Broadcaster October 2014

www.broadcastermagazine.com

October 2014

$8.00

C A N A D A ’ S C O M M U N I C A T I O N S M A G A Z I N E

INTERNATIONAL BROADCASTERS REWARD FIFA TV FOR MEDIA COVERAGE

ALSO IN THIS ISSUE: BIG SPORTS, BIG AUDIENCES TEAM UP ENHANCED AUDIENCE EXPERIENCE AT CONCERTS, LIVE EVENTS CANADIAN ACHIEVERS AND MORE

BRC_October 2014_de.indd 1

14-11-05 10:40 AM

BRC_October 2014_de.indd 2

14-11-05 10:40 AM

Editor Lee Rickwood editor@broadcastermagazine.com Senior Publisher Advertising Sales James A. Cook (416) 510-6871 jcook@broadcastermagazine.com Creative Director Beverley Richards Print Production Manager Phyllis Wright (416) 510-5101 Production Manager Gary White (416) 510-6760 Vice-President Alex Papanou President Bruce Creighton Circulation Manager Anita Madden (416) 442-5600 ext. 3596 Customer Service Malkit Chana (416) 442-5600 ext. 3539 News Service Broadcast News Limited Editorial Deadline Five weeks before publication date.

Broadcaster® is published 9 times yearly,

by BIG Magazines LP, a div. of Glacier BIG Holdings Company Ltd. Head Office 80 Valleybrook Drive, Toronto, Ontario M3B 2S9 Fax: (416) 510-5134 Indexed in Canada Business Index Print edition: ISSN 0008-3038 Online edition: ISSN 1923-340X

Circulation audited by Alliance for Audited Media Publications Mail Agreement 40069240.

We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund of the Department of Canadian Heritage.

Subscriptions in Canada $51.95 for one year; $79.95 for two years; USA $64.95 for one year; Foreign $64.95 for one year (US and Foreign in US Funds). Single copy Canada $8.00; Single copy US $10.00; Single copy Foreign $10.00; Directory Canada $52.95; Directory US $52.95; Directory Foreign $52.95; Directory Canada Shipping & Handling $8.00; Directory US Shipping & Handling $10.00; Directory Foreign Shipping & Handling $10.00 (US and Foreign in US funds). Canadian subscribers must add HST, HST registration #R890939689.

For reprints call: 416-510-6871 From time to time we make our subscription list available to select companies and organizations whose product or service may interest you. If you do not wish your contact information to be made available, please contact us via one of the following methods: Phone: 1-800-668-2374; Fax: 416-442-2191; E-Mail: privacy officer@businessinformationgroup.ca; Mail to: Privacy Officer, Business Information Group, 80 Valleybrook Drive, Toronto, Ontario M3B 2S9 Copyright © 2014 by Broad­caster® Magazine. All rights reserved. The contents of this magazine may not be reproduced in whole or in part without the per­mission of the Publisher.

www.broadcastermagazine.com

BRC_October 2014_de.indd 3

Broadcaster® October 2014

Volume 73 Number 6

FEATURES 4 International Broadcasters’ Conference Sets the Scene

4

6 FIFA Scores Double with Multi-Platform Media Coverage

7 NABA to Stage Broadcast Radio & Audio Symposium in Toronto

8 Canadians Among Newly Elected, Returning SMPTE Officers and Governors

8

10 Enhanced Audience Experience at Concerts, Live Events

12 Big Sports, Big Audiences Team Up Broadcasters Seize Multi-Screen Opportunities REGULAR SECTIONS

14 New Products and Services 22 Canadian Achievers

By Dick Drew

Sixty Years On-Air, Still Going Strong

22

COVER PHOTO Germany won the FIFA 2014 World Cup Championship, while FIFA-TV was awarded for its multi-media coverage, and viewing records set in many countries and on several distribution platforms. Image courtesy Fédération Internationale de Football Association.

October 2014

Broadcaster

3

14-11-05 10:40 AM

Leading broadcasters, technology companies and industry innovators came together at IBC to show tomorrow’s technology today, with presentations of 4K, 8K, 120 frames and 360 degree high resolution solutions for acquisition, production and distribution.

INTERNATIONAL BROADCASTERS’ CONFERENCE SETS THE SCENE TV Industry Eyes Content Everywhere, and Beyond IBC2014 was a most successful edition of the global TV and media industry trade show and conference, as attendees from more than 170 countries visited over 1,500 exhibitors occupying more than 50,000 square metres of display space through fourteen halls of the IBC Exhibition.

The event attracted a total of 55,092 attendees, an increase on 2013 of 4%. The IBC Conference welcomed 280 speakers across a full programme of sessions in its new, more thematically aligned programme. Sessions included keynotes from personalities as diverse as broadcaster and physicist Professor Brian Cox OBE, and movie special effects guru Douglas Trumbull.

Another precedent: IBC2014 presented its top award, the International Honour for Excellence, to FIFA TV, and another award went to FIFA TV and its technology partners (more than a dozen top broadcasters, equipment manufacturers and broadcast solution providers) for the innovative coverage they provided of the World Cup (please see sidebar story).

“IBC’s goal is to deliver an event that is relevant to the 4 Broadcaster October 2014

BRC_October 2014_de.indd 4

community,” said Michael Crimp, CEO of IBC. “Getting the right attendance is more important than big numbers, but it is encouraging when we get both quality and quantity.”

The opening keynote presentation of IBC2014 set the tone for a highly successful event. “Broadcast television is highly relevant,” said David Abraham, CEO of Channel 4 in the UK, “but viewers want mobility and connectivity, and there is no reason why broadcasters should lose that relevance.”

On the show floor and in the conference sessions, the talk was about how broadcasting has now moved to content everywhere, and is rising to the technical, commercial and operational challenges.

IBC2014 saw the launch of IBC Content Everywhere, the first in a series of events targeting the changing nature of media through new connectivity. All fourteen halls of IBC2014 had exhibits and features dedicated to exploring the disrupting technology driving the market: IBC Content Everywhere Cloud Solutions Theatre, IBC Content Everywhere www.broadcastermagazine.com

14-11-05 10:40 AM

TELEVISION PRODUCTION Workflow Solutions Theatre and the IBC Content Everywhere Hub Theatre.

Content from across the IBC Content Everywhere features, show floor and the conference could be viewed across six days as IBC TV was transformed into a rolling 24 hour news streaming service, with tailored versions for all popular smartphones and tablets as well as the Web. Throughout IBC2014 the live service included a mix of interviews and coverage of major events, including the keynote speeches and many of the other presentations. Much of the content is still online.

The IBC Leaders’ Summit brought together more than 100 CEOs and senior executives for a closed-door debate.

This year they looked at the surge of digitally enabled services, and how innovation in related industries is driving change in the world of media.

At the other end of the career spectrum, IBC was once more host to the Rising Stars. This programme gave over 150 young professional just entering the industry a chance to learn, to debate and to network, becoming part of the IBC community. This year’s programme was led by entrepreneur presenter James Neufeld and featured a special appearance from Professor Brian Cox. The technologies of tomorrow could be seen in the IBC Future Zone, where researchers shared their ideas in prototype. Cisco took the opportunity to showcase its vision of the connected world of the near future and NHK demonstrated its Super Hi-Vision 8k system,

IBC launched the first in a series of events looking at the impact new connectivity has on content distribution. Content Everywhere participants and exhibitors see positive disruption in the industry with the merging of TV, telecom and broadband platforms.

including new cameras light enough to be used on Steadicam.

The IBC Big Screen Experience offered a world first this year. For the first time anywhere, IBC visitors could watch full-length feature films – The Life of Pi and Dawn of the Planet of the Apes, both shown courtesy of 20th Century Fox – in high brightness, 14 foot lambert (fL) 3D, thanks to the installation of the Christie's 6-Primary (6P) laser colour system.

The IBC Big Screen was also host to a number of other events, conference sessions and presentations, including live real-time colour grading in 4K

Sony’s IBC ‘Beyond Definition’ campaign shows the potential of digital and IP Live technologies to improve workflows and enhance audience experiences. www.broadcastermagazine.com

BRC_October 2014_de.indd 5

and exceptional keynote address from Douglas Trumbull where he presented his hyper-vivid 10-minute short 'UTOFOG' which is filmed at an extraordinary 4K 3D 120 frames a second.

The IBC2014 Conference also featured keynotes from Google Europe President Matt Brittin; Tim Davie, CEO and Director Global, BBC Worldwide; Bruce Tuchman, President, AMC Global and Sundance Channel Global; Neelie Kroes, Vice-President of the European Commission; Sam Barnett, CEO, MBC Group and Charlie Vogt, CEO of Imagine Communications & Gates Air. From Glass to YouTube, Google’s keynote presentation fully embraced the potential and possibility for television – and the television industry – for tomorrow.

Transforming TV and Beyond looked at the portable interactive technology Glass, Google's vision of video for everyone, by everyone and everywhere, and how YouTube is working with content creators of all shapes and sizes to learn more about the changing nature of video creation and consumption in a highly mobile, connected world of consumers and devices, and the importance of user interfaces in overall functionality.

The International Broadcasters Conference returns to Amsterdam next year, with the IBC Conference running September 10-14, and the IBC Exhibition September 11-15, 2015.

October 2014

Broadcaster

5

14-11-05 10:40 AM

TELEVISION PRODUCTION FIFA Scores Double with Multi-Platform Media Coverage They watched on air and online, on anything from a mobile phone to an UltraHD widescreen.

As mentioned, the IBC2014 International Honour for Excellence was presented to FIFA TV, the media rights and broadcast operation for football’s global governing body.

Peter Owen, chair of the IBC Council which awards the IBC International Honour for Excellence, said that “FIFA TV continues to innovate and to engage with its huge global audience. It brings together the latest technologies and leading vendors to deliver unmatched content to unrivalled audiences.”

The 2014 FIFA World Cup in Brazil was hailed as both a sporting and a media success, with close to a billion people worldwide watching the final between Argentina and Germany.

According to streaming media content distributor Akamai, it was the biggest online event ever, with a peak streaming rate of 6.9 terabytes a second during the Netherlands – Argentina match.

The judges of the IBC Innovation Awards also presented another trophy, their Judges’ Prize, to FIFA TV and its technology partners.

FIFA TV received two top awards at IBC, in recognition of the ever-growing importance and impact of sports broadcasting as demonstrated during the 2014 World Cup in Brazil.

FIFA TV acknowledged the collaboration of 14 partner organizations, led by HBS, the host broadcast organization, with Sony (4K capture and production), NHK (4K and 8K), Telegenic (4K outside broadcast production), EVS (multimedia and 4K), Deltatre (multimedia and 4K), Eutelsat (4K), TV Globo (4K), Eurovision EBU (4K), Netco Sports (multimedia), Fraunhofer Heinrich Hertz Institute (360° UltraHD capture), Boxframe (4K), Dolby (4K) and Fujinon (4K lenses) all playing critical

FIFA TV acknowledged the collaboration of 14 partner organizations, in its media coverage, including Sony.

6 Broadcaster October 2014

BRC_October 2014_de.indd 6

roles in the broadcast coverage.

The central hub for the FIFA TV production of Brazil 2014, at the Riocentro complex in Rio de Janeiro, encompassed 17 different TV studios, up to about 400 square metres in size, for various Media Rights Licensees, along with another 80+ workspaces, edit suites and audio booths.

The 6,000 square metre satellite farm took five months to assemble.

It took seven weeks to dismantle the facility after the final match.

Not surprisingly, broadcasters have been a part of the FIFA World Cup since the very first tournament, in Uruguay in 1930. Radio and TV kicked it off, along came standard def colour, and then, in 1990, HD was introduced. 3D coverage appeared in 2010 and UltraHD this year (television coverage of the World Cup has been the responsibility of FIFA TV since 2007).

“The global football audience is always hungry for more,” noted Niclas Ericson, director of FIFA TV. “More cameras, more detail, more replays and more analysis. In Brazil this year we worked together with our partners to provide more engaging multi-platform content and to develop the language UltraHD products and 4K workflows can be effectively and efficienctly applied to documentary, movies, TV and live sports production, the latter especially being celebrated at IBC 2014.

www.broadcastermagazine.com

14-11-05 10:40 AM

RADIO PRODUCTION NABA to Stage Broadcast Radio & Audio Symposium in Toronto The North American Broadcasters’ Association welcomed Emmis Communications as a new Associate Member over the summer, and Emmis’ CTO Paul Brenner accepted the role of ViceChair of NABA’s new and expanding Radio Committee (RC), working alongside Chair Julie McCambley, Director, Radio Production, Media Operations & Technology, CBC/Radio-Canada.

The Association’s Radio Committee has been busy over the past year with extensive work on a newlyfocused agenda that reflects changing business models and the opportunities presented by emerging IP and digital techniques and technologies.

Now, McCambley, along with Michael McEwen, Director-General, NABA Secretariat, and Head, WBU Secretariat, are inviting members of the broadcast and professional media production community to an exploration and discussion of the issues affecting the future of radio and audio.

The Committee is now developing and planning for a day-long Future of Radio & Audio Symposium, planned for Thursday, February 19, 2015 at CBC/Radio-Canada’s Glenn Gould Studio in Toronto.

The agenda, while still being finetuned at press time, is described as incorporating a wide variety of issues.

High profile speakers such as David Layer, Senior Director, Advanced Engineering, NAB will tackle digital developments in the radio and audio industry. They’ve not been easy to master, and just as it looks to be gaining a foothold, along come mobile broadband streaming technologies which present a whole new set of challenges and opportunities. Layer will speak with presenters from both the digital radio and audio streaming industries about the current status of the transition to digital radio and how radio and broadband services can both compete with and complement one another.

Radio has long shown its strength in local, and its ability to answer the needs of local audience, and Rogers Radio President Paul Ski will moderate a session exploring those competitive advantages.

www.broadcastermagazine.com

BRC_October 2014_de.indd 7

According to 2013 CRTC Financials, almost 70% of radio revenue is “local”.

With the proliferation of digital options and audio services that claim to be able to “localize” their products, the session plans to explore what radio can do to maintain this “local” competi-

tive advantage and grow revenue in the face of increased competition and downward pressure on staffing and operating expenses.

The event will be preceded at the same location by NABA’s AGM Event on February 17-18.

NTSeries 150 W – 1000 W Low Power UHF Digital TV Transmitters

Now up to kW!

1

ATSC ISDB-Tb AWARD WinninG ADvAnCED USER inTERFACE (AUi)

A FRESh TRAnSmiTTER AlTERnATivE Nautel brings broadcasters a fresh alternative when it comes to choosing transmitters. During Nautel’s four decades of manufacturing transmitters, its customers have come to rely on Nautel for equipment that is known for its on-air dependability and exceptionally long life. Now the control, innovation and support that customers have come to expect from Nautel is available in a new line of low power digital TV transmitters.

FEATURES • DVB-T, DVB-T2, ATSC, and ISDB-Tb • Highly compact • Various standby systems available • LDMOS technology power amplifiers • Remote control & monitoring via Ethernet • Seamless Input Switching • Rebroadcasting (Demodulator option - ATSC) • 4 Mode Adaptive-Auto Correction

Making Digital Broadcasting Work.

www.nauteltv.com

October 2014

Broadcaster

7

14-11-05 10:40 AM

ASSOCIATION NEWS

Canadians Among Newly Elected, Returning SMPTE Officers and Governors

T

he Society of Motion Picture and Television Engineers (SMPTE) has elected new officers and governors for 201516, with continuing representation from Canada at senior levels within the industry association provided by leading broadcast organizations here such as CBC/Radio Canada, Evertz, Applied Electronics and Imagine Communications.

Robert Seidel, vice president of engineering and advanced technology at CBS, will take office as the Society’s new president on Jan. 1, 2015.

Seidel, who previously held SMPTE board roles including executive vice president and finance vice president, will serve a two-year term as SMPTE president. He succeeds outgoing president Wendy Aylsworth, senior vice president of technology at Warner Bros. Technical Operations, who will now become the Society’s past president.

“Bob Seidel has been a tremendous asset to the Society in several key positions, and we are confident that he will continue and build on the good work done

by Wendy during her successful tenure as president,” said SMPTE Executive Director Barbara Lange. “Bob and Wendy are among the many SMPTE members who have contributed a great deal to the Society’s growth. The officers and governors elected for 2015-16 — and those who continue on in their existing roles — bring extraordinary knowledge, experience, and energy to the Society and its advancement of the motion-imaging industry.”

“Going forward in this new role with the Society, I look forward to embracing adjacent market industries, such as over-the-top television, that use motion-imaging and file-based workflows,”

said Seidel. “I will also work to drive ongoing efforts to expand the number of student chapters, infuse the Society with young members, and help to ensure the long-term growth of the Society. Increasing the Society’s online educational course offerings to include basic audio/video technologies for young engineers is a high priority, as is offering advanced courses in new file-based and IP technologies to the seasoned professional engineer.”

Other incoming SMPTE officers elected for the two-year 2015-2016 term include Matthew S. Goldman, senior vice president of TV compression technology at Ericsson, who will serve as executive vice president; Patrick Griffis, executive director of the technology strategy in the office of the CTO at Dolby Laboratories, will continue his service as education vice president; and Peter Wharton, vice president of technology and business development at BroadStream Solutions Inc., who will continue to serve as secretary/treasurer.

In January 2015, the board will elect an officer to fill the post vacated by Goldman.

Ten governors, eight of which are incumbents, were elected to serve in SMPTE posts around the world. The re-elected governors include Angelo D’Alessio, general manager at the Center for Accessible Media (CAM), who will again serve as governor for Europe, the Middle East, Africa, and Central and South America. William T. Hayes, director of engineering and technology at Iowa Public Television, will again serve as governor for the central region, and Sara J. Kudrle, product marketing manager of monitoring and control at Grass Valley, a Belden Brand, will serve again as governor for the western region. KL Lam, past vice president of broadcasting and engineering operations at

Ten governors, eight of which are incumbents, were elected to serve in SMPTE posts around the world.

8 Broadcaster October 2014

BRC_October 2014_de.indd 8

www.broadcastermagazine.com

14-11-05 10:40 AM

Hong Kong Cable TV, will serve again as governor for the AsiaAustralia region.

Pierre Marion, director of media engineering for French networks at CBC/Radio-Canada, will again serve as governor for the Canadian region. John McCoskey, executive vice president and chief technology officer at the Motion Picture Association of America (MPAA), will serve again as governor for the Eastern U.S. region. William C. Miller, president at Miltag Media Technology LLC, will again serve as governor for the New York region. Clyde Smith, senior vice president of new technology at FOX Networks Engineering and Operations, will again serve as a governor for the Hollywood region.

Newly elected are Stephen M. Beres, vice president of media and technology operations at Home Box Office Inc. (HBO), who will serve as a governor for the Hollywood region, and Merrick Ackermans, engineering director of global technology and operations for U.S. network operations at Turner, who will serve as a governor for the Southern U.S. region.

The Society’s officers and governors elected for the 20152016 term will serve on the SMPTE Board of Governors along with other board officers, regional governors, and directors of specific areas, including standards, education, and memberLong-time television technology innovator Robert Seidel of CBS was presented with the 2014 NAB Television Engineering Achievement Award. ship. Officers who were not up for re-election and who continue to serve on the SMPTE Board of Governors Executive Committee include SMPTE Standards Vice President Alan Lambshead, retired from Evertz, and SMPTE Membership Vice President Paul Stechly of Applied Electronics Ltd. Governors who were not up for reelection and who continue on the SMPTE Board of Governors include Dan Burnett of Ericsson Television Inc. (Southern U.S. region); Paul Chapman of FotoKem Industries Inc. (Hollywood region); Randy Conrad of Imagine Communications (Canadian region); John Ferder of CBS Inc. (New York region); Karl Kuhn of Tektronix Inc. (Eastern U.S. region); John Maizels of Entropy Enterprises and Productions (Asia/Australia region); Mark Narveson of Patterson & Sheridan LLP (Western U.S. region); T.J. Scott Jr. of Grass Valley, a Belden Brand (Southern U.S. region); Leon D. Silverman of The The Studio HD510 Live Production Switcher is a portable, all-in-one, broadcastWalt Disney Studios (Hollywood region); quality, 5-input switcher. You can connect up to five HDMI or professional HD-SDI and Richard Welsh of Sundog Media cameras and stream live to multiple platforms and devices.

Toolkit (Europe, the Middle East, Africa, • Integrated 17" Touchscreen LCD and Central and South America region).

• Pre-Installed Livestream Studio Software At presstime, further introductions of • Includes Livestream keyboard, mouse, handy carry bag and more newly elected officers and governors to the SMPTE membership were scheduled to be made at the Society’s Annual MemCOMMERCIAL PRO VIDEO bership Meeting, Wednesday, Oct. 22, Direct: 416-644-8010 • Fax: 416-644-8031 during the SMPTE 2014 Annual Technical Toll-Free Direct: 1-866-661-5257 • CommercialVideo@vistek.ca Conference & Exhibition at the Loews TORONTO • MISSISSAUGA • OTTAWA • CALGARY • EDMONTON VISTEK.CA Hollywood Hotel in Hollywood.

PHOTO CREDIT: NAB/ROBB COHEN

ASSOCIATION NEWS

Livestream –

the name says it all

www.broadcastermagazine.com

BRC_October 2014_de.indd 9

Vistek_Broadcaster_News_Oct_2014.indd 1

October 2014

Broadcaster

9

2014-09-17 12:09 PM

14-11-05 10:40 AM

PRODUCTION

Enhanced Audience Experience at Concerts, Live Events with New Video Streaming Solutions

O

ne of the world’s most renowned classical concert settings is delivering an interactive media experience to mobile device users in the audience.

Patrons with a compatible smartphone or tablet can get video streams with additional camera angles, supplementary information and more.

Montreal-based video technology company Haivision is working with the Boston Symphony Orchestra to deliver the enhanced mobile viewing experience at Tanglewood, the Orchestra’s outdoor summer home.

While the partners have worked together on this specific musical performance application, it is clear that similar solutions can be applied in many live event settings, such as sports and gaming, corporate and education, theatrical and concert events, and more.

Brand managers and content creators are coming together with facilities managers and large audience coordinators to utilize video, TV and wireless technologies to add more value to the visitor experience during a live event, and engage them with media content in a new environment.

In the Tanglewood pilot program, dubbed the Tanglewood Lawncast, participating audience members are offered access to exclusive digital media content – including program notes, performer

interviews, and live camera feeds of the concert – via their iOS and Android smartphones and tablets.

Users can select from multiple camera angles, with views described as Conductor, Percussionist, Orchestral Full View or Soloist; archived content is also available. The camera views are part of a multi-camera broadcast of concerts that is projected onto large video screens A view from the lawn as Andris Nelson conducts the Boston Symphony located inside and on top at the Tanglewood 75th Anniversary Gala this past summer. of the concert hall.

Launched as a pilot program earlier this summer, the Lawncast resolution with extremely low end-to-end initiative has now been expanded and latency. InStream Mobile brings that, lowadditional content types were delivered to latency HD video to iPads, iPhones, and some 400 participating audience members Android devices. at two recent concerts staged last month.

“With Lawncast, the Boston Symphony Lawncast was designed and imple- Orchestra’s goal is to give audience memmented by engineering, programming and bers more ways to engage and see installation A/V company North American the orchestra up close,” said Bernadette Theatrix using Haivision streaming media Horgan, Director of Public Relations. technology, in particular, its enterprise- “Haivision video streaming solutions are grade Makito X encoders. helping us deliver this unique program so The Haivision solution is used to deliv- audiences can have an enhanced concert er HD video to mobile audiences in under experience using their mobile devices.” a second, program coordinators describe.

User selectable camera feeds—including Each single rack-mountable one focused on the conductor and another encoder can deliver up to 12 on an alternate view of the orchestra—are channels of High Profile HD part of the multi-camera concert broadcast; 1080p60, and models single or dual channel SDI and DVI connectivity.

Audiences can watch the video Haivision’s Makito X HD encoders support up to streams on their iPads, iPhones 1080p60 video resolution. and Android devices using Haivision’s InStream Mobile, a free media player that can be used to that program output is also projected onto deliver high performance media the large video screens located inside and experiences to multiple simultan- on top of the concert hall. eous mobile viewers without a The Tanglewood Lawncast pilot program Interactive broadcasts of the concerts at Tanglewood can be delivered dedicated streaming server. takes place on a specifically designated area using Canadian made technology; content includes extra camera angles.

Haivision’s Makito X HD of the lawn; only those seated in the speciPhotos by Marco Borggreve. encoders support up to 1080p60 fied area can access the enhanced content.

10 Broadcaster October 2014

BRC_October 2014_de.indd 10

www.broadcastermagazine.com

14-11-05 10:41 AM

SPORTS

Rogers NHL Coverage a Hit across Multiple Media Platforms

W

ith the puck drop on the 2014/15 NHL season, as many observers were watching the media coverage as the on ice action.

The debut of multi-platform media coverage from Rogers generated much commentary on opening night, and early reports indicate it did not disappoint, despite some time spent getting used to new faces and personalities, as much as new production technologies.

The Toronto Maple Leafs home opener vs. the Montreal Canadiens on Scotiabank Wednesday Night Hockey marked the most-watched broadcast in network history, and it was the No. 1 program of the night across Canada.

Overall, eight million Canadians watched some part of the record-setting night on Sportsnet, which included three NHL games (Montreal at Toronto; Vancouver at Calgary; San Jose at Los Angeles).

Not quite half a million unique visitors went online to Sportsnet.ca, where 1.8 million page views were counted.

As well, reports indicate that 55,000 fans live streamed their favourite team online using Rogers NHL GameCentre LIVE, with 75 per cent of that audience watching the games online at home, while another 25 per cent were on the go, and using their mobiles and tablets.

On average hockey fans streamed 51 minutes of action packed play, and over 80,000 minutes of on-demand video and replays from multiple angles with MyReplay.

“We’re off to a good start. The app is still in beta mode, and there are some gremlins to sort out but we got some great feedback from the fans. At one stage there were more people watching the game on mobiles in Toronto than all of the USA. Our 700 spectrum was put to good use managing a heavy traffic load in the cities of Toronto and Calgary where the action was happening,” said Guy Laurence, President and CEO, Rogers Communications.

Rogers NHL GameCentre LIVE gives users exclusive access to GamePlus camera features, and they can pull up unique camera angles from the ref’s helmet, behind the players’ bench, along the ice at 200 level and over the net on their tablets and mobiles.

Rogers Digital Sports (including Rogers GameCentre LIVE) had a huge day, with 95% more page views, 87% more visits and 114% more unique visitors to Sportsnet.ca than last year’s opening day.

Social platforms are, of course, buzzing as well, and more than 6,000 NHLrelated mentions were associated with the @Sportsnet twitter handle on opening

night alone.

Sportsnet hosted the evening from its newly-created 11,000 square feet TV studio, with nine separate sets and up to 14 cameras that can shoot up to three live broadcasts for three different networks at any one time.

The Hockey Central Studio features a rotating main anchor desk, open 360° so cameras can shoot from any angle.

There’s a huge 11 x 38 ft. ultra-high-resolution monitor, an LED floor that displays videos and graphics, and multiple other HD screens and monitor walls.

“Our hosts and commentators gasped when they saw the studio in action for the first time, and we’re confident fans will as well,” said Gord Cutler, Senior Vice President of NHL Production, Rogers. “It’s cutting edge and allows us to showcase the game in ways never seen before that will keep fans on the edge of their seats.”

Designed by Jack Morton PDG, the company that designed the sets for Canada’s Olympic Broadcast Media Consortium at Vancouver 2010 & London 2012, the set was eight months in the making, beginning with the design phase and coming full circle with the construction in mid-June and finishing in late September, just days before that first puck drop.

Shoot your docs, indies, unscripted TV, newsmagazines, and corporate video in incredible 4K and stay on budget Introducing the Sony PXW-FS7 4K Super 35 XDCAM Camcorder

THE PRICE & FEATURES WILL BLOW YOU AWAY - One man operation camera - Ergonomic Handgrip Camera Controls - Sony E-Mount

- UHD Up to 60 FPS, HD Up to 180 FPS - XAVC-I, XAVC-L, MPEG-2 - XAVC-I Up to 600 Mb/s

Come see us and check one out for yourself hdsource.ca 905 890 6905 www.broadcastermagazine.com

BRC_October 2014_de.indd 11

October 2014

Broadcaster 11

14-11-05 10:41 AM

SPORTS

BIG SPORTS, BIG AUDIENCES

TEAM UP

Broadcasters Seize Multi-Screen Opportunities

M

ore people watch sports on TV than ever before, and sporting properties and media rights continue to increase in value.

From the audience numbers for recent Olympic and World Cup events, to the price tag for rights packages like the NBA’s in the US and the NHL’s here in Canada, and sale prices for individual teams like the LA Clippers, every announcement is a record-setting one.

Audiences all over the world are hungry for sports, and trends show that fans (no matter the age or gender, no matter the country or team, no matter the time of broadcast) are ready for more.

It’s not just larger servings they want, it’s extra plates! Television remains by far the main device through which fans follow their passion, but Whether it’s in the stadium, at home or on the go, second screen, companion and mobile apps for second screens are coming into play now, too. major sports leagues and TV broadcasts are gaining ground in popularity, impact and A look at global broadcast / linear audiences revenue generation. versus online / digital platform numbers shows TV still dominates, often with a 20 or 25 times greater viewership. program acquisition in its 30 year history.

In some specific cases (broadcasts of the 2014 FIFA World Nevertheless, the way viewers engage with TV is changing Cup final or semi-finals in Germany and Holland, for example) fundamentally, and with it the way rights owners maximize value.

TV audiences were the largest audiences ever – for sports pro- According to NBC research, some 55% of all viewing to sports gramming or not! broadcasts involve people using second screens simultaneously.

(Even in China, the final from Brazil attracted more than 30 Fans are able to make live predictions, rate player actions, million viewers audience for a 78% market share, despite being share top moments and personal passions, post photos and vidbroadcast at 3:00 am.) eos, all while using their digital companion, all while watching Like many global broadcasters and FIFA rights holders, CBC’s the game on TV. World Cup coverage set its own records for both TV and online CBC worked with Bell Media to deliver its customized second viewing. screen experience, which in addition to its social, video and More than 30 million Canadians tuned in at some point dur- stats pages, offered multiple camera angles users could select to ing the month-long tournament; that’s almost 90 per cent of the watch. App developers say the tools ensure that fans keep their country’s population. Of that total, 6.6 million watched at least mobile devices handy, even when watching on TV. part of a game online.

“While watching the main match feed, the viewer will have Viewership for the final scored 7.4 million, with more than some pretty amazing tools to truly get inside the game,” said Paul 11 million tuning in at some point during the English-language McDougall, Executive Producer of CBC World Cup coverage. broadcast. Overall, 5.9 million viewers in Quebec (or 83 per CBC’s FIFA World Cup digital team watched as the app was cent of the province’s francophone population) watched at least downloaded more than 1.1 million times, and as traffic to the some French-language FIFA World Cup coverage on ICI Radio- website increased more than 40 per cent in page Canada Télé or TVA Sports.

Unlike some of the match results, none of the digital viewCanadian broadcast partner TLN scored with tremendous ership numbers from Brazil should surprise. Canadian app viewership numbers for its multi-lingual broadcasts, and com- developer Mobovivo was among those predicting that TV viewpany president Aldo Di Felice noted that the 2.7 million viewers ers would not turn off their TV, but rather tap their second for its live broadcasts and evening prime time “match of the day” screen during the World Cup. broadcasts made the tournament TLN’s most successful single Trevor Doerksen, company founder and CEO, says the com12 Broadcaster October 2014

BRC_October 2014_de.indd 12

www.broadcastermagazine.com

14-11-05 10:41 AM

SPORTS panion or second screen platform drives actual TV viewership and captures mobile inattention.

“With billions of dollars at stake, TV networks that drive bigger audiences to watch bigger screens drive bigger revenues,” Doerksen describes. “This is important, as TV networks don’t want to trade TV dollars for digital dimes nor lose audience to inattention.”

Mobovivo research and collected user stats indicate that titlespecific apps bring as much as 77 per cent more engagement to a show’s online social activity and that can turn into a 2.5% increase in TV viewership.

In fact, various second screen TV companion solutions powered by Mobovivo (including ESPN Sync and Intel Football Live) and others realized record-breaking engagement levels during live sports events.

Visiware is another leading provider of second-screen solutions, and its recently launched Sync2Ad platform uses a synchronized mobile ad-unit that plays in real-time with TV spots, as developers continue to explore ways that the second screen brings together audiences, advertisers and content in a unique interactive media experience.

Dedicated apps for the event, such as Televisa’s Deportes, ESPNSync, and L’Equipe Connect, are powered by Visiware’s Sync2TV platform.

Sync2TV powers interactive engagement for its clients by reaching users on mobile devices and the on the Web, giving them added live game stats, gamification, social buzz, and video commentary during the match.

“The World Cup 2014 has shown even greater uptake for second screen activity than we thought. The second screen has become a key component of sports and entertainment consumption,” said Laurant Weill, founder and executive chairman of Visiware. “Users are now telling us that they will no longer watch a game without a second-screen application.”

ESPN tallied more than 43 million hours of live viewing on WatchESPN, and it averaged 892,000 viewers per match. ESPN. com welcomed about 13 million unique visitors and saw 12

www.broadcastermagazine.com

BRC_October 2014_de.indd 13

The FIFA 15 smartphone app unwraps sports data and fantasy league features for users with online accounts for desktop PCs and popular gaming consoles. Available in six languages, the EA app was released well after the 2014 World Cup tournament.

million video starts daily, trends up 40 percent and 161 percent, respectively, since the 2010 South African games.

(Again, TV trumped digital, with more than 291 million people turning on their TVs to watch ESPN, ESPN2 or ABC linear content during the 64-game event.)

Univision reported 73 million digital livestreams during the Brazilian matches, or about 15 Super Bowls worth of livestreams using February 2014 statistics from Fox Sports. About 10 million unique visitors watched a game live on one of the Spanish continued on page 20

October 2014

Broadcaster 13

14-11-05 10:41 AM

NEW Imagine Communications Sees Broadcasters in the Cloud Imagine Communications has launched Landmark Express, a suite of advertising sales, rights and scheduling solutions for small and mid-sized broadcasters.

Available in two cloud-deployable modules, Landmark Rights & Scheduling Express and Landmark Sales Express, the new offering provides access to integrated sales and campaigns, traffic, contracts, program planning, rights and scheduling modules with full-scale support services.

Landmark Express offers flexible deployment models via private or public clouds, the company describes, or in customers’ on-premises operations centers.

The Landmark Express portfolio workflow enables the Landmark Rights & Scheduling Express and Landmark Sales Express solutions to be deployed together as a tightly integrated solution, or individually, to solve the ad sales, rights and scheduling needs of small to mid-sized broadcasters.

Landmark Express is Built on Microsoft’s Cloud Platform, Azure.

New RC 4K Camera Module from AltaSens, Bradley

The new pan-tilt-zoom unit called Cam-Ball is built around a domeshaped camera head from Bradley Engineering, and AltaSens’s 4K CMOS image sensor technology.

Now, a miniaturized 4K camera module integrated in the remote-controlled Camball head is being shown, along with the 4K sensor at the module’s visual cortex.

Bradley’s Cam-Ball is a Pan Tilt Zoom camera with 99 pre-set positions CamBall 4K Remote Controlled Pan Tilt Zoom Unit that can be memorised and recalled.

It has a lightweight, weather proof carbon fibre housing and all of the camera functions and movements can be controlled remotely, including the Pan, Tilt, Zoom, Iris, Focus and the activation of infrared mode and the colour balancing elements. All this is done using Bradley’s remote control panel RCP3.

The sensor’s extensive programmability enables extremely fast frame rates used in many broadcast, scientific, military and consumer markets.”

AltaSens is a wholly owned subsidiary of JVC KENWOOD.

Advanced Shared Storage Capabilities for TriCaster, 3Play

Facilis Brings Storage Options to NewTek Developer Network

NewTek and broadcast and post-production storage company Facilis Technology have joined forces to provide shared storage support for NewTek’s TriCaster multi-camera live video production systems, as well as its 3Play integrated sports solutions.

Facilis has joined the NewTek Developer Network, providing NewTek customers the flexibility to record and play out multiple live-streams simultaneously, using an industry-leading multi-platform, high-capacity shared storage server that supports both 8/16Gbps Fibre Channel and 1/10Gbps Ethernet.

Facilis’ TerraBlock shared storage 6.0 has been tested on the TriCaster 860 model, the companies report, and the full complement of eight capture streams of HD 4:2:2 video can be accommodated on a TerraBlock 24EX/16 or 24D system over the standard 1Gb connection.

When using a 24D system, a total of 32 streams of 4:2:2 capture can be achieved with concurrent playout streams.

14 Broadcaster October 2014

BRC_October 2014_de.indd 14

JVC, WOWZA Combine ProHD Camcorders, Streaming Engine

JVC’s GY-HM650 with Streaming Media Capabilities Ready for Wowza Streaming Engine.

JVC Professional and Wowza Media Systems are partners on a platform to integrate their streaming capable camcorders and streaming server software.

The system workflow is being demonstrated in concert, sports and other live event streaming applications.

JVC’s GY-HM650, GY-HM850 and GY-HM890 ProHD camcorders feature a built-in streaming engine along with FTP and 4G LTE connectivity, supporting live HD transmission from the camera when paired with a 4G LTE modem or hotspot.

Operators can now direct the transmission to their Wowza Streaming Engine server, via an IP address, which can then deliver live video to end users anywhere, on any device, opening up broadcast options for real-time video delivery directly to viewers.

The cameras also include JVC’s Advanced Streaming Technology (AST) for content-aware error correction, plus a built-in processor that maximizes bandwidth to ensure reliable transmission. www.broadcastermagazine.com

14-11-05 10:41 AM

NEW Hitachi’s New 4KUHD ENG-Style Camera takes 2/3-inch Lenses

Hitachi Sees HD Lenses on 4K Cameras Hitachi Kokusai’s newly developed SK-UHD4000 is a broadcast 4K Ultra-HDTV camera system that uses the same 2/3-inch lenses used in conventional HD broadcast cameras.

The camera can also be used in a 2K HDTV workflow, and it does offer simultaneous 2K/ 4K resolution image output, so HD broadcast cameras and the SK-UHD4000 can be mixed at the

same location, and HD-quality video can be extracted from 4K footage. A camera control unit for the 4000 is 2U tall.

Hitachi also reports it is managing the power draw on the camera head so that the amount of power consumed, 38 W, is equal to the typical power consumption of a 1080p HD broadcasting camera.

IO Industries Launches Compact 4K Camera at IBC 2014

London, ON-based IO Industries’ new 4KSDI camera is a single-piece 4K/UHD camera head with 3G/HD-SDI outputs for connection to separate recorders and monitors.

It features a Super-35mm global shutter sensor, interchangeable lens mount, and multiple output formats to support various applications. Designed for use in professional broadcast and production environments; its small size and light weight (90x90x60mm, approx. 730g not including lens mount) also suits remote video applications with unmanned aerial or underwater vehicles.

Lens mount options including PL, Nikon F and Canon EF, New Compact 4KSDI 4K Camera from IO Industries allow familiar lenses to be used, while an integrated Optical Low Pass Filter helps remove moiré artefacts.

With four 3G/HD-SDI outputs, connection to peripheral devices is made easy. Depending on the output format, either two or four cables are needed to connect the 4KSDI September 24 - 27, 2015 to a growing selection of 4K/UHD field recorders, monitors, and live production switchers.

Barrie, Ontario Other features of the 4KSDI include DCI 4K 4096x2160 and UHD FOR THE 2015 CONFERENCE (3840x2160) output formats; 10-bit ROOMS WILL BE GOING FAST! 4:2:2/RAW up to 60p, 10-bit 4:4:4 up to 30p; and sync input for multi-camera Contact: Joanne Firminger, 1-800-481-4649, synchronization, either stereoscopic or information@ccbe.ca, www.ccbe.ca panoramic.

The Association of Central Canada Broadcast Engineers, Technologists and Technicians Inc.

Horseshoe Resort

CCBE 2015

Book Now!

www.broadcastermagazine.com

BRC_October 2014_de.indd 15

October 2014

Broadcaster 15

14-11-05 10:41 AM

NEW

PRODUCTS & SERVICES

Ikegami Adds to Monitor Line-up Ikegami is introducing four new monitors, including high-end OLED and production-grade LCD models.

The new HEM-2570W (25-inch) and HEM-1770WR (17inch) are both high-performance Grade-1 OLED monitors with 12-bit display processing. Both monitors are designed for use as master reference displays in environments such as production facilities, master control rooms, presentation studios and playout suites.

The HEM-2570W incorporates a 1920 x 1080 native OLED panel capable of resolving 1 billion colours. Display specification parameters include 250 candela per square metre brightness, 5000:1 contrast ratio and 178 degree vertical/horizontal viewing angle. An integral test pattern generator, waveform monitor and vectorscope allow the display to be used both for picture and signal monitoring.

Split-screen, dot-by-dot, interlace, waveform and vectorscope viewing mode can each be selected from the front panel. Two multi-SDI inputs and plus one multi-SDI output are provided, each capable of handling 3G, HD or SD. Additional connectivity capabilities include two composite video inputs, two composite video outputs, an RGB/YPbPr analog component input, analog PC input and DVI-D input.

Ikegami’s HEM-1770WR is a compact version of the HEM2570W, the company describes, with essentially identical features for applications such as mobile production vehicles or graphic suite desks where space may be at a premium. WHD dimensions are 428 x 301 x 90 mm, weight is 7 kg and power consumption is 70 watts.

The Ikegami HLM-1751WR is a 17 inch 1920 x 1080 multiformat LCD colour monitor with an LED backlit panel. It has two SDI input channels, each accepting 3G-SDI, HD-SDI

New Monitors from Ikegami include high-end OLED and production-grade LCD Models

or SD-SDI 4:2:2, plus a monitor output video channel with 5.1 audio mixdown. Output can be selected manually or in auto-follow mode. Up to 100 still images may be captured from the monitor direct to USB memory. The HLM-1751WR requires 45 watts of power and operates from AC mains or DC. Fixed or tiltable monitor stands are available as options.

WHD dimensions are 428 x 301 x 96 mm.

Model HLM-1705WR is a more cost-effective 17 inch LCD colour monitor with full HD resolution; the new monitors augment Ikegami’s existing range of monitors, including the production-grade HLM-3250W/HLM-2450WB, and the HLE-2153G/HLE-1853G 3G standard monitors.

Broadcast Audio Follows Ball Chaser from Studer HARMAN’s Studer is unveiling a prototype unit, called the Studer Ball Chaser, that lets broadcast operators open an on-field FX shotgun microphone closest to playing action on the sports field, while keeping the other microphones closed.

Designed to connect to the Vista console, Ball Chaser is a simple joystick mounted on a small, portable box. Configured via a simple web GUI interface, the layout of the physical microphones around a playing surface (up to 24 microphones may be used) are linked to the faders on the desk (mono and stereo faders may be controlled).

Moving the joystick opens and closes the relevant faders with smooth cross fades, the company describes, and 16 Broadcaster October 2014

BRC_October 2014_de.indd 16

Studer’s Ball Chaser offers a Web GUI to Control Mics around a Playing Surface or Pitch

desk faders will respond in real time to the joystick movement and open only the microphone fader deemed nearest to where the action is taking place on the field or pitch.

The Ball Chaser link to the desk is a simple Ethernet connection, so the operator can be some distance from the Vista desk, even watching the action from the stands. www.broadcastermagazine.com

14-11-05 10:41 AM

NEW

PRODUCTS & SERVICES

Panasonic Launching VariCam 4K Modules Panasonic’s new VariCam 35 4K camera module is part of a new multi-format system, handling 4K, UHD, 2K and HD for commercial, episodic and live event production.

The 4K camera module unit (AUV35C1) is separate but dockable to the recording module unit (AU-VREC1), which is also interchangeable with Panasonic’s new 2/3” camera module unit (AU-V23HS1). There’s an umbilical cable between the s35mm 4K camera and the AVC-ULTRA recorder, providing “box” camera functionality for jibs, cranes and other “remote” camera needs. The recorder module is also interchangeable with Panasonic’s new 2/3” 1080p camera, for switching between s35mm and 2/3” camera heads.

The VariCam 35 utilizes a new Panasonic super 35mm MOS sensor for 4096 x 2160 (17:9) 4K image capture; when combined with the AVC-ULTRA codecs for 4K, the manufacturer specifies, it enables manageable 4K produc-

tion file sizes. The new imager offers 14+ stops of latitude, with extended colour management capabilities, and support for an Academy Color Encoding System (ACES) workflow for full fidelity mastering of original source material.

Other camera/recorder features include variable speed 4K recording up to 120fps, reference 2K/HD and proxy recordings for in-camera Panasonic’s new VariCam 35 4K Camera Module part of a on-set colour grading and monitorMulti-format Production System ing. The camera also features a newly-developed OLED electronic viewfinder (EVF) with optical zoom, and microP2 card is designed for recording 24-bit LPCM audio for in-camera audio HD or 2K at more typical production master recording. frame rates.

The VariCam 35 uses Panasonic’s I/O include 3G-HD-SDI x4 for 4K new expressP2 card for high frame rate QUAD output; 3G-HD-SDI x2 for RAW and 4K recording; it comes with four output; an HD-SDI out for monitoring memory card slots, two for expressP2 (down-converting from 4K); and two XLR cards and two for microP2 cards. The inputs to record four channels of 24-bit, new expressP2 card can record up to 48KHz audio. The VariCam 35 has a 130 minutes of 4K/24p content. The standard 35mm PL mount.

www.aja.com

Spectacular Frame Rate Conversion AJA’s FS1-X is the next evolution in frame synchronization and conversion.

Building on the strength of AJA conversion technology, FS1-X is the key to aligning mismatched video standards and managing the ever-increasing number of audio channels and formats.

Go International

Massive Audio Flexibility

Automation

FS1-X’s motion adaptive Frame Rate Converter (FRC) creates smooth, high-quality conversions between different frame rate families for international standards support.

Both fiber and coax 64-channel MADI input and output are supported with full routing of all audio via an internal 224x224 audio matrix, for an incredible amount of audio processing capability.

FS1-X easily integrates into existing infrastructure. A wide range of functions can be triggered by external GPI’s.

Configure and control via LAN from any web browser on any platform.

Find out about more at www.aja.com

www.broadcastermagazine.com

BRC_October 2014_de.indd 17

October 2014

Broadcaster 17

14-11-05 10:41 AM

NEW

PRODUCTS & SERVICES

FOR-A Intros 4K Frame Rate Converter

New Monitors from Ikegami include high-end OLED and production-grade LCD Models

FOR-A is introducing the FRC-9000 4K frame rate converter incorporating enhanced motion compensated frame rate conversion technology for broadcast production and live transmission applications.

It can be used as a 2 X HD/SD-SDI frame rate converter, while also offering 3G/HD/SD multi-format support, and can be used for 4K applications.

FOR-A’s new frame rate converter includes up, down, and cross conversion, automatic scene cut detection for simple processing of scene changes, adaptive interlace-to- progressive conversion, detection of 24 effective frames in 2:3 pulldown-converted 60i/p material for high-quality conversion, and detailed level setup.

The FRC-9000 has a front panel touch screen, and Web browser control gives users remote control options for their unit. The frame rate converter also offers Dolby E support.

FOR-A is also showing its FRC Export Plug-in file-based video format converter/MXF exporter plug-in software for Adobe Premiere Pro CC/CS6 Windows with both vector motion compensation and linear compensation conversion.

JVC’s GY-HM650 with Streaming Media Capabilities Ready for Wowza Streaming Engine.

Freefly Ships MoVI M15 Stabilizer JVC Professional and Wowza Media Systems are partners on a platform to integrate their streaming capable camcorders and streaming server software.

The M15 itself weighs 5.4 pounds/2.47 kg, and features a fully enclosed camera cage (203mm long x 203mm wide x197 high) for maximum rigidity and shot stability, the manufacturer reports, as well as fully protected wiring with an adjustable camera plate. Other features include simplified tool-less balancing and a quick release top handle. Similar to the other models in the Freefly line-up like the M5 and M10, the M15 can be configured in “Inverted Mode” to an eye-level camera angle.

The MoVI’s patent-pending Majestic Mode allows for a solo user to point the stabilizer by moving the handles, converting operator movement into stabilized pans and tilts.

In Dual Operator Mode, the MoVI stabilizer’s framing can be controlled by a second operator, using the MoVI Controller.

TASCAM Listens to DSLR Filmmakers TASCAM has updated its DR60DmkII, adding new microphone preamps with up to 64dB of gain to its four channel portable recorder, with the camera output attenuated down to mic level before passing it along.

The physical design now includes a tripod mounting screw on top and socket hole on the bottom, for cameras from Canon, Nikon, Sony, and others.

A pair of XLR microphone inputs feed TASCAM’s latest HDDA microphone preamps and provides phantom power for condenser microphones. The preamp gain and other controls are easily accessed from the front panel with physical controls 18 Broadcaster October 2014

BRC_October 2014_de.indd 18

New Mic Pre-amps featured on Portable TASCAM Recorder

instead of software menus for quick adjustment. A second pair of inputs can be patched to wireless receiv-

ers or other sources for four-track recording. Individual headphone and line outputs allow an additional feed on-set. Four channels can be recorded or the unit can be set to Dual Recording mode, which records a safety track at a lower level to prevent distortion.

Designed for DSLR shooting and live event production, the unit offers four-track WAV or BWAV recording up to 96kHz/24-bit; two XLR/1/4” combination jacks plus stereo 1/8” mini jack; individual headphone and line outputs, as well as a slate and tone function.

It’s powered via AA batteries or USB input. www.broadcastermagazine.com

14-11-05 10:41 AM

NEW

PRODUCTS & SERVICES

Nautel Expands Transmitter Line Nova Scotia-based Nautel Limited is adding to its line-up of broadcast transmitters with the introduction of the 1000 Watt NT1 Digital LPTV transmitter.

Operating in the UHF spectrum (470 – 810 MHz), the NT Series can support low power TV broadcasting, retransmission or gap-filler applications. Nautel’s low power UHF transmitters offer an advanced software defined modulator, amplifier, remote control and adaptive pre-correction in compact enclosures, with gigabit Ethernet input.

Also included in the NT 500 and optional on the NT250 and NT150 is the company’s enhanced adaptive pre-correction technology, OPTIPOWER. It allows optimization of transmitter power efficiency and transmitter MER (Modulation Error Ratio) performance, the manufacturer reports, as well as realNew Digital LPTV and FM Transmitters from Nautel time spectrum analysis.

The NT Series supports major digital transmission standards a 5 RU unit with digital power output of 10 – 500 Watts. including DVB-T, DVB-T2, ATSC and IDSB-Tb. The NT series The company also recently introduced a more compact also includes the critical mask filter (internal for the NT150 and GV30 Digital FM transmitters, providing up to 33 kW of anaNT250 and mounted externally in the NT500 and NT1). log power or 27 kW of analog power in -14dB hybrid mode The NT1 occupies 12 rack units and offers a digital power from a form factor 20% smaller than its predecessor. output of 400 – 1000 watts. Other products in the NT Series include the 4 RU NT150 and NT250, with digital power outputs of 2 – 150 Watts and 2 - 250 Watts respectively and the NT500,

New EMC Prompter Monitor Displays CueScript has introduced its education, middle market and corporate (EMC) line of prompter displays, adding new 15” and 17” models to its range of software, prompting displays and accessories.

CueScript says the new offerings are aimed at productions that do not require the high level of features associated with the company’s CSM range of monitors.

The 15” and 17” EMC prompter will still feature lightweight mounting options for all fluid heads, and will meet CE, TUV, FCC, C-Tick, PSE, and RoHs requirements. User menus have been designed for clear operation and functionality.

EMC Prompter Displays from CueScript

www.broadcastermagazine.com

BRC_October 2014_de.indd 19

October 2014

Broadcaster 19

14-11-05 10:41 AM

SPORTS BIG SPORTS, BIG AUDIENCES TEAM UP Continued from page 13

LEAGUE

BROADCASTER

LENGTH

CONTRACT

NBA

NHL

NFL MLB

MLS

CFL EPL

ABC, ESPN, TNT Rogers (Canada)

To 2024-25 To 2025

$24 billion $5.2 billion

NBC, Versus (U.S.) Fox, CBS, NBC, ESPN Fox, TBS, ESPN TSN (Canada)

To 2023 To 2022 To 2012 To 2016

$2 billion $27 billion $12.4 billion Not published

ESPN, Fox Sports (U.S.) TSN, RDS Virgin, Sky, BT

To 2022 To 2018 In Negotiations

$600 million $150-180 million $4+billion predicted

network’s digital platforms. While it still pales in comparison to the 80 million who tuned in during Univision’s broadcast, the numbers show promising growth in the digital space for the network.

Both Univision and ESPN promoted their soccer content through their apps, with bonus content, replay clips and other features in addition to the livestream. The Univision Deportes app was downloaded more than 3.4 million times, and some 87 percent of its online audience used a mobile device.

Building on its successful World Cup campaigns for media giants like Intel and ESPN,

Mobovivo used IBC2014 to launch a realtime API and content engagement service for its second screen platform, StayTuned.

It’s used to create real-time Picograms – a combination of Twitter, Instagram, movie trailers and sports highlights - for every TV scene, for every broadcast news story, for every live sport play, and then displays them in existing and new second screen and social network solutions.

Designed and developed in partnership with major TV networks, Pico integrates with TV show rundowns, sports statistics software, social networks, news

wire services, and image services to help brands and TV networks reach TV audiences with engaging real-time content synced to TV. In an IBC special presentation (From Big Screen to Multi-screen - Harnessing the Value from Sport Everywhere), he noted that in tests of Picogram during the World Cup, more than 200 million views and 10 million shares were tallied.

Mature, robust and ever-popular, sports content broadcast to the big screen TV remains an incredibly lucrative activity.

But multi-screening is surely having an impact on the way sports are delivered, and the way sports brands are valued.

Millions of smartphone, tablet and connected app users around the world are watching global sports telecasts, but they’re also connecting to supplementary content that’s provided by app developers, content creators and other app users.

With the right game plan, broadcasters, rights holders and digital media firms can capitalize on changing user behaviours and viewing habits, on changing delivery platforms and business models, by harnessing the key trends and technological innovations that are driving the value of global sports and media ever higher.

New miniCMTS for High-Speed Data Delivery

Pico Digital’s miniCMTS200a supports High-speed Data Delivery

W ESTERN A SSOCIATION B ROADCAST E NGINEERS

OF

Please visit our new web site for details on our 2014 convention, WABE’s Educational Initiatives and to download copies of our 2013 papers: www.wabe.ca Mark your calendar for Edmonton, Alberta. for our 64th Annual Convention at the Shaw Convention Centre

October 26th– 28th, 2014 For information please contact: Kathy Watson, WABE Office Manager, info@wabe.ca. Or call 403-630-4907 20 Broadcaster October 2014

BRC_October 2014_de.indd 20

Broadcast, broadband and cable provider Pico Digital introduced a new mini cable modem termination system (miniCMTS) for high-speed data delivery with support for DOCSIS cable modems.

The miniCMTS200a offers 16 downstream bonded channels for up to 800Mbps downstream and four upstream channels offering 120-Mbps upstream data delivery, while its Web interface allows for configuration, management, and debugging.

The miniCMTS200a allows highspeed data services to be provided to commercial and residential properties, academic and medical facilities, as well as in hospitality and other industries.

The unit’s high bandwidth supports over-the-top video or managed IPTV services for up to 400 DOCSIS 2.0 modems, or 250 DOCSIS 3.0 plus 150 DOCSIS 2.0 modems.

www.broadcastermagazine.com

14-11-05 10:41 AM

continued from page 22

(Ed’s Note: Bell Media cutbacks and staff reductions have affected CTV’s W5: the network will produce 14 episodes this year, 40 per cent fewer than previous years, cutting nine programs from the usual run of 23.

“These decisions are never easy,” said Wendy Freeman, the president of CTV News, in a statement released at the time.

“In spite of these reductions, the awardwinning W5 team intends to continue the important work of delivering investigative and inspirational stories that Canadians have come to rely on for nearly 50 years.”)

PHOTO CREDIT: CTV NEWS

There’s no doubt that over the years, Lloyd has done it all, and he leaves you feeling he’s enjoyed every last minute. He explains why and how he came to leave CBC’s The National which he hosted 1970-76, to join CTV’s national newscast co-hosting with Harvey Kirk. He sat in that chair for a record 35 years. He shares with reader his intense feeling of pride receiving the Order of Canada in 1998, and describes some of the major news stories he’s covered, including the Gulf War, Papal visits, Royal weddings, Expo ’86, the 50th & 60th Anniversaries of D-Day, nine Olympic Games, numerous Federal elections, interviews with Prime Ministers and other dignitaries, and coanchor for eleven years of CTV’s Hospital for Sick Children Telethon.

But the story is not finished, and he hasn’t signed off completely. Viewers are still enjoying his talents as host/correspondent of CTV’s excellent award winning documentary series W Five, which in 2016 will celebrate its 50th anniversary.

Lloyd & Nancy, his wife of 56 years, looked relieved just moments after he signed off the news for the last time.

Dick Drew is a long-time radio industry consultant and broadcast radio executive.

He’s also an author, and a regular contributor to Broadcaster Magazine. www.broadcastermagazine.com

BRC_October 2014_de.indd 21

PHOTO CREDIT: MITCH DREW

Off the air Lloyd remains active as a public speaker along with his public service work with the Arthritis Society, mental health, war veterans and other organizations. It seems Lloyd just cannot say no to any worthwhile cause.

For 35 years, Lloyd’s nightly sign-off was, “And that’s the kind of day it’s been...”

The awards, achievements and accolades go on, and like Wayne Gretzky, many of Lloyd Robertson’s records will never be broken. That’s the kind of career he’s had, and that’s another reason he is a Canadian Achiever.

Canadian Achiever Lloyd Robertson and author Dick Drew.

October 2014

Broadcaster 21

14-11-05 10:41 AM

Sixty Years On-Air,

PHOTO CREDIT: CBC STILL PHOTO GALLERY

Still Going Strong

A fleet of CBC anchors from 1952-78 [from left] Larry Henderson, Earl Cameron, Stanley Burke, Lloyd Robertson and Lloyd’s successor Peter Kent.

BY DICK DREW

W

hen I interviewed Wayne Gretzky in 1989, he was at the top of his game. I told him “Wayne, likely I will be asking you questions that you have been asked a thousand times.” He smiled and said “Shoot.”

That is almost word for word what I said to when I met with him over lunch recently. Lloyd reminds me of Wayne Gretzky.

After sixty years on the air, Lloyd is still at the top of his game.

Instead of saying ‘Shoot’, he offered to send me his book, The Kind of Life It’s Been, which he did, and I thoroughly enjoyed reading all 358 interesting pages and seeing 26 pages of pictures.

One of the most-asked questions he hears is why choose to remain in Canada and not head south of the border like so many others with his talent have? He answers quite simply, “I received several attractive offers Dick, but frankly, I prefer to live here in Canada.” Close to his roots, close to his family (he married his high school sweetheart Nancy in 1956; they have four daughters 22 Broadcaster October 2014

BRC_October 2014_de.indd 22

and a growing brood of grandchildren).

The book seamlessly helps the reader follow those roots, from Robertson’s first radio job as a teenager in 1953 at CJCS in his hometown of Stratford, Ontario, to his sign-off September 1, 2011, fifty eight years later.

His book is very revealing, not only of his own struggles to reach the top, but to stay there through many industry changes.

He’s more than willing to talk about the broadcast business, where he feels its going and where it’s been.

On a lighter side he tells readers of his on-air gaffes, and he even includes a picture of one ‘Tex Robertson’, seen with the Sons of the Saddle: his first big TV break was hosting Saddle Songs, a western music show on CBC-TV Winnipeg (Dick Moody, now retired and living in Huntsville, ON, remembers seeing ‘Tex’ way back then. According to Dick, “He did a real fine job, podner!”). continued on page 21

www.broadcastermagazine.com

14-11-05 10:41 AM

BRC_October 2014_de.indd 23

14-11-05 10:41 AM

BRC_October 2014_de.indd 24

14-11-05 AM 14-10-23 10:41 9:53 AM