management Delivery

Mark Spurway switches off the ABC analogue signal at the Yatpool transmitter, near Mildura.

Pic - Stacey Merlin, Sunraysia Daily.

SWITCH OVER! -Pulling the plug on analogue TV



Sydney Convention Centre, July 21-22, 2010 ISSN 1448-9554




featuring the latest in digital broadcast & production technology

featuring the latest in digital broadcast & production technology

August 3-5 2010 Manly Pacific Hotel, Sydney Australia

Official Guide begins page 14

CONTENT+TECHNOLOGY ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN: 34 095 653 277) PO Box 259 Darlinghurst NSW 1300 Australia Publisher: Phil Sandberg Tel: +61-(0)2-9332 2221 Fax: +61-(0)2-9332 2280 Mob: +61-(0)414-671-811 Email: Technology Editor: Peter white Sales & Marketing Manager: Daniela Huelsen Tel: +61-(0)410 880 557 Email:

Design & Layout: Crunch Design Tel: +61-2-9310 5393 Email: greenroom@ 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. Disclaimer Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

Production Manager: Lucy Salmon Tel: +61-(0)2-9332 2221

Also see C+T in PDF at VOLUME 3 > ISSUE 5

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48 STORAGE & ASSET MANAGEMENT Uni Takes Isilon Storage to Nth Degree. 52 DIGITAL SIGNAGE WORLD – SHOW PREVIEW 60 AUDIO Removing the Vuvuzela, Videocraft Takes TS Intercom for Ambience, TV5 Balances with Junger, Sennheiser Mourns Founder. 65 RADIO Auto Industry Takes the Digital Drive, Community Radio Studies Playout Systems, Austereo Launches User-Generated Radio, Community Radio in Papua New Guinea. 68 TRANSMISSION, SIGNAL DISTRIBUTION, T&M First Australian Switch-Off for Analogue TV, Oz Govt to Auction Analogue Spectrum, Oz Freeview Transmits MHEG EPG, Eyeworks Lifts Playout Bar.


28 ACQUISITION JVC Fires Up Food Shows, Storm Surfers Ride HD Wave with Sony,

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TAKING STOCK Pwc Projects Entertainment/Media Market to Reach $1.7 Trillion, Do You Have a ‘PDP’?

22 3D – THE THIRD DIMENSION Globecam Trials 3D for V8 Supercars, Iloura First with CG 3D TVC, 3D is Future of Sport for Panavision, Whitepaper: Taking Television to a New Dimension.

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NEWS Australia Reviews Indigenous Media, CASBAA Reflects on Vibrant Satellite Sector, NZ Sky Enables Promos as PVR Triggers, NFSA Picks DAMsmart for digitisation, Gencom to Move ABC Brisbane On-Air, Kennedy at Helm of Playroom.

33 NEWS OPERATIONS Nine Expands News with SGL/Gencom, Walkley Media Conference, iPad Teleprompters and Other Newsgathering Gear. 38 SPORTSCASTING First Place for Sky Racing with Omnibus/ Quinto, FIFA Briefs, OB HD Truck Tour: MediaCorp Singapore’s New Van. 42 POST-PRODUCTION Engine Goes Platinum with VFX, Cutting Edge Brings New Jobs to Melbourne, Shanghai joint Venture for Technicolor.


78 OFF-AIR What Happens on Tour … gets Printed Right Here. 80 TIME SHIFTER Gerry Brooks is on Leave.

Editor’s Welcome

No Turning Back on Switching Over


By Phil Sandberg A decade on

and hard work, education and planning has triumphed over narrow self-interest and lack of vision to bring Australia its first analogue TV switch off. The Sunraysia border region of Victoria and New South Wales has proved to be the successful test case in the broader Australian changeover to digital-only terrestrial TV transmission. Sunraysia’s population is approximately 55,000 people, of which 28,000 live in the city of Mildura. According to local newspaper, the Sunraysia Daily, “Ten years ago when the government first started planning the switchover, Mildura had some of the worst TV reception in Australia and a very limited choice of channels. “Now, Sunraysia leads the country into the digital age, beaming 16 channels into homes with clear picture and crisp sound.” Mildura locals would have found it difficult to ignore their part in Australian television history with an official ceremony involving Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy and live crosses to the town from the Nine Network’s Today Show, the breakfast news on ABC2, Sky News and Channel 10. As Chris McLennan, Chief of Staff of the Sunraysia Daily, told C+T the switchover ceremony involved Senator Stephen Conroy flicking a “switch” with the real switchover taking place at transmission facilities he describes as “something from a 1950s sci-fi movie.” The “sci-fi” facilities, located at Yatpool to the south of Mildura, include transmitters for national broadcasters SBS and ABC, serviced by transmission provider Broadcast Australia. According to Rhonda Holdsworth, Broadcast

Australia Engineering Team Leader, a particular focus of switchover preparations was the balancing of the three-phase mains power supply and the forced air cooling system to ensure that the remaining services, including existing digital television and FM radio services, were not disrupted. Over the next few years, Broadcast Australia will shutdown analogue television services at hundreds of sites as the digital switchover progresses. The company says Yatpool has been a useful test case, but plans are already well underway for the next sites to be targeted. December will see 17 sites in regional South Australia and Broken Hill switched over, followed by regional Victoria in the first half of 2011. “Each and every transmission site is unique and has its own challenges—such as different levels of accessibility and infrastructure complexity,” Holdsworth said. “Sites therefore need to be considered on a case by case basis. Our mandate is to ensure all activities are carried out in a safe manner and that remaining services stay online.” Australia is scheduled to complete its national switchover to digital television by December 31, 2013. C+T congratulates all those from government, broadcasters, retailers and the general public involved in the Sunraysia switchover. May the rest of Australia run so smoothly. Thanks for Reading Phil Sandberg Editor/Publisher T: +61-(0)2-9332 2221


Catch up on the behind the scenes action at NAB 2010 and much more with C+T’s Online Video at our brand new C+T web site. Also on the Site: • Whitepapers • News and product information from 27 C+T blog sites • Events to calendar










Upcoming deadlines for C+T September/October 2010 Vol 7 Issue 5 Editorial/Advertising Bookings – August 9th Ad Material – August 16th November/December 2010 Vol 7 Issue 6 Editorial/Advertising Bookings – October 15th Ad Material – October 22th

2010 Deadlines

For more information, visit or call +61-(0)2-9332 2221 or +61-(0)414 671 811. Email: Sales enquiries: or call +61-(0)410 880 557



featuring the latest in digital broadcast & production technology

featuring the latest in digital broadcast & production technology


August 3-5 2010 Manly Pacific Hotel, Sydney Australia 2 Editor’s Welcome


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For the latest news, visit

Australia Reviews Indigenous Broadcasting The Australian Government has announced details of the review of the Government’s investment in the Indigenous broadcasting and media sector. The Minister for the Arts, Peter Garrett, said there “... will be an independent review of the Government’s funding of Indigenous broadcasting carried out in consultation with the sector and the public.“Mr Neville Stevens AO will lead the review, bringing his extensive experience in the public service and in developing and implementing policy in information technology and communications in Australia to this role. “Mr Stevens will be supported by an expert panel, comprised of Mr Laurie Patton and Ms Kerrynne Liddle.” Mr Patton was the inaugural Chief Executive of Television Sydney and Secretary of the Australian Community Television Alliance. Ms Kerrynne Liddle is a professional journalist and has held a range of council and board roles

relating to health, women’s and Indigenous issues. The Australian Government recently invested AUD$5 million in 18 projects through its Indigenous Broadcasting Program for Indigenous community radio services in remote, regional and urban Australia. Part of an overall $12 million arts funding package, supported broadcasting projects included $1.8 million to provide operational support for Imparja Television, including production and purchase of local Indigenous program content and provision of satellite services, as well as $620,000 to the Top End Aboriginal Bush Broadcasting Association for operational support for RIMO service delivery to 27 licensed RIBS across the Territory’s top end. The review will also look at other Australian Government investment in the sector, including the ABC, SBS and the Community Broadcasting Foundation, and is expected to be completed by 31 December 2010.

Western Spencer Gulf Readies for Digital TV The Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, has announced that residents in the western Spencer Gulf region of South Australia would have a local source of information and advice on switching to digital TV. Mr Ian Reschke has been appointed as a Digital Switchover Liaison Officer for the western Spencer Gulf region, and is based at the Whyalla City Council. Mr Reschke will work with local organisations and community groups to raise awareness of the digital switchover and advise people how to get ready for digital-only free to air TV in the western Spencer Gulf region from 15 December 2010. Executive Director of the Digital Switchover Taskforce, Andy Townend, said 69 per cent of households in the Spencer Gulf region were digital ready in the first quarter of 2010 according to the Digital Tracker survey. This was up by 10 percentage points on the previous quarter, and up by 21 percentage points with the same quarter in 2009.

panel sessions at the Forum. HDTV was earmarked as the key driver to push the satellite communications business forward, especially the sports content in HD. However, some broadcasters remained uncertain about the immediate returns that can be made from major investments in HD channels. Jonathan Spink, CEO of HBO Asia said, “A lot of people built capacity on the theory that we will build HD content up. While there has not been a huge clamour for HD, we expect it will increase year by year. We will be looking to do more. It is a chicken-and-egg situation.” Referring to news channels, Ian Carroll, EVP & GM of Turner Broadcasting System pointed out that the business case for HD news channels is still difficult for

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Promos Allow NZ Viewers to Record Entire Programmes NDS, the provider of technology solutions for digital pay-TV, has announced that it has developed the first bookable promos service in New Zealand for Sky Television. “Record Me” enables viewers to book to record movies, individual programmes, or an entire series, direct to their DVR with the push of a button while watching a trailer for the show – whether immediately or weeks in advance. This user-friendly feature can also be used during an ad break to allow viewers to receive more details about a specific advertisement by expressing interest with the same button press. Charles Ingley, Director of Technology said, “The launch of Record Me has been made possible thanks to NDS’ experience in advanced DVR solutions combined with its systems integration expertise. Sky Television continually invests and innovates for the benefit of our subscribers, enhancing their TV viewing experience.” Visit

CASBAA Forum Reflects Vibrant Asian Satellite Sector With over 250 delegates from global and regional satellite operators, manufacturers and content providers, CASBAA concluded its 10th Satellite Industry Forum on June 14th in Singapore. Keynote speaker Jean-Yves Le Gall, Chairman & CEO of Arianespace addressed the importance of partnerships within the industry and welcomed the competition from other launch service providers. After the 50th Ariane 5 launch, the company is looking forward to welcoming Soyuz and, eventually Vega, into the launcher family, giving even more flexibility. At the same time, Le Gall highlighted the challenge of recruiting the brightest and best engineers and managers to the industry. The major demand drivers in the APAC region were identified during the

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some broadcasters to justify. “As soon as a news story breaks, you have a trade-off between speed and quality,” he said. “Speed is still the most important thing. It is a big technical challenge to get expensive equipment operational fast in places with bad power and infrastructure.” Apart from HD, there is a lot of new business out there for the satellite industry. Christophe Bauer, VP Commercial Sales of SpaceX said that most growth will be on the fixed satellite side. Growth in DTH will continue and MSS operators will focus on the provision of data and other mobile services. Terry Bleakley, VP Commercial Operations of MEASAT also championed DTH as a driver, especially in India where there are new licences

being issued. Indonesia will also be an interesting market in the region for DTH and new channels are coming to market there.Most broadcasters agreed that satellite remains their dominant long-haul delivery platform in the region, even though fibre alternatives may increase. Meanwhile, launch programmes were never far from the thoughts of delegates and speakers at the CASBAA Forum. Yin Liming, President of China Great Wall Industry Corporation announced during his keynote speech that the first flight of its new generation launch vehicle, Long March 5, is planned for 2014. The vehicle will be able to lift the world’s heaviest satellites. Visit





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NFSA Picks DAMsmart, SAMMA for Digitisation Australia’s National Film and Sound Archive (NFSA) has purchased 2 SAMMA Solo systems from media migration specialist DAMsmart to begin the digitisation of its extensive collection. The NFSA collects, stores, preserves and provides public access to Australia’s audiovisual collection, ranging from 19th century material to well-known contemporary films like Strictly Ballroom, as well as sound recordings and artefacts. The vast collection includes 40,000 hours of original material, some of which is deteriorating and in need of digital preservation. The collection is also growing, yet some parts are already inaccessible due to recording and playing technologies that are now outdated. The choice of SAMMA and DAMsmart followed extensive research and testing by the NFSA. Greg Moss, Manager of the Digital Media Preservation Project for the NFSA, says “We’re digitising these works to preserve their usable lives, not just to keep a record of them, so preserving their original quality is paramount.


SAMMA Solo gives us fine control over the quality of the content before and during digitisation.” With a wide variety of tape quality and formats in the collection including 2 inch video, NFSA’s own expertise is vital in the process. Fully automated digitisation isn’t an option but SAMMA Solo analyses every frame of video tape and flags quality issues, so operators can fine-tune the process as they go. A key benefit of the new system is SAMMA’s use of ISO standard JPEG 2000 encoding which yields digital files in open formats. For the NFSA, this enables long term access and adjustment without the risk of proprietary restrictions and expense. With the premier archive in Australia choosing JPEG 2000, we’re confident that others will soon follow. The meticulous migration of NFSA’s video archives will take many years, but digitisation will enhance the storage, monitoring and accessibility of this irreplaceable Australian audiovisual collection. Visit

Audio Down PAT

Patrick Salloch [right] and Tony Fitzsimmons.

Industry veterans Patrick Salloch and Tony Fitzsimmons may have sparred many times in the past whilst bidding for rival console manufacturers in the biggest post production and broadcasting facilities in Australia, but the duo have now called a truce, joining forces to form Professional Audio Technology (PAT) - the latest pro audio supplier and distributor in Australia and New Zealand to serve the professional audio and broadcasting sectors. Having previously headed Klotz Digital both in Australia and the Asian Pacific for many years, Mr Salloch is looking forward to his future business partnership with Mr Fitzsimmons, who many industry professionals will recognise following his work with both Lawo Australia and Protel. Whilst Mr Salloch in his role of Managing Director will primarily look

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Gencom to Move ABC Brisbane On Air

after the sales and marketing of PAT, Technology Director Mr Fitzsimmons will oversee the engineering department including system design, pre- and postsales service, customer training and system installations. PAT products include: * InfoMedia, a manufacturer of portable flash recorders, play-out software for radio applications, ethernet switches and software solutions such as the PowerEditor native format multi-track sound editing system. * Danish Interpretation Systems, conferencing and interpretation technologies. * Optocore GmbH – known for their world class data, audio and video fibre network distribution technology. * K.M.E. (Klingethaler Musikelektronik), public address manufacturer. Klotz AIS – a select range of the German manufacturer’s cable catalogue for the Australian professional A/V and installation market. In addition to this, the young company now also sells Focal studio monitors, and represents Bel (Digital Audio) from the UK, a company renowned for professional broadcast and studio “in-line” solutions Visit

Gencom Technology will assist ABC Brisbane relocate to their new home in Brisbane’s South Bank cultural precinct with the appointment of Gencom as systems integrator to the Brisbane Accommodation Project (BAP). According to ABC’s Technical Project Manager, Peter Bedford, “The ABC is very confident that Gencom has the professional experience necessary to successfully deliver the project. A new purpose built media centre will be constructed employing the latest in radio, television and multimedia broadcasting technology. The move presents a series of challenges including relocating some existing equipment without taking the ABC off air.” “This really is an exciting project,” Gencom’s CEO, Ray Sanders said,

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with ABC TV since 2007 in the role of Programmer ABC2. Natalie will begin in this role on August 9th and will report to the Controller of ABC1. Arul Baskaran has been appointed the new Controller of ABC TV’s Multiplatform Production department. Arul has been acting in the role for the last 14 months and will officially take up his role on August 9. As Controller of Multiplatform, Arul is responsible for ABC TV’s strategy and execution around four areas: internet broadcasting; convergent production; development of innovative new services, tools and applications; and creating websites and social communities around ABC TV content on the Internet, hand held devices and on emerging platforms. Visit

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Following ABC TV’s current reorganisation, the network has announced the appointment of three senior positions. Justin Holdforth has been appointed Head of Sport & Events, a role he had been acting in this role since mid 2009. Justin will report to the Head of Factual and begins in the role immediately. Debbie Lee has been appointed Head of Comedy. Since July 2009, Debbie has been Acting Head of Comedy. She takes up her role on August 2nd and will report to the Head of Fiction. Natalie Edgar has been appointed Deputy Controller ABC TV and will work across ABC1, ABC2 and, in terms of inventory management, ABC News24. Natalie has been

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We really appreciate the fact that the ABC has seen fit to hand that role to us. We have done some prestigious radio work for the BBC in the past, and that has counted in our favour.” The ABC’s technical fit-out team comprising of Resources Coordinator Mark Russell and Senior Planners Graeme Clancy, Justin O’Byrne and Victor Robba has completed concept design and is now working closely with Gencom’s chief design engineer Shane Vaughan to complete detailed system design and transition planning. The detailed design phase of the project is scheduled for completion in November 2010. Installation will commence in early 2011 with commissioning in late 2011. Visit

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Kennedy at Helm of Playroom

Omnilab Media’s Managing Director, Christopher Mapp has announced that Tom Kennedy has been appointed to the position of Acting General Manager of The Playroom. The Playroom is Omnilab Media’s specialist Broadcast services and Digital media, aggregation, play-out and Distribution Company. Tom has over 20 years experience in media and technology markets. He has a wide range of business experience from start-ups to public companies. He was the founder and CEO of several of Australia’s leading digital companies over the past 15 years including, Media Zoo, Hyro Limited, Beyond Online Limited and Brainwaave Interactive. Before joining Omnilab Media he was head of Digital Strategy at Photon Group and Legion Interactive.

Levy Reappointed AFTRS CEO Australian Minister for the Arts, Peter Garrett, has announced the reappointment of Sandra Levy as Chief Executive Officer (CEO) of the Australian Film, Television and Radio School (AFTRS). Ms Levy was appointed CEO of AFTRS in 2007, after a period as Director of Television at the ABC from 2001 to 2005. Prior to that, she was part of the independent production house Southern Star for 10 years where she produced many programs for both commercial television and ABC TV, most notably five series of Police Rescue for the BBC and ABC, as well as the feature film ‘The Well’, selected for competition at the Cannes Film Festival. Visit

For the latest news, visit

Network Guru Joins Techtel

Ormsby Leads Quinto NZ Sales

Techtel has appointed Reza Rahimi to the position of Sales Specialist, focusing on media networks and transmission. Reza brings with him 12 years experience within the media broadcasting and telecommunications industries, most recently as a specialist for the Olympic Broadcasting Services in Vancouver and for Beijing Olympic Broadcasting. Reza gained his wealth of knowledge in the area of media networks through his six years spent with Net Insight in Sweden as a Network Architect and Sales Account Manager to the Asia Pacific region.

Quinto Communications has announced the appointment of Shane Ormsby as its National Sales Manager for New Zealand. Shane joins Quinto from Sony NZ where he was responsible for the sales of Broadcast and Production products to the New Zealand television and film industries. Prior to Sony, Shane was the Head of Studio Operations for Sky Television, New Zealand’s premier pay television service. “We are delighted to welcome Shane on board,” says Quinto’s Managing Director, Alan McIlwaine. “He has an impressive industry background and is well regarded by his customers and colleagues alike. The appointment of Shane re-affirms our presence and commitment within the New Zealand market.” Based in Quinto’s Auckland office, Shane will be responsible for all sales and customer support activities within New Zealand. Email:

Saeed Moves With Autodesk After many years at the helm of Autodesk Media & Entertainment’s PR Team, Roohi Saeed is relocating to pursue a new opportunity with the company. Roohi is leaving the freezing cold of Montreal to move to sultry Singapore where she will take up her new role as Senior MarCom Manager for Autodesk Asia Pacific.

Lynch a Lynchpin at Animal Logic Animal Logic has hired VFX Producer Matt Lynch who will report to Head of Production, Luke Hetherington. Matt will be instrumental in the promotion of the company’s VFX capabilities and the current slate of Australian tax incentives to film studios executives, VFX producer and supervisors, helping to extend the company’s business opportunities and reputation worldwide. Lynch has over 16 years experience as a VFX producer and Business Development Executive marketing studios in Australia, United Kingdom and Canada. Recently returning to Australia, Matt brings a wealth of experience in generating project leads and his credits include Watchmen, The Chronicles of Narnia and Traitor.

James MD for Quantel SE Asia Quantel has announced that Julien James, Managing Director of its Australasian operation, has also been appointed Managing Director for Quantel South East Asia. In his expanded role, James will be responsible for building Quantel’s market presence in Hong Kong, Malaysia, Singapore, Philippines, Indonesia, Thailand, Vietnam and Cambodia alongside his existing responsibility for Australasia. “I’m thrilled to be taking on this exciting and challenging new responsibility,” said James, a twenty year Quantel veteran. “Both broadcasters and post houses in South East Asia are very forwardlooking and will welcome the kind of new workflows and creative options that Quantel’s technology can offer them.” Visit

Ritter in Commercial Zone for NAS National Audio Systems has announced the appointment of James Ritter to the role of Commercial Audio Division Manager, based at Head Office facilities in Melbourne. James’ experience in commercial audio spans 20 years with strong leadership qualities and application support skills in commercial system design. “James brings with him a wealth of experience and after heading up our Queensland operations for over 12 months he has proven what a valuable contribution he can make”, said Managing Director, Paul Anderson. “NAS has experienced a phenomenal period of growth recently and it’s an exciting time for James to be joining the team in Melbourne. During his time in Queensland James has proven he can work in well with both the MI and Pro Audio division managers, so I am extremely enthusiastic that we have the right team in place to further enhance NAS’s position as arguably Australia’s premier audio wholesaler,” commented Sales Director Shane Bailey. Visit

Board Appointments for ABC, SBS The Australian Minister for Broadband, Communications and the Digital Economy Senator Stephen Conroy has announced new appointments to the ABC and SBS boards. Ms Cheryl Bart AO has been appointed as a part-time non-executive Director to the ABC Board for a period of five years from 3 June 2010. Dr Bulent Hass Dellal OAM has been appointed as a Director of the SBS Board for five years from 3 June 2010. Mr Robert (Bob) Cronin has also been reappointed as a Director of the SBS Board for two years from 14 June 2010.

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Entertainment, Media Market to Reach US$1.7 Trillion by 2014 Following a year of decline in 2009, the global E&M market, as a whole, will grow by 5.0 per cent compounded annually for the entire forecast period to 2014 reaching US$1.7 trillion, up from US$1.3 trillion in 2009. That’s the word from PricewaterhouseCoopers (PwC), according to its latest Global Entertainment & Media Outlook 2010-2014 report. Fastest growing region throughout the forecast period is Latin America growing at 8.8 per cent compound annual rate (CAR) during the next 5 years to US$77 billion in 2014. Asia Pacific is next at 6.4 per cent CAR through to 2014 to US$475 billion. Europe, Middle East and Africa (EMEA) follows at 4.6 per cent to US$581 billion in 2014. The largest, but slowest growing market is North America growing at 3.9 per cent CAR taking it from US$460 billion in 2009 to US$558 billion in 2014. According to Marcel Fenez, Global Leader, Entertainment & Media practice, PricewaterhouseCoopers, “Some companies perceive the continuing fragmentation of the market as a threat but it should be seized upon as an opportunity. It offers companies the chance for creativity around the approaches to their buyers, be it via traditional channels to market or, more importantly, by embracing social media. Either way, it’s imperative that they capture the hearts, minds and money of these consumers.” In the Global Entertainment & Media Outlook 2010-2014, PwC says that although there is consistency in the inevitable migration to digital, the ways in which this presents itself and the pace of change continues to vary by market. Regional and country variations in current market size and future growth reflect local factors around infrastructure, access availability and consumer behaviour. For example the mobile internet explosion has already happened in Japan, accounting for some 53 per cent of global spending on mobile Internet access in 2009 while other markets are still at the bottom of their growth curve. Advertising revenues have been particularly hit by the turbulent markets and while there are signs of a rebound, this is still fragile in nature. PwC says spend is unlikely to return to former levels. By 2014, the US advertising spend is expected to still be 9 per cent below its level in 2006. Overall, global advertising will increase at a 4.2 per cent CAR from US$406 billion in 2009 to US$498 billion in 2014. Internet advertising will join television in 2014 as the only media with spending in excess of US$100 billion. The projections reflect the fragmentation of the 10 Taking Stock

>> >> Marcel Fenez, Global Leader, Entertainment & Media practice, PWC.

market and behavioural changes of consumers. The advertising industry is responding to consumers’ shifting attention and has embarked upon a longterm journey towards total marketing or total brand communication. Brands are changing their focus from advertising on a medium, to marketing through, and with, content. Consumer feedback and usage provides the only reliable guide to the commercial viability of products and services, and the global consumer base is being used as a test-bed for new offerings and consumption modes. As responses are still evolving it is up to the industry to anticipate and identify where they are heading and pre-empt the wants of consumers. PwC believes that three themes will emerge from changing consumer behaviour: The rising power of mobility and devices: Advances in technology and products will see increasingly converged, multi-functional and interoperable mobile devices come of age as a consumption platform by the end of 2011. Consumers are increasingly demanding “ubiquity”, with content flowing across different devices to support ever-greater interactivity and convenience. They are using mobile in new ways, and downloading ever-increasing numbers of mobile applications (“apps”) to support their lifestyles. The ability to consume and interact with content anywhere, anytime—and to share and discuss that content experience with other people via social networks—will become an increasingly integral part of people’s lives. The growing dominance of the Internet experience over all content consumption: Using the Internet is now one of the great unifying experiences of the current era for consumers everywhere—and their expectation of Internet-style interactivity and access to content will continue to expand across media consumption in every segment. This trend is initially at

its clearest in television. Equally, people are already consuming magazines and newspapers on Internetenabled tablets, and streaming personalised music services such as Pandora in preference to buying physical CDs or even digital downloads. Increasing engagement and readiness to pay for content—driven by improved consumption experiences and convenience: Ongoing fragmentation means that media offerings will need greater consumer engagement and quality to get themselves heard - and paid. Consumers are more willing to pay for content when accompanied by convenience and flexibility in usage, personalisation , and/or a differentiated experience that cannot be created elsewhere. Local relevance will also become important once again as an aspect of relevance. Digital migration and the changes in consumer behaviour have put extreme pressure on existing business models. It has caused the industry to radically rethink its approach to monetising content as it strives to capture new sources of revenue, be it from transactions or from participation with others operating in the evolving digital value chain. Inevitably this results in individual companies searching for where to position themselves in the new digital world. Partnering with other organisations is becoming imperative in order to create viable commercial content offerings while sharing the costs and risks. Increasingly potential partners are being found from a diverse set of industries. Whatever the partnership or collaboration we see seven critical factors for operating successfully in the new value chain: Strategic flexibility; Delivery of engagement and relationships with the customer through the consumption experience; Economics of scale and scope; Speed of decision-making and execution, with the appetite to experiment and fail; Agility in talent management; Ability to monetise brand/rights across platforms; Strong capabilities in partnership structuring and M&A targeting and integration. According to Marcel Fenez, “Creativity and innovation have always been associated with the entertainment & media industries and now is the time for the industry to tear up their existing business models and embrace the new and emerging opportunities. However they structure themselves, be it via partnerships or collaboration, they need to deliver a superior consumer experience and be sufficiently flexible to capture revenues from an increasingly fragmented market. Those who do, will be the drivers of this exciting but challenging industry.” Visit


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Media Staff & Strategy by Karl Jansson* In todayâ&#x20AC;&#x2122;s evolving world thatâ&#x20AC;&#x2122;s changed over the last 12 months, itâ&#x20AC;&#x2122;s more important now as a business owner or operator, to ensure that that you have a PDP drafted in order to create a solid foundation for anticipated growth. There are three explanations for PDP; â&#x20AC;&#x153;Performance Development Planâ&#x20AC;? and â&#x20AC;&#x153;Professional Development Planâ&#x20AC;?, and â&#x20AC;&#x153;Personal Development Planâ&#x20AC;?. My personal favourites are the latter two as theyâ&#x20AC;&#x2122;re less intimidating, as the first one assumes that there is somewhat a lack of performance somewhere by somebody, so a plan is needed, which may not necessarily be the case. Now if you are wondering if this article is written for the Employer, well it is in some respects, but the PDP is actually drafted to benefit the employee directly! By definition, a Professional Development Plan (PDP) sets out the identified learning activities that support the development of technical competencies, professional skills and personal attributes that are required to effectively perform and participate within an appointed position. In short, how can we ensure that our employees have been given the necessary training and support to give them a greater opportunity to succeed and excel in everything they do? How can we help you to be more successful? As mentioned earlier, this is not a management tool you necessarily resort to when you have a poor performer that you need to micro mange. Itâ&#x20AC;&#x2122;s for achievers and â&#x20AC;&#x2DC;wanna beâ&#x20AC;&#x2122; achievers alike. So whatâ&#x20AC;&#x2122;s involved? Well, the more formalized PDPs have a range of options from software programs to preset forms that are scheduled and used in conjunction with management to assist with meeting your own personal goals. However, a â&#x20AC;&#x153;Personal Development Planâ&#x20AC;? can be as simple as an employee using a notebook and titling it â&#x20AC;&#x153;My PDPâ&#x20AC;?. You can still interact with the company but itâ&#x20AC;&#x2122;s less formal. One of the pitfalls of the less formal PDP, is that it relies upon the user driving it, so regular entries need to be scheduled and maintained. You need to prioritise your PDP into your everyday work. So what goes in it? Well itâ&#x20AC;&#x2122;s a journal of entries that come from many sources. For example, in your PDP, you need to firstly reflect on your career so you can increase yourself awareness, hence analyse the world around you such as your work load, environment, and other areas so you can extract both motivational elements as well entries that reflect a need for change so it can increase

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your satisfaction level. It may be as simple as learning a new Microsoft program to assist with writing reports to the more mundane yet important such as replacing your faulty desk chair. PDPs are not just based on Self Awareness, it also requires outside input from others at work. By seeking input from your Supervisor, mentor, coach or peers you may recognise that there is a need for skill training or it could be that you may be more suited to a different role in the organization, and possibly it may give you greater satisfaction. Alternatively, it could be that you have the necessary people skills and respect from your peers to apply to senior positions that are available internally. In line with your potential application it may be realised that you would need some additional management training. So how do you get from where you are to where youâ&#x20AC;&#x2122;d like to be? You need to identify the needs that have to change for this to occur, then list the steps to make it happen. In the above example, where you may be applying for a more senior role internally, any of the following short term goals could be listed in your PDP: â&#x20AC;˘ Update my Resume â&#x20AC;˘ Ask for new assignments in my current job that will benefit my application. â&#x20AC;˘ Obtain on-the-job guidance from someone already in a similar position â&#x20AC;˘ Seek a mentor to assist with feedback for my PDP. You also need to harness long term plans to acknowledge those things that you are going to achieve at the end of years 1, 2 and 3. By todayâ&#x20AC;&#x2122;s standards most professionals are working to a 3 year personal plan rather than the traditional 5 years.

Long term plans should also recognise what barriers or obstacles may need to be overcome in order to achieve your long term goals. In either setting short or long term professional goals, you must ask yourself â&#x20AC;&#x153;What are my career issues?â&#x20AC;? Be frank with yourself and just as important ask your mentor if youâ&#x20AC;&#x2122;ve appointed one, because itâ&#x20AC;&#x2122;s a valuable perspective looking from the outside in. Career issues cover a broad spectrum, ranging from getting up to speed in a new job to making a major career change, or planning your retirement. Some of the examples are: â&#x20AC;˘ You need to improve your performance in certain areas of your current job. â&#x20AC;˘ You have been in your job for a while, but have a new boss or organization leader. â&#x20AC;˘ You want to broaden your skills or expertise to keep up with changing technologies or state-ofthe-art knowledge in your line of work. â&#x20AC;˘ Your job duties have changed recently (or will change), requiring some new skills or expertise on your part. A PDP is just one tool that you can reference with little effort but greater commitment as an individual, so why not test drive a simple version of it and start a PDP notebook today. As a company investing in a corporate version, staff goals are achieved to address long term company objectives. For additional information or assistance contact Darren Judd, consultant to â&#x20AC;&#x153;BroadcastJobz.tvâ&#x20AC;? and â&#x20AC;&#x153;J-Curve Broadcast Recruitment Consultantsâ&#x20AC;?. Email: Web:


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ABE 2010



featuring the latest the in digital broadcast & production technology featuring latest in digital broadcast

featuring the latest the in digital broadcast & production technology featuring latest in digital broadcast


& production technology

ABE 2010


& production technology

August 3-5 2010 Manly Pacific Hotel, Sydney Australia

ABE2010 – New Dimensions in Digital

ABE2010 – Exhibition Listing

Scheduled for August

3-5 at Sydney’s Manly Pacific Hotel and designed to complement the annual engineering conference of Free TV Australia, the Australian Broadcast Exhibition provides a hands-on update for technology users from the converging worlds of broadcast and IT. While the Free TV conference is a members-only affair, ABE is open to all comers and is designed to showcase solutions that reflect the technical concerns of the free-toair broadcast sector. The Australian Broadcast Exhibition has become the country’s pre-eminent specialist television broadcast technology exhibition servicing Australia, New Zealand and beyond. ABE2010 will provide a unique opportunity to evaluate the latest technology developments from all points in the content production and delivery chain. Exhibitors at ABE 2010 include Autodesk Media & Entertainment, Amber Technology, Gencom Technology, Harris Broadcast Communications Division, JVC Professional Products, Magna Systems & Engineering, Panasonic Australia, Quinto Communications, Sony Australia, Ericsson (formerly TANDBERG Television), Techtel, Thomson Grass Valley, and United Group Limited (Comsyst) and TekMark Australia. For ABE related enquiries, contact the organiser, Dennis Stokes via dennis.stokes@supercatconverters. com or call +61-(0)408 336 001

Amber Technology Unit B, 5 Skyline Place Frenchs Forest NSW 2086 Phone: 02 9452 8600 Fax: 02 9975 1368 Amber Technology is one of Australasia’s largest & most respected distributors of quality sound & vision equipment for both Professional and Consumer applications. Today’s broadcast market is increasingly competitive, demanding the right choice of equipment is critical to success. At Amber, our range of broadcast, audio and post production solutions have been carefully selected to deliver 24/7 performance & reliability. Amber offers ... - Cutting edge video production & editing systems for studio, post production, sports & OB delivering the latest tools and custom solutions. - The latest Digital & Analogue transmitters for TV & Radio plus Encoders, Multiplexers, Modulators, Satellite & wireless transmission systems and streaming solutions. - Complete studio & installation solutions including studio cameras, camera supports & robotics, studio clocks & master time-code systems, routers, vision switchers, standards conversion, automation, saleable realtime intercoms and interoperability over IP networks LAN, WAN and broadband internet plus real-time graphics, DVE and presentation systems. - The best in professional cable & connector solutions as well as fibre optic systems for the most demanding technical requirements and hostile environments.


The setting for ABE2010 is the Manly Pacific Hotel, managed by Novotel, in the beachside Sydney suburb of Manly. Hotel facilities include: 218 rooms, a restaurant, cocktail bar, rooftop swimming pool, gymnasium, sauna and spa. It also features Wifi Wireless Internet Access, 24 hours room service, Baby sitting on request, Carparking onsite at cost, Covered car park, Dry cleaning, In-house movies, Laundry service, Non smoking rooms, and Valet parking. Located right on spectacular Manly Beach, one of Australia’s most famous, and only 15 minutes to Circular Quay by Jetcat, the Hotel is close to dining and entertainment venues in the nearby Manly Corso. Address: Manly Pacific Hotel, managed by Novotel, 55 North Steyne, Manly, Sydney NSW 2059. Email: Tel: +61 2 9977 7666. Fax: +61 2 9977 7822.


Register your intention to attend ABE2010 and receive updates on the event. Visit

August 3-5 2010 Manly Pacific Hotel, Sydney Australia

- Solutions for telecine, colour grading, restoration and remastering to the highest quality available from SD video to 4k data for the entire Digital Intermediate (DI) process. - Unsurpassed video & audio computer recording solutions with iconic music recording consoles, monitoring systems, microphones and outboard processors plus the world’s most popular DAW’s & control surfaces. Amber Technology can also supply expert system design & engineering advice for successful installation, integration and commissioning of our products into our clients’ individual environments & applications. Amber’s Technical Services Group (TSG) plays a key role in fulfilling our commitment to providing end-to-end customer support.

The products showcased at ABE 2010 are stereo 3D capable, and Autodesk and its Creative Finishing reseller Digistor will demonstrate how this makes for extremely fast, powerful, integrated stereo 3D pipelines that scale to many different requirements. At ABE 2010, the creativity, speed and quality of Autodesk’s Media & Entertainment concurrent workflow solutions will be demonstrated utilising high-performance third-party storage infrastructure. Examples include concurrent grading while conforming and performing visual effects on the same material across multiple systems in HD, 2K and stereo 3D. Autodesk will also be showcasing Autodesk Smoke for Mac 2011. This is the most recent and affordable addition to Autodesk’s Creative Finishing stable of products making it ideal for broadcast deployments. Demonstrations will include integrated workflow from Avid and Final Cut Pro editing solutions through to Autodesk Smoke for Mac 2011 for Creative Finishing. Other Autodesk products demonstrated will include Autodesk Flame 2011, Autodesk Smoke 2011, Autodesk Lustre 2011, Autodesk Maya 2011 and Autodesk 3DS Max 2011.

Autodesk Level 5, Building C, 11 Talavera Road North Ryde NSW 2113 Phone: 02 9844 8000 Fax: 02 9844 8044 Autodesk is a leader in Digital Entertainment Creation and its software is used worldwide to create promo’s, idents, commercials and television series by leading broadcast facilities. At ABE 2010 Autodesk will be showcasing its range of software for the creation of compelling content, utilising its world-renowned solutions for 3D and Creative Finishing.

Ericsson Level 8, Building C,11 Talavera Road North Ryde NSW 2113 Phone: 02 9111 4042 televisionary/ email:

Ericsson will showcase how it is blending broadcast and broadband to enable broadcasters, operators, and content owners to address the dramatically changing landscape of television. Ericsson solutions are ready to enable IP video on the Australian National Broadband Network (NBN), opening up the opportunity to deliver a high quality, on-demand TV experience to over 90% of the Australian population. ABE will be the Australian debut of the Ericsson IPTV Remote, a new device for controlling the TV and other media devices throughout the connected home. The innovative device is a single interface for controlling Internet video, the TV, both live and on-demand, the PC and the mobile phone in the home. It also provides a second screen for previewing content, exploring program guides, browsing the web and chatting with friends and family without a distracting window on the TV screen. The booth will also feature demonstrations of the Hybrid Television Services TiVo broadband TV service, the WatchPoint Content Management System (CMS) by Ericsson, and video processing solutions for Hybrid headends and transcoding. Ericsson executives are also taking part in the ABE conference with presentations on 3DTV, Multi-screen TV and IPTV service delivery over NBN. Ericsson provides award-winning TV solutions and services that enable global media companies and operators (cable, satellite, telco and terrestrial) to deliver TV content, either directly to consumers or for professional digital video content exchange. With a broad suite of open, standards-based Continued on Page 16

14 ABE 2010



ABE 2010 15

ABE 2010 Continued from Page 15

Amber Technology Unit B, 5 Skyline Place Frenchs Forest NSW 2086 Phone: 02 9452 8600 Fax: 02 9975 1368 Amber Technology is one of Australasia’s largest & most respected distributors of quality sound & vision equipment for both Professional and Consumer applications. Today’s broadcast market is increasingly competitive, demanding the right choice of equipment is critical to success. At Amber, our range of broadcast, audio and post production solutions have been carefully selected to deliver 24/7 performance & reliability. Amber offers ... - Cutting edge video production & editing systems for studio, post production, sports & OB delivering the latest tools and custom solutions. - The latest Digital & Analogue transmitters for TV & Radio plus Encoders, Multiplexers, Modulators, Satellite & wireless transmission systems and streaming solutions. - Complete studio & installation solutions including studio cameras, camera supports & robotics, studio clocks & master time-code systems, routers, vision switchers, standards conversion, automation, saleable realtime intercoms and interoperability over IP networks LAN, WAN and broadband internet plus real-time graphics, DVE and

presentation systems. - The best in professional cable & connector solutions as well as fibre optic systems for the most demanding technical requirements and hostile environments. - Solutions for telecine, colour grading, restoration and remastering to the highest quality available from SD video to 4k data for the entire Digital Intermediate (DI) process. - Unsurpassed video & audio computer recording solutions with iconic music recording consoles, monitoring systems, microphones and outboard processors plus the world’s most popular DAW’s & control surfaces. Amber Technology can also supply expert system design & engineering advice for successful installation, integration and commissioning of our products into our clients’ individual environments & applications. Amber’s Technical Services Group (TSG) plays a key role in fulfilling our commitment to providing end-to-end customer support.

Autodesk Level 5, Building C, 11 Talavera Road North Ryde NSW 2113 Phone: 02 9844 8000 Fax: 02 9844 8044 Autodesk is a leader in Digital Entertainment Creation and its software is used worldwide to create promo’s, idents, commercials and television series by leading broadcast facilities. At ABE 2010 Autodesk will be showcasing its range of software for the creation of compelling content, utilising its world-renowned solutions for 3D and Creative Finishing. The products showcased at ABE 2010 are stereo 3D capable, and Autodesk and its Creative Finishing reseller Digistor will demonstrate how this makes for extremely fast, powerful, integrated stereo 3D pipelines that scale to many different requirements. At ABE 2010, the creativity, speed and quality of Autodesk’s Media & Entertainment concurrent workflow solutions will be demonstrated utilising high-performance third-party storage infrastructure. Examples include concurrent grading while conforming and performing visual effects on the same material across multiple systems in HD, 2K and stereo 3D. Autodesk will also be showcasing Autodesk Smoke for Mac 2011. This is the most recent and affordable addition to Autodesk’s Creative Finishing stable of products making it ideal for broadcast deployments. Demonstrations will include integrated workflow from Avid and Final Cut Pro editing solutions through to Autodesk Smoke for Mac 2011 for Creative Finishing. Other Autodesk products demonstrated will include Autodesk Flame 2011, Autodesk Smoke 2011, Autodesk Lustre 2011, Autodesk Maya 2011 and Autodesk 3DS Max 2011.


Ericsson Level 8, Building C,11 Talavera Road North Ryde NSW 2113 Phone: 02 9111 4042 televisionary/ email:

Ericsson will showcase how it is blending broadcast and broadband to enable broadcasters, operators, and content owners to address the dramatically changing landscape of television. Ericsson solutions are ready to enable IP video on the Australian National Broadband Network (NBN), opening up the opportunity to deliver a high quality, on-demand TV experience to over 90% of the Australian population. ABE will be the Australian debut of the Ericsson IPTV Remote, a new device for controlling the TV and other media devices throughout the connected home. The innovative device is a single interface for controlling Internet video, the TV, both live and on-demand, the PC and the mobile phone in the home. Continued on Page 18



featuring the latest in digital broadcast & production technology

featuring the latest in digital broadcast & production technology

August 3-5 2010 Manly Pacific Hotel, Sydney Australia

16 ABE 2010



Switch to

ABE 2010 Continued from Page 16 capability to enable broadcasters to employ a 3DTV-ready operation easily and cost-effectively when they are ready. Whether a broadcaster is building a facility from the ground up or adding 3DTV capabilities to an existing operation, Harris delivers a complete 3DTV workflow - from content contribution to processing to distribution. Forming the core of this workflow are proven Harris technologies including Centrio and QVM6800+ multiviewers; Harris automation systems; the IconMaster master control switcher; Inscriber production graphics systems including its G7 integrated HD/ SD broadcast graphics system; NetVX and NetPlus networking and encoding; NEXIO ingest and playout servers; Opto+ fibre optics; Platinum routers; the QuiC media analysis server; Velocity editors; and X50/X85 signal processors. Harris is an active participant in industry-wide 3DTV standardisation efforts, and the company’s 3DTV solutions encompass both the baseband and the file-based workflow needed to support 3DTV. Harris Corporation’s 3DTV broadcast solutions recently supported Nine Network and SBS during Australia’s first 3DTV trials with the broadcast of the State of Origin series. Harris will also showcase the latest enhancements to its comprehensive digital out-of-home (DOOH) solution at ABE2010. “2010 is a foundational year for digital signage,” said Denise MacDonell, director and general manager for digital signage, Harris Broadcast Communications. “We believe the industry will see significant progress made in advertising-funded, outof-home network deployments for sports, QSR, retail, transit and other verticals. Harris digital signage solutions allow businesses to merge compelling content with profitable, scalable out-of-home networks that create real revenue-generating opportunities.” Harris out-of-home network solutions enable users to ingest, schedule and distribute dynamic, targeted content. At ABE2010, Harris will display InfoCasterpowered content through a variety of fresh and innovative exhibits.

JVC Professional 104 Vanessa Street Kingsgrove NSW 2208 Phone: 02 9370 8967 Fax: email: JVC will be demonstrating a wide range of products at this year’s ABE. Headlining will be their acclaimed range of ProHD solid state camcorders including the new flagship GY-HM790E with its innovative modular design and a full complement of accessories, the GYHM790E supports multi-core or fibrebased production. The GY-HM790E produces 1920x1080 images and can record in 1080i, 720p, and even SD (480i) for operations that have not yet made the move to HD. The camera records at 35 Mbps (HQ mode/variable bit rate) or 19 Mbps/25 Mbps (SP mode/constant bit rate). Alongside the GY-HM790E will be the compact shoulder mount GY-HM700E and the compact handheld GY-HM100E. Both camcorders record 35Mbps high definition video and uncompressed audio directly to inexpensive SDHC media cards in the native Quicktime format used by Apple Final Cut Pro and in MP4 files that are compatible with other major editing systems. Also on display will be the GD-463D10E 3D LCD monitor that is widely being used by production and post production companies across Australia and New Zealand and the IF-2D3D1 2D to 3D image converter which created a big splash at this year’s NAB. JVC will also be demonstrating their  XV-BP1 Blu-ray player and new  DT-V series of HD broadcast monitors. Another new product to ABE 2010 will be the JVC multi-format digital production switchers and mixers including the KM-H3000E, a powerful single multilevel effects switcher ideal for small production studios, OB vans and flight packs and the six-input two-key SD/HD-SDI KM-H2500E multi-format digital vision mixer offering robust and reliable production switching at an affordable price.

Magna Systems & Engineering 2/28 Smith Street Chatswood NSW 2067 Phone: 02 94171111 Fax: 02 94172394 email: Magna Systems and Engineering will be focusing on some of its 3D solutions at this year’s ABE show including the new HD, 3D ready, Chyron HyperX3 CG running Lyric PRO 8.0 with touch screen user interface, complete with a Chyron Graphic Artist putting it through its paces. Also as part of the 3D display Magna will be demonstrating the Miranda 3D X16 multiviewer, audio loudness control device and 3D video processor.  Another major attraction this year will be the Inlet Technologies demonstration which will live stream a 3 robotic camera studio feed to an iPad and iPhone on the stand from Magna’s Chatswood training room whilst the Cambotic robotic heads and Hitachi cameras are under remote control.   There will also be presentations on T-CUBE colour correctors, Hitachi SK1000 and SK-5000 cameras, Inlet Spinnaker Audio / 80A multi-channel, multi-format encoders, Blueshape wall chargers and Cyclop batteries, RTS Telex digital intercoms, For-A switchers, Triveni StreamScope RM-40 low cost, remote monitoring appliances and the Interra Baton automated method for media developers, producers and distributors to ensure content readiness before distribution.  The following Magna Systems principals will also be presenting papers at the ABE conference: Miranda (Audio Loudness Correctness), Inlet (IPTV), S&T (Interaction Channels), Enensys (DVB-T2), BMS (ENG Spectrum), Dalet (Enterprise MAM solutions), Interra (Content Readiness) and Eventis (managing metadata in the broadcast chain and automated VOD workflows)

Panasonic Broadcast 1 Garigal Road Belrose

NSW 2085 Phone: 02 9986 7400 Fax: 02 9986 7575 email: mathew.alexander@ Panasonic Australia is part of the Matsushita group. The Matsushita Group is a global network of over 300 companies with 250,000 employees - manufacturing and marketing over 15,000 products under the brands Panasonic, National, Technics, Quasar and Ramsa. In Australia, Panasonic is a market leader in the field of consumer electronics, office and communications equipment as well as Broadcast Video Products. Panasonic Broadcast products encompass a range of high quality professional and broadcast video products that are ideal for people in the wedding or corporate video markets, educational organisations, religious organisations, news & current affairs, documentary film-makers, lifestyle programming, drama production and digital cinematography industry.

Quinto Communications Unit 4, 7 Salisbury Rd Castle Hill NSW 2154 Phone: 02 9894 4244 Fax: 02 9805 1175 email: Quinto Communications Pty Ltd will be exhibiting some of the latest broadcast technology at this years Australian Broadcast Exhibition,including: Autocue Prompting,  Amberfin iCR Conversion, Transcoding & QC Solutions, Evertz Modular Multiview Platform  plus latest modular solutions, JVC new generation HD Cameras & Monitors, Nucomm Compact Wireless Camera Transmitters, Omneon Spectrum & MediaGrid Production, Storage & Playout Servers, Omnibus iTX IT Based Transmission system with advanced 3D Graphics and Omnitek Adanced Test & Measurement equipment to name a few. On hand will be product specialists to discuss your potential requirements and to demonstrate the technology on show.

3D technology in 2010 Sponsored article brought to you by Techtel.

The new OLED range from TV Logic enhances their already well established line-up of broadcast and professional monitors. Known for their reliability and comprehensive toolset, TV Logic is the natural first choice for broadcasters.

A new XPression for video graphics

The world’’s first 3D OLED monitor from TV Logic wins a triple crown at NAB2010! Techtel congratulates principal TV Logic for their achievements at the NAB Show in April this year. TV Logic’’s pioneering 3D OLED monitor TDM-150W won a triple crown, receiving awards from the influential US magazines Broadcast Engineering, TV Technology and Videography Magazine. The TDM-150W OLED 3D stereoscopic monitor features a 15 inch OLED Shutter Glass display with a 16:9 aspect ratio, an ultra wide 180 degree viewing angle, and a range of inputs which include 2 x 3G/HD/SD-SDI inputs, 1 x DVI input and 1 x HDMI input (w/HDCP). Also unveiled by TV Logic at NAB is the LEM-150 which utilises a 15inch (16:9) AMOLED at native 1366x768 resolution and is designed for color-critical film and broadcast production monitoring. It features a contrast ratio of 100,000:1, an ultra wide 180 degree viewing angle, and a range of inputs which include 2 x 3G/HD/SD-SDI inputs, 1 x DVI input and 1 x HDMI input (w/HDCP).

Ikegami enter the stereoscopic market


Ikegami has recently released its CSU-3D camera-switching unit, supporting up to four pairs of HD cameras for use in shooting stereoscopic 3-D television productions. The CSU-3D is a vital component for shooting major events in 3D HD, such as sporting events, concerts and other large-scale broadcasts. The CSU-3D, working together with an MCP (maintenance control panel) and four OCPs (operation control panels), provides extensive set-up control for optimisation of each camera and subsequent parallel operational control for the four pairs of HD cameras. The CSU-3D ensures that any subsequent camera adjustments are shared precisely by each camera pair, thus maintaining matched camera settings for optimum 3D HD image capture.


+61 2 9906 1488

Ross Video’’s XPression is a high-end, affordable, real-time 2D and 3D broadcast graphics system based on the PC platform. Designed with the graphics designer, operator, director and automation specialist in mind Ross Video have created the first software package that satisfies the needs of all. Engineered for stability, quality, flexibility and ease of use, designers can finally unleash their creativity. Operators can modify, control and sequence each and every aspect, achieving what every director wants: live, vivid graphics - on cue. This, combined with its seamless up or down-stream studio, pre and post production integration through its wide range of supported software and hardware, makes XPression the number one choice for demanding customers in the digital broadcast era.

For more information on any of these products contact Techtel on (02) 9906 1488 or email

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Continued on Page 20

18 ABE 2010



Sponsored Article

5th annual Australasian ABE 2010 Continued from Page 18

Sony Australia 33-39 Talavera Road North Ryde NSW 2113 Phone: 1800 017 669 Fax: 02 9805 1175

expandable solution for both online and offline storage of file-based content from a variety of acquisition media. Stop by the Sony stand to meet with our team and learn more about these and other exciting new products. Take the opportunity to discuss how Sony can provide a complete solution including complex systems integration, building on our expertise of a variety of OB vehicle and studio facility projects.

NSW 2066 Phone: 1300 811 355 Fax: 02 9418 8485 email:

Techtel 26 Whiting St Artarmon NSW 2064 Phone: 02 9906 1488 Fax: 02 9906 1480

Sony Australia offers a full range of solutions for High Definition program acquisition, display and storage. On display will be the new HDC-P1 2/3” box camera, with a pair mounted in a 3D rig. Incorporating the same CCDs as Sony’s larger industrystandard HDC models, the HDC-P1 is also ideally suited to automated news studio and POV camera installations.   Showing in conjunction with the above rig, will be Sony’s unique MPE-200 3D Processor Box. This is particularly designed for live 3D production. It enables faster set up time and replaces the need for constant critical rig alignment, through monitoring and electronic adjustment of each camera pair. Sony’s solutions for 3D, including the MPE-200, have already played a key part in the pioneering coverage and 3D trials of several sporting events locally and overseas.  Also on the stand will be XDCAM Archive, a management system that provides a cost effective and

20 ABE 2010

Techtel will be demonstrating a variety of products from multiple suppliers. These include XPression from Ross Video. A high-end, affordable, realtime 2D and 3D broadcast graphics system based on the PC platform. They will have the latest from Net Insight, the worlds most efficient media transport solutions company for Broadcast, Media, Digital Terrestrial TV, Mobile TV, IPTV and CAT. The latest full HD production solution from Broadcast Pix, the Granite will be on display, showing the full functionality of a production studio all from one unit. Cisco’s latest scalable high-density platform in a single rack enclosure will be present showing its flexible hardware supporting AVC/ MPEG-2 encoding of HD, SD and other formats, along with their Digital Content Manager that is capable of supporting an extremely high number of video streams, along with many more incredibly powerful features. Techtel will have Egatel showing their medium power transmitters with the latest technology in signal processing. Also on show will be Dejero’s breakthrough portable live wireless ENG broadcast platform.

TekMark Australia Suite 302, Level 3 18-20 Orion Road Lane Cove

TekMark Australia will be exhibiting at ABE2010 as the Authorised Distributor of Tektronix Instrumentation products in Australia, with new products, enhancements and featured technologies including: - New Software-Only, MultiChannel Cerify Content Verification System for automated QC of filebased media - New WVR8000 Series of Waveform Rasterisers with support for 3Gbps Single Link SDI, Dual Link SDI, HD, SD, Composite Analogue, Dolby Audio, and the new Spearhead display for Production applications - New SyncVu 3D Stereoscopic Measurements Support for the WFM8000 and WVR8000 Series of Waveform Monitors and Rasterisers - New Loudness Session Display and Loudness Monitoring Capabilities for the WFM7000/8000 and WVR7000/8000 Series of Waveform Monitors and Rasterisers - New Quad Tile Display on WFM4000/5000 and WVR4000/5000 Series of Waveform Monitors and Rasterisers

- New GPS7 Master Clock Synchronisation & Timecode Module with Genlock Input for TG700 SPG for OB and Slave SPG applications - New VQS1000 Video QoE Software that enables Real-Time QoE Monitoring and Analysis of video transmitted through any network - New MTS400P Portable MPEG Analysis System for real-time analysis, deferred-time analysis, and analysis of latest compression technologies such as H.264 DTV Monitoring Probes for IP, QAM, S2 and COFDM, for real-time cross-layer monitoring of transmission parameters and MPEG transport stream Digital Phosphor Oscilloscopes for video applications We will also be exhibiting products from several of our other suppliers, including: - BON Electronics LCD Professional Broadcast Monitors - Quantum Data Test Systems for HDMI and DVI - VidCheck Video QC Systems with Intelligent Automated Correction This year’s exhibition and free TV Papers Conference will be supported by Dennis Kucera, Compressed Video Applications Engineer from Tektronix.

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20 – 22 July 2010, Swissotel Sydney, Australia

Key speakers:


Nicholas Wodtke Vice President, Business Strategy & Development, New Media Disney ABC International Television (Asia Pacific)

Chris Wharton Chief Executive Officer West Australian Newspaper Holdings

Australasia’s most comprehensive gathering of media leaders High level insights into the latest industry trends and growth opportunities

CEOs from print, broadcasting and online industries share their ideas and strategies David Sibley Managing Director MTV Australia

Jack Matthews Chief Executive Officer Fairfax Digital

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Evaluate the impact of new technologies and platforms on traditional business models and distribution channels

Content as a competitive differentiator

Understand how to deliver and create content for tomorrow’s media consumer

The future of advertising UGL Ltd Clayton Road Clayton North VIC 3168 Phone: 03 9239 4100 Fax: 03 9239 4200 email: infrastructureinfo@ugllimited. com This year UGL will display a range of equipment aimed at providing end to end video networking over IP systems. This will include the latest equipment from Nevion for HD virtually lossless J2K compression systems, encapsulation of SD and ASI signals into IP format, ASI and IP aggregation for headends and a web based browser for network control and management. The equipment on display will showcase the latest Ventura range of low power consumption modules


Jeremy Macvean Head of Digital Strategy Austereo

Harold Mitchell Executive Chairman Mitchell Communication Group

Online Video Speakers:

What consumer engagement and revenue opportunities are being created by new media platforms?

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Ricky Sutton Head of Video Fairfax Digital

Brendan O’Shaughnessy Online Delivery Manager Foxtel

Hugh Martin General Manager APN Online APN News & Media

Karen Stocks Head of Media Solutions, You Tube and Display Google


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The TheThird ThirdDimension Dimension

The Third Dimension

- Stereoscopic Production & Exhibition

Globecam Trials 3D for V8 Supercars GlobeCast Australia has announced that GlobeCam - a specialist provider of live, miniature camera technology - has conducted successful trials of 3D coverage for V8 Supercars Television. V8 Supercars is believed to be the first motor racing body in the world to run 3D cameras inside a race car, after the trials in Darwin, Australia. The trials were recorded and were not transmitted as part of the live television coverage.  The GlobeCam team worked to deliver the recorded coverage so that the images and angles could be assessed. Trials will continue at the next V8 Supercars round in Townsville in mid July. Toll Holden Racing Team’s Will Davison’s car was fitted with a customised 3D miniature camera rig. Angles tested included an over-shoulder view of the driver and road; a low angle looking at the driver in action; and a third view through the windscreen, the driver’s view. V8 Supercars Television executive producer Murray Lomax said, “We have some of the best television

>> >>

Toll Holden Team Racing Driver Will Davison “floats the goat” with 3D glasses.

professionals in the world working on this, as not all the solutions are always right there in front of us for live miniature camera transmissions but we are very excited at the potential to enhance our coverage even further in the future.” GlobeCam Manager Gerry Justus said his team is working closely with V8 Supercars, race teams

Iloura First with CG 3D TVC Melbourne-based design and animation facility Iloura has announced its creative and technical involvement in the first fully realised CG stereoscopic commercial made in Australia. Partnering with advertising agency The Campaign Palace and client retail giant Target, the team fashioned a cutting-edge campaign for Target’s annual Biggest Toy Sale 2010. The team, headed by senior animator/director Octavio De Lellis, worked for two and a half months to create the famous Target roundels in “stereo”. In the spot, a quirky group of Target roundels are working busily in their toy factory to put the finishing touches on an iconic countdown machine, in anticipation of opening Australia’s Biggest Toy Sale. Iloura has been working with The Campaign

Palace on CGI Target creative intensively for the past 12 months. With the emerging success of 3D at the box office Target and The Campaign Palace together believed that it was an exciting medium worth exploring. Iloura was already undertaking significant R & D in stereoscopy and was awarded the VFX parcel on Australia’s first drama stereoscopic feature film James Cameron’s Sanctum (due for release later this year). “Stereoscopy brings with it a whole new process that needs to be carefully considered,” said Simon Rosenthal, Executive Producer, Iloura. “Shot layout and content needs to be scrutinised throughout the process to ensure the smooth transition from one shot to another. Being one of the first Australian

and the Seven Network to create the best possible solutions. “GlobeCam works with miniature cameras in often rough and confined environments, so 3D work is even more of a challenge,” said Justus. “However, we have established a reputation for innovation in live, onboard camera coverage and this is no exception. A big challenge in our line of work is the weight, size and power consumption of any equipment.” To date, 3D transmissions globally have been limited to major events using full sized production rigs, and delivered to 3D televisions and cinemas. The miniature rig for the V8 Supercars tests was custom built by GlobeCam. GlobeCam is part of GlobeCast Australia, which is also at the forefront of 3D live delivery to both broadcasters and cinemas, including transmission of 15 FIFA games and State of Origin rugby league games for Australia’s Event Cinemas. Visit

companies to execute broadcast quality digital “stereo” work, there was a degree of R&D required during production.” “Working in stereoscopy was a first for us and our client was very open to the requirements needed to complete this high-end 3D commercial,” said Fiona Gillies, Head of TV, The Campaign Palace, Melbourne. “We are thrilled with the result.” The team finished 1 x 30 second stereoscopic spot for cinema and 2 x 30 second and 2 x 15 second 2D spots for television. The spots are part of a totally integrated campaign the agency developed for Target, which covers outdoor, print, catalogue, television and cinema. Visit

FSM Provides Extra Dimension to Fox Sports Fox Sports made Australian television history in May when it became the first Australian broadcaster to air a live sporting event in 3D with coverage of the Socceroos farewell match against New Zealand on its new 3D channel, Fox Sports 3D. The landmark event was enhanced with the help of post production company, FSM, who created a selection of 3D broadcast graphics. Soames Treffry, Director, Fox Sports Channels said, “We’re excited to be making TV history and are thankful to FSM who helped make it possible for us

22 The Third Dimension

to create this new and improved viewing experience for our viewers. “FSM was given a short turnaround time to provide us with stereoscopic 3D renditions of our existing international football graphics package and have done a fantastic job.” Creative credits: Steve Dunn – Executive Producer, FSM; Emile Rademeyer – Creative Director, FSM; Tina Braham – VFX Producer, FSM; and Russ Maehl – Stereographer, FSM. Visit


3D: The Future of Sportscasting for Panavision Panavision Asia Pacific supplied and installed the 3D rigs for the recent Australia versus New Zealand FIFA World Cup soccer build up match in Melbourne. Managing Director Martin Cayzer believes the project was not only a first for the company but also for Australia and the shape of things to come. “This is very much the future of sports broadcasting in Australia and we are delighted to be a part of it,” said Cayzer. The 3D rig project for Australia versus New Zealand came about shortly after Panavision signed with Element Technica as exclusive Australian distributor for the Technica 3D family of stereographic 3D rigs. Panavision Asia Pacific Business Development Manager Andrew Timlin began discussions with Global Television’s Andy Armstrong and Andrew Quinn regarding what Panavision could supply in terms of equipment and expertise for a then ‘upcoming’ sporting event. Timlin said, “We then did a full camera to 3D rig compatibility and systems check with Global TV and then demonstrated the Technica 3D rig set-up for senior executives and technical personnel from Global TV and Fox Sports with excellent results.” The demo set-up consisted of a full Technica 3D rig, two Global TV-owned Sony HDC1500 multi-format HD portable cameras and a JVC 46-inch 3D LCD monitor. With only three weeks until the match, Panavision’s team then swung into action. Martin Cayzer explained, “This project was a first for 3D television in Australia and also moved Panavision firmly into the OB arena. We did more tests with Global, Fox Sports and Foxtel to make sure everyone was comfortable with the technology and images. There was much to do as we were to supply the 3D


Panavision 3D rig at the recent Australia versus New Zealand FIFA World Cup soccer build up match in Melbourne at the MCG.

equipment and personnel to operate it.” In total, Global TV required five full Technica 3D rigs for the shoot and a significant number of trained crew. In addition to MD Martin Cayzer, Panavision’s crew included Andrew Timlin as Project Co-ordinator, John Virtue as Head of Sourcing and Operations, Peter Lorz as Head Electronic Technician and Grant Hansford in charge of Optics and Rigs. “We also brought in and trained four Interocular Convergence (IC) Pullers, a Stereographer and Lead Technician,” said Cayzer. Panavision supplied and installed five Quasar Broadcast rigs for Global TV – four mirror rigs and one side-by-side rig. The Technica 3D rigs are “ambidextrous” inthat they can handle both side-by-side and beamsplitter stereoscopic shooting styles (in both cinematic and broadcast configurations). To achieve a stereoscopic image, a pair of cameras

must be placed side-by-side, with what’s known as the interocular distance between the two lenses. To maintain a realistic 3D effect, that interocular distance will vary according to a number of parameters including distance from the subject and lens focal length. When interocular distance must be reduced to such a point that the physical dimensions of the cameras do not permit a close enough interocular distance between the lenses, one camera is rotated 90 degrees and the image it shoots first passes through a prism, known as a beamsplitter, to direct it to the lens’ new location. Since the cameras in the beamsplitter mode are only optically side-byside, a minuscule interocular distance is possible. Following a comprehensive programme of testing and configuration, which included a test transmission, the equipment was driven to the Melbourne Cricket Ground (MCG) where the match was to be played. The day before the match, Panavision and the crew from Global TV set up and calibrated the cameras and lens controls for all five rigs. Fibre optic feeds from the cameras to the switchers were routed via a Sony MPE200 3D image processor and the 3D monitoring taken care of by a JVC 46-inch GD-463D10E 3D LCD screen installed in Global’s HD1 truck. With the final set-up complete the rigs were ready and the game began becoming the first ever live Australian sporting event to be broadcast in 3D. Fox Sports Head of Technical Todd Proctor said, “The broadcast went out on FOX SPORTS 3HD (Channel 205) and was seamless. The reaction to the broadcast has been excellent to the point that we have recorded and broadcast a couple of other 3D projects with Panavision since. Thanks to Panavision and Global TV, 3D sports broadcasting in Australia is now not only possible but cost effective too.” Visit


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The Third Dimension 23

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The Third Dimension

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3DTV - Taking Television to a New Dimension Understanding technology options in delivering 3D. By Ericsson Television broadcast differs greatly from pre-packaged cinema or Blu-ray content, having to contend with an infrastructure containing numerous, often independent, stages of content repurposing. Essentially, there are two methodologies for delivering 3D content: frame compatible 3D (“3D-in2D”) and 2D compatible 3D.


Broadcast and Direct-to-home (DTH) 3D services being launched in 2010 will be based on 3D content that has been created from pre-processing separate left and right eye images in such a way as to appear to existing broadcast equipment and consumer STBs as if the 3D content is standard 2D HD content. This is known as frame compatible 3D - or 3D delivered in 2D infrastructure (‘3D-in-2D’). In the majority of cases, this will be done by using horizontal resolution sub-sampling (spatial compression) and then multiplexing the “half resolution-per-eye” images together. The reverse process is employed in the newly announced 3D TV sets, where the TV set is aware that the received 2D-compatible content involves, in fact, left eye and right eye multiplexed images and internal post-processing (including up-sampling and left/right polarization) is done to render the images as 3D. There are many possible spatial sub-sampling methods defined, but the two most common are sideby-side (half-resolution horizontally) and over/under (also known as “top-and-bottom” or “half-resolution vertically”). At the Consumer Electronics Show (CES) in January 2010 at least six major TV manufacturers announced that they will be shipping 3D TVs that support frame-compatible side-by-side packing during 2010.

>> >> An example of ‘3D-in-2D’ subsampling and multiplexing, using 1080i image format and frame-compatible side-by-side packing.

The advantage of a frame compatible or “3D-in2D” solution is that it allows the service provider to use existing content storage, play-out, and broadcast transmission equipment and - most importantly - their

24 The Third Dimension

existing deployed HD STB population to support 3D services. Of course, the consumer needs to purchase a 3D TV set and view the images using the included 3D glasses (unless it’s an auto-stereoscopic display, which will not be common for many, many years) in order to see the picture in 3D. Existing 2D TV sets will render two separate 2D images (side-by-side in the example used in the above figure) with or without the consumer donning any 3D glasses that happen to be in the home which is clearly not an acceptable viewing option. The disadvantages of this solution are: The image has only half the resolution of normal HDTV. In the example above, horizontal resolution is reduced - but other methods would reduce vertical resolution instead or a combination of vertical and horizontal resolution reduction. While resolution reduction has not had a major impact on current 3D movie presentations in cinemas which use a similar method, the industry is still actively studying this issue. While this may be acceptable at the consumer’s end of the broadcast chain, reduced resolution is not acceptable for production, post-production, editing, storage etc. Additionally, this solution does not allow existing 2D TVs to display a compatible 2D image and such a service is 3D TV compatible only. A separate 2D service or program must be simulcast if the service provider wishes 2D TV users to view a full-resolution HD 2D version of the same content. The advantages of this solution are: Operators can start to offer 3D services as soon as they can source 3D content and have a 3D pre-processor, a standard (2D) HD encoder, and sufficient bandwidth for an HD service. Operators can offer 3D services via deployed HD STBs and do not need to wait for new decoder silicon to reach new STB designs before launching 3D services. Note that some operators have announced that their deployed STBs will have their firmware upgraded to support 3D, and such upgrades will be performed in the background through the existing transmission channel with no consumer involvement or negative impact. In the future, operators will be able to enhance their service offering by providing full resolution HD 3D (Full 3D) to new STBs based on new decoder silicon, while still providing 3D to their customers using current STBs (3D-in-2D), by deploying a new 3D video encoder.


There are also industry efforts to deliver full resolution HD 3DTV to the home, as well as methods that enable the same content to be used by both existing TVs (all 2D) and the new 3D TVs. This is known as 2D backwards-compatible or 2D-compatible 3D. The existing standard for Multi-view Video Coding (MVC) – an amendment to the h.264/MpEg-4 AVC standard - provides a potentially interesting technology path for bit-rate efficient, full-resolution HD, stereoscopic (3D) transmission. The latest generation of Blu-ray Disc players will have MVC-compatible chipsets capable of decoding full-resolution HD 3D TV, but the timelines for such silicon reaching DTH STBs is currently unclear. There is also a legacy issue with deployed STBs that do not support MVC or the higher resolution 3gbps+ HDMI (in particular HDMI 1.4 or later) that would be required for full resolution HD 3D TV signals to be delivered from the STB to the 3D TV. The two most commonly discussed 2D backwards compatible methods are “2D+delta” (stereoscopic MVC) and “3D-in-2D+enhancement”.


The principle used here is that a 2D image - for example, the left camera image only - is transmitted for use on 2D TVs, with a delta signal also transmitted that contains additional view information with which to create a 3D image (i.e. create the right camera image from the left camera image and the delta data). As left and right images are very similar, the bit-rate cost for the delta stream may be only 40-60% more than the 2D image, as opposed to double the bit-rate. The advantage of this solution is that a service provider can offer a single service that can be displayed by both legacy 2D TVs as well as new 3D TVs. While this may appear to be a good solution for greenfield deployments where 3D-ready STBs will be deployed, some factors need to be considered: The production values and grammar of 3D and 2D are very different. Contrast the typical camera setup at a sports stadium for 3D - low angle, long distance shots for good 3D effect – versus that for 2D - in closer, camera panning, and so on. As a result, the industry is presently questioning the likelihood of a 2D production being the same as either the left or right image of the 3D production. If it turns out that separate productions are required in the majority of cases, the practical use of 2D + delta is far less than ideal.


Continued on Page 26

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K2™ DYNO INSTANT REPLAY SYSTEM The Third Dimension Continued from Page 24


Early-to-market deployments, based on the need to use existing deployed STBs, will begin transmissions with 3D images spatially compressed into a single 2D image - or 3D-in-2D, as described earlier in this document. As such, there will already be a legacy 3D deployment situation in the marketplace.


The principle here involves transmitting the same 3D image as used in early-to-market deployments (left & right 3D images with spatially-reduced resolution combined into a single 2D image), as well as the additional information from an enhancement layer. This contains the spatial information not present in the base layer feed and delivers increased spatial resolution of the two images that are finally presented to the user as the 3D image. Due to a high level of correlation, the enhancement layer bit-rate cost is substantially less than double the 3D-in-2D base layer image. This solution will allow early adopter 3D customers (3D-in-2D) to continue normal use, with no STB replacement required. For new users, with new 3D-supporting STBs, then both the base layer and enhancement layer streams are processed together to provide “Full 3D”, involving discrete, full resolution HD left and right images, for use with displays that support full 3D. The service provider can therefore support both 3D technologies (3D-in-2D and Full 3D) within a single service. With the imminent implementation of new 3D signalling techniques now in discussion within standards development organizations (a proposed 3D SEI message), there is a possibility that a legacy STB will be able to recognize the 3D-in-2D format and scale one of the views to 2D HD. The resulting image will be half HD resolution, of course, but at least this would provide a 2D-compatible solution. If full resolution HD 2D is required, however, then a separate 2D service or program must be simulcast. Discussions are on-going with content providers to determine what percentage, if any, of productions will be done with common 2D/3D in mind, and whether live productions such as sports events and concerts will require a rethink on camera placement.

>> >> An MVC example where the right eye images reference the left eye images, so that either the delta or the enhancement stream requires less bandwidth than sending separate left/right streams. The left eye temporal references are the same as in a typical 2D AVCencoded bitstream.

Further standardization of 3D, including improved MVC, is in progress as well, but the results of this will be longer term, long after 3D services have been launched to consumers.

26 The Third Dimension


Frame compatible 3D solutions can be launched today, as long as careful consideration is given to interoperability issues. As noted earlier, all of the announced broadcast/direct-to-home (DTH) 3D services that are planned to launch in 2010 will be frame compatible 3D. Production equipment already exists, existing 2D broadcast equipment and consumer STBs can be used, and new 3D TVs are already available for sale, with more models being rapidly added. 2D compatible 3D will first appear in Blu-ray Disc players, although not much content will be available in 2010. However, it’s likely that it will be after 2011 before 2D-compatible 3D will be used for broadcast television for the legacy equipment reasons explained earlier. Broadcasters launching frame-compatible services now will need to continue to provide frame-compatible 3D for the duration of the typical TV set swap-out cycle. 3D-in2D + enhancement will therefore be more attractive to markets such as North America and Western Europe, while greenfield deployments will have more flexibility and choice available to them. As such, unless there is a break-through in common 3D/2D production, 3D-in-2D+enhancement will likely follow frame-compatible platforms in late 2011 or 2012.


The issues for Contribution 3D applications differ greatly from DTH, with the most important being the need for the best picture quality possible - defined as full spatial resolution, 4:2:2 chrominance, 10-bit precision, and other factors - and not compromising on these in the drive to reduce bit-rate or support legacy equipment as inevitably has to be done for early DTH applications. For single operator content coverage, some operators may place a 3D pre-processing box onsite at the event and use normal, existing (2D) HDcapable DSNG equipment for backhaul. The 3D-in2D pre-processing could even be embedded in the existing encoder. This approach has the advantage of enabling 3D contribution cost-effectively using existing equipment. However, preprocessing the content at the source will limit its value in post-production, distribution and future repurposing, so many operators will likely choose to deliver full resolution left and right channels as illustrated below.

For universal open contribution, the 3D content must be transmitted with the highest fidelity and in a format independent of the broadcaster’s chosen 3D DTH delivery method. One possible solution is to deliver dual-stream left eye and right eye images, by synchronizing two encoders for transmission and two receivers/decoders for reception. This method enables full resolution HD 3D transmission of left and right images, while maintaining their input temporal and phase alignment within an acceptable tolerance.

>> >> An example of an end-to-end 3D solution, showing dual-stream contribution backhaul and 3D-in-2D DTH.


Dual stream (left eye + right eye) full 3D contribution solutions can be launched in 2010, as long as careful consideration is planned for stream synchronization. Improvements in the synchronization method and equipment integration will follow in the second half of 2010. 3D TV is a complex topic and early operator deployments will require a detailed investigation of need, market potential, legacy infrastructure and assets and will involve separating out the 3D “hype” from the “buzz”. While the industry’s desire will be to implement 2D backwards-compatible 3D in the immediate term and initial discussions may involve a discussion of MVC or other 2D backwards-compatible 3D options, Ericsson believes that early adoption of 3D for DTH eventually will end up with a frame-compatible 3D solution. Another important initial discussion is to determine clearly whether the 3D application is DTH or Contribution (whether back-haul or front-haul) or both, as the solution for each is very different. Visit The full version of this whitepaper can be found at


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It’s Gotta Be A Grass!



JVC Fires Up Food Shows (and Students) The ‘Best in Australia’ series of food programmes is produced by Alun and Marian Bartsch and directed by Carmelo Musca. According to Alun Bartsch the show’s clever format backed up by great technology has been the recipe for its success. Mago Films has used three JVC GY-HD251E cameras in each of the three series of ‘The Best in Australia’. “With the GY-HD251E we used a Firestore harddrive with the comfort of tapes as back-up. So we’d become used to getting the rushes digitally transferred from source to hard-drive within minutes rather than hours - as it was in the good old days of tape only,” said producer Alun Bartsch. With advances by JVC in solid state acquisition solutions Bartsch and his team decided to purchase some of JVC’s GY-HM700E cameras with, what he describes as ‘very pleasing results indeed’. The compact shoulder GY-HM700E records 35Mbps high definition video and uncompressed audio directly to inexpensive SDHC media cards in the native QuickTime format used by Apple Final Cut Pro. Users are able to drag video clips directly from the storage media onto the NLE timeline, eliminating the need for transcoding that can consume excessive time and disk space. With this workflow, video files maintain first-generation image quality. For the GY-HM700E JVC developed a proprietary codec capable of providing highly efficient compression up to 35Mb/s, a bit rate supporting full 1920×1080 encoding in the HQ mode. This results in recorded images of extremely high quality. MPEG-2 Long GOP encoding is the most widely implemented broadcast standard compression and is currently supported by all popular editing systems and broadcast servers. Additionally, the cameras can record 720p (19Mb/s and 35Mb/s) and 1080i (25Mb/s) in SP mode, assuring compatibility with today’s most popular professional NLE systems. Alun Bartsch added, “We recently completed shooting a brand new series, ‘Quickies in my Kitchen’, starring The Best in Australia’s Anna Gare and the filming was effortless and simple. The trick was to work out an efficient data transfer system and a clear, defined structure. We used three new GY-HD700E cameras on ‘Quickies’ and it was a breeze. We had an on-set assemble editor and got to review the footage on a regular basis throughout the filming day. If we needed a security blanket, the ability to review any take, virtually at will, made this production stress-free with rich, clean images.” Visit Meanwhile, Australian education institution Charles Sturt University has boosted its arsenal of JVC kit for its Bachelor of Arts (Television Production) degree.

28 Acquisition

>> >>

On the set of Best in Australia.

>> >>

JVC Professional ProHD equipment being used by Bachelor of Arts (Television Production) students at Charles Sturt University.

According to Course Coordinator and Lecturer Patrick Sproule, “A while ago we decided to upgrade to HD and support a planned upgrade to our OB facility. JVC had just released the GY-HD251E HDV camcorder and upon evaluation it ticked all the boxes for us. Over a couple of years we purchased a total of six GY-HD251Es and five BR-HD50E VTRs. “Recently, we completed our OB upgrade where we purchased JVC viewfinder’s and CCU remotes to compliment the cameras. We have now also purchased a solid-state GY-HM100E camcorder and are about to order three more.” At CSU the JVC cameras are used in both OB and single camera environments for drama production, documentary, news, sports, live concerts and events with the GY-HM100E also recently used for a shoot in the outback. The BD-HD50Es are used in the university’s Final Cut Pro and Avid edit suites as feeder decks. Sproule sees the introduction of JVC solid-state acquisition solutions as a key part of CSU’s future strategy commenting, “We have been using the GYHM100E as an audience wide shot at several of the band OBs and have been impressed at how well its output integrates with the material gathered from the GY-HD251Es. The GY-HM790E and GY-HM100E with their tapeless workflows through adoption of the

XDCAM EX codec now offer seriously fast shoot to edit workflows. This overcomes the shortcomings of the HDV videotape workflow while offering improved quality through higher bitrates and the flexibility to shoot in 720 or 1080. The quality imagery being produced by these cameras far surpasses our expectations at this price point and I believe rivals many more expensive cameras, particularly when adorned with a good lens.” One of the biggest projects most recently undertaken by Sproule and his team was the refurbishment of the university’s OB teaching facility which was nearly 10 years old. “Much of the technology contained in the facility was even older than that,” added Sproule. “Furthermore it was only capable of 4:3 SD production.” Through the Better Universities Renewal Fund (BURF) CSU were successful in obtaining a $500,000 grant for a ‘clean-sheet’ upgrade of the facility, with the plan being to integrate their existing stock of GY-HD251E cameras into a six-camera HD facility. Sproule continued, “Primarily used as our field camera stock, the GY-HD251Es were also previously purchased with this project in mind as they carry the full compliment of required interconnections such as CCU remote, Genlock and HDSDI and are scalable in formats from SD through to 1080i HD. The project took eight months with all design and construction completed in-house. To compliment the existing cameras we purchased six JVC RM-LP25U CCU Remotes and six VF-HP840U viewfinders and associated mounting hardware and cables.” For technical monitoring at the CCU stations CSU purchased two JVC DT-V24L3D 24 inch HD studio monitors built in waveform display. Commenting on the successful connectivity of the new equipment within the facility Sproule said, “The JVC equipment integrates well with a Snell & Wilcox Kahuna vision mixer, Codan routing, Compix CG, Harris multi-viewer and a selection of Blackmagic Design (BMD) and AJA interfacing and HDD recorders. We also utilise a Yamaha digital audio console and multi-track recording facilities capable of recording 64 live tracks for later mixdown where required.” The OB facility is used to train students in live multicamera production on a variety of events such as live sport, live concerts and conferences. Some of the larger scale productions, such as the Black Stump Festival, give students the opportunity to work and train on major events alongside industry professionals. When not in use on OBs the truck’s on-board edit suite and audio mixdown facility are used for ongoing post-production requirements. Visit


JVC’s new GY-HM700E camera. Now, you can have it all. The GY-HM700E camera creates native QuickTime files at 35 Mbps, 25 Mbps or 19 Mbps for editing in Final Cut Pro and MP4 compatible files for editing on virtually every other major NLE system. Dual card slots allow you to store up to six hours of continuous HD recording on inexpensive, readily available memory cards. Simultaneous recording on high-speed SxS media is also possible.*3 In addition, JVC’s proprietary codec delivers broadcast-standard compression for superb picture quality up to 1920 x 1080 (1080p), 1080i and 720p. You can also count on professional optics and standard features like a bayonet lens mount, a new Canon HD lens, three progressive CCDs, a new 1.22 megapixel LCOS viewfinder and a large 4.3-inch LCD display. Weighing just 4.6kg*4, you’ll find the GY-HM700E is perfectly balanced with the ergonomic design sought after by professionals.

Talk to the Pros at JVC and check out the new ProHD GY-HM700E camera. Call 02 93708967 or visit

Dual Format Recording OR

© 2009 JVC. Model pictured is the GY-HM700UXT with optional Anton Bauer battery. All trademarks and brand names are the property of their respective proprietors.*1 Play back compatibility not guaranteed on different types of products due to variation of supported recording mode. *2 MP4 is the compliant file format used on the XDCAM EX.™ *3 SxS is a flash memory card designed for professional video cameras with a high-speed PCI Express interface. *4 A. Weight calculated using camera, Canon 14x lens, viewfinder, microphone, KAMR100G SxS recorder and adapter, and battery. B. Model pictured GY-HM700E with optional SxS recorder and battery.


JVC Australia NSW/ACT 02 9370 8841 VIC/TAS 03 8756 7933 QLD/WA/SA/NT 02 9370 8967/8817


Red Apple Takes Complete Set of ARRI Master Primes According to Red Apple Camera Rentals owner Viv Scanu, the complete set of ARRI Master Prime Lenses he recently purchased is one of the most significant for the company and its Australian clients to date. “We have been using ARRI Ultra Prime lenses for some time with great success,” said Scanu. “We also found more and more overseas crews shooting in Australia asking us for the ARRI Master Prime Lenses so we began discussions with ARRI to see how we could go about buying the first complete set in Australia.” The ARRI Master Primes are a complete set of 15 lenses borne of a close collaboration between ARRI and Zeiss. The fast lenses with excellent optical performance have been made possible through new design and manufacturing techniques as well as advanced glass materials. A crucial factor is the use of aspherical glass surfaces which require ultra-high precision in design and manufacturing. A complex holographic measuring process was developed specifically for the lenses. Scanu and his team tested a few of the Master Prime lenses with excellent results. Scanu added, “We had been told that they were good but when we actually tested them we were astonished by the quality. They were optically perfect across the frame wide open at T1.3. A widest stop of T1.3 allows shooting in low or available light for more natural-looking shots. In addition, a wide-open stop creates the cinematic look of an extremely shallow depth of field. After testing we were sold and placed the order there and then. “The lenses were extremely well received. We rented them out to crews who used them for high profile clients including Honda, Boags, Hyundai, Kia, Samsung, LG and Golden Circle the week they arrived. “I recently completed three campaigns for McDonald’s through Carnivals Films in Sydney. The camera package included the ARRIFLEX

Manage Red Camera Files On-Set NextComputing, a manufacturer of highperformance portable computers, has announced support for the Assimlate Rocket Fuelbundle, that includes the tools needed for real-time ingest, conform, delivery and output of Red One 4K digital camera material. The company has integrated Rocket Fuel into its Radius portable workstation, providing an elegant, compact and easily transportable on-set data management solution for any production shot on the Red One 4K Camera. Designed specifically for the R3D image format, Rocket Fuel combines Scratch

30 Acquisition


435 Advanced Camera, Master Primes, Master Diopters and the new 100mm Master Macro lens. I found the improved T* XP antireflex coating on the Master Primes reduces veiling glare and internal reflexes and creates a pleasing, gentle colour balance. Compared to conventional coatings it has a better transmission and a more uniform performance across the lens from optical center to the edges, resulting in higher contrast and deeper, richer blacks. The results were stunning and we had a very happy client at the end of the day.” All 15 lenses also have ARRI’s Lens Data System (LDS) built-in, showing real-time lens status and depth of field information either on the video assist or on a dedicated Lens Data Display. The Lens Data System gives assistants an extra edge to work faster and more securely, especially when the camera is in remote situations like on a crane or Steadicam. Red Apple Camera Rentals has been an ARRI customer since 2001 and Scanu says the relationship works more like a two-way partnership. “There are many reasons we decided to invest hundreds of thousands of dollars in the Master Prime lenses. Obviously their quality was a major selling point. In addition to that it’s ARRI’s high level of service and support that were the main factors. Stefan and his team are extremely dedicated to their clients. Servicing is very quick with hardly any waiting and the quality of their work is to the very highest standard. Their customer service is second to none and they always over deliver. As a result I’m very pleased to say that we will be making further announcements on more ARRI purchases very soon.” ARRI Australia General Manager Stefan Sedlmeier said, “We are delighted that such a leading industry rentals company as Red Apple purchased the first complete set of ARRI Master Prime Lenses in Australia and have had such great success with them.” Visit and

Cinev5.0 software, an Nvidia Quadro FX 3800 SDI card, and the Red Rocket hardware accelerator card. Leveraging the real-time deBayering capabilities of the Red Rocket card, and the Nvidia Cuda architecture, Scratch Cine v5.0 enables: • Full-resolution playback of 4K Red files • Direct creation of tape and file based dailies without importing or conversion • One-light colour grading • Colour and shot management • Initial R3D conform NextComputing’s Radius portable workstation is a compact, briefcase-sized computer with an integrated HD display. Radius is an ideal alternative

JVC Launches IF-2D3D1 Stereoscopic Image Processor JVC Professional has officially launched the IF-2D3D1 Stereoscopic Image Processor, which works as a 2D-to3D converter and as a 3D L/R mixer for video content producers. Housed in a 1RU cabinet and compatible with a wide range of HD formats, the IF-2D3D1 is designed to help 3D content producers improve their workflow, whether they are shooting original content in 3D or converting archived 2D material. The IF-2D3D1 is aimed at content producers who need an uncomplicated way to check their 3D footage on location and those looking to repurpose existing 2D materials to meet demand. Generally, 3D footage is shot using a pair of video cameras, but producers have not had a practical method of real-time monitoring on location. The IF2D3D1 easily combines the left-eye and right-eye images – nothing else is required except a 3D capable monitor, such as JVC’s GD-463D10U, a 46-inch 3D LCD panel. A built-in HD-SDI frame synchroniser provides sync for two cameras that lack external sync, plus anaglyph and sequential viewing modes provide multiple ways to check 3D content. Content creation workflow can also be improved through a variety of additional features. The Scope feature provides a waveform monitor and vectorscope for comparing both video streams on a display to ensure the settings for both cameras – such as exposure and white balance – are matched. The Split feature combines the two video streams on one screen with a moveable boundary, allowing instant L/R comparison. And when one of the two cameras has to be positioned upside down (to ensure correct spacing), Rotation makes sure both streams can be viewed the right way up and in sync. Using unique JVC algorithms, the IF-2D3D1 converts 2D content to 3D in real time, offering no fewer than four 3D mixed formats (which combine left-eye and right-eye images) for stereo video output on a compatible device: line-by-line, side-by-side-half, above-below, and checkerboard. JVC is making this 2D-to-3D conversion technology widely available under license. The IF-2D3D1 can also output discrete left and right signals via HD-SDI or HDMI for dual projection or editing. Output can be adjusted for parallax (image displacement) and 3D intensity – both with natural, anaglyph, and sequential viewing modes. Visit

Storm Surfers Ride HD Wave with Sony

>> >>

Ross Clarke-Jones rides a giant right hand wave off Port Craig at the bottom of Fiordland on NZ’s South Island. [Inset] Ross Clarke Jones and Tom Carroll shoot from jet skis. Photos: Daz Caulton.


AVCHD, XDCAM EX and XDCAM HD422 cameras continue to demonstrate their flexibility and reliability in extreme sports environments, with the latest Storm Surfers documentary recently shot in high definition using a mix of Sony’s HXR-MC1P, PMW-EX1, PMW-EX3 and PDW-700 cameras. Storm Surfers – New Zealand is the sequel to the highly successful Storm Surfers – Dangerous Banks, which won Best HD Program at the 2009 Asian Television Awards. In this new film, big wave surfing legends Ross Clarke-Jones and two-time world champion Tom Carroll hunt the waves off the South Island of New Zealand. Filmed in stunning high definition, Storm Surfers – New Zealand puts the viewer right on the board as ClarkeJones and Carroll test the limits of physical endurance and master their fear in pursuit of the ultimate ride.  

According to producer Marcus Gillezeau, “The HXR-MC1P ‘bendy’ camera allowed us to film HD POV shots from jet skis, surfboards or in helicopters, without compromising the quality of the film. We also constructed underwater housings for the camera and shot footage of Ross and Tom from the surf.” For the second film, the team continued to use the XDCAM EX PMW-EX1 camera that was utilised on Storm Surfers – Dangerous Banks, enclosing it in a custom-built underwater housing to show the ferocity of the sea. Carroll and Clarke-Jones used this camera during tow-in surfing, to bring the viewer inside the Southern Ocean’s massive swells.   The PMW-EX1, PMW-EX3 and PDW-700 were all used by the main unit during the entire production. As the main camera, the PDW-700 allowed for extensive control over the depth of field

and tonal gradation, particularly when shooting in high contrast environments, such as bright snow with dark mountains. The Storm Surfers team viewed daily footage in the field on a Sony LMD-940W HD LCD monitor, in order to check the material as it would appear on screen. This was the first Storm Surfers documentary shot entirely on a data based format rather than tape, which simplified the editing process. For sound recording, the crew made use of a Sony UWP-V1 radio microphone kit. The lightweight system performed well over significant distances with its on-camera diversity receiver. Storm Surfers – New Zealand will premiere on the Discovery Channel in July 2010. Exclusive online content can be previewed on

to piece-meal approaches using laptops connected to external storage and I/O devices. Featuring a desktop-class Intel Core i7 processor and over 2TB of onboard storage, the Radius neatly integrates all the necessary hardware required to run Rocket Fuel to its fullest potential. Packaging all these features in the lightweight and portable Radius computer allows Red camera data to be efficiently managed onset, providing the smoothest possible transition to post. The ability to take this out to any location offers added flexibility to productions at any budget level. Visit and



Acquistion 31


Panasonic AVCCAM HD camcorder Panasonic has announced an AVCCAM HD camcorder, the AG-AF100, which it says is the first professional micro 4/3-inch video camcorder optimised for high-definition video recording. The AF100 offers the flexibility and cost advantages of use with a growing line of professional quality, industry standard micro 4/3-inch lenses, filters, and adapters. The full 1080 and 720 production camera offers superior video handling, native 1080/24p recording, variable frame rates, professional audio capabilities, and compatibility with SDHC and SDXC media. The design of the AF100’s micro 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie cameras in a less expensive camera body.  Equipped with an interchangeable lens mount, the AF100 can utilise an array of low-cost, widely-available still camera lenses as well as film-style lenses with fixed focal lengths and primes. The AF100 incorporates a 4/3-inch, 16:9 MOS imager. The camcorder records 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p, 50p, 30p, 25p and 24p (native) in AVCHD’s highest-quality PH mode (maximum 24Mbps). Ready for global production standards, the camcorder is 60Hz and 50Hz switchable. The AF100 maximises the potential of its high-resolution imager with built-in ND filtering and dramatically reduced video aliasing. Standard professional interfaces include HD-SDI out, HDMI, time code recording, built-in stereo microphone and USB 2.0. The AF100 features two XLR inputs with +48V Phantom Power capability, 48-kHz/16-bit two-channel digital audio recording and supports LPCM/Dolby-AC3. This newest Panasonic AVCCAM camcorder is the first to enjoy the benefits of advanced SDXC media card compatibility in addition to existing SDHC card support. SDXC is the newest SD memory card specification that supports memory capacities above 32GB up to 2TB. With two SD slots, the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode. The AF100 is scheduled to ship by the end of 2010 Visit

Compact Camera Transmitter

>> >> microLite

HD miniature COFDM digital transmitter

RF Central has unveiled its next generation microLite HD compact transmitter. microLite HD is a miniature COFDM digital transmitter designed for the next generation of compact cameras featuring full HD/SDI capabilities that are primarily used in news and field production. The ultra compact unit features MPEG-4 encoding/ decoding in HD/SD with extremely low power consumption. Packaged in a size that will easily mount on the new generation of cameras, microLite HD is ideal for a wide range of applications including news, point of view, sports and entertainment production, and reality television. microLite HD occupies less than six cubic inches, and can be operated in either 20mW or 200mW output power modes. microLite HD features H.264 HD and SD encoding. The support video/audio and data transmission with selectable modulation bandwidths of 6, 7 and 8 MHz, require little setup and are designed to be user friendly. Visit

32 Acquisition

Canon Releases New Lenses Cannon has released a range of range of new lenses for high definition and 3D capture. New from Canon is the HJ15ex8.5B portable HD zoom lens featuring a built-in Optical Image Stabiliser to maintain stable images even when subject to jolts and vibrations. Designed for HD ENG/EFP cameras with 2/3-inch imagers, the new HJ15ex8.5B portable HD zoom lens weighs only 4.4 lbs. and addresses the need for effective image stabilisation necessitated by the HD format’s greater picture detail and width. This new lens uses an improved version of Canon’s patented Vari-Angle Prism image-stabiliser (VAPIS) to achieve image stability all the way from telephoto to wide-angle settings. The KT17ex4.3B portable HD zoom lens is designed for the new generation of costeffective HD ENG/EFP cameras with 1/3-inch imagers. Combining high optical performance and advanced features with affordable pricing, the KT17ex4.3B portable HD zoom lens is ideal for shooting assignments that require flexible creative control and a generous focal range (a 2x extender increases the focal-length range from 8.6mm to 146 mm). The KT17ex4.3B also features an ergonomically improved Digital Drive unit with advanced operational features for creative shooting. Canon has showcased what may be the longest telephoto portable HD lens in the world that can be used in compact 3-D camera rigs. While designed with sports in mind, at 5.5 lbs., this 18x, 28mm-500 mm. EFP-style lens is lightweight and portable. With a 2X extender, its maximum focal length will be 1000 mm. Call Canon Optical Division on 02 9805 2000.


Grass Valley End-to-End 1080p Camera Channel Grass Valley has launched two major new innovations to increase the flexibility of its cameras. A new 3D software enhancement of the standard camera control panel enables two cameras to be controlled simultaneously so that stereographic shaders can control 3D pairs of cameras from a single control panel. With the rapid rise in interest in stereoscopic 3D television acquisition, many producers are using conventional 2D trucks with conventional HD cameras such as the Grass Valley LDK 8000 Elite. To help engineers maintain precise colour matching between stereo pairs of cameras, Grass Valley has developed a new software release for its OCP 400 camera control unit. This allows the two cameras to be matched together, and then both cameras can be operated from a single control panel, behaving like a single camera with two outputs. For productions such as outdoor sporting events where the light level changes throughout the game, the ability to change iris and colour temperature without creating a disparity between the two cameras in a stereo pair greatly simplifies the task of the video engineer. The Grass Valley LDK Series family of cameras has always used a dockable concept, with the optics and digital signal processing in the front part of the camera and the transmission unit as a plug-on device. This has meant that cameras can be quickly switched from triax to fibre or wireless transmission without the need for separate camera systems and affecting the balance and handling of the camera. The second innovation is a unique fibre transmission system that carries 1080p 3 Gb/s signals from the camera to the base station and into the production network. The latest version of the fibre transmission system offers the capability for 1080p50 and 59.94 bandwidth, so with a single fibre adaptor the user of the LDK 8000 Elite WorldCam camera line can switch between 720p50/60, 1080i50/60, and now 1080p50/60. 1080p has been added without compromising any other functionality of the fibre interconnection, including an HD return video path and the ability to run up to 4,000 meters (13,100 feet) on SMPTEstandard hybrid fibre. Pricing and Availability The LDK 8000 Elite WorldCam with new fibre transmission system is available at for US$135,000, including LDK 8000 Elite camera head. The 3D OCP software is available as standard. Visit


News Operations

Nine Expands News with SGL, Gencom A collaborative partnership between three key industry providers will protect and strengthen Nine Network Australia’s new digital news system, allowing tight integration between its new archive and asset management systems for flexibility and seamless expansion into future needs. Following its own research, Nine Network identified SGL’s FlashNet archive as a candidate for integration with Harris’ Invenio asset management system, allowing two-way compatibility with software versions. SGL, a leading provider of content archive and storage management software for media and entertainment, collaborated with their supplier, respected systems integrator Gencom Technology. Gencom’s engineers installed and commissioned the SGL FlashNet archive, working in conjunction with SGL’s technical team from their Singapore office. In turn Gencom Technology and SGL collaborated

fully with Harris on the project, to achieve a successful integrated archive solution for the Network. The SGL FlashNet archive controls a Sony PetaSite tape library with LTO4 tape drives and a nearline disk archive integrated with a Harris Broadcast Invenio MAM system. The system is file-based allowing for flexible and rapid access to both nearline and archived news content. Advantages include native handling and partial file restore of MXF clips from the News XDCAM camera systems. Further expansion is possible by adding more tape slots to the library, supported by extra tape drives and /or a larger disk archive, and by inserting more nodes into the Nine Enterprise archive cluster. The system has been designed either to expand centrally in Sydney, thus providing a central archive resource to other NNA facilities, or to develop

regional archives at the other facilities, with access available from all sites. “Gencom enjoys its role of integrating the best solutions within the broadcast industry in a way that strengthens the client and supports their capacity for further development and growth. The SGL FlashNet – Harris’ Invenio combination is a perfect example,” Gencom CEO Ray Sanders said. Bernie Walsh, SGL’s Director Worldwide Sales & Joint Managing Director adds, “SGL’s Open System architecture provides broadcasters with a cost-effective, scalable solution for broadcasters worldwide. We are delighted to announce this sale to Nine Network. It has been a fully collaborative project, highlighting the tight integration between the archive and the MAM. We look forward to working with NNA on its future expansion plans.” Visit

Walkley Media Conference For some time now we’ve been hearing about the crisis in the media industry. That’s old news. Isn’t it time we asked what comes next? We intend to lead a discussion that will Aimed at helping journalists and journalism survive and thrive in the new media landscape, the Walkley Media Conference “What’s the story? Powerful narrative and other tales from the future” will take place in Sydney, August 9-12. The Walkley Media Conference will examine the tools and skills journalists need to thrive in the changing media landscape. As well as masterclasses and specialist training, the conference will discuss the lasting power of narrative as the

news industry moves into a new and uncertain – but exciting – digital era. The conference will appeal broadly to media creators, presenting a program that links artists, authors, journalists, online media-creators, screenwriters, film-makers and others around story-telling and defining new media. The conference will also include a day dedicated to freelance journalists, with discussions and workshops tailored specifically for freelance needs of varying experience levels. Confirmed speakers include: • John Nichols, Washington correspondent, The Nation (US)

• Bob Dotson, national correspondent for NBC’s Today (US) • Harry Dugmore, School of Journalism and Media Studies at Rhode University (South Africa) • Heather Allan, head of newsgathering for Al Jazeera English • Angelos Frangopoulos, CEO, Sky News • Gaven Morris, editor of continuous news, ABC • Laurie Oakes, senior political journalist • Kerry O’Brien, The 7.30 Report • Mark Scott, managing director, ABC • Karim Temsamani, GM ANZ, Google Visit

iPad Teleprompters Bodelin Technologies, makers of ProPrompter HD mobile teleprompters, have supplied GDB International with the new ProPrompter HDi, the first teleprompter specifically made for the new Apple iPad. Bodelin was the first to create a professional teleprompting App for the iPhone/iPod touch along with hardware released at NAB 2009. Specifically made for the Apple iPad, the ProPrompter HDi needs no AC power or external batteries as the iPad has a 10 hour battery. The iPad screen is roughly 9” in diameter and like the iPhone and iPod touch, can easily be read in bright sunlight.


Though the iPad is relatively light at only 1.6 pounds, The ProPrompter design team wanted something secure and created a new camera bar, made of light, yet sturdy, aircraft aluminium, which attaches to the base of Pro, and most, consumer cameras. Next is a custom cut of 16:9 studio quality beam splitter glass encased in a padded frame, set in a high impact ABS hood. The key to the ProPrompter HD-I is an iPad specific bracket to securely hold the iPad without slippage when shooting hand held, jib or with a steadicam. This kit also includes the ProPrompter anti-reflection mask and the new ProPrompter hand held grip with

¼” tripod mount. Set up is about 1 minute and comes in a newly designed SKB waterproof military grade case. The customer provides their iPad and the ProPrompter App is available in the iTunes App Store (USD $9.99). An App Store Staff Favourite, the ProPrompter App for iPhone and iPod touch launched in January 2009 is the first professional teleprompting App. Four free updates later, plus a Remote Control feature and a universal app for both the iPhone/ iPod touch and the iPad. Visit

News Operations 33




workflow design

system integration

News Operations

AzzurroCam Robocam PRODUCTION SYSTEM Azzurro Systems Integration (ASI), a full service design and integration company, used its NAB debut to demonstrate its new AzzurroCam fully integrated production system. Designed to offer a HD video transmission solution, AzzurroCam is suitable for any facility requiring a robotically controlled single or multiple pan/tilt and zoom camera application. AzzurroCam’s proprietary touch screen interface allows non-technical users to control multiple cameras and set-up functions, DMX lighting, audio mixer with two microphone inputs, and IFB audio levels. Operation can be accomplished locally or remotely via a PC-based control system that permits remote control of all functions, with presets, using intuitive onscreen buttons, or joystick and control panel. The system interfaces to IP,ASI or HD/SDI transmissions. A low-resolution video stream of the camera output is visible on the touch screen allowing a remote operator to frame shots. AzzurroCam is easily customisable for multi-camera applications, or for single control of several locations. It comes equipped with a Sony robotic controlled HD/SD camera with pan/tilt, zoom, focus, aperture and camera painting. Visit

Sound Editing on an iPhone VeriCorder Technology has announced the introduction of VC Audio Pro, a multitrack sound editor for iPhone and iPod Touch. Audio Pro allows reporters or podcasters to record, edit and send professional quality audio news clips or full stories from an iPhone with the touch of a finger. Designed for broadcast and podcast applications, the software enables users to record and edit high-fidelity audio into a news story, and send it instantly over WiFi or a cellular connection. VeriCorder founder and CEO Gary Symons was one of the first mobile journalists, or ‘MoJos’, in Canada, when he worked with CBC News. Symons says VC Audio Pro was designed to fill a growing need in the broadcast industry. “We’ve heard the demand from journalists all over the world for a powerful but simple sound editor, that allows them to record, edit and send from anywhere, to anywhere,” Symons says. “Finally, there really is an app for the mobile journalist.” Audio Pro’s user Interface takes minutes to learn and is compatible with most major newsroom systems for instant integration and playout. It  can also be customised for radio networks, universities and podcast hosting sites, and fully integrated into newsroom, media asset management, and playout systems. Audio Pro can also be deployed as a custom app on the App Store, or fully customised for a media network’s workflow, and deployed by the network’s IT department. Visit

Matrox Video Products Group has announced a cost-effective HD monitoring solution for the newly launched Avid Media Composer V5 and NewsCutter V9 editing systems. Matrox MXO2 Mini turns a user’s HDMI screen into a professional-grade video monitor with colour calibration tools including blue-only. The small, lightweight, external box is ideal for file-based workflows in studio, on set, in the field and in OB vans. It provides HDMI, analogue component, S-Video, and composite output and crossplatform support for Macs and PCs, laptops and workstations. “Since the launch of our popular MXO2 product line, Avid customers have been asking us to support their editing application of choice,” said Alberto Cieri, senior director of sales and marketing at Matrox. “Now with support for Media Composer V5 and NewsCutter V9 with MXO2 Mini, they have the perfect cost-effective monitoring device for their file-based workflows.” “Matrox is well known in the industry for the quality of the products they manufacture,” said Angus Mackay, segment marketing manager,

File-based Video Delivery from AP AP Media Port from the Associated Press (AP) is a file-based video news delivery service which will allow customers to receive video news stories as separate digital files, which will be dispatched to the client as soon as each story is ready. This means clients will no longer need to record stories from AP’s Global Video Wire feed based on a 24-hour bulletin schedule. The project was piloted in 2008, with customer feedback shaping the direction of the service. It involved building a head-end production system in London, which transmits high-resolution video files over the AP’s satellite network. A receiving device called AP Media Port server also was developed. The Media Port server is a customised highend server installed in customer data centres. It captures and forwards the video files to the customer’s production system. Video editors at the customer location can access AP content on the Media Port server through an intuitive Web browser interface. The server has a unique “backhaul” function that automatically resends videos that were missed by the customer. This feature all but eliminates the need for time-consuming file retransmission requests which have historically been managed over the phone or via e-mail. Visit

professional segment at Avid. “Collaborating with them to bring a cost-effective HD monitoring solution to users of software-only versions of Media Composer and NewsCutter was an easy choice for Avid.” Key features of Matrox MXO2 Mini for Avid Media Composer, include: • Turns an HDMI screen into a professionalgrade video monitor with colour calibration tools including blue-only • Small, lightweight, external box for use in studio, on set, in the field, and in OB vans • Cross-platform support – Mac and PC; laptops, desktops, and workstations • HDMI, analogue component, S-Video, and composite output • Stereo RCA and up to 8 channels of HDMI audio output • 5.1 and 7.1 surround sound monitoring on the HDMI output • Compatible with Avid Media Composer V5 and Avid NewsCutter V9 • Three-year hardware warranty and complimentary telephone support

One system, 2 great cameras TV Drama


Sony PDWF800

Harris, Avid Interchange Native XDCAM Files Harris has announced that its NEXIO AMP and NEXIO XS servers now support Avid file interchange of native Sony XDCAM HD422 HD material via Avid Interplay Transfer software. Tighter integration allows Avid customers editing their content in native XDCAM HD422 within Avid HD news production and editing systems to seamlessly transfer that content to and from Harris NEXIO servers. The media remains native throughout the ingest, editing and playout process eliminating the multi-generational loss common to format transcoding. The advancement benefits Avid customers that choose Harris NEXIO servers for use with many Avid products, such as Avid NewsCutter and Media Composer editing systems, and Avid Interplay systems.  Harris says while Avid customers typically use Avid storage systems, such as Avid Unity ISIS for caching their work during editing and production, they often choose the Harris NEXIO server to import newly acquired footage into Avid systems or export their finished Avid files to NEXIO for playout to air. Harris is offering a free software upgrade that enables existing NEXIO AMP advanced media workflow platforms and previous-generation NEXIO XS model servers to support native XDCAM HD422 file transfers via Avid Interplay Transfer. The new Harris NEXIO Volt server, which offers an economical, slimmeddown version of the AMP feature set, also supports the new native Avid XDCAM HD422 workflow with the addition of inexpensive, external hardware.  Visit and


Sony PDW700


Live Sport

Endless possiblities.


34 News Operations

Matrox Monitors Avid

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SPORTSCASTING First Place for Sky Racing with OmniBus, Quinto The first Australian installation of the OmniBus iTX production and transmission solution is now in operation at Sky Racing, part of the Tabcorp gambling and entertainment group. Based in Frenchs Forest, Sydney, Sky Racing is a world leader in multi-venue race broadcasting, telecasting more than 60,000 races each year to more than 5,000 outlets across Australia and in 18 countries around the world. Supplied by Australian distributor Quinto Communications, the software and IT platform based iTX system has enabled Sky Racing to quickly and easily expand its playout operations and also add mobile and internet transmission capability to its existing satellite and cable outlets. For the past 12 years the company has used a traditional television broadcast workflow with a OmniBus Columbus automation system controlling third party devices, including conventional video servers and vision switchers. External graphics generation systems were controlled by GPIs and other devices. This system was used to broadcast two channels with sub-channels running as ‘add-ons’ that were run outside of the automation. As part of a massive infrastructure rebuild that included a new presentation system, enhanced media asset management system, new studios and control rooms together with new routing infrastructure, Sky Racing turned its attention to its transmission requirements. “We needed to focus on playout and the marriage of playout and our media asset management system,” said Carl Petch, Sky Racing Chief Engineer. “We are in a live environment so we wanted a responsive system that could quickly add commercials, extend breaks and do all the stuff that a traditional system would do. But we’ve also become heavily dependent on graphics that are quite complicated at point of playout - we have some very specific graphics that automatically draw information from live databases so we needed to accommodate that in any new equipment.” Having watched the development of the OmniBus iTX system since its introduction, Petch and his team went to NAB 2009 with a long wish list of essential requirements that Omnibus had to meet before making any commitment towards iTX. After a full demo that recreated Sky Racing’s environment, Quinto and Omnibus arranged an onsite proof of concept installation at Sky Racing in Sydney. Once running it became apparent that Sky’s graphics needed the additional processing power of the iTX GFX real-time 3D graphics module - an

36 Sportscasting


Sky Racing Chief Engineer, Carl Petch.

enhanced hardware platform that uses RTsoftware’s tOG rendering engine to deliver high quality 2D graphics, sophisticated 3D graphics and realtime DVE effects. With the GFX option, live video, sophisticated DVE moves and graphics can be previewed and modified on the iTX Desktop, which is what Sky Racing required. A key advantage of the iTX GFX system for Sky Racing was the physical integration of the iTX and tOG products, which reduces the amount of required hardware and the complexities of network interfaces. “Since it was launched several years ago its architecture has impressed me the most,” said Petch. “We liked the way it used off-the-shelf IT components and we liked the back end which is a clustered SEQUEL/SQL installation for databases. We could also use any type of near line storage we wanted to for our assets.” After the success of the onsite proof of concept, Sky Racing purchased the OmniBus iTX system with GFX Advanced Graphics through Omnibus Australian Distributor, Quinto Communications. Engineers from Sky Channel, Omnibus and Quinto worked together to carry out testing and commissioning. With a tight on-air time line, Omnibus & Quinto arranged for a week of intensive staff training for Sky’s graphic artists and software developers. Having been heavily involved with the Vizrt graphics system, the developers had a lot of experience in creating applications to control graphics machines and were keen to implement the iTX GFX solution in to their operations.


From a hardware point of view iTX is all off-the-shelf components based on HP servers with AJA graphics cards. According to Petch, “We bought very good four-

hour response HP SLAs for the first three years at a very reasonable price - we have proved that works and we are very happy with the service. “It’s the right way to go,” added Petch. “iTX also lowers the total cost of ownership as we have put all the servers, all the storage and all the main framework needed to run the system into just two racks. It would have been in one rack if we hadn’t had to go to big servers because of the graphics cards requirments to run the aedvanced tOG graphics. So what we used to do in about six or seven racks is now down to two - it’s green in that it saves space, power and air conditioning. “I’ve watched iTX grow over the years to a state where it’s at now and it’s fully featured and future proof. It can handle most media formats and we’re currently running MXF files with a DV essence - it controls the routers to do all of our live elements as well. “The difference for us now with iTX is that all of our channels, even the sub-channels, are branded off the main channels. We have an international channel that gets its triggers to cover the adverts internationally from our main channel Sky 1 which is all iTX. So its sub-channels now have all been brought into iTX whereas before they were external to automation. “iTX is also scalable - it allows us to add, change channels and we only need to buy the licensing for what we need to do. If we want to add extra functionality like HD we just buy it. The rtSoftware graphics are very powerful and there’s scope to do a lot more in the future. From an initial core of four main channels, Sky Racing has expanded to seven channels using the iTX system and has now ordered another two channels. The additions include new internet and mobile streaming services that use iTX to generate one stream that feeds the two different platforms. Users can sign in to to view live content at various bit rates as well as video and audio of past races. “We could have gone down a traditional path with four vision desks etc etc which would take a lot more equipment. But we wanted to have a flexible infrastructure using off the shelf IT componentry and the ability to grow to the point where we could play our graphics that would be heavily integrated into the system. We’ve achieved that and now have everything we need to get on air in the tight time frames we work to.” The OmniBus installation went live on 16th of March 2010. Visit and


Telestream’s Episode video encoding software was selected by Banis Software Development, Inc. to provide video and audio transcoding for the Cape Town V&A Waterfront World Media & Legacy Centre. Banis selected Episode for integration with its ‘Server DAM’ digital asset management and distribution system. Initially developed for the Vancouver 2010 Winter Games, Server DAM offers an uncompressed cloud storage and distribution portal with secure web access to video footage for accredited press. Thousands of registered media from around the world accessed the online video portal allowing them to build pregame video packages in a variety of formats for the 2010 FIFA World Cup. Banis integrated Episode server-based software with Server DAM to enable fully automated, ondemand video transcoding. Initial loading of the clips into the video portal included hours of HD video which needed to be encoded into 5 to 60-second clips. The Cape Town media centre for the 2010 FIFA World Cup at www.waterfrontmediacentre. provided global access to the video portal which offers local footage, location shots, B-roll, HD highlights and photography. Registered media were given secure access to the portal where they can create a custom menu and specify selection criteria. Video/audio format choices include ProRes 4:2:2 HD, NTSCSD, PAL-SD, uncompressed video, plus QuickTime .mov and .flv for the web. Additional choices include style shots, locations, venues and keyword searches. Banis developed Server DAM as a robust video portal with a huge data centre backend to support large-scale video needs. A single video clip can


simultaneously be accessed by 10,000 users without interruption or loss of speed. Visit and

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Following successful cooperation during this year’s Olympic Winter Games, Media Logic and Fairlight supported German public service broadcasters ARD and ZDF during the FIFA World Cup in South Africa The HD broadcasts were centrally produced in the IBC broadcasting centre in Johannesburg using a mobile production unit, ZDF and SWR’s Mobile Produktionseinheit (MPE). Picture, original sound and presentations were supplied from the venues via fibre or satellite. Media Logic supplied two integrated HDready workstations for audio processing in the broadcasting centre. The system integration of the audio editing onto the Avid Unity ISIS - Interplay Network and Content Management System was developed by Media Logic and partners. The sound editing was based on current surround-capable Fairlight Systems that also allow for native HD image reproduction from the Avid ISIS system. The solution guaranteed a minimised transitionbacklog with the over 20 Avid-Media-Composer video-editing-systems and the Avid-BroadcastServer. A team of Media-Logic-experts travelled to Johannesburg, to set the system in place with the Interplay unit. Visit

>> >> Building

on the success of “Vancouver live”, the European Broadcasting Union (EBU) and its Member broadcasters delivered the 2010 FIFA World Cup live online through its sports video

portal The portal showed full coverage of the 64 matches of the 2010 FIFA World Cup for European audiences. It was also used to distribute 12 matches in higher definition (1280×720p). Live streaming began on Thursday 10 June, with the kick off celebration concert and continued throughout the 31 days of competition. The video portal aggregated 27 EBU Member broadcasters’ simulcast feeds and the EBU live feeds showing more than 2,200 hours of live event coverage. In addition, the EBU delivered a match highlights channel.

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Belgium based and international TV broadcast and OB truck provider Alfacam equipped five HD OB trucks for the FIFA Football World Cup 2010 with a comprehensive MediorNet installation from Riedel Communications. MediorNet is a fibre based real-time signal distribution and routing solution for HD/SD video, audio, intercom and data that also includes software based processing features. Alfacam was in charge of the world feed production at the venues in Johannesburg, Pretoria, Durban and Port Elizabeth. Besides this production, Alfacam was responsible for the unilateral signal for ARD/ZDF, the German public broadcasting. Alfacam sent 8 OB trucks, 80 cameras and about 35 technicians to South Africa. Alfacam was assigned for about 45 per cent of the “host feeds” of the WC 2010 and deployed a total of 170 cameras and 155 technicians. The MediorNet mainframes linked Alfacam’s trucks with the technical operation centres (TOC) in the stadiums, delivering 16 HD-SDI signals including the world feed to the trucks and four back from the OB van to the TOC. MediorNet’s integrated CWDM multiplexing transported all HD signals bidirectional via one single mode dual fibre link. Continued on Page 39

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Sportscasting 37

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38 Sportscasting



Harris Scores with Sports and Live Event Solutions Harris Corporation has announced what it says is a comprehensive suite of solutions and services for sports and live-event venues.  This new offering transforms venues from simply being seats pointed toward fields of play or stages into personalised entertainment consoles that enhance the fan experience, reduce operating costs and expand revenue for team and venue owners. The suite includes solutions for digital signage, mobile video, production, network design and deployment, and single-point venue management.  It also leverages Harris IT Services for 24×7 technical support and troubleshooting, which can mobilise a U.S.-based, field support team of 3,000-plus experts.  In addition, the suite includes the advanced Harris public safety and security solution, which supports some of the most mission-critical environments in the world.  It provides: • Live Multi-Distribution Production: Makes fan experiences easier to attain with file-based HD and 3DTV production workflows. • Digital Signage: Enables advertising and information to be easily updated and segmented to drive sales. • Mobile Video: Helps monetise temporary or permanent wireless networks by pushing content to handheld devices. • Security and Communications Infrastructure: Transforms venues into intelligent technology platforms and supports an instant-feedback, point-of-sales system via a powerful, wireless IT backbone. • Venue Management: Offers hosting and managed services that improve reliability, maximise the value of existing IT resources and provide 24×7 systems monitoring. Visit

Granite Video Production System Broadcast Pix has introduced Granite, a native HD, 1080p-ready live video production system. The new flagship product line combines the company’s innovative Fluent workflow software with a new HD switcher and HD server. The Granite Switcher provides simultaneous multi-definition SDI I/O for 1080i, 720p and SD sources and is upgradeable to 1080p. The companion Granite Server completes the video production system by running Fluent workflow software. This provides up to 120 hours of clip store, a graphics system with a new Harris CG, a multi-view that displays video and file sources, watch-folders that streamline file import from editing systems, and macros for file-based effects. Available in three models - the 1 M/E Granite 100 and 1000 and the 2 M/E Granite 5000 - the new product line provides an easy upgrade path between models. Customers can also upgrade to Granite from current Broadcast Pix Slate hybrid HD/SD/analogue systems, which use the same control panels and Fluent workflow software. Housed in a 3 RU frame, the Granite Switcher offers 11 HD/ SD-SDI video inputs (expandable to 22), plus the equivalent of 14 more inputs from the server via its PCI Express connection, including a clip channel (with key), two animation channels (with key), and four graphic channels (with key). The separate 2 RU Granite Server features an Intel Quad processor with up to 2 TB of storage in a high reliability RAID 10 array. The server also offers optional software to control other studio devices and new CG and Omneon support will also be available on Slate systems. The Granite 1000 and Granite 100 share the same feature set, but the Granite 1000 includes a physical control panel with push buttons that dynamically change to display the file name of the content. The entry-level Granite 100 is controlled from a Web browser-based SoftPanel, its multiview, or the new Broadcast Pix iPixPanel application for Apple iPad. The Granite 5000 has a larger 2 M/E control panel, and brings the power of 2 M/E productions, such as dual screen shows, to new applications. Visit



Continued from Page 37 MediorNet’s integrated Embedding/DeEmbedding feature de-embeds the audio and delivers the signals via MADI to the trucks’ Lawo audio consoles. As the video and audio streams come from various asynchronous sources, Alfacam also made use of MediorNet’s Framestore feature, which synchronises the video signals to the truck’s internal clock, while the audio signals are synchronised via MediorNet’s Sample Rate Converter (SRC). After editing, the final HD video and audio stream is sent back to the TOC, from where it is forwarded to the IBC for the world broadcast of the event. Visit and

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Digital Cinema Corp., a global leader in digital cinema, formed a partnership with 3D technology developer Sensio to bring Live FIFA World Cup matches in 3D to hundreds of theatres around the world. Eight games starting with the quarterfinals of the FIFA World Cup Soccer Tournament were broadcast in Live 3D. Cinedigm’s exclusive CineLive product has been developed in conjunction with Sensio Technologies Inc. under a domestic license agreement with Cinedigm and is designed to work with Cinedigm’s satellite network and digital cinema systems equipped with 3-D technology. Visit and

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Sensio Technologies Inc.

also partnered with Aruna Media AG, which owns the FIFA World Cup live broadcast rights for out-of-home 3D HD, to distribute 3D content in the high-quality Sensio 3D format worldwide.


Sensio 3D is a proprietary, frame-compatible format for high-quality professional stereoscopic signal processing. For the 2010 World Cup, Sensio worked with Aruna’s technical staff to support local digital cinema integrators for the system design, testing, and implementation of the live 3D broadcast network. Visit and

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Argosy, a leading international supplier of HD broadcast, cables and studio infrastructure products, supplied a range of its infrastructure products to Presteigne Charter, one of the world’s leading broadcast dry hire and systems rental specialists, for implementation at the forthcoming World Cup in South Africa. Argosy previously worked with Presteigne Charter on productions such as ‘I’m a Celebrity Get Me Out of Here’ in Australia, as well as various major worldwide sporting events including the French Open Tennis and supported the first high-definition coverage of The Championships at Wimbledon 2009. Most recently Argosy supplied a raft of multi-way cables, including a multi-CAT5e cable, to support Presteigne Charter’s involvement in the 2010 Winter Games in Vancouver. “The use of Argosy’s multi-way cables at the recent Winter Games had a dramatic affect on the time it took to rig and de-rig the installation for this major event,” say Roy Callow, Head Of Project Engineering at Presteigne Charter. “This approach saved us a significant amount of work on site and it is for this reason that we placed a further order for a range of pre-terminated cables — alongside other infrastructure products — for our installation at the World Cup in South Africa.” Visit

>> >> TSL

Professional Product Group supplied a dozen of its PAM1-3G8 professional audio monitors to Alfacam, provider of OB facilities for Host Broadcasting Services’ (HBS) coverage of the 2010 FIFA World Cup South Africa. The PAM1-3G8 was used in broadcast compounds in Durban, Port Elizabeth, Johannesburg/Ellis Park and Pretoria stadiums to simplify multichannel broadcast audio monitoring for the World Cup matches. According to Alfacam Head of Audio Engineering Jean-Philippe Ovaert, “The PAM1-3G8 met all of our technical requirements and more. We wanted audio monitoring technology that would include Dolby decoding and measurement as well as metadata control. The PAM1-3G8 also provides the ability to actually see the signals that are being measured, which is extremely helpful when you have a lot of signals to control. Its high resolution, high visibility displays of bar graph and metadata values and convenient preset buttons are significant advantages in fast-paced environments.” The PAM1-3G8 is the first rack mount monitoring unit to feature the flexibility of OLED displays for data and metering. TSL’s Precision Audio Monitor range includes dual 3Ghz HD/SDI video inputs, Dolby D/E decoding plus a range of highly advanced features and is particularly well suited to the demands of an OB vehicle. The PAM1-3G8 features 15 user-configurable and instantly recallable monitoring presets, multiple signal format handling, user selectable bar graph characteristics, high sound quality and video confidence monitoring. Visit

Sportscasting 39

New Era of HD OB for Singapore At the recent BroadcastAsia 2010 show, Sony Electronics Asia Pacific and Government Broadcaster MediaCorp unveiled Singapore’s first high definition television outside broadcast vehicle. Built from the ground up to meet MediaCorp’s specifications, Sony outfitted the HDTV OB trailer with a range of high definition technologies designed to enable ease of use, flexibility and optimum operational efficiency in the live recording of sports, culture programs and other live events in high definition. The Sony team provided MediaCorp with a full service offering, operating as a strategic partner and carried out all aspects of equipping and installing, support services, as well as providing extensive hands on training for MediaCorp to effectively operate the OB trailer. Sony and MediaCorp have a long standing relationship, previously working on Singapore’s first ever live event broadcast of Singapore Idol in high definition, as well as in the broadcasting of preprogrammed high definition shows. Sony equipped the OB trailer with a range of HD technology, including: • HDC-1500P studio HD camcorder x 12 • BRC-H700 all-in-one HD robust robotic colour video Pan/Tilt/Zoom camera system • Luma LMD monitors • MVS-8000G production switcher • HDW-M2000P HDCAM VTR and PDWHD1500 XDCAM HD422 VTR. Other features of the trailer include: • Integrates with teleconferencing, satellite, fibre optics and microwave transmission • Dolby 5.1 surround sound mixing • Audio and video distribution all embedded in one cable • High end server system for sports production The trailer measures in at some 12.5 metres long (16.5m with prime mover), 2.5 metres wide (3.6m

Mediacorp HD OB Trailer


Engineering Switching

Rear of Van

with expander deployed) and a height of 4.25 metres. With prime mover attached the trailer weighs in at 29 tons. “As a trusted partner and with its proven track record, it was a clear choice to partner Sony in our strategic venture into developing the nation’s first HDTV OB trailer. We are very pleased and impressed with the on time delivery of the OB trailer, along with the expert training, in-depth knowledge and support from the Sony team throughout the entire project duration,” said Mr Yeo Kim Pow, Senior Vice President, Technologies, MediaCorp. “The delivery of our HD OB trailer marks a milestone in our production capabilities, and we are excited about the opportunities this new facility brings,” added Mr Ng Say Hin, Assistant


Vice President, Production Resource, MediaCorp. “Sony is renowned for its unrivalled expertise in providing customised HDTV OB technologies globally. With the increasing demand for HD content, HD-enabled OB vans are becoming highly sought after by broadcasters for its mobility and technical capabilities in capturing live events. Sony’s OB van brings broadcast production possibilities to a new level and enables broadcasters to deliver excellent live HD quality coverage to their viewers,” said Garry Rhodin, General Manager of Professional Solutions & Services Division, Business & Professional Products Asia Pacific (BPPA), Sony Electronics Asia Pacific. Visit and

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40 Sportscasting



Sportscasting 41

Post Production


Engine Goes Platinum

<< <<

Before and after – part of the recent Platinum TVC from Engine.

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According to

director Marcelle Lunam, the recent Kotex Platinum tampons and unltrathins TVC she completed with Sydney-based design and post-production facility Engine embodies the full range of the company’s creative abilities. “It was an intense five week job,” said Lunam. “Engine really pulled out all the stops and the results speak for themselves.” The Platinum spot became Engine’s latest TVC project after a discussion between the company’s Executive Producer Adam Wells, Marcelle Lunam and production company Plush Films. Lunam continued, “I’ve worked with Adam and Engine for many years and know the high standard of work I can expect. Adam and I discussed the script along with Plush producer, Catherine Warner, then I set off to do a treatment.” Lunam collaborated closely with Engine VFX Supervisor Grant Everett in creating her treatment. Everett said, “We took our lead from Marcelle. The concept for this commercial was to visually illustrate a connection between the Platinum vine as it lifts and supports the Platinum woman ending in a dramatic reveal of the Platinum pack. The TVC was also about cleverly combining design and creative so we built 3D crystals and the vine in Maya to support Marcelle’s treatment. This way the client could see what the final look would be very early in the piece.” With Engine’s 3D visuals Lunam presented her treatment and storyboard to both client and agency. Lunam added, “The Brand Shop and KimberleyClarke really liked the treatment and visuals. They were confident in Engine’s abilities, our proof of concept and proof of execution. I’m happy to say at that point Engine won the pitch.” Working closely with Lunam and Everett were Engine’s Head of 3D Nick Kaloterakis and Lead

42 Post Production

Compositor Kent Smith. With Marcelle Lunam’s unique treatment to accurately execute the Engine team had to use all of their creative skill and resources to combine 3D, live action and environmental matte paintings. Everett continued, “The live action was shot on a Phantom camera at 1000+ frames per second. Phantom files are unique so we had to create a specific data pipeline for the cine files and apply different grades in Smoke. It was a tricky process and we did a lot of testing the make sure we got the best quality images and keys.” Whilst one half of the team worked with the live action and matte paintings Nick Kaloterakis and his 3D department worked simultaneously on building the 3D assets for the spot. Kaloterakis said, “The 3D was driven from the creative brief, designs and treatment with Marcelle’s influence. We had to offer a very flexible approach and there were many challenges to overcome. In a spot of this nature there are always lots of changes and a very involved creative process so we had to be able to deal with these. There was lots of texturing and overlays and we had to make sure the look of the vines was metallic and not plastic, all the while creating a lightness within the frame to avoid it looking too heavy.” The interaction of the female model’s hands and feet with the vines also posed challenges for the Engine team. Lunam’s treatment and the agency’s direction meant a gentle caress had to be achieved. “We made sure that it didn’t look like Jack and the Beanstalk,” added Everett. “This was harder than it looks. The background was matte painted with Particular and the stars were made to float around in a choreographed manner. We also created the dust around the model and matte painted most of the grass after having shot a small patch. The grass

was also roto’d and graded for depth to create a big field feel.” The compositing involved several time ramps from 1000 fps to 100 fps and back to 1000 fps. “This was to create drama,” added Kent Smith. “We also had to do a lot of test positioning of the interaction frames with the 3D team. There was a lot of work around the camera moves and making sure the 3D matched the live action. This was tricky as we couldn’t move the camera a great deal due to the 1000+ frame rate so it had to be accommodated in compositing.” The Engine team layered all of the stars and the camera moves around them helping to create the environment that also included the grass and sky all being re-graded to silver in order to have the same look as the vines. Marcelle Lunam concluded, “Platinum was a very involved spot. The wide shot alone had over 600 individual leaves and vines that Engine had to take care of. There was lots of fine hair to be keyed, clothing enhancements and cosmetic changes to the model including extending her fingernails and altering her skin. Bringing in the 3D was a complex task as was matching everything to the style frames. There were also lots of complexities and subtleties combining metal, glass and tissue papers to make sure everything looked metallic, light and textured. In my opinion, the Engine team delivered a stunning result that both client and agency were very happy with. I’d like to add they’re also great to work with and whilst it was challenging to do in the time we had, they made it enjoyable - and that’s a big plus.” Both 15 and 30 second Platinum TVCs are currently airing nationally across Australia and New Zealand. To see the Platinum TVC go to Visit


Contact us today to locate your nearest dealer Matrox Video Products distributed by New Magic Australia (03) 9722 9700 Matrox MXO2 Mini is compatible with Avid NewsCutter V9 and Avid Media Composer V5. Matrox is a registered trademark and Matrox MXO are trademarks of Matrox Electronic Systems Ltd. Avid, the Avid logo, Media Composer and NewsCutter are trademarks or registered trademarks of Avid Technology, Inc. in the United States and/or other countries.



Post Production

Cutting Edge Brings 65 Jobs to Melbourne Cutting Edge, the company responsible for providing services to projects such as MasterChef Australia, Australian Idol, Network TEN AFL and Baz Luhrmann’s Australia, has set up shop in Melbourne, and will create 65 new jobs for Victoria. Victorian Information and Communication Technology Minister John Lenders has welcomed an expansion of Cutting Edge’s production and postproduction film and television services into Melbourne bringing valuable jobs boost for the state. “Cutting Edge’s decision to base its new office in Victoria is testament to the excellent skills and training on offer here and the expansion with 65 new staff will generate up to $17 million a year for the Victorian economy,” said Mr Lenders.

Cutting Edge services include broadcast design, multimedia, web design, telecine, offline editing, online editing, visual effects, 2D and 3D animation, and sound design. “Cutting Edge has moved into the state-of-the-art Melbourne Central City Studios in the Docklands digital media precinct while it finds a permanent home for the development of a fully-fledged digital production and post-production facility in Melbourne,” added Mr Lenders. “The Brumby Labor Government works closely with industry and education sectors to ensure the next generation of technology graduates are job-ready and have the skills required by businesses like Cutting Edge.” Cutting Edge CFO Matthew Lawson said that

the calibre of talent in Victoria was a key part of the decision to open the company’s new facility in Melbourne. “There’s serious talent in Melbourne in our sector and a strong culture of continually pushing the boundaries to succeed in global markets,” Mr Lawson said. “Victoria presents us with a number of important advantages including being on the ground to access the growing number of television, sport and film productions being made here, access to highlyskilled staff and use of world-class infrastructure. “The Victorian Government has been fundamental in making this investment a reality and enabling us to secure our new home in Melbourne.” Visit

Shanghai Post Joint Venture for Technicolor Technicolor has announced a joint venture with Shanghai Film Group to create a premier postproduction studio to serve the fast growing demand for the film, television, advertising, and animation sectors in China. The new joint venture between Technicolor and Shanghai Film Group, will offer services ranging from front-end processing, dailies, digital intermediates (DI), visual effects (VFX), digital cinema mastering, forensic marking (watermarking), sound mixing, animation production, film 3D, games and other services. The joint venture will also expand into other areas such as video production, management, transmission and access. As one of the largest and mightiest player in China’s film industry, Shanghai Film Group oversees a broad range of subsidiaries, including Shanghai Film Studio, Shanghai Animation Film Studio, Shanghai Dubbing Studio, Shanghai Documentary Film Studio, and Shanghai Film

Technology Plant. Shanghai Film Group maintains a triangular business landscape consisting of production, distribution and communication. By now, its film technical services are becoming increasingly mature, film shooting bases are being constantly improved, the film & TV culture industrial chain has basically taken shape and the industrial level has preliminarily achieved the economy of scale. Shanghai Film Group is one of the leading giant film groups with the most complete industrial chain with quality resources of film & TV production, distribution and cinema line. It has been the mainstay of China’s film industry since its foundation six decades ago. Since 1997, China has increasingly been a desirable location for Studios to shoot local Chinese language films for worldwide distribution, but also for filming American productions. A number of productions, such as Karate Kid and Chinese Odyssey 3D, have recently been co-financed by U.S. studios and Chinese film studios.

“The growth of China’s film & TV industry are well known, and adds to the potential of such joint venture in an emergent market desiring more and diverse content,’’ said Frederic Rose, chief executive officer of Technicolor. “Building on our longstanding experience and relationships with top ranking studios and film production companies, this joint venture with Shanghai Film Group will promote the long stride of China’s film and television industry and create a Chinese-based post production studio to serve that market and others.” “Through cooperation with a global post production leader such as Technicolor, Shanghai Film Group will be able to meet, through this newly created JV, the fast-growing demand in China and even the global market,” says Mr. Ren Zhonglun, President of Shanghai Film Group. “We are looking forward to benefit from Technicolor’s technology, industry know-how and credibility in the area of content creation on a global scale.” Visit

Blackmagic Supports Adobe Creative Suite 5 Blackmagic Design has announced immediate support for Adobe Creative Suite 5 (CS5) for its entire range of capture and playback products. A new software installer supporting Windows systems and a Mac OS X public beta version are available for download from the Blackmagic Design web site. These updates are provided free of charge for all Blackmagic Design customers using DeckLink, Intensity and Multibridge products. Adobe Creative Suite 5 Production Premium software accelerates workflows from scriptwriting through to post-production. Adobe Premiere Pro CS5 was optimized from the ground up to deliver outstanding performance and exceptional stability. The all new Adobe Mercury Playback Engine is 64-bit native, GPU-accelerated and optimized for

44 Post Production

multiple-core systems. Blackmagic Design products such as DeckLink, Intensity and Multibridge and the recently announced USB 3.0 products, UltraStudio Pro and Intensity

Shuttle, will now take full advantage of the huge number of new features in Adobe CS5 Production Premium software, including the Adobe Mercury Playback Engine for massive processing power of realtime effects, enhanced paint, 3D workflows and improved NLE integration. This combination provides breakthrough performance, integration and collaborative flexibility to video editors, post professionals, motion graphics and interactive designers. DeckLink v7.6.2, Intensity v3.6.2 and Multibridge v7.6.2 software updates that include support for the new Adobe CS5 Production Premium on Windows are available for immediate download from the Blackmagic Design support page at www.


15 - 19 August 2010 Jupiters Hotel and Casino, Gold Coast, Queensland, Australia

Comprehensive Agenda

Register now

View our comprehensive agenda now available on the AIMC website at

Register at Group booking discounts available if registering and paying for 10 or more FULL REGISTRATION delegates on the ONE booking.

International Guests

All for a Good Cause The 2010 Vista Entertainment Charity Golf Tournament opens the AIMC convention on Sunday the 15th of August at the Radisson Palm Meadows Golf Resort, with a shot gun tee off at 12.15 pm.

Bob Chapek: Chuck Viane: Dave Hollis:

President, Distribution - Walt Disney Studios President, Distribution - Walt Disney Studios Motion Pictures Senior Vice President, Distribution - Walt Disney Studios Motion Pictures International

More guests to be announced

Top Reasons to Attend AIMC There is no better place to see first-hand what’s happening in the movie industry: • Preview major studio and independent’s films and view product reels of upcoming releases • Learn about the issues facing the film industry in the seminars, forums and panels • Visit the trade show and find out about products and services relating to your business • Network with industry peers at social events • See Australia’s hottest stars, film makers and industry leaders at the final gala AIMC Awards and Dinner

Sponsors Principal Platinum Partners

Major Partners

Gold Partners

Silver Partners

Standard Spencerian Script Coke Red on a white background

AUSTRALIA Reversed Spencerian Script White on a Coke Red background

Bronze Partners TM

Restricted-use Spencerian Script Black on a white background

Restricted-use Reversed Spencerian Script Reversed from a black background

Bronze Partners

Exhibition Partners

Media Partners

For more information visit

Supplier Partners

Proudly hosted by The Motion Pictures Exhibitors Association of Queensland Inc.

Post Production


Quantel has unveiled a new Stereo3D timeline which allows each eye to be viewed and worked on individually or both at the same time, adding flexibility for many typical Stereo3D post-production requirements. Stereo3D subtitling becomes very straightforward as the subtitle can be applied to both eyes simultaneously and then quickly positioned in z-space. Quantel also introduced new Stereo3D-specific tools which fix common acquisition issues such as incorrect colour balance between eyes, and the

Softel Closed Caption Workflow For Avid Softel has announced it is working to streamline closed caption workflow throughout the editing process on Avid video editing workstations. The two companies are collaborating to develop a plug-in based on Softel’s Swift vTX software, allowing users of Avid Media Composer, Symphony and NewsCutter solutions to import and export subtitle/caption files and accurately preserve caption data throughout the editing process. The plug-in will allow edits made to video content to be mirrored automatically in the closed caption data, ensuring transmission integrity. Previously, the asynchronous nature of the closed caption data could lead to missing or incorrect captions due to the process of video editing. To overcome this, audio and video are wrapped in MXF format, and the separate files are linked together in an AAF master clip file for convenience. Users will have access to flexible and precise handling of the data, with the ability to associate caption data with video or audio cuts. Visit

keystoning which results from converged shooting. Stereo3D Broadcast Workflow: Quantel has also introduced a complete Stereo3D broadcast production workflow featuring live ingest from a Panasonic AG3DA1 stereoscopic camcorder into a Quantel sQ server, desktop browsing and shot selection of the Stereo3D media and instant transfer to Quantel’s new Stereo3D craft editing workstation for stereo finishing. Finally, Quantel showing live playout to common Stereo3D multiplexed formats. The new craft editor will include all the new tools unveiled at NAB. V5 software: Quantel launched V5 software at NAB for the eQ, iQ and Pablo products. Features include: - Multi-layer colour correction: V5 introduces the ability to colour correct within the multi-layer timeline so nothing needs to be committed or flattened at any stage. This unique facility means that clients can change their minds or ask for fixes to any aspect of the job even in the final stages of grading – and the post house can deliver the required result quickly and efficiently without the delay of having to rebuild parts of job. - Realtime colour correction on Pablo: allows grades to be viewed in realtime during colour correction sessions giving Pablo new flexibility of multi-layer colour correction and realtime grading in V5. Windows 7: Quantel announced it is ado­pting the Windows 7 64-bit operating system for all its products in V5. - Boosted RED workflow - soft mount technology in V5 gives customers the choice of either first importing RED r3d media into the Quantel workspace, or starting working as soon as RED media arrives. Only the finished job is then localised onto the Quantel workspace. This means that work in the suite can start immediately. More V5 features will follow as part of a phased release program including a new planar tracker, colour decision list (CDL) support and 16 channel audio. Visit

AJA Supports Adobe Creative Suite 5 AJA Video Systems has announced support for Adobe Creative Suite 5 Production Premium software across its full line of KONA cross-platform video I/O cards and the Io Express portable I/O interface. AJA’s new plug-ins also provide support for the Adobe Mercury Playback Engine and 64-bit processing for fast, efficient and stable performance and productivity. Available for Intel-based Mac OS X and Windows systems, Adobe Creative Suite 5 Production Premium pairs video, audio, and design tools with integration features that help save valuable production time. AJA’s family of cross-platform Kona capture cards, along with new AJA Mac and Windows plug-ins for Adobe Creative Suite 5, build on Adobe’s support for multiple file types and formats. AJA support enables users to capture, edit, play back and output native QuickTime, DVCPro HD, DPX, Cineon, TIFF, TGA, BMP and YUV files, among others, within Adobe Premiere Pro CS5, Adobe After Effects CS5 and Adobe Photoshop CS5 Extended software - part of Adobe CS5 Production Premium. Additionally, AJA’s new plug-ins for Adobe Creative Suite 5 will now feature direct support for the CineForm codec for use with CineForm’s Neo HD, Neo 3D and Neo 4K in combination with AJA’s Kona and Io Express products. Simon Hayhurst, senior director, product management for the Digital Video and Audio Group at Adobe said, “Adobe Creative Suite 5 Production Premium software is packed with powerful performance enhancements for all aspects of post production. AJA’s customers have demanding creative needs, and tight deadlines, so they will be thrilled with the game changing performance that the new Mercury Playback Engine in Adobe Premiere Pro delivers with broad native format support.” AJA plug-ins providing support for Adobe CS5 Production Premium will be available in Q2 of 2010 as free downloadable software for all Kona and Io Express customers. Visit

46 Post Production

JVC’s First Blu-Ray/HDD Combo Recorders JVC Professional has introduced its new SR-HD1500E and SR-HD1250E Blu-ray disc and HDD recorders. These standalone Blu-ray recorders feature a built-in hard disk drive for easy duplication and disc authoring without a PC. With the SR-HD1500E and SR-HD1250E, users can record and author professional BDMV (with menu) or BDAV discs. Advanced MPEG-2 and MPEG-4 (H.264) encoding provides support for HD and SD sources, and a built-in format converter can downconvert HD content for recording to a standard DVD. The units support BD-R or BD-RE (erasable) Blu-ray discs. The decks offer a variety of digital inputs, including USB and i.Link (IEEE-1394) ports and an SDHC card slot, for wide compatibility with today’s digital SD and HD camcorders. Composite and S-Video inputs provide interfaces for legacy analog devices as well. Users can transfer videos from a camcorder or other device to the internal hard drive. Then, using a simple, menu-driven interface, edited clips can be assembled into a completed project and recorded to Blu-ray discs. Discs can also be authored for auto-start or repeat playback, which provide ideal options for presentations, kiosks, and point-of-sale displays. Unprotected DVD and Blu-ray discs are easily duplicated as well. Simply insert the original disc into the drive, then specify how many copies to make. Disc content is temporarily stored to the hard drive, then burned to blank discs. Both models include component and HDMI outputs for flexible monitoring options. The SR-HD1500E features a 500 GB hard drive, plus an RS-232C terminal and support for .MOV files (for Apple Final Cut Pro), which makes it compatible with footage recorded with JVC GY-HM100E and GYHM700E ProHD camcorders in the SP (19/25 Mbps) mode. The SR-HD1250E has a 250 GB hard drive, but does not include RS-232C connectivity or .MOV support. Visit

P2 Solid-State Memory Card Drive Panasonic has announced the immediate availability of its single-slot P2 solid-state memory card drive, the AJ-PCD2. Joining the company’s growing line of P2 workflow tools, the PCD2, with two USB 2.0 cables supplied, requires no separate power supply for file transfers and offers total compatibility with Mac and Windows desktop and laptop computers. In contrast to other single-slot offerings, the PCD2 supports all P2 card sizes, P2 formats and frame rates in HD and SD. Storage capacity and compatibility are non-issues, unlike many fixed format systems such as optical disc and tape. With a 64GB P2 card inserted, the PCD2 can offer immediate access to more than four hours of DVCPRO, two hours of DVCPRO50 or AVC-Intra 50, or more than an hour of DVCPRO HD or AVC-Intra 100 content. The PCD2 is compatible with Windows 7, XP, Vista and Mac OS 10.5, 10.6 operating systems. The PCD2 is available now at a suggested list price of US$350. Visit



RAI Amsterdam Conference 9-14 September : Exhibition 10-14 September

storage &

ASSET MANAGEMENT Storage to the Nth Degree with Isilon The rapid

take-up of video as an educational tool, combined with the need for a holistic IT storage solution, prompted Deakin University to become an early Australian adopter of an Isilon IQ scale-out NAS system. That decision has been pivotal to the public University’s successful growth as it gained the ability to cater for the wide and unpredictable IT demands of 35,000 students and 2,500 staff, spread over four campuses, in three cities. The University currently uses 29 nodes across its campuses, each with 6 terabytes of storage. The ease of data storage, its management and its scalable expansion provided by the Isilon installation has also enabled Deakin University to sustain itself as a major provider of academic programs by distance education - it is one of two Australian universities accredited with the Distance Education and Training Council of the United States. A part of the off-campus formula involves the video recording of most presentations from 40 lecture theatres for downloading/streaming to students. More recently the University has championed the use of video for training medical students when it established a Bachelor of Medicine. In order to put the school into operation as quickly as possible Deakin University acquired an existing curriculum and added significant video-based e-simulation and video conferencing resources. The University’s Information Technology Services Division (ITSD) paved the way for this expansion when it began a search for a replacement storage architecture after realising the cost and limitations of expanding its existing SAN system. “When we looked at disk storage we predicted that we would need more and more of it and we required a new model,” explained ITSD Manager Craig Warren. “We researched solutions to our storage dilemma which led us to theInfinite Computing Conference where there were organisations that go through exponential growth cycles like YouTube and Google. They talked about how they developed infrastructure that could quickly scale without knowing just how great future demand could be. We learnt about the concept of ‘brick storage’ where you just ‘add another brick to the wall’ and we started looking around for who had good products that used commodity-based hardware.” “We wanted storage that was easy to expand to meet uncontrolled demand as needed,” added System Unit Leader Damien De Paoli. “We also wanted storage as a cluster file system to suit services we wanted to use.

48 Storage & Asset Management

>> >>

Deakin University Unix Team Leader, Ryan Parker-Hill.

“Isilon was the only company that offered a clustered option with a linear growth model were you could keep adding nodes. We always like to find something that is easy to manage so having the Isilon storage additions go into the one file system, that is managed through the one console, was a real bonus for us.” From this research Deakin University arranged for an Isilon evaluation installation of a four node IQ6000 clustered storage system. After extensive testing by Information Technology Services Division staff and close liaison with Isilon to tailor the equipment to the University’s requirements, the Isilon IQ scale-out NAS system was approved and a further 24 nodes were bought and installed. The first major advantage of the system rollout was the easy implementation of a user quota system supported by Isilon’s High Availability (HA) clusters. Unix Team Leader, Ryan Parker-Hill said the aim is to allow students to access their information and working environment from any computer on or off-campus. “We give them a home directory, web space, and logins for all our machines managed through our Red Hat-based file servers using Samba - students get 5GB in a home directory and staff get 10GB,” said ParkerHill. “Previously we did not have the HA to provide

that level of service. We had individual file servers and home directories were serviced off those and if a server went down, you had no access to your files. Now, if we lose a node, people can still get to their files.” The University is also happy with another benefit of using a Isilon scale-out NAS system - the introduction of Isilon’s SnapshotIQ data protection software module. Isilon’s snapshots are locally retained, read-only and incorruptible point-in-time images of data that typically take less than one second to create. SnapshotIQ also lets users recover their own data, without needing IT support, by allowing them direct access to their snapshots. The ease of Isilon IQ scale-out NAS management and expansion was put to the test at Deakin University when the beginning of a new semester at the Waurn Ponds campus in Geelong saw an unprecedented student load on the storage cluster. Once support staff realised it was simply too many users overloading demand for available storage, they relocated a three node development cluster from the Waterfront campus to the University’s Waurn Ponds campus and quickly restored operations. Isilon scalable storage also provides the University with the High Availability needed to run many applications including, web applications such as Sugar CRM software which needs an expanding amount of storage. Combined with the exponential growth in media-rich curriculum content from the lecture recording software, the Information Technology Services Division is managing the organic growth of storage needs without system downtimes that impact its users. At the same time management of the storage requires significantly less IT staff and their time than the previous system. Deakin University is looking to several new Isilon technologies including SyncIQ replication software, which provides a solution for file-based replication over WAN and LAN. “At the moment when you go to sync data the software looks at all the files to decide which ones have changed. Soon it’ll just snapshot and at the next replication, rather than walking round file systems it just takes a snapshot and instantly knows what has changed and start copying,” said Parker-Hill. “This will play well with our Disaster Recovery and backup abilities because we have fast network links between data centres in Melbourne and Geelong. With SyncIQ and a faster network upgrade we could potentially have everyone (mirrored) minutes behind on another campus.” Visit


Even more to discover Each September, the leading brands, finest minds and wisest investors come to IBC – the premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide. • see over 1,300 exhibitors showcasing their latest capabilities • network with 45,000+ attendees from over 140 countries • attend the Conference with over 300 key international speakers And benefit from... • FREE access to the IBC Big Screen Experience in the Auditorium – watch manufacturers demonstrations, special events, screenings and movies including the best in 3D • FREE production training in the Production Village in Hall 11 with exhibitor presentations and professional training sessions plus a whole host of camera technology on display • FREE post production training in Hall 7 with expert training staff exploring the latest desktop techniques • FREE entry to the Connected World in Hall 9 - focusing on the latest developments and innovations in IPTV, Digital Signage and Mobile TV

• FREE entry to the IBC Business Briefings – take part in live debates, business analysis and discuss case studies • FREE entry to the IBC “What Caught My Eye” sessions, where experts explore the best of IBC for you • FREE entry to the prestigious IBC Awards Ceremony in the Auditorium on Sunday 12 September • FREE access to the latest developments in broadcast technology showcased in the New Technology Campus IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK T. +44 (0) 20 7832 4100 F. +44 (0) 20 7832 4130 E.


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Storage & Asset Management

Rorke/Falconstor Launch HyperDrive SAN Storage solutions provider Rorke Data Inc., has partnered with FalconStor Software, Inc. for a high-performance shared storage solution: HyperDrive. HyperDrive is purpose-built for the demanding storage requirements of the media and entertainment markets, capable of meeting the storage needs of both the content creation and broadcast aspects. HyperDrive leverages the FalconStor HyperFS file system by aggregating Rorke’s low-cost Galaxy Aurora RAID performance in excess of 6GB/s under a single global namespace – offering higher performance at a lower cost than competing offerings. This simplifies the management of large files, providing high-speed, low-latency frame accurate, shared file-level access to heterogeneous clients across a global repository that meets the performance and scalability challenges of the most demanding post-production applications. With an RRP starting at $1/GB, HyperDrive offers an affordable, scalable price performance ratio, making it an ideal solution for any size facility needing to meet the new storage challenges posed by DPX workflows of film, stereoscopic and DI post. “Rorke Data chose FalconStor’s HyperFS file system because it readily meets the demanding performance, management and scalability requirements of this storage-centric market,” said Bernie Wu, vice president of business development for FalconStor Software. “The Galaxy Aurora is our highest performance product, and with the integration of FalconStor’s HyperFS file system, we can now aggregate performance and scale storage capacity across multiple Aurora systems,” noted Joe Rorke, vice president of marketing for Rorke Data. “With HyperDrive, Rorke Data is setting a new standard in price and performance for InfiniBand and Fibre Channel-based shared storage solutions. It enables wider adoption of high-performance storage required by DPX workflow, yet is in line with moderate post house or departmental budgets.” Visit

EditShare Ships Ark 2.0 Media Archiving EditShare, a technology leader in cross-platform collaborative editing and shared media storage systems, has announced the availability of its new Ark 2.0 backup and archiving solution. Fully integrated with EditShare’s shared storage solutions, Ark 2.0 offers media file protection for broadcast and post, providing digital and tapebased options for creating backups and archives. Highlights of the new Ark 2.0 release include: • Integration with Flow for Complete Backup - Integration between Ark and Flow ensures that all archived clips now have a record in the Flow database prior to being copied to Ark. Flow scans all clips to ensure that proxy files have been created. Ark updates the Flow database to keep a record of exactly where each archived is located. Flow users can then search and browse all clips stored on Ark. • Integration with Flow for Complete Restoration of Files - Having a record in the Flow database of all archived or backed clips makes restoration of files from Ark easier than ever. It is now possible to search or browse for clips even though high-resolution versions are “offline” and stored only on Ark. Through Flow Browse, users can play low-resolution proxy versions, incorporate them into sequences, and then restore the desired high-resolution versions to any EditShare Media Space. From within Flow Browse, authorised editors are able to set up Restore jobs to occur instantly or at a later, scheduled time. • Support for Multi-Drive Tape Libraries - Ark 2.0 supports a wide range of tape loaders and tape libraries. Autoloaders and libraries with multiple tape drives can now be used. • Activation Feature for Ark Disk - A new activation feature allows customers to utilise their Ark Disk system as a rapid failover should one of their main storage systems fail. • Improved Tape Management - The new Ark user interface now graphically shows which tapes are currently loaded into a Tape Library and in exactly which slot they can be found. Visit

Dulce Systems Storage Storage solutions provider Dulce Systems Corp., has released four new products. • ProRXd - a 16 drive Dual Controller RAID storage system capable of 1400MB/sec in RAID 0 or 1200MB/sec in RAID50, which makes it capable of 4k editing or 3D 2k work in the protected RAID50 environment. The PRO RXd offers users data protection through an enhanced hardware implementation of RAID 1, 3, 5, and 6, as well as RAID 0 and JBOD in a 3U rackmount chassis. The Mac and PC compatible PRO RXd is certified to work with Apple’s Final Cut Studio, Adobe’s Premiere Pro and other popular editing and creation applications. The PRO RXd implements a power efficient, low heat, super fast Host Bus Extender (HBE) interface running at 20Gb/s (x8 PCI-express lanes) to extend the computer’s PCI-express bus to the PRO RXd enclosure. An available x8 lane PCI-express slot is required. The typical power and heat strains, created by an x8 lane device, are removed from the host computer keeping it running cooler. An x8 lane clip lock-secured PCI-express cable is supplied to connect the HBE to the PRO RXd enclosure; maximum cable lengths of 10 meters are available. • ProEF qp - 10Gb Ethernet and 8Gb FC shared storage system with Dulce Systems’ innovative Quad-Pack technology which is designed as a high performance, high reliability alternative to existing portable drive solutions Organize projects in Quad Packs for client manageability. - Archive the entire project for quick project restarts. • ProRX qp2 - the industry’s first 2-U rackmount, the PRO RX qp2 contains 4- 8 drive packs using 2.5 inch SSD, SAS or SATA disk drives. With capacities of 2TB to 5TB per quad pack the PRO RX qp2 provides total drive capacities of 8TB to 20 TB. The four individual drive packs can be configured as a single RAID 0, 3, 5, or 6 array or they may be combined with the remaining 2, 3, or 4 drive packs to create RAID 0, 3, 5, or 6 array with up to 32 drives. The “qp2” small form factor is specially design for flexibility, performance and reliability to fit the most demanding applications. • ProFCa - Dual Active-Active 4Gb FC (iSCSI model to come) SAN system capable of automatic failover management and recovery. Visit

Studio Network Solutions Upgrades Evo Studio Network Solutions (SNS), a provider of post-production storage products for video and audio workgroups, has announced the immediate availability of Evo version 2.1, for its SAN + NAS shared storage system. Evo’s integration of SAN and NAS enables users to edit, share and review projects, media and other large files using the most appropriate connection type for each task. The system allows direct-attach and switch-based connection of Fibre Channel, Ethernet and 10 Gigabit Ethernet. Evo is unique in that it includes Fibre Channel, iSCSI and NAS connectivity right out of the box. Significant advancements have been made that enable Evo to deliver far more video streams while using a fewer number of disks. This results in a less expensive, more reliable, energy conscious storage solution. Evo is compatible with Final Cut Pro, Avid, Adobe Premiere Pro, Pro Tools, Smoke, and most similar applications for Mac and Windows. It is also compatible with SANmp, Xsan/StorNext or metaSAN, most popular Fibre Channel HBAs, as well as the free SNS globalSAN and Microsoft iSCSI initiators. Visit

50 Storage & Asset Management


Digital Migration Solutions & Bureau Alteran Technologies has introduced its integrated ViTaDi product suite. The Alteran ViTaDi flagship suite is a rapid and scalable conversion solution that captures, transcodes, and delivers video in multiple video/audio file formats to media servers, digital archives and asset management systems. ViTaDi uses a systems integration approach and incorporates partner products for maximum efficiency. Utilising both new and legacy technology, ViTaDi adapts to a content owners pre-existing system architecture and integrates with pre-existing tape library systems. ViTaDi Database Software (VDS) - provides a end-to-end workflow including digitisation, transcoding and quality control. VDS controls multiple capture solutions simultaneously, organises metadata, and allows for automated metadata creation. This allows the constant tracking on the status of the digitisation process including the full web-based reporting of efficiency, errors and status, VDS also controls the transcoding and quality control process. iTaDi Control Software (VCS) module - controls the interface between the ViTaDi RoboPack and the encoding hardware and also organises the capture data allowing one touch ingests and metadata embedding without operator involvement. Using Alteran’s “smart capture” system, ingest can be accomplished with or without client provided data or timecode. ViTaDi-AutoPack - a mobile solution that can be embedded within a customer’s video library or archive. It comes with a custom configurable computer, storage, confidence monitoring and multi-channel capturing solution. It can plug into a pre-existing digital asset management solution or fibre/Ethernet-based SAN. ViTaDi-RoboPack - combines the ViTaDi-AutoPack with a Robotic system for rapid ingest of multiple video streams. It comes with a choice of VTRs and includes the ViTaDi-AutoPack control unit, storage, confidence monitoring and software. ViTaDi-ExPack - a portable transcoding solution designed to work in conjunction with the ViTaDiAutoPack to deliver a portable end-to-end digitisation and transcoding video capture solution. The ViTaDi-ExPack includes with the Telestream Episode Engine transcoding software and computer that can take four streams of video and encode them simultaneously to a variety of industry standard codecs. Bureau Service Alteran Technologies also announced the launch of Alteran Processing Lab (APL), a service bureau for digitising videotape libraries located in Alteran’s Chatsworth, California facility. First clients includes the Producers Library of Los Angeles, CA, the country’s oldest and largest continuously operating independent stock footage house and Televisora Nacional, a Panamanian TV network. Visit

One Interface Unites RadiantGrid Toolset RadiantGrid Technologies has teamed up with IdentityMine to create a new user interface for the RadiantGrid Platform of transcoding tools. The previous application had three separate user interfaces: Configuration Manager, Content Manager and a Web application but these three capabilities have been condensed into one. IdentityMine researched how current RadiantGrid users employed the existing platform to come up with revamped workflows and application user experience.  Through Microsoft Silverlight, users are now able to have access to the RadiantGrid Platform and control many of the processes and functions from anywhere, even over virtual private network (VPN) connections. In addition to increased access, the cross-platform interface also provides users with a content management pane, which shows the status of ingested assets, as well as transcoded renditions. It offers full access to all available transcoding parameters, across all supported containers and codecs. Users can further customise their workflows to their specific needs, with the interface’s robust workflow templating, with fine-grain control over workflow stages. They are able to create and edit profiles for each workflow stage, including transcoding, distribution and metadata indexing. For easy access to the system’s health, event log and activity monitoring, the new user interface integrates these capabilities into one visual dashboard. Visit or

Secure Video On Demand Partnership Civolution and Nagravision have joined forces to demonstrate a solution for watermarking and encryption of content for premium Video on Demand (VoD) services. Civolution provides technology and services for identifying, managing and magnetising media content. The main piracy threat in PayTV so far has been theft of service, which continues to be effectively addressed by companies such as Nagravision. Now with the increased availability of HD devices and content, the capture and distribution

of high quality content copies is an additional threat gradually gaining in importance and requiring additional measures. Capture from analogue outputs or by use of HD camcorders can provide very high quality and valuable copies. Content owners have therefore been reluctant to provide premium HD content on an early-release window. The Civolution team has devised an extremely robust watermarking solution in compressed video for head-end integration. The demonstration shows that this advanced technology can be used with

Nagravision Conditional Access to apply a unique watermark at the moment the content is sent to the individual consumer in Video on Demand solutions, both for on-the-fly encrypted and pre-encrypted content files. By utilising watermarking technology in Video on Demand systems, content pirates will expose themselves to greater legal risk if they attempt redistribution of improperly obtained content. The solution can be integrated on all VoD delivery platforms and devices. Visit

SSL DV’s Gravity ION Compliance Monitoring System SSL DV, Inc., a Solid State Logic Company, has showcased the Gravity ION Compliance Monitoring System. Based on the Gravity Media Asset Management system, ION can be used for monitoring and archiving applications, compliance training, strategy meetings or any multi-room or multi-source monitoring requirement. The ION system is fully scalable with a standard entry level system typically consisting of 10 Review Workstations and one Gravity Media Asset Management Workstation. The ION system works with low cost IP HD cameras that have built-in H.264 HD encoding with audio. This allows digital video/audio


streams to be created at the camera and sent over standard Ethernet networks to an ION MultiCam Server (IMCS). The IMCS receives these digital video feeds from all cameras and allows those streams to be displayed on ION review workstations. Other sources requiring encoding can also be used by adding ION encoding servers. ION encoders can record up to 16 channels of video and 32 channels of audio simultaneously. The IMCS as standard is equipped with 16TB of Raid6 Protected storage. Additional storage may be added to the IMCS to accommodate virtually any amount of continuous record time. By offering an “always on” recording feature, ION eliminates

the need for any in-room control or setup. Each Master Monitoring Workstation powers two 55-inch LCD displays with 1920X1080 resolutions to show all cameras using their live streams any selected camera in full screen mode. The UI will display text for each camera describing the meeting room if desired. The UI also provides a view panel of reports prepared by users, the capability to mark sections, add descriptive text, append documents and designate video in and out points to create video clips of interest. RF control of the workstation is almost completely through the use of a Gyration Elite Air Mouse. Visit

Storage & Asset Management 51

Conference Preview As the first and only dedicated Digital Signage & Kiosk event in Australia, Digital Signage World is taking place at the Sydney Convention Centre, Hall 3, 21-22 July 2010. Featuring a two-day conference, on-floor seminars and free exhibition, this is the only place where you can learn more about the future of digital signage and kiosks. At this event leading industry experts will share their experiences and provide the practical knowledge needed to make digital signage and self service deployment a success. Hear about international and local case studies from experts working in advertising, retail, transport, government, hospitality and more. The Digital Signage World exhibition features the world’s leading suppliers and will enable visitors to see, hear and touch the best solutions available today. For more details visit

Amber Technology Stand B4 Unit B, 5 Skyline Place Frenchs Forest, NSW 2086 Phone: 02 9452 8600 Fax: 02 9975 1368 Amber Technology is a leading distributor for a wide range of quality products for both professional and consumer customers. Our expertise fully and uniquely encompasses both the production and delivery of today’s rich audiovisual experiences. Amber Technology is a high technology solutionfocused corporation with solid expertise in networked digital video offering multiple Digital Signage Solutions based on the customer’s requirements. Our Digital Signage range includes solutions from Dise, SpinetiX and Gefen which offer break-through technology to professionally schedule, combine, stream, update, animate and display in real-time video, audio, graphics and text on any digital video display with low acquisition and operational costs. The Dise concept is to create presentations and then move the actual composition and mixing of content to the player without losing any quality and layout features. Dise is based on leading graphics technologies that output stunning SD or HD quality smooth real time layered graphics, at a quality previously only found in high-end systems based on dedicated hardware. The SpinetiX solution offers a unique

52 Digital Signage

alternative to proprietary, PC based solutions for digital signage. With the HMP100, SpinetiX offers a new and simplified way to schedule, combine, update, stream and display content, whether it be audio, video, vector graphics, pictures, or text. The HMP100 allows for simple and cost effective implementations for applications as wide-ranging as advertising, transportation, hospitality, finance, and live events.

Business Smart Solutions Stand B38 Ground Floor, 146, O’Riordan Street Mascot, NSW 2020 Phone: 1300 881 819 Fax: 02 8338 1627 Business Smart Solutions was established in Sydney, as part of the global marketing strategy. BSS as a systems integrator and software developer provides cutting edge IT technologies with a wide range of products that are designed with ‘smart and innovative’ in mind. We take pride in our solutions as we use advanced technologies that allows our products to be nonproprietary and platform independent. At the Digital Signage World we are showcasing Smartqueue Integrated Multimedia Queue Management System. Smartqueue is the ultimate ticketing solution to manage customer flows. Smartqueue allows customers to be served by the appropriate staff in timely manner whilst minimising

customer’s perception of wait-time through advertising or entertainment media. The easy-to-use queuing system improves customer satisfaction and staff performance with a comprehensive reporting system allowing management to review Key Performance Indicators (KPI) for an improved service. See what the latest technology can offer to your organisation by visiting our stand B 38. Experience the benefit  Smartqueue brings as seen in over 100 St. George Bank branches, Nokia Care Australia, soon in more than 120 RTA motor registries across NSW. Our other solutions include queue management systems, self-service solutions and cheque processing solutions.

Digital Pulse Stand B24 10 Clarke St Crows Nest, NSW 2065 Phone: 02 9439 0122 Fax: 02 9439 6579 email:

in Australia and offers a nationwide solution for companies considering glasses-free 3D displays for their digital signage networks. On show at Digital Signage World Australia 2010 will be a range of 3D displays from Magnetic3D including 22”, 42” and 47” models. Magnetic3D are regarded as a world leader in the design and manufacture of glasses-free 3D display technology. Ideal applications for the larger units include retail digital signage, hospitality, cinemas and other public places. The 22” units are ideal for gaming, casinos and kiosks. To complement the hardware, a full suite of software products optimised to take advantage of the new technology and aid in content production will be also be available. The offering includes: playback software Fuzion; plug-ins for popular 3D programmes; Mixture, the Creative Suite’s composition and post-production tool and; FuzionCast Express, a user-friendly, multimedia content delivery platform for controlling 2D and E3D content remotely over a network.


sign the content+technology of digital signage is the online destination covering the Content+Technology of Digital Signage. With regularly updated website, email newsletter and in-depth E-magazine,

In June 2010, JEA Technologies and Digital Pulse signed a strategic agreement to offer a comprehensive glasses-free 3D Digital Signage solution covering hardware supply, installation and support through to content development. This is the first such agreement for this new technology

Dynamic Visual Systems Stand B2 5-7 Cleg Street, Artarmon Phone: 02 9431 6070 Fax: 02 9906 2713 email:enquiries@


Continued on Page 54 provides you with timely and relevant information on all aspects of the D-Signage market. Publisher Phil Sandberg - • Sales & Marketing Manager Daniela Huelsen -

Tel: +61 (0)2 9332 2221

Tel: +61 (0)410 880 557

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Continued from Page 52 At Digital Signage World, Dynamic Visual Systems will demonstrate advanced digital signage solutions for applications including digital out of home (DOOH) advertising, interactive kiosks, video walls and networked content delivery systems. Our custom solutions are designed to match exacting budget, aesthetic, messaging and technical requirements and the show will provide an opportunity for attendees to discuss their needs with experts and explore a range of solutions. Powered by Coolsign digital signage software, Dynamic Visual Systems’ Digital signage solutions allow companies to create, manage and deliver powerful, dynamic content across an entire organisation, no matter the size. We supply a range of players to match passive and interactive displays and with the beauty and functionality of LG monitors, the message never looked better. Dynamic Visual Systems offers Australia-wide installation and support. With offices in Sydney, Melbourne and Brisbane, combined with our network of Australia-wide installers, we are able to support all projects, large or small, anywhere in the country. Post-installation, we can offer a fully managed system, with realtime monitoring, that provides instant feedback on any failure within a digital signage or kiosk network. Envent Stand B19 2 Gladstone Street Enmore NSW 2042 Phone: 1800 885 648 Fax: 02 9557 8858 Envent is a leader in the custom design and development of selfservice interactive touchscreen kiosk solutions. We specialise in the design, manufacture and support of physical kiosk enclosures.  We combine tailor made integration of high-end peripherals and software development  for leading edge applications. We provide cost effective market research, design and production solutions from concept and prototyping through to manufacturing and licensing. Envent has commercialised designs that are being used throughout the world on a daily basis across a range of industries. Envent designed products combine

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the latest in design and manufacturing technologies, combined with the latest OEM hardware devices for integration where required. The result is a future proof solution with versatility and scalability for broad market appeal. We work closely with our clients from the outset to utilise the best ergonomic, aesthetic and functional parameters to provide a world class solution with distinct and sustainable competitive advantage. Having worked in the kiosk industry for the last 14 years, and seeing a need for more cost competitive options for our clients, we also offer a range of versatile sophisticated kiosks with wide ranging applications. Formats include free standing, wall mounted, desktop, indoor/outdoor with flexibility to incorporate wide ranging peripherals from card readers, cameras, external keyboards, license scanners, handsets, thermal & card printing, card dispensing and bar code scanning to name a few. We provide a range of software applications to deliver complete “Turnkey” Solutions. This offers significant benefits for support and service of our kiosks as our hardware and software staff work together to resolve any issues within a very short timeframe

Fujitsu Stand B9 Level 16, 15 Blue Street North Sydney NSW 2060 Phone: 02 9113 9200 Fax: email: Fujitsu Digital Media Solutions will showcase a dedicated range of digital media players, and a variety of displays including touch technology specifically designed for digital media environments,. Fujitsu will be showcasing latest technological advancements in digital media to empower organisations with the ability to better communicate their corporate messages and measure its effectiveness through digital signage. Fujitsu’s exhibition will display latest technical advancements in digital signage to solve a variety of communication challenges, delivering a unique customer experience and

influencing buying behaviour. Fujitsu will showcase the following technologies at Digital Signage World: - TELentice Enterprise New Release V6.0 - Mobile device communication and interaction - 3D display technology without glasses - Multi touch screen technology - Dual sided screen - In store music solution and various display technologies - Live customer scenarios across multiple industry sectors Fujitsu Digital Media Solutions has now become the Fujitsu global capital for providing end-to-end Digital Media Solutions, with its Centre of Excellence based at Fujitsu Docklands in Melbourne, Australia. The Digital Media Centre of Excellence provides real time customer service and an experiential environment to continue to evolve digital media investment and R&D. HP Stand B10 353 Burwood Highway Forest Hill VIC 3131 Phone: 1300 302 661 Fax: 03 8833 5901 email: HP Digital Signage Displays are part of an end-to-end solution that delivers high performance and worry-free longevity so businesses can focus on the bigger picture. These displays are designed to offer big, bold and beautiful views of graphics, text, video or advertisements that can be positioned horizontally or vertically in indoor environments such as: retail stores, malls, restaurants, theatres, airports, railway and bus terminals, stadiums, and stock exchanges. HP’s broad portfolio of flexible endto-end retail solutions now include digital signage solutions, touch enabled PCs and retail point-of-sale (RPOS) systems so business of all shapes and sizes can use one trusted vendor for simple, easy management and maximum impact. Count on the service, support and reliability of HP and its valued partners to help keep your business running smoothly. Come and see our stand to discover how HP is transforming the way you can do business

intel Stand B30 Level 17, 111 Pacific Highway North Sydney NSW 2060 Phone: 1300 363 018 Fax: +61 2 9937 5899 email:

Impact3D Pty Ltd Stand B36 Northcote Street St Leonards NSW 2065 Phone: 1300 685 485 Fax: email: Impact 3D provides unique high quality 3D digital displays that provide the viewer with a compelling 3D effect – without the need for 3D glasses. 3D is re-inventing the digital signage market, providing an outstanding opportunity to grab the attention of your target market and standout from the crowd. 3D digital displays capture people’s attention, hold that attention longer and leave a longer impression than regular 2D displays. This makes them ideal for attracting attention in high consumer traffic environments such as: Pubs & Clubs, Events & Expo’s, Retail and Point of Sale, Shopping Centres, Museums, and Exhibitions. In a world where consumers are bombarded with signage, 3D digital displays: create an unforgettable impression, increase brand awareness, stop consumers in their tracks. Any display however is only as good as the content it shows and Impact 3D has the people, skills and experience to produce exciting content for your digital display. We produce content for the 3D digital display and for regular 2D digital displays and can work with you from concept to creation, or with your creative agency to produce content from their brief. Give your messages real impact!


By enabling more content, mobility and capabilities than ever before, Intel gives you the advantage in a rapidly changing world. With advanced silicon, industry standard platforms and modular infrastructure, Intel can help you deliver a more compelling digital lifestyle. Intel, the world leader in silicon innovation, will demonstrate technologies, products and initiatives that will change the future of digital signage. InterCEL Stand 33 Glenvale Crescent Mulgrave

VIC 3170 Phone: 03 9239 2000 Fax: 03 9561 2614 email: InterCEL launches 3G Ethernet device Digital signs and public information displays can now display up to date information by using wireless communication. With high speeds now available on 3G networks, InterCEL has added an Ethernet router to their popular SAM series of GSM/3G Modems to provide primary or backup data services. With faster speeds now on offer, companies can enjoy data throughput speeds equal to ADSL and at the same time take advantage of reducing data costs, which gives an end user the choice of choosing wireless broadband over fixed line ADSL. The transport, finance, retail and leisure industries can now update their information display boards in real time. InterCEL’s wireless 3G Ethernet routers gives the flexibility to install display boards almost anywhere

and has opened up doors for new opportunities for Digital signage and Kiosks providers. InterCEL have specialised in remote data communications for well over 21 years, pioneering serial, Ethernet and USB solutions using GSM, GPRS and 3G (NextG) for a variety of applications, including smart metering, security, vending machines and Fleet management. The eSAM, InterCEL’s Ethernet 3G router has the full local support that applies to the SAM2 and SAM3 series of modems and is proving particularly popular in providing an Ethernet link for Digital Signage, Kiosks and other remote devices that benefit from reliable high upload and download links. Today, InterCEL, a proud Australian company has engineering, R&D, and manufacturing capability in Australia and Asia. We design and manufacture our own GSM, 3G/NextG modems and routers with an absolute commitment to quality, reliability and highly competitive pricing.

Isignpak Stand B47 PO Box 263 Berowra NSW 2081 Phone: 02 9457 6945 Fax: 02 9457 6444 email: iSignpak is an innovative company that offers flexible and easily managed digital signage solutions that can be updated in real-time via the existing computer network. This is achieved by integrating reliable fanless media

Digital Signage

players with the internationally renowned Wallflower dynamic digital signage management software, plus reliable commercial grade LCD screens, to bring you a complete digital signage solution designed for trouble-free 24/7 operation. Showcased at Digital Signage World is the iSignpak range of Ready-to-Go digital signage bundles suitable for single screen installations up to multi-screen networked deployments. In addition, iSignpak will be demonstrating the functionality of Wallflower via a live network feed between the screens on the stand. Free 30-Day Wallflower software trials are available at the show.

JVC Stand B3 104 Vanessa Street Kingsgrove NSW 2208 Phone: 1300 728 225 Fax: 02 9975 1368 email: JVC Professional exhibits the latest digital signage monitors including the Ultra-thin 32” LCD HD monitor, the GM-F series HD LCD monitor and the Flicker Free Passive 3D monitor. - Ultra Thin Full HD LCD Monitor: just 6.4mm at its thinnest point and weighing 5.7kg, the JVC LT-32WX50 has input terminals including HDMI, analogue-RGB, RS-232C, component/ composite, USB and SD/SDHC enable playback from bluray, PCs, digital photos and HD broadcasting. - Digital Signage Monitors GM-F series with high reliability designed for continuous operation. The excellent picture quality and performance is attributed to the full HD 1920 x 1080 pixel resolution, the panel brightness of 700cd/m2, and the wide viewing angle of 178 degrees. It has comprehensive system connectivity and networking with an array of signal inputs and includes a motion sensor. - 3D HD colour monitor is flicker-free and easy on the eyes using a circular polarisation system. - JVC Bluray player will be used featuring fast Boot-Up, HD Audio BitStream Output, HDMI 1080/24p

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Playback, and x.v.Colour/ Deep Colour. - The new JVC Professional Bluray and HDD Combo Desk with SD card slot. Share and archive your original HD content. Key Options Technology Stand B17 Suite 108, 250 Pitt St Sydney NSW 2000 Phone: 1300 721 769 Fax: 02 9475 0837 email: Key Options Technology is a professional services company focusing on Apple technology and systems integration. Key Options Technology is an Apple key partner with over 20 years of Apple system integration experience, and the number one choice for complex systems integration and iPhone/iPad development. Key Options Technology is also an Apple Authorised Training Centre. Key Options Technology is proud to be the Asia Pacific Systems Integration Partner for Direct Streams the premier company for In room entertainment and digital signage solutions based on Apple Technology. Direct Streams Signage, allows for the easy creation and display of high definition videos, slideshows, advertisement or event schedules to HD displays, via the Apple Mac Mini, with the ease of use of a graphical application, and the power of Apple Mac OSX. Direct Streams put the power of creating digital signage into the hands of the content creators, without the need for complex programming. KVM Stand B16 3 / 3 LaFayette Blvd Bibra Lake WA 6163 Phone: 1800 222 898 Fax: 08 9494 1070 email: KVM Australia is a specialist KVM technology company that imports and distributes KVM products from Adder technology, ICRON, and Raritan along with a range of OEM cables and accessories. We provide Australia wide coverage with Key resellers in all capital cities, along with sales and support to New Zealand. With over 10 years

experience providing KVM switching solutions and control for businesses of all sizes, our solutions provide true cross platform management. Solutions are operating system independent. The KVM experts will showcase the new AdderLink Infinity computer media distribution solution, which combines Adder’s expertise in spatially lossless video extension, USB true emulation and crisp audio distribution with all the advantages of an infinitely configurable and scalable IP network. AdderLink Infinity allows you to pick and choose media elements (video, audio and USB) from computers located anywhere on your network and present them either to a single receiver, or broadcast them to as many receivers as you wish. You can then hand over control of USB devices to anyone else on the network at the touch of a button, and collaborate with the benefit of digital video clarity. Alternately, you can use the system to switch back and forth between computers located anywhere on your network.

LG Stand 2 Wonderland Drive Eastern Creek NSW 2766 Phone: 1300 542 273 Fax: 02 8805 4201 LG Electronics Business Solutions Division is a leading business-to-business manufacturer, developing premium digital devices and solutions including LCD monitors, commercial displays and A/V accessories. Delivering on our commitment to innovation, LG Electronics recognise the importance of flat panel display technology to communicate, engage and entertain. With the growth of digital signage applications, interactive displays connect with today’s consumers more than ever before. With a broad range of displays, superior service, and technical experts who appreciate what makes each industry unique, LG understand the complexity involved with implementing and deploying a dynamic digital signage network. LG’s new digital signage solution Supersign is designed

to be flexible in any commercial environment to create stunning signage. We are a complete solutions provider. LG’s continued investment in the latest digital signage technologies is driven by the belief in its importance to the future of the commercial sector. Lymlive Stand B25 385 Parramatta Rd Leichhardt NSW 2040 Phone: 1800 773 054 Fax: 02 9564 3699 Why choose Lymlive for your Digital Signage Solutions? Lymlive provides expert consultation in all areas of digital signage from creative content creation to appropriate hardware and software selection to deployment. Lymlive offers the widest variety of choices to suit your digital signage requirements. You can contract a complete turnkey digital solution or choose only the elements that are best suited to your needs. Lymlive offers proprietary hardware, specifically designed and manufactured for your business. Lymlive offers expeditious installations by well-qualified installers. Lymlive makes management of your digital signage fast and easy with web based content management systems Let Lymlive show you how to create ‘The Visual Experience’. mdsPacific Stand B47 Suite 19, 33 Waterloo Road North Ryde NSW 2113 Phone: 02 9888 7715 Fax: 02 9888 7745 MDS Pacific provides Microsoft Windows Embedded OS and leadingedge embedded solutions such as Windows CE based applications, device drivers, flash player, development tools, etc. for specific platforms as well as system integration services, MDS Pacific was founded by its parent company, MDS Technology, a Microsoft Windows Embedded official distributor in Korea as well as the leader of embedded solution companies offering a comprehensive


set of leading edge embedded systems with over 1,000 customers in Korea including Samsung, LG, KT and SKT. MDS Technology through MDS Pacific extends the best Windows embedded services to customers in Australia and New Zealand. MDS Pacific is growing steadily and rapidly in the embedded market as an authorised distributor of Microsoft, Adobe and Citrix for Australia and New Zealand. With deep industry knowledge, MDS Pacific understands your complex requirements and will help you through every step of your projects so that you will meet your objectives and positively contribute to the growth of your business. The success of any project relies not only on sound technical knowledge and solid project methodology, but also a thorough appreciation of the commercial and practical factors under the “Time to market” catch phrase, which are crucial to the overall success of any company. Whether you are simply prototyping your device or about to go into mass production, MDS Pacific will collaborate with you to maximise your investment in the embedded market. Metra-Info Stand B34 L2, 4-10 Bridge St Pymble NSW 2073 Phone: 02 94 499 771 Fax: Metra, the international commercial subsidiary of the Meteorological Service of New Zealand Limited has evolved to become a world leader in weather forecasting products and services. Metra provides specialised graphics and weather data services for industry and media including digital signage. Our clients include the BBC, Channel 7 and Channel 9 in Australia, and a growing number of leading TV stations throughout Asia & Europe. Metra ensures millions of people around the world have access to information about the weather, through a suite of specialist software products & services, which interpret data and deliver relevant and accurate weather information to both national and international organisations. Metra’s dependable, high-quality forecasts and observational data


help customers make better business decisions. Whether it’s using weather data for risk management, more timely supply of data or better weather communication systems, Metra has developed value added solutions that keep customers completely ahead of the weather. In addition to supplying weather forecasting and observational data, Metra provides software products and services that interpret this data and deliver relevant, accurate and useful weather information to customers. Weatherscape Clip A fully integrated weather show delivered direct to the TV station readyfor-air. No hardware, no software, no fuss - simply movie files containing the latest weather information, sent everyday ready to play. Metra Weatherscape Clip is a fully integrated customised weather show and delivered ready-for-air. Weatherscape Clip provides an affordable, reliable world-leading weather show that is meteorologically correct and visually stimulating. Weatherscape Clip can deliver graphic images, or movie clips for use on web sites, mobile handsets and PDAs or television broadcast. The system produces weather shows that have been built and customised to the customer’s specifications, in terms of style and content. Weather shows are delivered via the internet at scheduled times. Delivered shows will have been prerendered only minutes earlier and contain the latest weather information and forecasts. MetroSpec Stand B18 25 Flinders Parade North Lakes QLD 4509 Phone: 07 3868 4255 Fax: 07 3868 4147 email: The MetroSpec trademark is manufactured by Metromatics. Innovators of custom built and off the shelf industrial, rugged and commercial sunlight readable LCD displays ranging from 10” – 65” in size for all types of projects and customer requirements such as passenger information displays, information kiosks, video walls, shopfront windows and various other applications.

On Display at the Digital Signage World Event will be our standard industrial 32”, 42” and 65” sunlight readable LCD Displays. These LCDs are IP65 Rated, with anti reflective glass, anti vandal features, low power consumption, standard high brightness ranging from 1250-1700 nits, and high response time with a wide viewing angle. Options include embedded CPU/media player/touch screen. The double vision will also be displayed. It is a twin 32” LCD that is portable and eye catching ideal for the retail/commercial industry. It is suitable for indoors or outdoors and contains a network enabled embedded PC to allow customers to control their sales message to their target audience by managing the content by schedule or display as required. Also on display will be the new “glasses” free – 3D LCD Technology. The real draw card is the brightness and clarity that this product provides making your images and advertisements in amazing 3D viewing look almost real just like you could reach out and grab them. Provides your audience with real wow factor. These are just some of the amazing digital signage products; we will have on display at our booth. NEC Stand B19 649 - 655 Springvale Road Mulgrave VIC 3170 Phone: 131 632 Fax: email: NEC is a leading provider of Digital Signage solutions with a unique ‘total solution’ offering including displays, management software, data projectors and network and display hardware. Our digital signage solutions have been implemented globally across hospitality, healthcare, education, travel and retail. Digital Signage is an electronic billboard system, used to present dynamic information electronically, on flat panel displays such as LCD, Plasma or Data Projectors. Wherever you need to advertise, educate or communicate to customers, consumers, staff, students or partners, digital signage is a fast, reliable and simple way to get your message across to your specific target audience.

Designed to replace and enhance traditional signage methods, whether billboard signs, printed material or static bulletin boards, digital signage is helping to merge the industries of advertising networks, point of purchase display merchandising and information signage. No matter what the industry, we all have a common goal; to capture and hold our audience’s attention. Digital signage solutions increase audience attention and retention of your message. Research studies have proven that not only is audience retention of a message much higher when it is displayed through Digital Signage, but it’s also that you will indeed increase sales and communicate more effectively with your target audience. From eye-catching advertisements and in-store promotions, to breaking news and announcements, up-to-theminute timetables and schedules. The possibilities and different environments that can benefit from an NEC Digital Signage solution are endless. NetComm Stand B15 2-6 Orion Rd Lane Cove NSW 2066 Phone: 02 9424 2070 Fax: 02 9424-2010 NetComm has been servicing Australian businesses, enterprises and government for over 27 years with leading broadband technologies. We specialise in commercial grade 3G (HSDPA/HSUPA) wireless broadband products and services that are designed for remote Machine 2 Machine (M2M) communication and business continuity (disaster recovery). Our wide range of rugged 3G products provides reliable data communication for any challenging application using a 3G network, such as Telstra’s Next G network. What places us ahead of the rest is our ability to not only provide integrated software that allow these 3G devices to be remotely managed, but also our ability to customise and design a device to meet your application and specific requirements. We are Australian owned and operated and our engineers, technical and sales support are here in Australia.

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Soanar Stand Level 1, 39 Hewish Rd. Croydon, VIC 3136 Phone: 1300 762 627 Fax: 03 9724 0878 email: Soanar is proudly a 100% privately owned company founded in 1963. Soanar has over 45 years of experience manufacturing and distributing electronic components, embedded systems and related products. Soanar will be showcasing some of our touch screen and digital signage components from the world’s foremost suppliers such as Elo Touchsystems, the global leader in touch technology and IEI Technologies, one of the largest Industrial PC manufacturers from Taiwan. Soanar will have experts in touch screens, digital signage hardware, kiosk manufacture and associated technologies on our stand for visitors to talk to. We will also be displaying for the first time in Australia the latest digital signage touch screens and all in one touch panel PCs from Elo. Soanar’s headquarters are in Melbourne and our warehouse and production workshop are located in Sydney. The ANZ service centre for Elo is operated by Soanar out of the Sydney workshop facility. Our team of over 150 staff operates from offices located throughout Australia, New Zealand, Singapore, Malaysia, Thailand, India, Hong Kong and China.

Sony Stand B11 33-39 Talavera Road North Ryde, NSW 2113 Phone: 1800 017 669 Fax: 02 9805 1175 productcategory/pro-proj-publicdisplay-digital-signage Sony as a brand is well known for its strong performance and reliability, as well as it’s innovation in design and technology. The display category has developed a solid reputation over many decades, delivering the best possible features and picture quality for both the consumer and commercial markets.

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Controlling both the hardware and the content, Sony Australia is proud to launch Ziris Professional Version 7 at Digital Signage World. This industry-leading digital signage solution for dynamic, multi-site networks allows instant content updates and sophisticated targeting schedules that play on stunning Sony high definition display screens. Sony’s current range of commercial grade LCD screens combine decades of expertise in delivering state-of-theart technology with a low total cost of ownership. Screen sizes range from 40 to 65”, all featuring 1080 full high definition resolution, high brightness, low power consumption and a three year commercial warranty. Sydney Opera House chose to have Sony commercial LCD screens combined with Sony’s Ziris digital signage software throughout its precinct, to highlight events and activities to visitors. In addition, over 300 Sony commercial LCD screens have been installed in Sydney Airport for use within the international terminal for advertising and displaying flight information.

Streaming media Stand B29 Level 3, 30 Alfred Street Milsons Point, NSW 2061 Phone: 02 9460 0877 Fax: 02 9460 0496 email: StreamingMedia will be demonstrating their iCon management and scheduling solution, which is a suite of software applications for Digital Signage/Kiosk media management and deployment. iCon provides multiuser access for operations and administration. The scheduling operator has media management control for previewing and scheduling content, initiating priority playlists, previewing playlists and live view of remote location playlist. Reports can be generated for each media asset. Network Administrator access enables the remote media players to be individually configured via the scheduler with dashboard showing network status and media player downtime report. iCon can be tailored to each client’s

unique requirements and delivered as a managed service by StreamingMedia including Help desk and field support or incorporated into an enterprise network.

Sumo Stand B26, B27 14-18 Cremorne Street Richmond, VIC 3121 Phone: 03 9429 4552 Fax: 03 9429 4553 email: The Sumo Visual Group’s core business is in printing, manufacturing & providing digital signage solutions. The Sumo Visual Group provides clients with a complete visual solutions centre for retail, events, building, architectural & commercial businesses. The Sumo Visual Group comprise of 3 divisions – Sumo Visual Solutions (Large format digital printing and project management), Sumo Signage & Displays (manufacturing of signage & components) and Sumo Vision (multimedia signage solutions). Sumo Vision will be showcased at Digital Signage World and attendees will be able to experience first hand how Sumo’s advanced digital signage network is operated with spectacular displays and demonstrations by our leading technology experts. Sumo Vision has pioneered innovations in digital signage and provides customers with state of the art hardware & software solutions. As an Australian owned and operated company, customers have the ability to customise content at a click of a button. Coupled with the in-house Sumo’s print & manufacturing facilities, the possibilities of utilising digital signage in a creative and tailored fashion is unrivalled in the Australian marketplace. With an Australia wide network of installers & technology experts, Sumo Vision is one stop you must make during the Expo.

TechMedia Stand B1 Unit 7, 65-75 Captain Cook Drive Taren Point, NSW 2229

Phone: 02 9526 7880 Fax: 02 9526 7881 email: TechMedia is the local Australian office for Scala, Inc. The Global leader in software for Digital Signage and Advertising Management. TechMedia has over 12 years experience in the Global Digital Signage market and provides a wide range of services to clients including: Training, Media players, Content Production & Channel Management. Scala5 is at the forefront of the high-impact medium of digital signage. Used for Retail TV, Electronic Billboards, Narrowcasting, Data casting, Digital In-Store Merchandising, Employee TV or Captive Audience Networks. Scala’s digital signage software creates, manages, and distributes content to networks of digital displays. Scala 5 is centrally managed and addressable for targeted information, entertainment, merchandising, and advertising. No matter what your needs, TechMedia Digital Systems, the leading Australian connected signage company, has the Digital Signage solution that will bring your digital signs to life!

Conference | 9 – 10 November 2010 Exhibition | 9 – 10 November 2010 SUNTEC S UNTE UN TEC CS Singapore i IInternational t ti l Convention & Exhibition Centre

Innovation and ROI for business, advertising and partners

The Digital Signage Evolution Coming to Singapore in November

Reach out to your consumers through a new innovation of Digital Signage! TouchScreen Solutions Stand B14 407/33 Lexington Drive Bella Vista, NSW 2153 Phone: 02 8814 7844 Fax: 02 8572 5214 email: TouchScreen Solutions specialises in the supply of touch screen monitors and kiosks and has a progressive, broad and exciting range of touch screen products including touch screen monitors, large format touch screen monitors and touch screen kiosks (standard and custom). TouchScreen Solutions specialises in assisting our clients source the best solution for their budget and technical requirements. Ask us about a 2009 rollout that has run for 1 million hours now without a single touch screen failure.


Digital Signage World Asia 2010 is an exhibition of the world’s leading solutions providers and an applicationsfocused conference. It is the only event that brings together end-users from all the key vertical markets, as well as the advertising industry.

Pre-register online to attend FREE seminars Visit For conference enquries, call Ya Ling at +65 6322 2771 or register online today!

Interested to exhibit at the show? If you are in the business of providing world-class digital signage service solutions, call Siew Wee at +65 6322 2758 or email to secure a booth now! Co-located with:

Media partner:

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Loudness Control... From Production to Transmission Only Linear Acoustic – the leader in television audio control and QC – has the solution every step of the way from content creation to transmission:

Removing the Vuvuzela A source of consternation for rights holders, some fans and future archivists, the Vuvuzela permeated every broadcast from this year’s FIFA World Soccer Cup in South Africa. Technological fixes for the sound of the monotone horn “instrument” were many and varied from location-based solutions to those in the broadcast chain and those at the point of reception. Audionamix, an audio restoration provider and research laboratory focused on the entertainment industry found what is called “a unique solution”. Specialising in sound separation, Audionamix focused on removing the sound of only the Vuvuzela and not “the joyous celebration of the crowd” by integrating its solution into the broadcasting pipeline. Audionamix CEO Olivier Attia said “We were watching the WorldCup with the rest of the world, and found our enjoyment of the experience hindered by the loud drone created by the blowing of thousands of the Vuvuzelas. Our Audionamix engineers

Production/Ingest: ITU-standard Loudness Metering and Correction with at-a-glance indication of current and program-length loudness. Upmixing to maintain surround field and center channel presence with perfect downmix compatibility.

immediately went into to the lab and emerged 48 hours later with a solution that removes the higher frequencies created by the festive instrument.” According to Audionamix, Vuvuzelas generate a single tone at a frequency of 230 Hz, roughly corresponding to a b-flat. Numerous vuvuzelas playing at the same time produce a constant droning. A first approach to removing this annoyance

would be to tune an equalizer to suppress the frequency bands roughly corresponding to the pitch of the vuvuzela. This method however, also greatly affects the comments and the crowd ambient sound. Audionamix focused on removing only the vuvuzela, as it would when separating music into stems for the entertainment industry. This solution can be integrated in the broadcasting pipeline thereby removing the annoying buzz before broadcasting the signal to the public. Leading French pay-TV channel CANAL+ was the first to integrate the Audionamix solution into its live transmissions of the FIFA World Cup. Cyril Linette, Sports Director of CANAL+ said: “We will now be transmitting the World Cup matches with most of the Vuvuzelas’ higher and intrusive frequencies removed.” Visit

can now remove the rumble, general background, whistles and camera noise from contaminated audio. DNS One is a superbly flexible, fully automated implementation of DNS designed specifically for Pro Tools users. It’s ideal for all studio environments, and especially for post-production for film, TV and video. Control of DNS One is via the dedicated DNS Control System software. More than just a GUI for DNS One, this RTAS plug-in for Pro Tools LE and HD systems runs on both Mac OS X and Windows, and allows you to control as many instances of DNS

One as your host system can support, plus up to 126 DNS2000s and/or DNS3000s. It is also fully integrated with Pro Tools’ automation and its hardware control surfaces such as the Icon, D-Control and D-Command. The DNS Control System is completely cross-compatible between DNS One, the DNS2000 and the DNS3000, so users can install DNS One alongside existing hardware units, creating sessions on one and later, if desired, recalling them on either of the others. Visit

In-plant: ITU Loudness Metering and Audio Monitoring, with flexible routing, switching, decoding and de-embedding. Transmission: Loudness Control and Metadata Management that stops listener complaints while maintaining “Hollywood approved” production values on the latest surround systems.

Get it Right in the Mix: Loudness Monitoring That’s Truly Useful Evolved from extensive field research during high-profile events, the new Linear Acoustic LQ-1000 Loudness Quality Monitor shows you everything you need to know to mix to the new recommended practices for loudness control. Think of it like an audio speedometer: one quick glance and you can get back to driving the mixing desk. With the LQ-1000, current loudness, target loudness and peak level are clearly indicated with an intuitive combination of large numbers, bargraph meters, and a loudness histogram. Color is used to display the loudness comfort zone: blue if too quiet, green to yellow within target and red if too loud.

CEDAR DNS One DNS One is a software-based dialogue noise suppressor. A Pro Tools plug-in that runs on both Mac OS X and Windows, it allows you to control hundreds of channels of DNS (software and hardware, in any mix you choose) from a single Pro Tools host. CEDAR’s DNS technology provides a “one-stop” solution instead of a host of processors such as low-pass filters, noise gates, dynamics processors, or processors developed from analogue encode/ decode noise reduction systems. With DNS, you

Get it Right on the Air: Television Audio Controlled AERO.air or in your transmission chain – just before the digital encoder – automatically monitors loudness range, adjusting it to keep the audio comfortable for the viewers at home, not too loud, not too soft. It prevents commercials from blasting out of the set, keeping you legal. And AERO provides seamless and automatic upmixing of local plant audio from stereo to surround so your transitions from network to local don’t collapse the sound field or your viewer’s interest. Both AERO.air and offer optional HD/SD-SDI support and integral Dolby® Digital (AC-3) encoding. AERO.air – fully-featured for the major local station or cable/satellite network.

Compact Mixer Soundcraft has added to its Vi Series with the release of the new Vi1 console. The smaller, lower-priced desk is a complete standalone console package with 32 channels of analogue input to 27 analogue outputs, plus 6 digital inputs, 4 Stereo FX Returns and 6 digital outputs in one chassis. Input to mix capacity is 46chs, but by adding a stagebox (compatible with the existing Vi racks), simultaneous channel count rises to 64. Channels are routable to 24 multifunction busses, plus LR and Mono Mix busses. Up to 8 of the busses can be configured as Matrix mixes, each with up

60 Audio

to 16 sources. The metre wide surface includes 16 motorised channel faders with fixed and userdefinable layers, 8 output/VCA faders and 2 master faders.

A new Widescreen Vistonics interface displays all parameters for 16 channels side by side, on a single 22” Vistonics touch screen. The upper half of the screen handles the Output section control as well as Cue List or Menu displays. Parameter control is via two rows of 16 rotary encoders. The Vi1 inherits many of the facilities of its larger siblings, including Soundcraft FaderGlow, 4 stereo Lexicon effects engines, and BSS Audio graphic EQs on all output busses. The desk is compatible with Vi4 and Vi6 show files through the Virtual Vi offline editor, which is available as a free download from www.soundcraft. com Visit

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Videocraft Takes RTS Intercom for Ambience Magna Systems and Engineering has supplied a Zeus III Digital Intercom Matrix and keypanels for a major studio build undertaken by Videocraft on behalf of Ambience Entertainment. As Magna Systems Product Specialist Lucas Bohm explains, “Videocraft approached us with a comms requirement for a major custom studio they were building for Ambience Entertainment at Fox Studios. It was a significant project with a very tight timeframe and limited space. After initial discussions we suggested the Zeus III digital intercom matrix and KP32 and KP12 keypanels. Zeus III is the next generation of condensed intercom system units and has 32 channels IN/OUT and two configurable party-line interface channels. Its compact size is perfect for environments with limited space. With the addition of Ethernet, the Zeus III can be configured from virtually anywhere on the network using AZedit Intercom software. Alternatively, the Zeus III can be directly connected to AZedit through the use of the USB connector on the front panel. The system has 32 standard RJ45 connectors making it easier to connect the intercom system with audio lines and keypanels by keeping the RTS wiring scheme.” The system supplied by Magna to Videocraft

included an allowance for ten panels in total in addition to wireless floor manager comms, wireless IFB for talent and standard wired camera comms. Bohm added, “The matrix is fully programmable and can be easily added to as required. RTS comms are widely appreciated as the industry standard and the Zeus III digital matrix furthers cements that status.” In addition to the Zeus III matrix Magna Systems supplied the popular RTS Telex KP12 and KP32 keypanels. The KP-12 modular series of keypanels represent more compact, fully programmable user

stations. Based on a common set of internal modules the KP-12 series have a set of very powerful features, which make them attractive in mobile applications and in other situations where space is at a premium. The KP-32 keypanel has 32 lever keys: 30 keys are for intercom talk/listen assignment; one key is for call waiting response; and one key is for headset/ microphone/programme selection and volume setup. The KP-32 combines all of the programmable features of the KP-12 keypanel and adds significant other features such as digital signal processing and Just add console • Meet binaural headset operation with left/right assignment PowerStation™, the new, self-contained console of audio signals. The KP-32 also utilises large, superengine that’s over-engineered to ensure years bright, long-life fluorescent displays with adjustable of reliable, trouble-free service. Setup couldn’t brightness control, making it suitable for all types of PowerStation needs one cable to Just addbe easier: console • just Meet Just add console • Meet ambient lighting from direct sunlight to darkness. connectPowerStation™, to an Element™ mixer.self-contained With over 1,000 the new, console PowerStation™, the new, self-contained console Videocraft NSW State Manager Andy Liell said, already engine installed, Element is rapidly tobecoming that’s over-engineered ensure years “We had only three weeks to build an entire studioengine that’s over-engineered to ensure years radio’s most popular mixing desk. of reliable, trouble-free service. Setup couldn’t for Ambience so all of our suppliers really had toof reliable, trouble-freebeservice. easier: PowerStation needs just one cable to Setup couldn’t pitch in. Magna Systems were very helpful in lending an Element™ mixer. With over 1,000 be easier: PowerStation connect needs tojust one cable to already installed, Element rapidly audio becoming us a comms system whilst they prepared the Zeus III Lots of I/O • is Built-in connect to an Element™radio’s mixer. With over mostsetup popular mixing1,000 desk. and then helping us configure it on site. The system is connections make simple. is rapidly becoming excellent and has been working very well indeed.” already installed, • Element Two Mic inputs with selectable Phantom power studio-performance preamps. Visit and http:// radio’s most popularand mixing desk. Lots of I/O • Built-in audio • Four analog inputs and six outputs with

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TV5 Balances Audio with Jünger Philippines-based television network Associated Broadcasting Company (TV5) has installed Jünger Audio’s Level Magic technology to balance the audio transmissions it is sending to various cable operators throughout the country. Currently owned by MediaQuest Holdings Inc., a subsidiary of Philippine Long Distance Telephone Company, TV5 has recently undergone a complete re-branding which has resulted in a substantially increased audience share. It now has more than 11% of the market, making it the third largest station in the Philippines. TV5’s main facilities and transmitter are located in Quezon City, from where it delivers locally produced news, public affairs and entertainment programs

throughout the country. The network is aiming to expand dramatically over the next year to cover more Filipino viewers, not only in the country but also the Filipino communities in the Middle East, United States and Europe. Although most of TV5’s output goes through terrestrial transmission, the broadcaster also transmits through different cable operators in the country, with several relay stations in different major cities in the archipelago. In order to level out these audio transmissions, TV5’s engineers specified a Jünger Audio C8000 Level Magic system, which was supplied by Conversance Systems Network Solutions Inc., via Jünger Audio Asia. The system incorporates Jünger Audio’s

Sennheiser Mourns Founder Late during the evening of 17 May 2010, only a few days after his 98th birthday, Prof. Dr.-Ing. Fritz Sennheiser, audio pioneer and founder of today’s Sennheiser electronic GmbH & Co. KG, passed away. The audio industry has lost a huge figure, not only in terms of his technical expertise but also in terms of his humanity. Through his company Prof. Dr. Fritz Sennheiser had a crucial influence on the development of sound transmission technolo-gies and was instrumental in forging many ground-breaking developments in electro-acoustics and transmission technologies.

62 Audio

Under his guidance the first shotgun microphones and open headphones were created and he oversaw important developments in wireless radio and infrared transmission. It was completely natural for Fritz Sennheiser to give his developers the “creative and technical freedom” they required. His humanity also shone through when – considering the significant workload involved in running an expanding company – he took time to share his knowledge with students, inspiring them with an enthusiasm for audio technology. In 1982 he retired from the management of the company, handing over to his son, Prof. Dr. sc.

Lots of headphones I/O • monitors, Built-in audio cetera. • Four and analog inputsetand six outputs Two AES/EBU inputs and outputs connections make •setup simple. 24-bit, 256x oversampling A/D

• adaptive loudness algorithm. This uses a Multi-Loop dynamic range control principle where slow changes (AGC), fast changes (Transient processing) and Look• Ahead peak limiting are handled simultaneously, thus offering level management with exceptionally high audio quality and without coloration, pumping, breathing, distortion or modulation effects. The • C8000 ensemble of frames, I/O interfaces and DSPs can be tailored to suit the different processing requirements of individual broadcasters. In TV5’s• case the system incorporates an HD-SDI interface, which is specifically aimed at satellite, IPTV or cable re-broadcasters who are struggling with sync and • loudness issues when re- broadcasting incoming signals. Visit


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Distributed by AVC Group Tel.: 1-800-631-728 Email:


Report-IT Live Wireless IP Audio For iPhone Tieline Technology’s Report-IT Live is a professional wireless IP codec for transmitting live, broadcast quality, low delay audio to a Tieline IP audio codec in the studio over 3G cellular broadband or WiFi. Billed as the world’s first iPhone IP audio codec application for newsgathering, the Report-IT Live software application delivers the lowest-cost portable wireless IP audio codec solution on the market today. By downloading the Report-IT Live app from the iTunes App Store users can turn iPhones into an IP audio codec with the ability to broadcast live and record broadcasts on the iPhone at the same time to keep a copy of the live report. - record an interview or report offline and then go live on air later. Users can also report live and play grabs from any recorded interview while on air. - conduct an interview off-line and store the report for forwarding later. Audio files can be forwarded in real time to a Tieline codec in the studio for recording, or uploaded via FTP to a news server with no codec required in the studio. Hardware Dock Tieline has also designed and built the palm size Report-IT Live hardware Dock (sold separately) to connect broadcast quality microphones and headphones and better manage audio levels. Visit Report-IT-Live


New JBL AE Series For Permanent Installations JBL have expanded its AE range by introducing nine new models of loudspeakers designed for permanent installations. These nine new high output, lightweight AM7000 Series models include: the AM7212/64, AM7212/66, AM7212/95, AM7212/00, AM7212/26, AM7215/64, AM7215/66, AM7215/95 and AM7215/26. These new 2-way, full-range systems add flexibility to integrators’ design capabilities by providing two new horn coverage patterns, 60°x60° and 120°x60°. The group includes five 12-inch, 2-way models and four 15-inch, 2-way models. All models utilise JBL’s patented Differential Drive dual 3-inch voice coil and dual gap woofers. The high-frequency section utilises the new 1.5inch exit, 3-inch diaphragm 2432H compression driver. All models utilise large mouth rotatable Progressive Transition waveguides for precise directivity control. These rotatable waveguides allow the loudspeaker to be used in either the vertical or horizontal orientation maintaining the intended horn coverage pattern. As with all AE Series loudspeakers, these

models are constructed with multi-ply birch and are finished in JBL’s rugged DuraFlex coating. Each trapezoid enclosure is heavily braced to maximise low-frequency performance, is fitted with fifteen M10 threaded attachment points, and utilises a 14-gauge steel grille internally lined with acoustically transparent foam to provide additional driver protection and giving a professional appearance. Input cups are fitted with screw terminals and a Neutrik NL4 connector.  All nine models utilise a sophisticated high-slope passive crossover network designed to provide seamless transitions from low to high frequency and minimise band overlap. Well-controlled offaxis response enhances array ability. Each model is shipped in its passive configuration and is userconfigurable for bi-amplification.  To coincide with the release of the new models, JBL have released an updated version of the AE series array guide. This guide is designed to provide building blocks to plan, design and construct arrays that will offer exceptional coverage in a wide range of room sizes and applications.  Visit or

Polling in Palestine Polling in Palestine AUDIO router & CONTROL software

Tonelux Tilt EQ Plug-In Softube is shipping the Tonelux Tilt for native (VST/ AU/RTAS) and TDM formats. The Tonelux Tilt is available at the Softube web shop and authorized Softube dealers. The Tilt knob rebalances the whole sound of a track with just one twist of a knob, going from a bright and shimmering top to a warm and wide low-end. It’s a fast and easy way of making a track sit better in a mix or to make it “warmer” or “cooler”, it’s also perfect in a live situation where you need to tweak the whole mix to adjust for ear fatigue. The Tilt Plug-in is a joint development effort between Tonelux designer Paul Wolff and Softube, bringing the famous Tonelux sound to the digital world. The innovative Tilt design was first featured on the Tonelux MP1a discrete mic preamp module. The Tilt plug-in features not only the original Tilt design but also adds a couple of new features. A special “Live” version of the Tilt plug-in is included which is optimized for the Digidesign VENUE system and contains features requested by live sound engineers. The Tilt also includes modeling of the transformer found in the MP1a mic preamp, the transformer adds a subtle distortion for bass frequencies which fattens up the low end of a track. A fully functional 20 day demo can be downloaded from

64 Audio

>> >> Penta 725 compact modular audio router NTP Technology has released two new additions to its range of digital audio routers and control software - the Penta 725 compact modular audio router and RCCoreV3 configuration-andcontrol software. The Penta 725 is a new-generation compact modular audio router designed for sound recording studios, post-production facilities and mobile production vehicles, as well as television and radio broadcasting. Its compactness form factor will be appreciated by system integrators and users seeking maximum space-efficiency. Accommodating up to 384 x 384 crosspoints in a compact 1 U 19 inch chassis, the Penta 725 has 64 AES3 stereo and four MADI inputs/ outputs which can be accessed for interfacing digital audio sources. Controllable via TCP/IP or front-panel navigation keys, the Penta 725 can house a variety of software modules. Two high-speed bi-directional links are included for connection to NTP 625 or additional Penta 725 systems. An AES3 monitor output is provided for

input and output monitoring. NTP’s RCCore software allows configuration, control and supervision of all router modules in an NTP audio signal distribution system. RCCoreV3 can be used as a stand-alone controller within the NTP 635-300 router or run from standard PC hardware. It provides highly efficient control of the router’s dual-backbone interface and supports the double-LAN interface on 625-800 frames. RCCoreV3 also forms a communication interface to the NTP VMC and BLISS control options and to third-party communication protocols. Features include remote access and log-in at expert-user level for system set-up, maintenance and database management. Secure access is possible via Virtual Private Network. A retro-compatible plug-and-play database can be held on the active controller and on standby controllers. The NTP Penta 725 compact modular audio router and RCCoreV3 control application are available now. Vitist


RADIO Automotive Industry Takes a Digital Drive Commercial Radio Australia (CRA) recently took a group of leading automotive industry executives in Sydney and Melbourne for a test drive to experience DAB+ digital radio as part of an automotive industry digital radio workshop. Workshops provided an update on DAB+ digital radio internationally, details of the signal coverage in the five state capitals, plans for the regional rollout, a session on automotive receivers and getting the best installation for mobile reception, and information on the enhanced traffic and travel services possible with DAB+. “Getting DAB+ digital radio into cars is a priority and we want to work closely with the automotive sector to provide them with the most up-to-date information and understand their requirements,” said Joan Warner chief executive officer of Commercial Radio Australia. While the majority of radio listening is still in the home (49%), in car listening continues to grow each year with 2009 Nielson ratings figures showing 32% of radio listening occurs in cars. Representatives from Land Rover, Jaguar, Volvo, Subaru, Volkswagen, Audi, Mazda, Mitsubishi, Nissan, Skoda, Chrysler, GM Holden and Ford attended the workshops. A vehicle equipped with the Pure Highway DAB+ in-car adaptor was used on the test drives to illustrate the quality of the DAB+ signal coverage and the increase choice in stations with digital radio. A number of DAB+ antennas currently on the market were also displayed. Visit

Community Radio Studies Playout Systems First there was vinyl, then there were CD’s and now there are on-air playout systems using the PC. Radio stations rely on playout and music scheduling systems to play stings, jingles, sponsorship announcements, music and talk content at the click of a button. To improve understanding of on-air playout systems available for community broadcasters, the Community Broadcasting Foundation (CBF) has funded a AUD$13,000 grant to Christian Media Australia (CMA) for a Playout Systems Study. “CMA does a very good job in developing online technologies,” said CBF Grants Administrator Jon King. “This particular study has been funded by the CBOnline development grants which are available to assist the development of innovate online technologies and resources.” The playout systems project aims to present a range of products from ‘high end’ to ‘freeware’ on a

new website together with ‘how to choose’ articles, product features reviews, peer reports, and free downloads. CMA’s Neil Brown, who heads the project, says “the upshot is that there will be a website with a combination of comparisons and reviews to provide an unbiased objective opinion of on-air playout systems in use by different types of community radio stations”. This means like minded stations with similar needs can purchase and share the same software. “One aspect of the survey is to build enough information to help stations investigate the systems so that they can see what other stations in the same boat are using,” says Mr Brown. Christian Media Australia is calling for community station participation to help their research for the new website. Visit

Austereo Launches User-Generated Radio The Austereo Network has put its resources behind U20, a new “Listener Generated” digital radio station available in Sydney, Melbourne, Brisbane, Adelaide and Perth. Designed for an audience of 20 years of age or under, the station enables listeners to create and upload their own hour-long radio programmes for broadcast. With just a computer and microphone, potential producers simply sign up for a U20 account; pick music to play; record their talk breaks; and upload talk breaks and song list. Users pick 10 songs from the station’s song list and record five talk breaks. The station website features a list of tips for budding producers and links to Audacity, a free, open source software package for recording and editing sounds. Once material is uploaded it is compiled into a programme for broadcast. Visit

Omnia Founder for National Radio Conference Omnia Audio president and founder Frank Foti is bringing his wealth of knowledge Down Under for a presentation at the Commercial Radio Australia National Radio Conference, October 15-16, in Melbourne, where he will present the paper “CLEANER… Yet Still Loud!” discussing processinginduced inter-modulation distortion and the research that led to development of the Omnia.11 processor. Omnia, a Telos company, is known for its digital audio signal processing expertise, including audio processors for FM, AM, HD Radio/DAB, Internet streaming and audio production. “Processing for radio has been my passion since my days as chief at New York’s groundbreaking Z-100,” says Frank Foti. “I look forward to talking about our work to improve the sound of radio without sacrificing loudness, and showing off the new


Omnia.11 FM.” The Omnia.11’s AGCs, compressors and limiters employ Chameleon Technology that transparently analyses music in real time and adjusts internal parameters for optimum performance across a broad range of material. A new ‘Density Detector’, a major aspect of the new technology, enables the system to properly handle hyper-compressed content, as the Density Detector keeps Omnia.11 operating on-target, at all times. Its Ultra-LoIMD Multiband Limiter System, coupled with smart gain reduction algorithms, enables the limiters to sound transparent and natural. All AGC and limiting algorithms employ an auto-acceleration/deceleration mechanism, which tunes out perceptible inter-modulation distortion. The attack/release functions adjust themselves based

upon content density. This method analyses the audio content in both the amplitude and frequency domain, and then adapts the timing networks – on the fly – to transparently control the signal, without the control Frank Foti President and being heard. Founder of Omnia Audio. For information on Omnia Audio, visit www.omniaaudio. com or For National Radio Conference details, visit

Radio 65


New Digital Radio System from Factum

Community Radio in PNG

Factum Electronics, the supplier of equipment for mobile digital multimedia broadcasting, has announced the launch of its new digital radio system, the Factum DAB System 6.0. The new release is designed to support broadcasters’ and operators’ future growth plans with respect to new services, applications, revenue opportunities, network design, and operation and maintenance.

By Ron Ehrke* The Baptist Union of Papua New Guinea (BUPNG) sponsored the establishment of Community Radio Stations (CRS) at Tekin, Sandaun Province in 2004 and Kompiam, Enga Province in 2007. BUPNG contracted me to establish these CRS. I also provide ongoing support to ensure their sustainability, technically. It’s very important when establishing these CRS, to provide training in radio program presentation to local people recruited as the CRS announcers. Basic presentation and operational training was provided when each station was commissioned. This was subsequently followed by more training on ‘the basics’, together with more advanced training, to assist announcers in presentation of radio programs that will assist in education and development needs of people in the Kompiam and Tekin communities. A simple analogue radio studio is equipped with microphones, cassette machines and CD players, sources of audio that are controlled and mixed together through a simple radio ‘panel’. All of this equipment is used to feed audio to low-powered FM transmitters (100 watts at Kompiam CRS and 50 watts at a nearby repeater station) to broadcast radio programs to 50,000 people living in surrounding communities – in PNG highland country that is very mountainous and presents significant challenges for FM radio broadcasts. Power to the studio and transmission equipment is provided by solar systems installed as an important component of the CRS technical infrastructure. People living in these communities do not receive any other radio broadcasts from anywhere and therefore Kompiam CRS is a very important ‘tool’ to be used for education and community development of the people living in these communities. Just prior to commissioning of Kompiam CRS in 2007, two specialist radio trainers from Australian Film, Television and Radio School (AFTRS based in Sydney) provided the initial presentation training. In June 2010, specialist radio trainers Melanie Withnall and Pepita Conlon (also through AFTRS) delivered 5 days of training to 10 announcers from Kompiam CRS and 5 announcers from Tekin CRS. Most of the Kompiam group were new recruits who had not yet ‘worked’ in the radio studio while 4 of the 5 Tekin group were relatively new recruits (although two of them had presented radio programs in their studio for 3 months).


Melanie and Pepita provided ‘classroom’ training in the basic concepts of radio broadcasting, asking questions of the announcers, and discussing, basic

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Factum has drawn on input from its global user base which has enabled a thorough assessment of existing and upcoming industry requirements whilst ensuring new system features stay fully standardscompliant. The new Factum DAB System 6.0 release features inherent support for: • 5.1 surround sound • SW/HW separation flexibility

• • • •

Emergency insert Local insert/ Re- multiplexing Cloud Computing/ Virtualization EDI Additionally, Factum DAB System 6.0 includes a new re-engineered multimedia interface for a simplified and fully integrated management of broadcasted data services. Visit

EBU Launches Media Sharing for Radio The remote settlements of Tekin, Sandaun Province [pink pin] and Kompiam, Enga Province, Papua New Guinea [purple pin].

Polling in Palestine Polling in Palestine concepts such as what is radio (and good radio), who is listening, what do people need from radio, where do people listen. They also Introduced the ‘4P’s’ of radio voice presentation – Pitch, Pace, Pause, Projection – teaching trainee announcers that ‘sitting in front of a microphone in a radio studio was not just about simply talking and playing music’. Another session concentrated on the importance of preparation before presenting a ‘radio show’ and before interviewing a guest in the studio. Announcers were introduced to the basics of announcing and studio mixer panel and equipment operations in the studio to improve and develop their skills in presenting ‘radio shows’ and they were each given the opportunity to ‘try out on the panel’. Advanced training covered radio presentation in three areas: * Daily News bulletins containing local, Provincial, National and International stories * Community Service Announcements (CSA’s) on a wide range of time-based and non time-based topics * Radio Plays using scripts from the ‘Developing Countries Farm Radio Network’ website (Canadian organization) and also using short plays written by some of the announcers. Introduction of regular news bulletins into Kompiam and Tekin program schedules was a major outcome from this training. As a new concept for most announcers, training in news discussed ‘what is news’ and the ‘ground-rules’ for writing news stories and then practising news bulletin preparation from stories obtained from a variety of different sources. These included local (information gleaned from reliable local sources) Provincial, National and International news from PNG newspapers (Post Courier and The National). Training in writing and presenting CSA’s had all the announcers contributing to a ‘file’ of program material that will be a source of information and education for

people living in the communities served by Kompiam and Tekin radio stations. Announcers were also given practice in reading radio plays ‘on-air’ and also writing radio plays that will be another source for education of the people in presentation styles that should be interesting, entertaining and sometimes humorous. The final session of training provided opportunity for all announcers to demonstrate newly learned skills as, in groups of five, they presented or participated in a 30-minute ‘radio show’ that included a news bulletin, CSA’s and a radio play, interspersed with music. The trainers concluded that announcers’ performance in presenting their 30-minute radio shows exceeded their expectations and that they were now ready to ‘go on air’ and present good radio to the people living in their respective communities. The 5-day CRS training delivered by Melanie and Pepita at Kompiam has provided a sound basis for 15 announcers to present good radio to their respective communities in the future. It will enable the announcers at Kompiam and Tekin to communicate through radio, in new and varied ways, to people in their communities. Besides simply playing music, the addition of news, CSA’s and radio plays will present informative, interesting and entertaining radio. And through regular interviews on radio with specialists in health, education, agriculture and so on, Kompiam and Tekin radio stations will become a valuable source of information for education and development of people living in these remote areas of PNG. * An engineer for some 30 years with the Australian Broadcasting Corporation, Ron Ehrke heads Alpha Broadcast Services International, a consultancy aimed at assisting community radio projects in developing countries. He can be reached via


A newly introduced platform developed by the European Broadcasting Union allows Members to share multimedia content for their websites and visual radio services. In the era of transmedia storytelling, the Euroradio Multimedia Exchange System (Euroradio MES) is set to revolutionise the way that Members share and obtain content for their radio services. The EBU says that while radio was in the past an audio-only medium, the internet and mobile platforms now play such an important role in the way people listen, that it’s fast becoming an expectation that public

service media organizations provide rich multimedia content in support of their broadcast output. Many listeners to a radio station’s news bulletin will habitually turn to the website expecting to find the video and images that make up the ‘DVD extras’ of radio news today. Sourcing these elements, however, is not straightforward for journalists. Complex rules governing copyright, high fees charged by photo agencies and the huge range of sources available mean that broadcasters are often unable to find all the content that their audiences expect.

Addressing this challenge, the Euroradio MES aims to be a ‘one-stop-shop’ bringing together rightscleared media from EBU Members and partner organizations including UN Multimedia and trusted freelance journalists across the world. The Euroradio MES is the newest member of a family of exchange services offered by EBU Radio, including the Euroradio News Exchange - which supplies radio journalists across Europe with audio clips from major events – and the Eurosonic and Euroclassic concert databases. Visit

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New WorldCast Astral Audio Codec

Ariane Sequel Digital Audio Leveller

Mobile Field Strength Mapping for DAB+/DVB

The new WorldCast Astral is a rock-solid IP STL platform offering a full complement of professional audio algorithms including Eapt-X, Linear, MPEG L3, MPEG L2, G.711 and G.722. Packed full of innovative new features such as streaming audio back-up and broadcast facility management, the WorldCast Astral is a key device for every studio and transmitter site.

The second-generation Ariane Sequel features TransLanTech’s signature sum and difference processing and can also work in conventional left and right stereo with adjustable coupling between channels, as well as in dual channel mono mode. It’s the unique multiband, release gated, ‘windowing’ feed-forward RMS control that sets the Ariane in a class by itself. It just makes things sound better!

The NAVIGATOR DAB+ has been designed to perform mobile measurement campaigns for DAB+ networks. This handheld equipment can be used in a vehicle, or on foot (indoor or outdoor). The campaign can be dedicated to a single channel (frequency) or for multiple channels at the same time.

Don’t hesitate to contact OnAir Solutions with your enquiry BACK TO CONTENTS PAGE

Phone +61 2 8882 7766


Radio 67

If money is no object, this console is for you.


Automating Emergency Alerts Digital Alert Systems (DAS), a division of Monroe Electronics and provider of enhanced emergency alert systems (EAS), has partnered with WideOrbit, the provider of business management software for media companies. Together, the two companies have tightly integrated Digital Alert Systems’ flagship DASDEC-II EAS platform with WideOrbit’s WO Automation for Radio. The pairing of the two systems is designed to streamline operations, prevent emergency alert “stepon” insertion over advertiser material and produce a more polished and sophisticated on-air product. The software integration between DASDEC-II and WO Automation for Radio allows for better deployment of emergency alerts, with streamlined communication between the systems that allow radio broadcasters to automatically schedule alerts to play to air at an appropriate time.

WideOrbit’s WO Automation for Radio, formerly Google Radio Automation, now has Leader and Follower functionality, which allows two or more radio stations to share common programming like music, but break apart for independent commercial breaks or longer segments. All stations can be run from one computer, separate computers, or computers in different time zones, delivering flexibility and scalability for broadcasters running multiple stations from a single location. WO Automation for Radio 2.0 also delivers seamless integration with

(It’s also for those who live in the real world.) WideOrbit’s WO Traffic for an unequaled end-to-end radio solution. Ready to go straight from the box, the DASDECII emergency messaging platform is an IP-based, CAP-compatible digital EAS encoder/decoder. The system includes a standard browser-based interface for remote monitoring and control, up to four Ethernet ports for multiple access points within a station, integrated support for MPEG-2 or MPEG-4 output, and support for a broad range of interface protocols and third-party products, as well as complete FCCcompliance logging within the system’s non-volatile memory or network storage. DASDEC-II is available in a variety of configurations, ranging from low-cost, decoder-only set-ups, to sophisticated multichannel centralcasting messaging requirements. Visit and www.

“HD Radio” Attracts European Interest A resurgence of European interest in the USdeveloped digital “HD Radio” standard is underway with a number of Central and Eastern European countries conducting trials of the technology despite the proliferation of DAB and DAB+ networks. The latest to trial HD Radio is 2M Prima Telecom, an operator of television and radio stations in Romania and reseller of broadcast transmission equipment, which recently hosted an event in Bucharest, Romania to commemorate the launch of HD Radio Technology on Radio Guerrilla, 94.8 in Bucharest. The event was co-sponsored by Harris Corporation’s Broadcast Communications Division and the European HD Radio Alliance

Polling in Palestine Polling in Palestine

(EHDRA) and drew attendees from the National Authority for Communications Administration and Regulation (ANCOM), the National Council of TV and Radio Broadcasting (CNA), the Radio and TV Broadcasting Association (ACD) and numerous broadcasters. “HD Radio Technology offers tremendous benefits for Romania and throughout Europe,” said George Pletea, Radio Manager for 2M Prima Telecom and organizer of the event. “We were very satisfied with the initial tests on our station in Baia Mare and are impressed with the technology’s ability to add additional program channels as is being done on 94.8 with the addition of two ‘multicast’ channels.” According to Andrea Sentinelli, General Director of EHDRA, “The interest in HD Radio Technology

and the benefits it offers has been increasing dramatically in Europe and these trials will further highlight its suitability as a solution for the digitization of radio.” The European HD Radio Alliance recently held its second General Assembly in Rotkreuz, Switzerland. The meeting was hosted by Radio Sunshine, a radio group which has utilized HD Radio Technology since 2006. In addition to electing a new executive committee, participants heard briefings on HD Radio operations in Romania, Switzerland and Ukraine, and plans to adopt the technology later in 2010 by a group of private Swiss broadcasters. Visit

Audio Archive Management NOA Audio Solutions has released mediARC 1.5, which adds numerous upgrades to this audio archive management system, including expedited cataloging, a more user-friendly interface, upgraded responsiveness, and better security. Specific new features include a language manager so that users can customize the interface to their preferred language, full Unicode support for the metadata side, and enhanced cataloging that facilitates bulk and consolidation updates. mediARC 1.5 is shipping now and is offered free of charge to current users of mediArc with service contracts. NOA mediARC combines precisely targeted metadata association and a powerful workflow solution to enable successful storage, distribution, and

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repurposing (including transcoding) of media content. Enhanced search support within NOA mediARC 1.5 includes the ability to search common fields across multiple categories; expanded support for drag-anddrop operations, including the ability to copy a group of links quickly and all at once; faster form response


iQ™. The brilliant new IP-Audio console from Axia.

and refresh mechanisms; and a GUI interface that is easier to use and understand. A new linking clipboard with multiple tabs — including a local store/recall option — allows users to define the most common metadata editing actions and gives them the ability to drag and drop items to the item tree to speed cataloging. More upgrades include improved sorting of media objects for browsing; more detailed configuration of lookup-values categories, including added security; updated support for cancelable searches; and an extended ability to browse and search within flows, including the option to search according to processing tasks. Visit



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© 2010 TLS Corp. Axia and iQ are trademarks of TLS Corp. All rights reserved.




Oz Freeview Transmits EPG


First Australian Switch-Off for Analogue TV The Minister for Broadband, Communications and the Digital Economy Senator Stephen Conroy has presided over the historic commencement of digitalonly television in Australia. At 9am, Wednesday June 30, 2010, analogue television in Mildura/Sunraysia ceased broadcasting, making the region the first in Australia to switch to digital-only television under the Government’s Digital Switchover timetable. “The switch to digital-only television in Mildura/ Sunraysia is an historic day for Australia,” Senator Conroy said. “People in Mildura/Sunraysia have today moved from having some of the worst television reception and the most limited choice of channels, to leading Australia in the move to 16 or more channels of clear pictures and crisp sound.” The Government’s Digital Tracker survey showed virtually all households in the region had made the switch to digital and Senator Conroy said he was proud of the work done to ensure residents were prepared. “Representatives of the Digital Switchover Taskforce have been out in force in Mildura/Sunraysia over the last few weeks to ensure that all possible help is given to the local community,” Senator Conroy said. “Over 2,500 households have been helped to convert to digital TV under the Government’s Household

>> >> Michael Hayward (Shepparton District Team Leader) turns off the SBS Sunraysia analogue TV service.

Assistance Scheme, and the Digital Switchover Liaison Officer, Kellie Boyce, has done a fantastic job making sure people have been given all the information and assistance they have needed.” Senator Conroy also acknowledged the contribution of regional commercial broadcasters to the switch-over process. “The installation by broadcasters of three new transmitters to serve known blackspots in Ouyen, Underbool and Robinvale has greatly improved reception of digital television in the region.” Broadcasters are also delivering terrestrially the full

suite of digital television services to viewers in the region, matching the services available from the new satellite service, Viewer Access Satellite Television (VAST). VAST is broadcasting in the Mildura/Sunraysia region now, and is available to any household in the area which cannot access a terrestrial digital signal, or has previously relied on the analogue satellite service. The Government-funded satellite service provides access to the same number of digital television channels that are currently available in capital cities, including multi-channels such as ABC2, ABC3, SBSTwo, 7Two, Go! and OneHD. Despite the best efforts of the Taskforce, broadcasters, local Councils and community groups, Senator Conroy said a small number of people may not have been ready, and he urged them to contact the Digital Switchover Taskforce on 1800 20 10 13. “I congratulate the people of Mildura/Sunraysia for their enthusiasm and embrace of digital television, and look forward to the next phase in the digital switch-over process as we progress to analogue switch off in regional South Australia and Broken Hill on 15 December 2010.” The date for national completion of the digital switch-over is 31 December 2013.

Oz Govt to Auction Analogue Spectrum in 2012 The Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, has also announced the Australian Government has decided to release 126 Megahertz of broadcasting spectrum as a digital dividend. The decision was made following extensive public consultation through the Digital Dividend Green Paper. This spectrum will become available as a result of the switch to digital-only television broadcasting, which will be completed in Australia by 31 December 2013. The “digital dividend” will be released as a contiguous block of spectrum in the upper ultra-high frequency (UHF) band, comprising the frequency range 694 to 820 MHz inclusive. UHF spectrum currently used for broadcasting services is highly valued for delivering wireless communications services, including super-fast mobile broadband. It is able to carry signals over long distances, penetrate buildings and carry large amounts of data. In its submission to the Digital Dividend green

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paper, the Australian Mobile Telecommunications Association (AMTA) indicated that Australia’s economy could be boosted by up to $10 billion if at least 120 megahertz of usable spectrum is unlocked from the digital dividend. The Government aims to auction the digital dividend spectrum in the second half of 2012, allowing successful bidders ample time to plan and deploy the next generation networks that are likely to utilise the spectrum. In order to release this highly valued spectrum, broadcasting services will need to be relocated out of the digital dividend spectrum and organised more efficiently within their remaining spectrum allocation. This process is known as ‘restacking’. “My Department, along with the Australian Communications and Media Authority, will work with broadcasters and other stakeholders to plan and implement the restack of television channels,” Senator Conroy said. The Government intends that the digital dividend spectrum be cleared as soon as possible after the

switch-off of analogue television services on 31 December 2013. The digital dividend green paper and copies of submissions received can be found at: http://www. The Australian Communications and Media Authority (ACMA) has said it will begin consulting with potential spectrum purchasers. This consultation will start with the release of a public discussion paper in the third quarter of 2010 setting out planning and allocation issues and options for new spectrum licences. The ACMA says it welcomes contact from potential purchasers of digital dividend spectrum throughout the digital dividend allocation consultation process as well as spectrum users, such as operators of wireless microphones and public address systems, who believe they may be affected by the re-planning of the broadcasting services bands. The Authority has recently established a Digital Transition Division. Visit


Freeview Australia has commenced transmission of its new Electronic Program Guide (EPG), the result of close collaboration between all the free-to-view networks, which it says will deliver a significantly enhanced viewing experience for consumers across Freeview channels. Freeview CEO Robin Parkes said, “The new Freeview EPG will give viewers broad functionality that has been developed in response to consumer demand for more program information, easier navigation and improved recording capability. “The Freeview EPG will provide a consolidated platform for the consumer when navigating Freeview channels, and will also provide consistency of experience across multiple digital TVs in the home, so that the consumer only has to learn the navigation once,” Parkes said. Existing EPGs have been limited in their functionality because each manufacturer builds its own EPG capability into set top boxes (STBs), Personal Video Recorders (PVRs) and digital TVs, so there is no consistency across EPGs. In addition, networks send their own program information to each EPG and often not all information is available on screen at the one time. The new Freeview EPG will collate program data from all networks for simultaneous transmission in a consistent format, while new MHEG 5 technology also means that the Freeview EPG will have video streaming and text capability, allowing consumers to continue to watch TV whilst navigating the EPG. From July, all STBs, PVRs and digital TVs that carry the new EPG will feature the new Freeview EPG logo. A list of the manufacturers that will offer Freeview EPG product can be found at http://www.freeview. Other key features of the Freeview EPG are: * Seven day program guide * CRID system (Content Reference Indicator) – allowing intuitive recording of shows (with PVRs) * Program reminder functionality * Detailed program information * Parental Lock system * One touch recording (with PVRs) * Watch and record different channels at the same time (with twin tuner PVRs) * Pause and rewind live TV (with PVRs) * Record a series using ‘series link’ functionality (with PVRs) * Ethernet connection * Common “buttons” for remote controls from each manufacturer. Freeview has also developed a comprehensive microsite at that explains how the EPG works in simple language for consumers. Viewers with existing STBs, PVRs or digital TVs will still be able to receive the manufacturer’s EPG and continue to enjoy Freeview channels. Freeview will officially launch the new Freeview EPG to consumers in September with a product showcase


and television commercial. UK company S&T, through its Australian reseller, Magna Systems and Engineering, provided the backbone for the EPG in the form of a customised version of its MHEG Guide product. S&T delivered the MHEG application for the EPG together with schedule data processing and playout at each of the Freeview broadcasters. Magna Systems provided installation and integration of the EPG and S&T’s TSBroadcaster carousel playout systems at each of the broadcasters’ sites. With the new Freeview EPG, HWW, Australia’s leading provider of TV Metadata, will collate program data from all networks for simultaneous transmission in a consistent format. S&T says Freeview’s EPG system is one of the most complex MHEG application systems delivered outside of the UK, managing schedule data presentation as well as integrated PVR booking, series links and accurate recording, for multiple broadcasters across multiple states and time-zones. The underlying MHEG platform enables other applications to be delivered to receivers in the future while the new technology also means that the Freeview EPG will have video streaming and text capability, including a live “boxed” TV display. S&T has also been working with Freeview during the past year providing consultancy input to the receiver specifications and Freeview Australia MHEG profile. This includes hybrid broadcast / IP support using the MHEG Interaction Channel as well as High Definition display capabilities, in common with the latest UK and New Zealand Freeview HD specifications. This will allow the Freeview Australia system to support ‘catch-up’ and ‘ondemand’ TV services delivered over the Internet to the Freeview EPG set top boxes, integrated TVs and PVRs. Colin Prior, Director of International Sales at S&T, says: “We are delighted to have completed this complex project for Freeview Australia, which comes after an extensive period of analysis and implementation. Freeview Australia has deployed a solution that will enable the free to view broadcasters to offer new and innovative services via both broadcast and also in future via the broadband internet connection using the MHEG Interaction Channel capability already built-in to the Freeview receivers.” Robin Parkes, CEO of Freeview Australia said “We have worked closely with S&T and Magna Systems to deliver what we believe is a world-class EPG.” David Bowers, CEO of Magna Systems said, “As with Phase 1 and Phase 2 of the Freeview Australia project, the S&T solution we implemented for the EPG is very easy to operate. One significant difference between this and the original EPGs is that viewers are able to record material by genre or programme with the Freeview approved PVR. We are delighted to again be an integral part of this significant step in the Australian broadcasting landscape and look forward to Freeview Australia’s future innvoation.” Visit,

“Supplying Intelligent Solutions from Innovative Partners”


For more information contact (02) 9764 5911 or visit

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Transmission1/7/10 71

8:33:50 PM



SDI/Optical Fibre Mini Converters AJA Video Systems introduced five new Mini Converter products as the FiDO family of SDI/Optical Fibre Converters. FiDO (Fibre Digital Optical) is a family of five SDI/ Optical Fibre converters that enable the transport of SDI, HD-SDI and 3G SDI over distances of up to 10km. Designed for outdoor or indoor use, FiDO converters pass the complete SDI signal (including audio and/or meta data), and meet all relevant SMPTE specifications. Their low profile enclosure enables use in tight spaces around and behind

DSNG Encoders Adtec Digital has introduced two new encoders and made  its debut into the Integrated Receiver Decoder (IRD) market. The EN-40 DSNG encoder/modulator supports standard definition MPEG 2 and MPEG 4 AVC/H.264 with 420 and 422 encoding. The EN-40 encodes both MPEG 2 and MPEG 4 AVC/H.264 video with 4:2:0 and 4:2:2 chroma sampling. It boasts four pairs of stereo audio including MPEG 1 Layer 2 and Dolby AC3 audio encoding. Passthrough support includes PCM, DolbyE/2.0/5.1 and Linear Acoustic Stream Stacker. The EN-40 supports redundant AC or DC dual-power supplies, enhanced control and

equipment racks, trucks and crowded facilities. FiDO models include: • FiDO-R: Single channel Fibre to SDI Mini Converter with dual SDI outputs • FiDO-2R: Dual channel Fibre to SDI Mini Converter • FiDO-T: Single channel SDI to Fibre Mini Converter with looping SDI output • FiDO-2T: Dual channel SDI to Fibre Mini Converter • FiDO-TR: SDI/Fibre transceiver Mini Converter The FiDO Dual channel transmitter and receiver monitoring via SNMP and browser. The EN-40 allows concurrent encoding and streaming to IP, ASI and L-Band. The optional Newtec DVBS/S2 modulator supports modulation from QPSK up to 32APSK. Meanwhile, the EN-80 DSNG/contribution encoder/ modulator supports high definition and standard definition MPEG 2 and MPEG 4 AVC/H.264 with 420 and 422 encoding. The EN-80 encodes both MPEG 2 and MPEG 4 AVC/H.264 video with 4:2:0 and 4:2:2 chroma sampling. It boasts four pairs of stereo audio including MPEG 1 Layer 2 and Dolby AC3 audio encoding. Passthrough support includes PCM, DolbyE/2.0/5.1 and Linear Acoustic Stream Stacker. The EN-80 supports redundant AC or DC dual-power supplies, enhanced control and

units provide conversion and transport of two streams of SD, HD, or 3G (in any combination) within one Mini Converter package. This ability provides the highest density and lowest cost per channel, and also allows Stereoscopic 3D infrastructures an inexpensive, compact, and convenient way to move the highest quality HD signals across a facility. The FiDO family of converters are available this month from AJA’s worldwide network of channel partners. Visit monitoring via SNMP and browser. The EN-80 allows concurrent encoding and streaming to IP, ASI and L-Band. The optional Newtec DVBS/S2 modulator supports modulation from QPSK up to 32APSK.   Lastly, the RD-60 integrated receiver decoder (IRD) supports MPEG 2 and MPEG 4 AVC/H.264 platforms with 420 and 422 high and standard definition decoding. The RD-60 decodes both MPEG 2 and MPEG 4 AVC/H.264 video with 4:2:0 and 4:2:2 chroma sampling. The RD-60 supports redundant AC or DC dual-power supplies, enhanced control and monitoring via SNMP and browser. An optional high end Newtec DVBS/S2 tuner demodulator supporting QPSK up to 32APSK is available. Visit


Lumina Broadcast Systems are proud to represent these world leaders in broadcast equipment.

Lumina Broadcast Systems Australia Pty Ltd, P.O. Box 1693, Lane Cove NSW 1595 Phone: +61 2 9113 0720. Fax: +61 2 8572 5285. Email: 72 Transmission

Eyeworks New Zealand, founded by Julie Christie in 1991 as Touchdown Productions, is one of New Zealand’s leading television production companies specialising in broad appeal entertainment, lifestyle, sport and factual programmes. Recently Eyeworks decided to completely rebuild and upgrade its playout facility and approached Magna Systems and Engineering to help. Magna Systems and Engineering Chief Technology Officer Richard Green explained, “Eyeworks New Zealand’s thematic channels on Sky are a consistent ratings success with high viewer followings - so a state of the art playout facility is essential. Magna Systems built their original facility in 2002 so we had a good idea how to best approach this upgrade and rebuild.” Eyeworks also runs two thematic channels, Living Channel (4:3) and the Food Channel (16:9) and is a programme provider for the Sky Platform, so timing and a seamless build were crucial. Green continued, “Eyeworks wanted an upgrade that was efficient, easily expandable and future proof. So, after much consideration, we designed and installed a solution that includes new SeaChange servers to simultaneously meet both high reliability and high volume of demand without content replication or other costly bottlenecks, a Pebble Beach Neptune multi-channel automation system with Miranda channel branding and processing. We also included the Miranda XVP-1801 aspect ratio conversion on the output, under full automation control.” As the Food Channel and Living Channel are different formats, the aspect ratio conversion capability now allows content to be ingested in its native format and switched during transmission to whichever format is required. Green added, “Eyeworks also have a proportion of content received in NTSC format so we also included a Brick House Video Proteus standards converter which features 10-bit SDI, analogue composite and audio I/O, and advanced standards

“Supplying Intelligent Solutions from Innovative Partners”


3G/HD/SD-SDI-SDI to HDMI down converter to user-selectable NTSC / PAL output and De-Embedded Analogue Audio

conversion algorithm for PAL to NTSC and NTSC to PAL, comprehensive audio synchronization facilities and a full set of signal processing controls.” Magna Systems software developers were also called on for the project. “We wrote customer specific translation software for the conversion of their schedules that uses metadata stored in the media database to make sure the correct ARC settings are active during playout,” explained Green. “The system will include a large spinning disk cache archive designed to hold all the content in nearline storage for the duration of the programme rights periods, which is typically 2 to 3 years. Another first for the new Eyeworks facility was the installation and use of a For-A multi-viewer which is working very well as part of the control room.” Eyeworks New Zealand Head of Television Greg Heathcote said, “Many of our productions have become household ‘must sees’. This, together with our overseas expansion and recently moving into drama and film, means our playout facility is absolutely vital. We were very happy with Magna Systems’ approach to the rebuild, their service and support is always of a very high standard and the new facility is excellent.” Visit

AUD $540* (Ex GST)

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Miniature (3G/HD/SD)-SDI 1 to 6 reclocking distribution amplifier

AUD $450* (Ex GST)

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• Reclocks one input and outputs 6 new copies of either 3G-SDI, HD-SDI or SD-SDI •Can equalize up to 400 metres for SD-SDI, 200 metres for HD-SDI and 100 metres for 3G-SDI, using Belden 1694A cable


3G/HD/SD-SDI Quad Split with 3G/HD/SD-SDI and HDMI Outputs

Benchmark Revamps LIVE TV


C+T Lumina HP 30-04-10.indd 1

Eyeworks Lifts Playout Bar

4/5/10 2:45:35 PM


Singapore-based Benchmark Broadcast Systems, a KIT digital company, has announced it has been awarded the systems integration contract to upgrade the facilities at LIVETV, Thailand, by converting the existing analog workflow to a completely digital workflow across all channels. LiveTV is a successful Thai TV broadcaster with nine channels. The channels cover a spectrum of education, entertainment and information programs that range from traditional Thai culture to modern music, environmental issues, food, sports, reality shows, news and more. Benchmark evolved a workflow and systems design that incorporated and realized all the expectations of LIVE TV, including the need for a smooth, automated playout solution with sufficient redundancy built in; on air graphics that could be played out with the minimum of intervention; multiple file formats to be played out; frame accuracy for each channel; and servers that had to be capable of controlling other third party devices like Routers and VTR’s, in order to enable single-operator, simultaneous control of several channels for further operating cost reduction. Visit


Features include:

AUD $1,495* (Ex GST)

• On Screen 16 character UMD for each quadrant • On Screen Tallies for each quadrant • On Screen Format status for each quadrant • PC based control application via USB port • GPI control for full screen display of each input *Pricing subject to change

For more information contact (02) 9764 5911 or visit

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Transmission 73 10:42:14 PM 29/6/10



OpenGear-compatible CWDM Card MultiDyne Video & Fibre Optic Systems has debuted its new openGear-compatible HD-4400-CWDM  designed to provide customers with density, redundancy and control – offering 18 HD signals on one fibre.  First introduced by Ross Video, the openGear platform is based on an open architecture, 2RU modular frame that accommodates up to 10 cards in the DFR-8310 frame and up to 20 cards in the DFR8320 frame. The HD-4400-CWDM high-density, multirate, 3G HD-SDI SMPTE fibre optic transport system with a 4×4 matrix on both the transmitter and

receiver is one of MultiDyne’s latest offerings as part of the openGear terminal equipment platform group. The HD-4400-CWDM card transports four 3G, HDSDI signals over one fibre. This fibre can be patched to additional HD-4400-CWDM cards, for a total of 18 3G HD-SDI signals over one fibre, in just five slots. With such high density, one openGear 2RU frame can transport a total of 18 bi-directional signals (36 3G, HD-SDI signals over two fibres), making the solution ideal for high-capacity fibre trunking of 3G HD-SDI signals in any broadcast facility.  Visit

>> >>

MuliDyne uses openGear to get 18 HD signals on one fibre

First 5 & 8 MLEs From Ross Video Ross Video has released what it claims is the world’s first 5 MLE production switcher control panel. The Ross Vision Series control panels are modular and now have the ability to add extra MLE and crosspoint control into open module slots on the control surface, thus adding control for additional MLEs. Dedicated simultaneous control of up to 5 MLEs is possible in the largest Vision Series control panel. “This new control panel feature couples very nicely with the new Vision Octane 8 MLE chassis,” said David Ross, CEO, Ross Video. “Vision now provides dedicated control over an additional MLE without

Routers, Multiviewers from Harris

having to reassign one of the primary control panel MLEs. The result is better control over all of the resources involved in a live production. This capability is ideal in controlling on set monitor and split feeds and for Multi-Screen productions.” The Vision Octane is also claiming bragging rights as the world’s first 8 MLE production switcher chassis. Vision Octane  features 35 Full Screen HD Animation Stores, 24 Channels of 3D DVE with WARP capability, 96 inputs, 48 outputs, and an unprecedented total of 56 Keyers - 32 Full Keyers, 12 AuxKey Mixer / Keyers on the

aux bus outputs and 12 DVE key combiners. Vision Octane can be loaded with any number of MLEs from 1 to 8, match any application, and be combined with up to 9 different control panels. The entire Vision Series ships with a new 3G infrastructure as a standard feature, fulfilling the promise of Vision being a cutting edge product continuously evolving with the marketplace. Stereoscopic 3D capabilities and comprehensive iMag MultiScreen support were also  shown.  Visit

Ateme | Audemat | Hybrid | UBS Exir Broadcasting | Meinberg Dielectric | Volicon

Content Supply Chain Management Solutions

A division of Dingbat Technology


Hybrid is a leading manufacturer of broadcast production technologies. Solutions include: • Virtual Studio solutions and Broadcast Robotic camera supports Feature Product: NEON TRACKLESS 3D • Extremely user friendly interface for • Simple yet powerful 3D Virtual virtual set edition Set solution • Complete database of 3D objects, • Only a PC and Software is required textures allowing creation of multiple • A real affordable virtual set solution design sets for news, sports, weather. • Allows virtual camera movements in With simple drag and drop operation. real time from fixed cameras on set

FREE MPEG2 Contribution Encoding Ateme, manufacturer of the first commercially available 4:2:2 / 10 Bit H.264 Contribution Pair (Kyrion CM4101 / DR8400) is pleased to announce the INCLUSION of MPEG2 for HD and SD AT NO ADDITIONAL COST! Now you can migrate to MPEG4 and maximise the value of that investment by maintaining compatibility with all your legacy MPEG2 Equipment without needing additional Encoders.

Don’t hesitate to contact OnAir Solutions with your enquiry 74 Transmission

Phone +61 2 8882 7766


Harris Corporation has unveiled  advancements in content routing and display, including a new frame sync input card for the Platinum router and new IP multiviewer solutions. Harris has introduced a new eight-channel frame sync input card for its Platinum large-scale router. This new input card is the latest addition to the Platinum router line, building upon the mux/demux embedded audio-processing feature. The new input card allows up to eight wild video signals to be synchronised to house reference, without the use of external frames or wiring.  This greatly reduces customers’ space requirements, as well as installation and hardware costs.  In addition to synchronisation, the card performs demultiplexing of up to 16 channels of embedded audio in each video stream, allowing the audio to be routed independently and discretely.  ASI, SD, HD and 3 Gb/s signals are supported, as are coax and fibre connectivity.  Backward-compatible with all Platinum frames, this flexible card provides powerful functionality, yet requires less external wiring, power and installation manpower than external solutions  , significantly reducing complexity in the facility. In addition, Harris also announced several new enhancements to the router control system.  These include new enhanced tie-line capability, a new names-based protocol that improves support with third-party vendors and a new configuration application designed to improve both speed and usability. In the realm of multiviewers, the company

demonstrated the new Harris IP multiviewer, which is built on the Harris Centrio multiviewer technology. This full-featured multiviewer provides support for many codecs and transport formats over Ethernet, and delivers advanced graphics and monitoring capabilities in a 1RU form factor.  The multiviewer decodes many stream formats including MPEG2/MPEG-4/H.264 for multiple SD/HD streams, displays layouts across multiple displays and supports streaming of layouts back into the IP network fabric.  Harris also demonstrated a new IP/ASI multiviewer based in the Harris 6800+ modular platform.  The 2RU IP/ASI multiviewer provides contributionquality decoding and high-quality display of four video streams.  Increasingly, broadcasters are receiving file-based compressed feeds, and this multiviewer  technology not only reduces the complexity and cost of decoding/re-encoding, but also ensures the signal is received as intended. Also new to Centrio is virtual network connection (VNC) support, which enables Centrio to control and monitor a vast array of devices that support VNC server functionality (such as a Harris Nexio server).  With VNC, the user can monitor multiple standalone devices and control them by simply moving a mouse to the desired device and clicking on it.  This allows operators to respond more quickly to alarms and enables systems integrators to eliminate dedicated hardware for control and monitoring of third-party devices.  Other Centrio enhancements include sophisticated Web control for layouts, as well as RSS feed support for interaction with a broad range of network data providers. Visit


Signiant Inc. has announced the launch of three new products that extend its industrystandard suite of content supply chain management solutions to enable entry level customers to easily upgrade and integrate with the full supply chain management solution. Content Transporter, Content Point and the Content Transfer Engine will allow organisations of any size to exchange content quickly, securely and cost-effectively. Each solution is a starting point for content management workflows, allowing seamless integration with all Signiant tools - including the flagship Content Distribution Management software - and the opportunity to expand workflows as clients’ businesses develop and grow. The new products are based on Signiant’s widely deployed Content Distribution Management software solutions. They provide fast, secure and reliable file movement and are easy to use entry points for organisations moving from tape to file-based workflows or from FTP transfers. Content Transporter is aimed enterprises with 5 to 15 nodes to connect both internal sites and external partners and facilitate simple collaboration and content exchange. The system effectively creates a managed network with automated movement, ensuring that all transfers are centrally managed, monitored, reported, and accelerated. Content Transporter is ideally suited for use during the production, capture or creation of content where multiple sites need to exchange data quickly, securely and reliably with tight business deadlines. Content Point provides a single node to manage point-to-point file movement. It is ideal for single location companies that need to connect to Signiant-enabled partners and other external organisations, and can be used for tasks such as supplying digital dailies, collaborative content creation, editorial review and language translation. The Content Transfer Engine is an embedded transport technology for web-based applications. It works transparently with both internally-built and third party applications, and provides a content portal to provide fast, secure and reliable movement of large files over the WAN, regardless of file size or location. It is designed for developers to embed Signiant into an application, enabling end-users to exchange files without installing a Signiant Agent. Visit


“Supplying Intelligent Solutions from Innovative Partners”


Loudness Analyser – Portable or Rackmount

Features include: • 3G/HD/SD-SDI, AES and analogue inputs • Touch Screen for user set up • 2 to 8 channels display or integrated up to 30 minutes with a history view


Not just an audio monitoring bridge. The AMP2-16V is a modular SDI-centric audio mixer and router which manages signal level, loudness, transmission chain audio insertion and emergency troubleshooting

Features include: • 16 channels of simultaneous metering using any available input channel combination (from 3G/HD/SD-SDI and Dolby inputs) • Dual bezel mounted OLED screens with auto-detect 3G/HD/SD-SDI video playback • Fully customizable level meter characteristics: scale, colour, range, thresholds and more

RM/RMT SERIES From 1.8 to 20 inch displays

Features include: • In-picture level metering • In-picture video Waveform and Vectorscope display • IMD, tally, timecode, and auto-detected video format display • Safe title/area markers

For more information contact (02) 9764 5911 or visit

C+T-AV_Group-Jul10_two_v2.indd 1

Transmission 75 10:31:08 PM 29/6/10



IBC 2010

>>Siggraph2010 Conference 26-30 July, 2010 Exhibition 27-29 July, 2010 Los Angeles Convention Center

Investing in Technology

>>Wireless Broadband World Africa 2010 12-15 July 2010 Sandton Convention Centre, Johannesburg, South Africa >>Digital Signage World Australia 2010 Wed, 21 Jul 2010 Sydney Convention Centre


>>Australian Broadcast Exhibition Sydney, Australia 3-5 August 2010 >>The Internet Show Africa 2-3 August 2010 Sandton Convention Centre Johannesburg >>BIRTV2010 22-25 August, 2010 Beijing, China


Today’s broadcaster or large production house relies as much, if not more, on technology from the IT world as from conventional broadcasters. This is simply a result of the increased processing power now available from standard computers, networks and disks. Where once we needed specialist broadcast equipment just to be able to deliver video and audio smoothly and seamlessly, now much of it can be handled by commodity IT products, albeit running application-specific software and hardware modifications. That has meant a changed role for the broadcast engineering team. Every broadcaster had to have an in-house technical team because it was the only way to keep the equipment going. Now the requirement is for IT and networking skills as much as it is for replacing and aligning video heads. Designing new systems is more challenging, too. Where once you only had to know if it was analogue video or SDI on the co-ax cable, now you have to consider video codecs and bitrates, wrappers and metadata, format flipping and proxies. Making an investment in new technology means considering all these options and more. It also means considering the lifetime costs of the system: how will you manage upgrades and new software releases? How will you specify system availability, how will you measure against that specification, and what management and support will be needed to achieve it? For many organisations, the logical step is to set out the requirements for the new system not as a set of







Products Media Industry Resources from C+T Magazine

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technical items but as a set of outcomes. You could say, in effect, that this is what you want to do – which might be creating a multi-platform play-out infrastructure or running an eight camera studio – and you really do not much care how the supplier achieves it, provided they hit the availability targets. And, given that big step change in the industry, it may be time to consider another. Traditionally the chief engineer decided what equipment was required, drew up a capital expenditure justification, and was awarded the budget to go out and buy the kit. Today, to outright purchase we need to add two more options: lease hire, and outsourcing and managed services. There are technical, operational and commercial benefits in each route, [Sand there is probably no one perfect solution for any business. To help you through this maze, IBC has set up a special conference session. Three specialists will be on hand, each giving their arguments in favour of one of the acquisition options. Then the audience will get a chance to challenge the panellists, to vote on specific questions, and to draw their own conclusions on which investment route is right for them. Arrid Hellgren, director of resources at NRK in Norway, joins well-known consultants Neil Dormand and Chris Daubney to fire the debate. The session starts at 14.00 on Sunday 12 September. Visit



featuring the latest in digital broadcast & production technology

featuring the latest in digital broadcast & production technology

August 3-5 2010 Manly Pacific Hotel, Sydney Australia

76 Conferences Exhibitions & Roadshows

ESP Directory

BACK TO CONTENTS PAGE brand strategy • brand identity advertising • interactive pr & promotions • events motivation • counselling email:

ADVERTISER INDEX 3D-Day.......................................23 AIMC.........................................45 Amber Technology........................11 Arri............................................IBC Audio Video Consulting............63, 69 Avid Technology...........................47 Australian Broadcasting Exhibition.....2, . .....................................14, 40, 76 AV Group..............................73, 75 Axiss...........................................77 Behind the Screens PR . .................77 Blackmagic Design..........................5 CDA Professional Audio...................6 Digital Signage World...................53 Digital Signage World Asia............59 Eureka Pacific............................OBC Gencom Technology......................13 Grass Valley.................................27 JVC.............................................29


Harris Corporation....................... IFC IBC.............................................49 Intercel........................................55 International Datacasting..........39, 41 Lateral Linking...............................77 Linear Acoustic..............................61 Lumina Broadcast Systems..............72 Magna Systems & Engineering..17, 31 Media & Broadcasting Congress.....21 Mediaware..................................25 New Magic.................................43 OB Group...................................77 Omneon Inc...................................3 On-Air Solutions......................67, 74 Quinto Communications...................9 Riedel Communications..................37 Ross Video Asia..............................7 Techtel.........................................19 Videocraft....................................35 Well Above.................................77

Axiss BC Ad HiRes.pdf


9:42:00 PM





• Event Management

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• Venue Sourcing

• Entertainment & Theming


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Contact Richard Visser +61 419 269 500 •

Classifieds 77



>> >> BroadcastAsia 2010

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78 Off-Air



Off-Air 79

Time Shifter ★ Brisbane

★ Sydney


★ Auckland ★ Wellington


The year is 1959 and Mullard Radiant Screen Television Tubes were not only providing Australian viewers with clear pictures, but no doubt also warming lounge rooms during winter. Mullard - Australia Pty Ltd were associated with Mullard London. Known as a manufacturer of Radios and Tubes, Mullard radios sold in Australia from 1937 to 1939, were made by Airzone Ltd in 1931 and from 1939 to 1954 by Philips Australia. The Mullard name was discontinued for radios after 1954.

★ ★

Cameras & Di systems

Lighting equipment

Stefan Sedlmeier Tel: (02) 9855 4308 Mob: 0400 410 310

Richard Curtis Tel: (02) 9855 4310 Mob: 0425 224 901

ARRI Australia Head Office ARRI Australia Partners

Tel: +61 2 9855 4300 I Fax: +61 2 9855 4301 I Email: ARRI Australia Pty Ltd, Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113 Gerry Brooks is on leave.

80 Time Shifter



Content + Technology July August 2010 issue  

Featuring the digital TV switchover, Digital Signage and Australia Broadcasting Exhibition Preview