The IBC Daily 2011 - 9/9/11 Issue

www.ibc.org

8-13 September 2011

theibcdaily Friday 09.09.11

The official newspaper of IBC

Cameron, Pace urge 3D rethink Conference Today

By Carolyn Giardina & Adrian Pennington James Cameron and Vince Pace – co-founders of Cameron–Pace Group – will debunk the belief that separate 2D and 3D productions are required, during a two-hour IBC session today that begins at 16:00 in the auditorium and will include a 39-minute preview of upcoming feature Cirque Du Soleil in 3D. “There is no business model that makes any sense for two separate productions,” Cameron asserted. “I just don’t know how you support that financially. There is no technical reason why you need to do that. You want the best sports directors to embrace the 3D tools and then make their own creative decision about whether to have two separate line cuts or one that bridges both worlds.”

The Cameron–Pace model is to merge 2D and 3D as a single production. Said Pace: “We want to raise the level of 3D production by delivering a business model which elevates the quality and reduces the cost.”

CPG’s R&D efforts also involve the development of production technologies that are smaller, lighter, easier to use, and smarter through the use of automation.

“Most of the things that are controversial on the cinema side are going to be resolved on the broadcast side,” Cameron suggested. “If thousands of people are shooting tens of thousands of hours of 3D, then cinema producers can’t say ‘this is too hard’.”

As part of this effort the duo announced the imminent launch of CPG in the UK targeting live sports production. “We are having tremendous success domestically serving up to 140 live 3D sports productions

to date based on the Shadow system (a CPG development that piggybacks a 2D and 3D camera setup),” said Pace, noting that this includes this week’s US Open Tennis Championship coverage. “We are now introducing that into the European market – globalising the model. We have a g reat test bed with ESPN and CBS and now is the time to migrate that same model into the UK.” CPG aims to provide complete 3D mobile units as well to supply outside broadcast providers with its technology.

On Monday Night at the Big Screen, IBC is presenting an extended trailer of Cameron’s Titanic 3D which has already undergone a digital remastering at 4K and is undergoing a $18 million 2D to 3D conversion for a theatrical re-release next year. Also courtesy of Lightstorm Entertainment and

WDR completes news build-out Avid Technology

By Carolyn Giardina The near-completion of a four-year, €4.5 million installation at German broadcaster Westdeutscher Rundfunk (WDR) has been announced by Avid. The tapeless workflow installation – based around Interplay production asset management system, ISIS shared storage and Media Composers – was developed to enable journalists in WDR’s 10 regional studios to centrally access, edit and play out its news and current affairs programming.

A regional studio in Aachen is the 10th and final studio in North Rhine-Westphalia (NRW) to be equipped with Avid systems to

produce news and current affairs programme content. It is expected to go live in early 2012.

“We have relied on our partnership with Avid since the beginning of our regional studio modernisation

Inside DVB-T2 widens reach Frank Herrmann, chairman DVB-TM-H group, explains what T2Lite is all about and the new features offered.

Page 12

IBC Certified Training IBC is again offering its Certified Training Programme on the latest post production software. There is an intensive two-day course, followed by a short examination.

Page 20

Super Hi-Vision James Cameron at IBC2011: We want to raise the level of 3D production

Experience 7680x4320 progressive picture resolution with NHK’s stunning demonstration in the Future Zone.

Page 30

Twentieth Century Fox the audience will get a unique chance to see some test clips that show the benefit of capturing and displaying 3D content at higher frame rates. programme in 2007,” said Reinhold W Vogt (pictured, right), chief department manager production NRW at the WDR broadcasting centre in Düsseldorf. “We’ll have installed edit bays with Media Composer at all 10 regional studio locations by early 2012. Thanks to Interplay, all journalists in our regional studios can access and screen their material with the help of Avid Assist. In addition, we are using Airspeed as a playout system.”

Mainz-based systems integrator BFE has been commissioned to install hardware at all studio locations.

Avid CEO Gary Greenfield commented: “The result of our longstanding joint partnership since 2007 means for the f irst time all WDR assets are now available to WDR’s 10 regional sites across Germany – allowing them to truly reap the efficiency and revenue-making rewards of a centralised, all-digital workflow.”

7.J20

Social standing Joanna Shields, vice president and managing director EMEA, Facebook, delivers her keynote address at 9:30.

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Clouds with silver linings The conference session Cloud Computing Comes of Age starts at 11:00 this morning.

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Technology budgets rise Analysing capex budgets in Europe compared to the rest of the world.

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Exhibitor listing Complete with stand numbers and floor plans for all 13 halls, plus outdoor areas.

Page 43 Published on behalf of the IBC Partnership by Intent Media London

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theibcdaily

09.09.2011

Trade, communicate and lead at IBC

By Michael Crimp, CEO, IBC Welcome to IBC2011. Over the next five days some 50,000 visitors and exhibitors will meet to do business, network, gain and share knowledge and hopefully have some fun in this vibrant city.

Regular visitors will note that IBC is changing too. Our aim is to retain IBC’s relevance at the forefront of the international electronic media itinerary and to keep adding more and more value, no matter your interest and goals.

For instance, we have deliberately sought to attract opinion formers from the whole spectrum of the

electronic media industry to debate the issues that matter and set the agenda for the next 12 months.

A glance at the IBC2011 Conference Programme reveals a ‘Who’s

Who’ of leaders from public service and subscription-based broadcasters, major film studios, social network pioneers, the giants of IT and global advertising. They also include entrepreneurs of venture capital and mavericks who have either defined a genre, such as Sir David Attenborough, or who uniquely synthesise creativity with technical innovation, like filmmaker James Cameron.

We are looking at how the IBC Connected World can demonstrate the consumer experience and to make that core to IBC. We have also introduced The IBC Leaders’ Summit, an exclusive event for Europe’s senior broadcast players to mix with

The City of Amsterdam is delighted to welcome you to IBC! This week, the IBC exhibition and its agenda-setting conference will bring close to 50,000 industry professionals from more than 130 countries to our city. Change and innovation are transforming the global media and entertainment industries. That is why IBC attracts the most talented and driven people from the worlds of broadcasting, ICT, consumer electronics, research and technology.

We welcome you to our city – and

invite you to stay. With more than 2,200 international companies, the Amsterdam Metropolitan Area is truly a global business hub. Our city also plays an important role in the ICT sector and creative media. You are warmly invited to visit the Dutch Media Hub/amsterdam inbusiness stand in hall 9.A20 for more information about the area as an attractive home for your business.

I hope you will leave IBC with renewed creativity, innovative spirit and business ideas for the future.

Conference Analysis

By Chris Forrester “There are only so many live events, concerts and so forth that people want to watch in 3D,” said Can Communicate’s creative director Duncan Humphries, speaking at IBC’s Live Production session. Indeed, despite the promise of next year’s London Olympic Games featuring 3D,

Conference Analysis

By Kate Bulkley The impending battle in Europe between online video powerhouse Netflix – which recently announced its launch in Spain and the UK for 2012 – and UK-based LoveFilm, is shaping up to be a landgrab, but the Group Digital Officer of LoveFilm, Lesley MacKenzie, told IBC delegates yesterday that LoveFilm is taking a different approach to the Hollywood studios. This and the

Eberhard van der Laan Mayor of Amsterdam

Challenging time for 3DTV

the overall impression of the panelists with regard to 3D was somewhat downbeat.

Humphries, whose company handled the BBC’s Wimbledon tennis coverage in 3D, said he was still taking “20 calls a week” from producers looking to cover a proposed event in 3D, “but few come to realisation”.

The panel agreed that costs for 3D OB production have not reduced, although Host Broadcast Service’s

Peter Angell said his wish is always to invest whatever spare cash he has into improving the experience for viewers. “We need to f ind better ways to originate content in order to spend less on reversioning and adapting. 3D has to be about good programming, not just technology.”

Outside Broadcast’s Timo Koch has one OB unit fully equipped for 3D, and another in build. “Last year we typically covered an event each month in 3D. I have to say that 2011 is much quieter.”

Darren Long, head of operations at Sky Sports for the past 13 years, and responsible for about 110 OB events per month (including HD), admitted that 3D remains a niche market, but “the public has to be educated into what is available and that there are different ways of watching productions. These include live transmissions to mobiles and tablets.”

Liberty Global reinvents TV Conference Analysis

By Chris Forrester In one of the most eagerly anticipated announcements of the year in European consumer electronics, Liberty Global’s CEO Mike Fries used IBC’s opening day Keynote to showcase its impressive new Horizon home media gateway. The box integrates cable TV, web-based and personal content, and distributes those choices throughout

the home and to portable devices.

Fries told delegates that with Horizon, the cable giant was “reinventing TV”. Horizon puts a computer at the heart of your digital home, making navigation simple, instant and seamless.

Fries explained that adding apps for smart phones and tablets was possible, and demonstrated the concept to delegates. Some 60 partners have already signed up to develop new apps for the system, and more are promised.

The core box comes from Sam-

Conversely we would like to know more about whether IBC meets the needs of exhibitors, how they interact with visitors and then to try and match up those needs and experiences.

We realise that for small to medium-sized companies in part icular, IBC represents a sizeable investment so we want to see where we can continue to add value and where there are opportunities for us to negotiate collectively for them – on hotel rooms for example.

We have a business development agenda and a lot of that is focused on the top tier of strategists and policy makers – but we are def initely not losing sight of the fact that companies have regular buying and selling interests and we aim to deliver the environment to meet and exceed their goals.

LoveFilm questions Netflix model

Welcome to IBC from the Mayor Dear IBC Visitor,

some of the most talismanic figures in world media.

This broadened scope has not diverted our attention from the needs of visitors whose central aim at IBC is to trade and communicate.

To that end we encourage everyone to participate in research we are conducting during and after the show both online and face-to-face.

We want to know what your personal experience is of Amsterdam and the RAI so that we can improve and benchmark that against other experiences and venues. We want to understand more closely why visitors attend and how they interact with exhibitors.

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Mike Fries: Horizon “puts a computer at the heart of your digital home”

sung, and is powered by the new Intel Atom Media Processor chipset. Middleware comes from NDS, and Nagra provides encryption.

MacKenzie. “They don’t like changing the distribution windows and they don’t want to change how they get their money and they don’t want to denigrate future windows. We are respecting that.”

Getting content first is also important which is why MacKenzie has lined up a deal to put the Twilight vampire films on LoveFilm in the UK before they are on a linear TV channel.

Helge Hoibraaten, CEO of Vimond, an online video service provider part-funded by Norway’s TV2, said that TV2’s online video

Leslie MacKenzie, LoveFilm, said “we are working hand-in-hand with the studios”

power of LoveFilm’s owner Amazon give it a big advantage, he said.

“Netflix came to the UK a few years ago and left. So I think it comes down to who’s got the brand, who’s got the marketing and who’s got the reach,” said Mackenzie. “Netflix has been successful in America but it remains to be seen if it will be in Europe.”

MacKenzie told the audience in the Forum panel on Reaching the Consumer Across Multiplatforms that LoveFilm has learned a lot from watching Netflix, which is having disputes with several studios over the licensing of current content, including with Starz, the maker of Spartacus. “We have the advantage of seeing Netflix grow in the States and so for our business we are working hand-in-hand with the studios,” said MacKenzie. “We don’t see ourselves as an OTT business, we are actually a broadcaster that is just broadcasting in a different way.

“Studios are only comfortable working with companies selling premium movies that are going to have premium subscriptions,” said

service had taken 10 years to get to 5% of TV2’s revenues, but in the last 14 months that the number had doubled to 14%. “Other revenue has increased as well but not as fast as OTT,” he said.

Hoibraaten said he is a “believer in OTT” because of falling costs and increasing capacity of broadband networks as well as the audience desire for greater freedom of choice, but the hurdles are also big, including a nascent business model, access to rights and the lack of a “great user experience”.

Anthony Rose, CTO of zeebox, added that the industry should beware of setting standards like HbbTV, the European connected TV standard that combines broadcast and broadband TV services on connected TVs. “HbbTV has some nice sensible things like a browser but only the broadcaster can control it. I think that combining a standard with a power play for broadcasters is difficult because all the exciting innovation on user interfaces and other things will be happening on devices directly connected to the internet.”

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theibcdaily

09.09.2011

Frank debate drives IBC Leaders’ Summit

At the Summit yesterday: Jolyon Barker, Royston Seaward, Gary Shapiro, Andrew Neil, Caroline Thomson, Chris Dedicoat, Mike Darcey and William H Roedy

VIP Analysis

By Adrian Pennington Good content will drive revenue, provided the monetisation of that content is properly managed. That was the message from leading broadcasters including Mike Darcey, CCO BSkyB during and

after the no-holds barred debate on The Future Demands of Broadcast featured at the inaugural IBC Leaders’ Summit.

Leading the debate alongside Darcey was Caroline Thompson, COO BBC. Both were in general agreement about a positive future for broadcasting and urged delegates to continue to produce great content,

provided there was a sound business model in place.

“You have to allow content providers to come up with the monetisation strategy they think is best,” said Darcey. “I urge content owners to think very carefully before putting content in places where it can cannibalise other revenue you already have.”

The session was part of a twoday prog ramme of candid and insightful discussion for around 50 of Europe’s most senior broadcast players led by some of the most talismanic figures in world media.

The IBC Leaders’ Summit, with supporting partners Deloitte, the City of Amsterdam and AIB and sponsored by Sony and Microsoft, had one simple aim: to explore what leaders of business in the industry must do to keep pace with their consumers and set the agenda for future strategy.

Christian Bombrun, interim managing director, M6, said: “It is valuable that there are so many leaders from the media industry gathered here. It is a great chance to

interact with them, to learn what is happening in the US, Asia and Europe and to chat with peers about what is coming next.”

The initiative emerged from IBC-conducted research, which indicated that while visitors to IBC valued a one-stop technology shop with parallel conference, a fundamental shift in buying decisions a l s o n e e d e d t o b e t a ke n i n t o account.

This shift, from best of breed technology towards the business of broadcasting, underscored the need for organisations to understand the consumer agenda and in particular how they will engage with electronic and social media.

“The Leaders’ Summit is IBC’s response,” explained IBC CEO Michael Crimp. “It raises burning questions about the changing nature of leadership in a media business. It is an opportunity for IBC to play a leading role in providing the answers and for it to become involved with a new and increasingly important part of the industry.”

It is intended that delegates will take away new knowledge and new contacts to help set and address a strategic agenda for the future.

“Ultimately IBC’s ambition is for delegates to return to IBC and to move the industry’s agenda forward when they do,” added Crimp.

VIP speakers included Consumer Electronics Association president Gar y Shapiro; Chris Dedicoat, president, EMEA, Cisco; Rich Riley, senior vice president and managing director EMEA, Yahoo!; William H Roedy, former chair and CEO for MTV Networks Inter national; Facebook’s VP and Managing Director, EMEA Joanna Shields; Giorgio Stock, executive vice president and managing director, Disney Channels EMEA; Michael Comish, CEO, Blinkbox; Jolyon Barker, managing director, global technology, media and telecommunications (TMT), Deloitte; Dr Abe Peled, chairman NDS; and Royston Seaward, partner in technology and lead for digital transformation Deloitte.

Customers will revolt warns Johnson Conference Analysis

By Ann-Marie Corvin Free-to-air broadcasters need to wake up to the fact that they are now in the business of managing decline, according to former Channel 4 Chairman Luke Johnson at IBC’s opening keynote, The Future of Broadcasting.

The serial entrepreneur – who made his name buying and selling Pizza Express – argued that declining ad revenues and audiences meant that free-to-air ‘legacy’ broadcasters are offering ‘bad value’ to their customers.

“Spot advertising is under threat as a business model,” he warned.

Johnson also pointed to the fragmentation of audience viewing figures, which he witnessed first-hand while working for UK commercial

public service broadcaster Channel 4. “When I joined eight years ago we would demand 3m or 4m people to deem a TV show a hit. Now they would be happy with 2.5m – that’s a massive decline in a short period of time.”

Fellow panellist William H Roedy, former chairman and chief executive of MTV admitted that times were tough for broadcasters.

“The days of the 30 second spot days are numbered,” he said. “The commercial message now needs to be integrated across all platforms.”

BBC Worldwide chief John Smith, however, argued that business has never been better and that this socalled world of threats was actually “a world of opportunities”. As a case in point he pointed to the massive popularity of the BBC’s Top Gear Face-

Adobe acquires Iridas Adobe Systems

By Carolyn Giardina Extending its reach into the professional video space, Adobe has acquired the assets of privatelyowned Iridas for an undisclosed sum.

This includes Iridas SpeedGrade, a toolset for stereo 3D, Raw processing, colour grading and fin-

ishing. Adobe noted that Iridas offers non-destructive tools for primary and secondary colour correction that are optimised for multi-core CPU and GPU performance, parallelling Adobe PremierePro and Adobe Mercury Playback Engine software.

“The ability to deal with HDR workflows and also their stereoscopic pipeline; those are two areas where we wanted to accelerate our efforts and

IBC Daily is online now Today’s IBC Daily is also available online now in a full digital edition version. The

Online IBC Daily is an ideal reference copy that you can view anywhere, anytime.

book page, which now attracts 14m fans. Another BBCWW venture included the July launch of the BBCWW’s Global iPlayer in 11 European countries which has registered 110,000 downloads in its first month.

Smith argued that making the most of new platforms has helped turnover to rise from £600m to £1.2bn – with a dividend of £182m being returned to its pubic service parent last year.

Yet according to Johnson BBCWW’s business model is an anomaly. “He’s not running a freeto-air broadcaster. He’s running the brand of a £3 billion tax-subsidised broadcaster and that’s not a model anyone else can possibly replicate.”

Johnson added that he would not be prepared to invest any venture capital through his company Risk Capital

Partners into broadcasting, although he would not rule out buying a digital business “because that’s what younger people are gravitating towards and where advertising will follow”.

Iridas fit,” Bill Roberts, Adobe’s director of video product management, told The IBC Daily. “We also saw a very big shift in colour grading. It seemed like a good time to bring the two organisations together to help us to go faster and meet the needs of the pros.”

According to the Adobe announcement, with the addition of Iridas technology, Adobe Creative Suite Production Premium and Adobe Creative Suite Master Collection ‘are expected to gain a comprehensive set of tools so video editors can manipulate colour and

light for any type of content, including professional film and television’.

On Adobe’s overall philosophy, Roberts said: “We think that the tasks of audio, effects, finishing, editing should all have dedicated interfaces and the workflow should be simple and seamless and lossless between the applications. Historically that is what we have done and there should be no change going forward as we start to integrate this technology.” Roberts reported that with the deal, the entire Iridas team would become Adobe employees. 7.G27

The entire archive of IBC2011 Dailies will remain permanently online as a series of browsable newspapers on TVBE’s website, and stories or pages can be clipped and downloaded or

printed for your reference and company distribution.

See all of this year’s IBC Dailies online at: www.tvbeurope.com/ibc-digitaleditions

EDITORIAL Editorial Director Fergal Ringrose Managing Editors David Davies, Melanie Dayasena-Lowe, Adrian Pennington Production Editor Simon Croft Reporters Kate Bulkley, Michael Burns, Ann-Marie Corvin, Chris Forrester, David Fox, Carolyn Giardina, Dick Hobbs, George Jarrett, Heather McLean, Ian McMurray, Anne Morris, Adrian Pennington, Paul Watson

Luke Johnson: Spot advertising is under threat as a business model

Photographers James Cumpsty, Richard Ecclestone, Chris Taylor Web Videographer Tim Frost IBC Chief Executive Officer Michael Crimp

SALES Sales Director Steve Connolly Tel: +44 (0)20 7354 6000 Email: steve.connolly@intentmedia.co.uk Deputy Advertisement Manager Ben Ewles Tel: +44 (0)20 7354 6000 Email: ben.ewles@intentmedia.co.uk US Sales Michael Mitchell Tel: +1 (631) 673 3199 Email: mjmitchell@broadcast-media.tv

ART & PRODUCTION Production Manager Stephen Miller Page Design Avant Garde (Croydon) Ltd At the Show Paul Aarons, Dawn Boultwood, Hazel Croft Publisher Joe Hosken Managing Director Stuart Dinsey Printed by Partnion Published on behalf of the IBC Partnership by

Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London, N1 8LN, England © The International Broadcasting Convention 2011.

No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.

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theibcdaily

09.09.2011

Scalable video coding for distribution straight to the consumer

Target application for 1080p/50 is the production of world feeds EBU

By George Jarrett The stories behind the live 1080p/50 end-to-end signal chain demonstration on the EBU exhibit are just as exciting as the images that suggest 1080p/50 must become the standard for world feed production, at the expense of 1080i/25.

First, EBU intern Jens Fischer developed the whole chain, under the direction of Dr Hans Hoffmann, head of media fundamentals and production technology at the EBU Technical Department, and Professor Hedtke of the RheinMain University.

Indicating that his Master’s thesis will be hugely deserved, and that

there is plenty of young talent in the wings around IBC, Fischer suggested a great take in terms of a spin-off application.

“We can use scalable video coding for distributing 1080p/50 through to the consumer. We broadcast the base layer – this means 720p or 1080i – and that is our daily job,” he said.

“We then put the rest of the bits to upgrade content to 1080p/50 over the broadband network.”

The images used in the demonstration come from an LDK 800 1080p/50 studio camera sited at ARD in Frankfurt. They are sent via satellite an d f ib re to th e EBU exhibit. The 1080i/25 source was produced using a Snell Alchemist Ph.D converter.

Realising the 4K workflow

Olivier Bovis: “We have put a lot of pressure on OED development”

Sony

By Adrian Pennington Building on the theme of ‘Beyond HD’ established earlier in the year, Sony comes to IBC touting the realisation of workflows for 4K acquisition.

“At NAB we announced many innovations but IBC is the time when these become fully tangible with pricing, fuller specif ications and near-term availability,” said Olivier Bovis, general manager for content creation for Sony Professional Europe. “Our developments in OLED, digital 35mm, 3D and 4K are all about extending the Beyond HD story.”

For example, Sony has priced its 4K-ready F65 CineAlta camera at a less than expected list price of €38,000 when it ships in January 2012. The first rental company in Hollywood to take delivery of the product is Otto Nemenz International. Munich and LA-based reseller Band Pro is also taking pre-orders.

Sony is to offer a package including SR-R4 digital recorder, colour viewfinder, 256MB SRMemory Card and SR-PC4 high-speed transfer unit for €75,000.

The SR-PC4 is an IBC launch for which Sony has lined up a number of third party partners including AJA, Apple, Avid, ColorFront,

Both the chain signals are sent to Geneva with the video bit rate stats bei ng AVC/ H 264 encoded at 38.5MBps. These signals were uplinked via Eutelsat W3A (both at 24MHz). Here at the show the signals can be seen on Dolby reference monitors.

“Everything uses the same bit rate, the same set up, so there are no tricks behind the wall,” said Fischer.

“We are using a 38.5Mbps video bit rate, the same GoP size, the same GoP length for everything.

“The target application for 1080p/50 is world feed production.

Shooting natively you can create 1080i/25 and 720p out of your source format,” he added. “You also have a cinema distribution format Filmlight, Fotokem, Assimilate and Pixel Farm.

“4K is all about bringing a complete fully functional workflow to market, starting with the camera, from day one,” added Bovis. “We want to be perceived as a very serious competitor in the digital cinematography domain.”

The introduction of the €27,000 shoulder-mounted 3D camcorder PMW-TD300, of which rental house Presteigne Char ter is the f irst European customer, is intended to “democratise 3D” said Bovis.

“There is a need for complimentary products like this for shooting 3D TV and 3D live sports in particular,” he said. It is being shown as a Steadicam unit with convergence controlled over an RF link.

In terms of OLED the company has launched the BVM-F series for sub-Grade One broadcast applications. A 17-inch model is priced €11,000, a 25-inch at E14K and both ship next month. “We have put a lot of pressure on OLED development to bring new models to market,” added Bovis.

A n i n t e r e s t i n g t e c h n o l og y demonstration on its stand is a disk archive, which stacks 12 disks into a cartridge with a 1.5TB data storage capacity. Hall 12

Sky invests in Logovision systems Pixel Power

By Carolyn Giardina Twenty LogoVision Clips units f r o m P i xe l Powe r a r e b e i n g deployed in the Sky Studios sustainable broadcasting facility. Sky, a long-term Pixel Power customer, has also purchased Pixel Power’s C o n t r o l To o l b ox t h a t e n a bl e s custom ised user interfaces to be created that control the playout of

graphics from the LogoVisions.

The new Sky Studios facilities contain eight studios in total with f ive operating at launch, 45 edit suites, multiple voiceover and postproduction rooms with overall capacity for nearly 1,400 staff.

Pixel Power’s LogoVision units will be used for Sky Sports interactive, including its Football First and Match Choice offerings that cover the Barclays Premier League – and onscreen statistics. These multiple

channels of interactive sports content each require several forms of branding as well as interactive onscreen menus, which are provided by the LogoVision units.

LogoVision is a family of branding and graphics playout devices designed for 24/7 operation in a transmission environment. Sky already uses multiple units of each version: LogoVision, LogoVision Clips and LogoVision 3D. 7.A31

Jens Fischer: “Shooting natively you can create 1080i/25 and 720p out of your source format”

because 1080p/50 is really close to 2K at 48Hz. We can also put the best available quality through to mobile devices, and out through streaming devices.”

A companion element to the live 1080p/50 chain is a pair of internet video codecs, allowing visitors to judge quality levels for streaming applications. The overall idea of this demonstration is to show an appreciable difference in perceived

image quality, and the value of the best source for creating secondgeneration delivery.

“Every day currently, people are shooting with 1080i/25 as their world feed for mat. They cross convert the signal to 720p, so finally the consumer receives the worst of the worst signals,” said Fischer.

“1080p/50 means an end to unsharp, moving pictures.”

10.F20

New look and 6000 channels for SES

By Chris Forrester Satellite operator SES used IBC to unveil its new logo, and told press and conference delegates that it was now carrying 5,905 channels and radio networks and that more than 2,400 were being transmitted over Europe. SES is claiming the world’s top spot for HDTV channels, with 1,071 now on air around the globe (216 over Europe).

Ferdinand Kayser, SES COO told press that SES was now transmitting to a record number of homes, some 245m, spread across cable, DTH and IPTV, and via 43 DTH platforms.

The ‘new look’ SES brings the for mer diverse and regionally focused operations of SES into a more streamlined structure with ‘a strong focus on emerging markets’.

Kayser said demand for video capacity remained strong, and by the

SES channels* Europe North America India/MEA Asia Pacific Latin America

2405 1746 895 335 524 *TV and radio

end of 2011 he expected to be carrying some 230 high-def channels.

He explained that SES would be launching 10 new satellites by the end of 2014, the first of which was a new craft (QuetzSat-1) to serve the Mexican and Latino region which launches in the next few days. SES management also revealed a new multi-year deal with Russia’s giant Gazprom, which sees SES place a satellite to serve Russian viewers in what is a fast-growing market. 1.B51

Live digital correction Colorfront

By Carolyn Giardina On-Set Live! – based on Colorfront’s On-Set Dailies digital dailies system – is launching at Rorke Data’s stand. It offers realtime dual-stream processing for look management, as well as colour grading.

Using live correction and analysis of streams from stereo camera rigs, On-Set Live! also aims to offer cost and time savings on the set of 3D productions. The system includes dual-channel HD-SDI video inputs and outputs for 2D,

stereo 3D, or two-camera 2D capture, with 3D LUT support, colour space conversion, and calibration.

“Stereo production for 3D is much more costly on set because the setup for each shot is more complex and can take a comparatively long time, leaving much of the crew and the cast waiting for the action to start.

With On-Set Live!, stereo productions can run at the same pace as 2D shoots, ensuring that images leave the set properly aligned and corrected, and saving the studio a lot of time and budget in the process,” suggested Aron Jaszberenyi, managing director of Colorfront. 7.A10

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theibcdaily

09.09.2011

Green choices drive DutchView OBs

Going green: Nijmeijers is working with Grass Valley and others to make DutchView more sustainable,with its new OB trucks designed to be cleaner and greener

Grass Valley

By David Fox Leading Netherlands broadcast and facilities company DutchView is building two new 3D-ready, 3Gbps outside broadcast trucks designed to be cleaner and greener.

The 12m 12-camera trucks, with dual expanding sides, will cost €2.3m (excluding cameras). The

company has also signed a five-year exclusive vendor contract with Grass Valley for cameras, switchers, routers, and servers, which includes up to 70 cameras, with 24 LDK 8000 Elite cameras already delivered for the trucks.

“We’ve been a Grass Valley customer for many years,” said DutchView CTO Dave Nijmeijers.

“We have been working for years with Grass Valley switchers and routers,

and still think they are the best for different types of programmes.”

The trucks will be f itted with Grass Valley’s latest Karerra 3Gbps production switcher, plus a Trinix NXT router and Multiviewer.

They will have 62-channel Studer Vista 9 audio consoles, plus Riedel wireless and wired intercom systems.

DutchView is also using a Riedel MediorNet, which was delivered recently and used for the first time at a huge music festival, with four OB trucks and three audio trucks covering five stages. “It was a good experience,” Nijmeijers affirmed.

For its monitor wall, it is installing Penta monitors and Sony OLED displays for reference and grading, bought partly for their low-energy use.

The trucks will have low-emission engines using a blend of LPG and gasoil, to reduce emissions by about 30%. DutchView will gain a further 30% saving on air conditioning, using separate circuits for equipment and production staff (with heavy, sustainable, insulation between them). The company’s coachbuilder, D&MS, is making all furniture from sustainable materials.

DutchView is currently moving to a fully tapeless workflow, recording to EVS or Avid servers.

OE301/1.D11/1.E02

Getting ready for Rugby: The biggest sporting event ever to take place in New Zealand is the 2011 Rugby World Cup, which kicks off this morning with a match between New Zealand and Tonga at Eden Park in Auckland. A total of 48 matches will be broadcast by Sky Network TV, all of them in HD with 5.1 surround sound, and the audio facilities company OSB has standardised on Lawo digital mixing consoles for all its OB operations. OSB’s fleet of four HD vehicles, supplemented by two flyaway units also equipped with Lawo consoles, will cover the 12 venues for the RWC, roaming from Whangarei in the north of the country to Invercargill in the south. All of OSB’s vehicles are designed as stand-alone audio and video broadcasting units. With technical specs that include up to 276 2 inputs, 48 sub groups, 32 aux sends and 96 track buses, the mc 66 consoles can be configured in hundreds of different ways. Pictured, OSB/Sky Senior Sound Op Ruawai Rakenna at the Lawo mc266 during set up for Rugby World Cup 2011. 8.C71

Max packs mid-range punch ARRI

By David Fox

Streaming slow motion breakthrough I-Movix/EVS

By David Fox An ultra-slow motion system that delivers groundbreaking 250fps realtime continuous streaming has been developed by I-Movix and EVS. This new offer compares to existing super slo-mo cameras that can achieve 150fps (for 50i broadcasts).

The X10 system can be used at 25-250fps at 25p in continuous mode, and delivers ultra-slow motion at up to 2,700fps in 1080i replay mode – or 5,800 in 720p – with instant replay using an EVS LSM remote controller. The continuous streaming is possible thanks to integration with the EVS XT3 production server under LSM control.

Laurent Renard, CEO of I-Movix, commented: “Our aim with the X10 has been to develop a system that

Slow motion accelerated: Renard calls X10 “the most versatile solution ever”

delivers unmatchable performance in a package so flexible that broadcasters can use it in a variety of ways.

This new product is clearly the result of a technological development partnership with EVS, designing marketleading broadcast live slow motion servers, and is a significant advance

on the current state of the art of live sports broadcasting.

“The combination of continuous streaming at 10 times slower than the live action, with the alternative of instant ultra-slow motion replays at thousands of frames per second, makes this the most versatile solution ever. The X10 will accelerate the acceptance of ultra-slow motion into the mainstream of broadcasting,” he added.

When used as a continuously streaming system, X10 provides always-on slow motion, with the reassurance that no action need ever be missed. It uses the latest generation Vision Research high-speed HD camera, a camera control unit, an operational control panel, a slow-motion remote panel (for use in ultra-slow motion replay mode), and can be used by any broadcast crew without specialist training. 11.E60/8.B90

On the horizon – a compact Vista Studer

By Paul Watson A compact addition to the Vista 5 M2 range of digital broadcast consoles has been announced by Studer.

The company – which is also introducing a Compact Stagebox – says the Vista 5 M2 22 is orientated towards small broadcast studios, OB truck and performing arts venues.

The new Vista is equipped with TFT metering, capable of displaying signal levels from mono through to 5.1 channels on each input. A configurable lower area can be used to display bus assignments, surround images or History Mode, where a scrolling audio waveform displays signal anomalies and highlights them for up to 50 seconds, allowing engineers to identify where the event occurred.

Metering for ‘layer 2’ signals can also be viewed, and the Control Bay screen can provide conf igurable user pages with up to 40 meters.

When the TFT bridge is fitted, the external GC screen becomes an integral part of the chassis.

The Compact Stagebox offers a high density of I/O connections in 4U. It is fully configurable, but is offered with a standard configuration of 32 mic/line inputs and 16 line

The new ARRI M40/AS40 daylight fixture is designed to fill the gap between the 1,800W M18 and the 18kW ArriMax. The M40 is a lensless system combining the advantages of a Fresnel and a PAR fixture.

It is open face, very bright, and focusable from 19-60°, producing a crisp, clear shadow, says the manufacturer. By eliminating the need for spread lenses, it should speed up workflows on set and reduce the risk of lost production time because of glass breakage.

The same lamphead equipped with a PAR reflector becomes the AS40, replacing the current ArriSun 40/25. It is lighter than its predecessors, but has the same accessory diameter so that existing lenses, bar n doors and scri ms can be reused. The M40 and AS40 fixtures can be operated with 4kW and 2.5kW metal halide lamps.

Both implement ARRI’s True Blue features, with two strong disc

True Blue: The new Arri M40 open face, focusable light produces crisp shadow

brakes keeping the lamphead firmly in place even if heavy accessories are used, while the electronics housing is spaced apart from the lamp housing to reduce temperatures and prolong component lifetimes. The company says the units are ruggedised and IP23 certified to withstand rough handling and weather.

Other lights on show include the L-Series collection of focusable, LED-based lampheads, with a true Fresnel light field for film and television applications, and the new ArriSun 18 Event light.

11.F21

to three output modules to achieve 48 outputs.

The expansion slots for standard Studer D21m I/O cards may be used for interfaces to most popular digital formats including CobraNet, Ethersound, ADAT and SDI; a MADI The Compact Stagebox offers a high density of I/O recording interface can also be fitted. Connection connections in 4U and is fully configurable to the console is via Cat5 outputs. It can also be equipped with or optical fibre MADI, and it shares an additional 16 mic/line input mod- the same redundant MADI cable ule instead of the output module to capability as the larger 64mic/line provide 48 inputs or, alternatively, up Stagebox. 8.D60

we’re there

That’s a bold statement, but a true one. As one of the world’s largest broadcast and professional solutions suppliers, Grass Valley™ has over 3,000 active ‘broadcast’ customers, and tens of thousands of professional users generating content using Grass Valley tools. For more than 50 years, Grass Valley has been, and continues to be, at the forefront of on-air innovation, creating some of the most accomplished products and services available. When you’re watching news, sports, or entertainment programming, whether on a TV, the web, or a mobile phone, you’re watching Grass Valley at work.

Visit us at IBC Stand 1.D11 For more information, please visit: www.grassvalley.com

10 theibcdaily

In brief Oslo base for Bridge Bridge Technologies moved into new offices in central Oslo on 1 September.

The new base affords the company expanded accommodation for its growing R&D team, a full live headend installation for continuous testing, and extensive facilities for the Bridge Academy user and business partner training courses. This year, says Bridge Technologies, has been a big year for the company, with continuing strong sales performance and expanded presence in many regional markets.

1.A30

USB Wi-Fi chip for STBs The CLR250 from Celeno is a 3x3 USB Wi-Fi chip solution designed primarily to bring wireless connectivity to set-top boxes. The CLR250 allows STBs to wirelessly connect to broadband gateways and central DVRs, and to receive IPTV linear TV, video-on-demand programmes and OTT material, among other content. Aimed at users including satellite broadcasters and cable operators, the solution is described as a perfect companion to Celeno’s CL1800 product family.

3.A15F

Core functions for cost savings DEV Systemtechnik is showcasing the CFP (Core Function Products) series, which is said to provide the high RF signal transmission quality for which the company is known, but is deliberately shorn of extra features. By dropping features such as alarm and monitoring ports, RF sensing and redundant power supplies, DEV says it is able to price the new product series at 70% less than the standard versions. 1.F34

Live wire in hall 3 Broadcast-quality video-over-cellular solutions provider LiveU is showcasing a variety of developments at IBC2011.

Among the products being shown are portable solutions that can transmit video over multiple 4G, LTE, 3G, HSPA+, WiMAX and Wi-Fi cellular links simultaneously, with optimisation for maximum video quality based on the available network conditions. LiveU is also exhibiting a new product line of HD and SD uplink solutions as well as demonstrating 3D uplinking of 3G and highlighting new developments for its LU60 flagship product. 3.B43

09.09.2011

Social standing Social media is still a new phenomenon, but one which is transforming the way that everyone connects.

Like a lot of new technologies it may have started among young people, but it has rapidly spread across the world.

Twitter has 200 million active users, and a much greater influence through the vast number of people who read trending topics without tweeting themselves. YouTube users upload 13 hours of content to YouTube every minute of every day, and download 150 billion minutes a month, the equivalent of four million television channels.

At the heart of the revolution is Facebook, which informed commentators think will reach one billion users in 2012, an astounding number given that the ITU estimates worldwide internet usage at two billion people. That is a mass audience far beyond the dreams of broadcasters.

Social media is a leading topic at IBC this year, and it is only appropriate that, to deliver the keynote address, we welcome Joanna Shields, vice president and managing director EMEA, Facebook. Noone has a better perspective on the importance of social networking, its business model and the commercial and creative impact it will have on the world of communication. This plenary session is not to be missed: it starts at 9:30 in the Forum.

One of the enabling factors for social networking is the ready ability to be connected all the time, through wireless devices like smartphones and tablets. That puts a huge demand on bandwidth, which in turn fuels the debate for the future of the radio spectrum. As analogue switch-off frees broadcast channels, should they be given back to broadcasters to allow for more HD free to air television, or should they be

New functionality for a multi-platform world

Harris has extended the scope of its Selenio platform

Harris

By Dick Hobbs Having introduced its Selenio media convergence platform earlier this year, Harris is using IBC to introduce an extended range of functionality, designed to increase its applications. The enhancements include powerful codecs and format conversion algorithms.

Selenio was designed for the multi-platform world, combining in a single, compact box backplane

routing for linear video and IP signals. This allows it to take in content in realtime or as a f ile, and output it to multiple different formats as required. The signal processing, which r uns largely in software, allows users to build the functionality required – from a simple proc amp to complex encoding and multiplexing.

As part of its policy of developing software codecs for mission critical processes, Harris is launching a new 10-bit H.264 contribution encoder for Selenio. As

The Future of TV is here Integrated. Multi-Device. Socially-Enabled.

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Social media is a leading topic at the IBC Conference

offered to the telecoms industry to boost wireless bandwidth?

A select panel of experts will be discussing the digital agenda in a second plenary session – Radio Spectrum Policy: Can Broadcast and Telecoms Worlds Optimise the Use of a Scarce Resource? at 13:30 in the Forum. Following this open-

ing address, a panel of senior executives from telecoms, networks and broadcast will pick up on the plans and debate the merits of a spectrum compromise.

View these sessions and more at www.ibc.org/conferenceprogramme or on the Interactive Event Guides placed around the show.

well as minimising signal degradation across multiple compression and expansion cycles, the new codec reduces latency to 250 milliseconds, allowing it to be used in live links.

Harris says that the processing power available in Selenio means that the 3Gbps contribution link is now a practical proposition, without expensive dedicated hardware. It also allows other functionality to be included in the same unit for a onebox solution.

The IBC demonstration also highlights the simplicity of set-up.

A web interface enables users to create signal paths through multiple processes by pulling on-screen building blocks together. Double clicking on each box takes you to the operational parameters for each process. Engineers can set up multiple applications to reside on a single Selenio, selecting the ones required at any time either from the we b i n t e r f a c e o r by a s y s t e m automation call.

The flexibility of the Selenio is illustrated by the launch cust o m e r, O m a n Te l , w h i c h h a s installed 57 Selenios across Oman for its new HD television distribution network.

7.G20/7.G23

OB challenge is eliminated Grass Valley

By Ian McMurray Grass Valley 3G Triax and 3G Fibre now combine without converters in the new high performance 3G Transmission camera system. According to Grass Valley, 3G Transmission is set to transform the OB business by allowing production companies to use fibre or triax – whichever is convenient – without compromising quality or functionality.

The company is also demonstrating how users can combine production tools, device control and asset management into workflows and user interfaces that precisely match their needs, based around a powerful Service Oriented Architecture. This facility gives each user the tools they need for each task, with seamless and stable interconnection across a broad network of devices from Grass Valley and other vendors supporting standard open architectures. 1.D11

MORE THAN JUST I/O LIGHTNING FAST H.264 ENCODING TOO!

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Stand 7.B29 www.matrox.com/video Europe, Middle East & Africa — Matrox Video & Imaging Technology Europe Ltd. 4EL s &AX E-mail: video.info.emea@matrox.com Adobe and the Adobe logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Avid and the Avid Logo are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. Mac and the Mac logo are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. Matrox is a registered trademark and Matrox MXO and Matrox MAX are trademarks of Matrox Electronic Systems Ltd. All other trademarks are the property of their respective owners.

12 theibcdaily

09.09.2011

DVB-T2 widens reach with T2Lite The DVB-T2 broacast transmission standard is off and running, and now DVB has introduced a new profile for mobile and portable reception called DVB-T2Lite. Frank Herrmann, chairman DVB-TM-H group, explains what it is all about and the new features it offers improved performance when combined with DVB-T2 transmissions. The core element of the new profile is the excellent robustness achieved with new Low-Density Parity-Check (LDPC) code rates, which are also used for all DVB second-generation standards.

Technical realisation

Frank Herrmann is project leader Digital TV Projects, Panasonic R&D Centre, Germany

VB-T2 is the most advanced terrestrial broadcasting standard. It covers all types of reception environments stationary, portable and mobile. Now DVB has introduced a new profile for the popular standard called DVB-T2Lite. This new profile has been optimised for mobile and portable reception.

Introducing the additional profile to the already existing DVB-T2 base specification was foreseen from the beginning with the inclusion of the concept of Future Extension Frames (FEF). This mechanism allows, in a time division multiplex scheme, the carrying of different profiles in one RF channel. Both profiles can also be transmitted separately.

The DVB-T2Lite profile pares down DVBT2 parameter settings for what is required for mobile/portable reception. At the same time it adds new features that go towards achieving

D

iPad prize draw Cabletime

By Anne Morris Fancy getting your hands on a new iPad? Leave your business card at the Cabletime booth in Hall 13 and you could be the proud owner of an Apple tablet device if your card is drawn on the final day of the show.

To date, network implementations of DVB-T2 have addressed stationary receivers by adjusting the transmission mode to a very high throughput with suff icient robustness for rooftop reception (e.g., 32k FFT size, 256QAM constellation and code rate 2/3). Such a configuration leads to a net throughput of 40 Mbps in an 8 MHz channel – perfectly suited for four to six HDTV services.

DVB-T2 uses Physical Layer Pipes (PLPs) for transporting content. PLPs can be individually adjusted in terms of modulation, error control coding and time interleaving depth.

Therefore by using Multiple PLPs within a multiplex, each service, or group of services, can enjoy its own specific robustness.

What does DVB-T2Lite add to the wide range of robustness levels feasible within the same multiplex? T2Lite transmission frames can be provided with a different FFT size than those of the DVB-T2 frames. So, in combination with the aforementioned configuration for stationary rooftop reception, mobile terminals can be addressed with high robustness (and high resistance to Doppler), but lower throughput (e.g. 8k FFT, 16-QAM, code rate 1/2). The settings depend on how far T2Lite coverage should reach as compared to the DVB-T2base transmission in the same RF channel As new features, the T2Lite profile adds two LDPC code rates 2/5 and 1/3 as well as the energy dispersal for pre-amble P2 symbols.

“Our focus at IBC is on new Evolution enhancements, including support for CEC Standard and for direct IR/IP/IR Routing from screen to head-end,” said Cabletime Managing Director Nick Bradford. “However, we welcome all visitors on to our stand to take part in the promotion.”

Cabletime is at IBC to showcase new enhancements to its MediaStar Evolution range of MPEG encoders, LAN-Casters, Digital Media Decoders (DMDs) and Media Manager software.

The basic principle for the selection of the DVB-T2 subset for T2Lite was to remove all parameter settings not required for mobile and portable reception environments. Considering the characteristics of mobile channels, only the short LDPC block size of 16kb needs to be supported.

Furthermore, FFT sizes 1k and 32k were not adopted, and several code rates 4/5 and 5/6 were removed entirely as well as rotated constellations. All together these changes result in a very efficient mode for mobile and portable broadcast, where the complexity of the receiver chips can be reduced by 50 per cent.

Lite implementation Since T2Lite deals with the addition of two lower code rates to DVB-T2 settings, the next generation of DVB-T2 demodulators will support T2Lite as well. On that basis, all future DVB-T2 receivers will be able to receive and

[T2Lite is a] very efficient mode for mobile and portable broadcast, where the complexity of the receiver chips can be reduced by 50%

According to Bradford, the new features bring greater functionality, improved performance and increased value to the Evolution range. They include full support for Consumer Electronics Control on all MediaStar Evolution 780 DMDs, and full drag-and-drop control of all Evolution IPTV system hardware and screens using the Evolution Media Manager enterprise software. 13.373 Cabletime is focusing on enhancements to its Evolution range, says MD Nick Bradford

reproduce DVB-T2 and T2Lite services. So the chicken-and-egg problem – usually a hurdle for the introduction of a new technology – is minimised here. Related services can be offered gradually and will address a receiver population that is growing automatically.

The DVB has specified the T2Lite extension for DVB-T2 in such a way that significant savings in terms of its silicon footprint are also enabled. In addition to shorter code words (16 kbit), T2Lite limits the maximum service data rates to 4 Mbps. These measures enable the use of a less complex LDPC decoder and a reduction of up to 50% in memory size for the de-interleaving required for DVB-T2. The chip area required for a T2Lite demodulator is also about 50 per cent of that for a DVB-T2 demodulator size making it perfect for small mobile devices. Power saving is enabled for both DVB-T2 and T2Lite through the use of Multiple PLPs and time slicing.

As far as T2Lite applications are concerned, mobile TV is, of course, the predominant one. Assuming that in a combined DVB-T2/T2Lite multiplex some 10 to 20% of the transmission time is dedicated to T2Lite, the new extension is also fantastic for radio services at home and on the move.

With the settings mentioned above and 10% of the transmission time for T2Lite, 18 radio ser vices would occupy just 10% of the capacity of a DVB-T2 channel or, alternatively, 20% of the capacity could carry six mobile TV channels. In addition, there are nonlinear applications such as feeding the flash memory of the mobile device with content that can be played out by the user, when they want.

The new T2 Lite profile addresses different reception environments in a very efficient way. This is possible in an integrated way on the same RF channel. It is anticipated that DVB-T2 modulators and demodulators with the T2Lite profile will become available in 2012. Furthermore, the option of T2Lite-only transmissions for related receivers with significantly reduced chip size and costs, will be vital where service providers put an emphasis on addressing mobile/portable sets.

The new edition of the DVB-T2 standard EN 302 755 V1.3.1 is available as DVB Bluebook (A122) and expected to be published by ETSI in early 2012.

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14 theibcdaily

09.09.2011

Defining the supply industry With IBC2011 host once again to well over a thousand exhibiting companies, the temptation is to ask ‘what crisis?’. Yet the recession that broke in 2008 had as devastating an effect on the broadcast business as on any other, turning consistent growth into a huge drop in revenues.

The IABM, the body which represents broadcasting manufacturers and service providers, charts the industr y through a number of research projects and reports. It has recently published the fourth edition

of its definitive market sizing and valuation report, which suggests that, while the corner has been turned, the forecast is that it will not be until 2012 before the industry returns to its 2008 valuation, helped by the inevitable boost to technology sales that an Olympic Games and US presidential election always ensures.

Before the IBC Exhibition floor opens its doors, the IABM and IBC get together for a special conference session ‘Defining the New Media Supply Industry’ to look at the cur-

rent state of the industry and its prospects for returning to growth.

Peter White, director general of the IABM, will present details from the latest report, to put the market and its prospects into perspective.

This will be followed by a panel discussion featuring leaders from all sides of the industry. They will discuss how the changing landscape of the media world will influence which technologies and solutions will be required for a strong new future. This session starts at 08.00 this morning in Room E102, and is free to all IBC visitors. Exhibitors, in particular, are encouraged to be there to contribute to the debate.

Is 3D the saviour of the industry?

Flexible firmware routing platform Onwards and uplinks!

TV One

By Carolyn Giardina The new C3-340 Series Coriomatrix from TV One is a firmware-based video routing, switching and video conversion platform. According to TV One, 16 AV universal module slots are available and the Coriomatrix automatically recognises the modules inserted as an input or output module.

There is no dedicated input or output slots when using 2-channel DVI-U or 3G-SDI modules. The platform can be configured with up to 64

x 64 input/output 3G-SDI/DVI-U connection combinations. Additional DVI-U or 3G-SDI modules can be added in open slots without having to re-set the router. All AV modules are hot swappable and recognised for auto configuration.

The Coriomatrix also provides up-, down- and cross-conversion between a variety of analogue and digital video formats through 3GSDI. The modules selected determine which for mat will be accommodated and the matrix size.

Signal parameters of the incoming video may be adjusted.

The functions can be controlled

SIS Live

By Ian McMurray

TV One’s new Coriomatrix switcher

via serial connection using RS232/422/485, USB or IP. Windows software is provided.

The Coriomatrix also includes Digital Flicker Elimination circuitry, 4:4:4 full bandwidth sampling rate, full bandwidth chroma, pixel level motion adaptive diagonal interpolation and noise reduction, and 3:2 pull-down. 7.C27

Outside broadcast and satellite uplink specialist SIS Live is presenting some new development.

Enhancements include its uPak units being made available in a Ka, Ku and X band parabolic style antenna, and the RouteCase system offered with an optional multi-channel SDI audio embedder/de-embedder.

Multi-band uPak is now available with a 60cm parabolic style antenna as well as the previouslyissued flat plate antenna. This inte-

grated and compact, fully automated VSAT terminal provides high-speed data communications for internet connectivity, video transmission and VPN connectivity, using its integral iDirect modem. Lightweight, portable and weatherproof, uPak is MIL STD 810F-compliant, available in X band, and offers a high gain for more throughput.

“During 2011, SIS Live has strived to push the boundaries in our product development of both new, innovative ranges and enhanced well-proven, market-leading systems,” said David Meynell, managing director, SIS Live. 1.C55

theibcdaily 15

09.09.2011

Multi-Ingest and Wirecast Pro used for GT Open car races Telestream

By Carolyn Giardina London-based promotion and media production company Ellegy Ltd has been using Telestream and Matrox technology to capture and stream live web coverage of the International GT Open car championship races in countries across Europe.

The project saw Ellegy deploying Matrox Multi-Ingest video capture card and Telestream Wirecast Pro live webcasting software.

Upon being named the official advertising agency for the International GT Open earlier this year, Ellegy decided to expand its media services to include a live programme

Q&A Javier Lizuain, president, Prodys Has IBC come at a good time for the electronic media industry? Why? This is really a very exciting time for our market niche, which is video contribution over IP. The internet has matured and its performance in terms of quality of service and bandwidth has increased dramatically in recent times, up to the point that it can be used not only for distribution of video but also for contribution.

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

For video transmission over the internet, the key developments have been the mechanisms and protocols tolerant with the changes in the available bandwidth. So far, when a video transmitted on the internet didn’t find the necessary bandwidth, it showed blocking and other very relevant artefacts on screen. Right now, using these new mechanisms and protocols, when a reduction in the available bandwidth happens, the quality on the video also decreases but in a controlled manner that still allows us to see the image with proportional quality, without artefacts.

Why should delegates visit your stand at IBC? Because we are showing the state of the art for video and audio contribution on internet. We are showing news contribution technology for broadcasting that has been refined for years and that is currently being used by the most important TV and radio stations worldwide.

1B24

dedicated specifically to web distribution. Ellegy is one of the f irst companies to deploy the integrated Telestream/Matrox system.

“We chose Matrox and Telestream because they f it our Apple hardware requirements and

because of their exceptional customer relationship programs which enable us to instantly solve any technical issue,” said Brian Lavio, CEO at Ellegy. “Our new web program allows us to provide more content, including live camera transmission

from the pit lane and live interviews.”

The Matrox Multi-Ingest and Telestream Wirecast technology was used to stream live coverage at the May event, Circuit de Nevers Magny-Cours in France, the Circuit de Spa-Francorchamps in Belgium

in June, and the Red Bull Ring Circuit in Austria in August.

It will also be used to stream coverage of the Autodromo do Algarve in Portugal later this month, among other events.

Telestream, 7.D16; Matrox, 7.B29

16 theibcdaily

09.09.2011

Get the Inside Knowledge

A unique opportunity to get your hands on camera kit in the Production Village

As part of the IBC Production Village, the centrepiece of Hall 11, there is a programme of master-

classes, given by some of the exhibitors in and around the area.

Called Inside Knowledge, the pro-

g ramme star ts today and r uns through until Monday.

Each session will be a 30 m i n u t e p r e s e n t a t i o n , l e av i n g plenty of time for questions and answers to help everyone get to the bottom of the subject. Where practical the speakers will use demonstrations and examples, making for a lively, practical and informative session which is sure to add to your knowledge.

The Inside Knowledge programme starts this afternoon with sessions focusing on stereoscopic 3D production, led by 3ality Digital and Meduza Systems. This pair of classes are sure to be very popular, so get your tickets early.

Over the coming days other contributors include Cinegy, EVS, Forbidden Technologies, Root6, Tiger Technology, Tightrope Media Systems and Vidigo. Topics cover not just acquisition but all the way through production to post. Check out the programme in the IBC Production Village for full details.

Multi-screen video: is it all OTT? Multi-screen and over the top delivery are all the rage but will they become integral or fail? Broadcasters must understand their growing role, says George Boath, EAME director of sales, Telestream As suppliers of technology for the video production and publishing business (what we fondly refer to as broadcasting) we must embrace and relish changes, new technologies and new business methods. Standards change and evolve according to a Darwinian model. Some succeed and become established while others fail,

perhaps through technical flaws or perhaps it just was not their time.

As usual, at IBC we will have questions about a host of new buzzwords and acronyms that we need to understand. Do these really signal the ‘next big thing’ or are they an experiment doomed to failure? Only time will tell.

Two of the hot topics this year seem to be Multi Screen Video and Over the Top (OTT) delivery. Often they appear in the same sentences and are closely related, and there are no clearly agreed definitions or usage standards. As always in our industry, definitions evolve out of common usage.

The Inside Knowledge theatre is just one of the attractions in the IBC Production Village. Its centrepiece is the camera demonstration area, featuring a comprehensive selection from all the leading manufacturers around a large studio set. This is a unique opportunity for visitors to make direct, hands o n – eye s o n – c o m p a r i s o n s between camera types. There is no better way to determine precisely which camera meets your production needs.

Alongside the camera tests, the s t a g e i s a l s o u s e d by I B C T V News for interviews and its daily live webcasts. The programme is based in the IBC Production Village, and its tapeless editing workflow is on show.

The full Inside Knowledge programme can be viewed on the Interactive Event Guides placed around the show. Go to the reception at the IBC Production Village to book your place.

Multi-screen video sounds simple but is far from it. It refers to the objective of providing content that a viewer can watch (or ‘consume’ in latest parlance) at any time, any place on any device they happen to be in front of or hold in their hand. The technological implications of this simple demand are enormous for broadcasters. No longer is it as simple as choosing a single video format, or even choosing how to deliver HD. The number of video-enabled devices is growing daily and they are far from standardised. A broadcaster that wants to be in the vanguard of this trend needs to prepare content to be viewed on PC, Mac, phones galore, a growing number of tablet devices... oh and don’t forget TV sets.

New panels for UHF antennas Rymsa

By Paul Watson IBC2011 exhibitor Rymsa is pioneering the supply of elliptical/circular polarisation UHF antenna systems making use of its new family of CPOL/EPOL panels. The AT15-245 family is said to provide excellent scalloping features at the horizontal radiation patterns, within a 240MHz bandwidth. The range is designed to satisfy the market requirements for mobile DTV radio-electrical coverage, and is also suitable to optimise certain current digital and analogue services.

8.D16

Opinion

George Boath: A host of new buzz-words

Once you have worked out how to efficiently encode all of your content into all of the formats, sizes, rates and wrappers, then there is the question of protecting it. DRM techniques – and there are several to choose from – have a variety of implementation methods and financial models.

Over the Top in contrast, seems rather simpler for the broadcast industry.

It is simply another delivery mechanism.

Usually it refers to delivery of video using IP networks that were installed for other purposes and services. Clearly it is the preferred delivery route for most multi screen content, either live or VOD. The challenges of OTT seem to be more for the ISP/CDN/telco to deal with, but the content publisher (‘broadcaster’) and their chosen technology vendor must know how to work with the CDNs and telcos, how to package content and deliver it to their systems such that it can be used efficiently.

These two interlinked technologies may evolve and become a key part of the broadcasting business, or they may flounder and fail. At this stage no-one knows for sure. What we can be sure of is that broadcasters and technology suppliers must understand them, have a strategy for delivering them. 7.D16

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09.09.2011

Setting the agenda

Making business rock: MTV’s former chairman Bill Roedy keynotes

As part of the opening day of the conference yesterday there were two keynote sessions. Each served to set out the agenda for one of the hot topics in this year’s IBC Conference,

and were aimed at the whole IBC audience: commercial, creative and technical.

At 09:30 the topic was simply, The Future of Broadcasting.

William H Roedy, former chairman and CEO of MTV Networks International, was the architect of its successful diversification away from the core music video product and into territories around the world. As CEO of BBC Worldwide, John Smith has to develop revenue streams which offset the production of some of the most highly valued programming in the world.

They were joined in debate by Luke Johnson, founder and chairman of Risk Capital Partners, who set out the business case for investment in broadcasting and its migration into new delivery platforms. With the dilution of advertising revenues now a reality, the panel discussed their views on the way the industry needs

to dwevelop if its business model is to be refreshed successfully.

One of most significant threats to conventional broadcasters comes from online services, and the advent of ‘connected televisions’ and multiscreening – using a tablet or laptop while watching broadcast television – only exacerbates the challenge.

Yesterday afternoon Andrew Barron, Michael Fries and Ferdinand Kayser – the CEOs of Virgin Media, Liberty Global and SES Astra respectively – brought their experiences to bear in the session Cable and Satellite: Future Directions in a Hybrid World. They focused on the positive benef its which can be gained by bringing in the interactivity of a broadband connection allied to the conventional broadcast path.

The connected home is here: the panel argued that embracing it is essential to deliver future audiences and revenues. Download the IBC2011 Mobile App at www.ibc.org/mobileapp to view the conference sessions taking place throughout the rest of the show.

Connected TV can renew the business What we need is a connected view of connected TV, says Neil Maycock, chief architect, Snell Today, it is the responsibility not only of broadcasters but also the industry built around TV advertising to make sure that

the necessary technology evolution takes place to ensure that TV remains relevant in a dynamic and rapidly changing technology landscape.

One massive evolutionary development is the rise of Connected TV. Today, a new young generation of viewers exhibit very different patterns of media consumption to their parents: they are happy to use several screens (including their laptop, smart phones and PDAs) in order to enhance their media experience and stay connected – to their peer group and to the media itself.

The question is how does the broadcast community respond to this seismic change in viewing patterns?

How do we use Connected TV to renew, and in many ways reinvent, TV viewing while maintaining a sustainable economic business model?

Multi-screen media consumption offers broadcasters a new commercial opportunity – but only if they have the tools to enrich the online experience and make it relevant to the broadcast product being watched. With ad revenues under pressure and with online

The new Tektronix waveform monitor and rasteriser units weigh less than 3kg each

Video testing gets smaller Tektronix

By Michael Burns The compact but full-featured WFM5200 waveform monitor and WVR5200 rasteriser are among the items being shown by Tektronix.

Weighing less than 3kg, the units can be tailored through software options to suit specif ic applications such as video content production, post production and broadcast.

The WVR5200 waveform rasteriser comes in a 1RU half-rack advertising and other outlets increasing in popularity, broadcasters need new ways to sell targeted and relevant services for the online advertising and sales market.

In the past, many people predicted that the internet would kill linear TV, but in fact usage of both forms has increased. Rather than cannibalisation of the TV model, we are seeing growth.

Organisations can’t ignore the new media models, but also they must service existing users.

Attempting to take advantage of this new ad model, some broadcasters have written apps designed specifically for particular television shows. Others

short depth form factor, while the WFM5200 is in a 3RU half-rack shor t depth for m f actor, both designed for space-constrained environments. The units support options to accept power from a 12 VDC source or a 100-240 VAC converter.

Each product can monitor up to four 3G-SDI signals simultaneously. Tektronix claims that these units are the world’s smallest waveform monitor and rasteriser with this ability, making them suitable for use in OB vans, studio control rooms and post houses.

8.C75

Opinion

Neil Maycock: A new commercial opportunity

have leveraged new audio technologies and custom apps to identify what a person is watching and to provide relevant information. While these approaches tackle some key aspects of enriching the viewing experience with online content, they remain relatively crude in their design and efficacy.

We need to focus on new media solutions to address the major opportunities that exist today. To this end, Connected TV is a major development focus within Snell. As a technology solution provider – but also wider, as an industry – our job is to service our customers with the tools and technologies that allow them to prepare their media for any particular distribution channel at the right cost level.

Part of our job is to prepare people for the unpredictable.

We need a dialogue with our customers. In an uncertain world we need a combined view, sharing with our customers where this evolutionary process could lead us, giving all parties time to prepare for what might be needed. This is a key focus for us at IBC and we invite visitors to come to our stand and share their views of a Connected TV World. By working together, we can forge a better future. 8.B68

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09.09.2011

IBC Certified Training Programme Valuable opportunity to learn new tips and tricks

IBC is delighted to offer its Certif ied Training Programme on the latest post production software platforms. The courses are produced on IBC’s behalf by Future

M e d i a C o n c e p t s , wh i c h h a s brought to Amsterdam some of its renowned trainers to deliver this unique programme.

The training is aimed at those

with some experience, who want to move from expert to master. The chance to share experiences with other users from around the world, through the knowledge of the trainer, is as valuable as the opportunity to learn some new tips and tricks.

To get the most out of the training on Apple and Avid platforms there is an intensive two-day course, followed by a short examination leading to certif ication which is widely recognised in the industry.

The first of these two-day courses started yesterday, but the second round starts tomorrow and there is still time to join.

The Apple course looks at the elements that make up Final Cut Studio, including Color and Motion as well as Final Cut Pro editing.

Importantly, it also includes sessions

introducing Final Cut Pro X, the new version launched earlier this year that claims to change the editing paradigm.

The Avid course concentrates on the practical requirements of editing in the real world, looking at how to achieve the best creative results within a tight timescale. Part of the programme is given over to the added functionality around Media Composer: you have the chance to design creative titles and learn about the f iner points of compression using Sorenson Squeeze.

While many post production professionals will want to take the time for the two day course, where space is available you can buy tickets for individual sessions and enjoy the same, intensive, hands-on tuition. This is a great deal to get a jump start on a specific element of a package: perhaps you need to develop skills in motion graphics.

The differences between ‘classic’

Final Cut Studio 7 and Final Cut Pro X is sure to be a popular session with visitors.

To m o r r ow t h e r e i s a t h i r d stream, a day of workshops on Adobe Production Premium. This is a platfor m which is rapidly moving into the professional realm so this course is very timely. As well as editing and related tasks like colour correction and titling, the sessions also look at how you can use the benefits of tight integ ration with After Effects and Photoshop.

All the FMC courses in the IBC Certified Training Programme are highly interactive so numbers are limited. If you want to sign up, for a selection of sessions or a complete two-day package, do it straight away.

You can view the full programme on the IBC Interactive Event Guides around the show or online at www.ibc.org/ibccertifiedtraining.

Go to the Forum to register.

Going Publi-c with second generation solution We have PubliTronic

By Heather McLean Broadcast industry integrated playo u t p r ov i d e r P u bl i Tr o n i c h a s launched the second generation of its Nexus-avs (Advanced Video S e r ve r ) . T h e c o m p a ny i s a l s o showing Nexus-itvs, a new software-based alter native that is delivered on a lower cost model and is specif ically devised for channel playout with less complex functionality and performance requirements.

The Nexus-avsR2 is a high-end playout solution with integrated audio, video and graphics capabilities for complete TV channel playout and channel branding applications.

The second generation offers more than double the storage capacity and bandwidth – which is particularly beneficial for handling multiple high bandwidth HD clip – and increased 3D graphics capabilities.

Based on a standard IT frame, the Nexus-itvs is a new entry level offering that provides a very cost efficient solution for less complex playout requirements. It allows

broadcasters to select the level of performance and functionality according to their individual needs.

Harold Vermeulen, founder and managing director of PubliTronic, commented: “The enhancements to t h e N ex u s - av s a n d l a u n c h o f Nexus-itvs reflect our continued work to develop our systems, not only in line with core technology advancements but also by adapting according to market needs.”

2.A49 Harold Vermeulen, founder and managing director of PubliTronic

the Touch TSL

By Melanie Dayasena-Lowe Designed in response to operational requests, the new AVM-T-Mix Touchmix from TSL is billed a unique concept in audio management and monitioring. In the 2U form factor normally reserved for monitoring and measurement devices it adds a dual level, 10channel digitally assignable mixer.

Up to 64 audio inputs can be chosen simultaneously from SDI, AES and analogue sources. Much of the control uses a large 22:9 touchscreen display, which also provides dual bar graphs for the 10 channel inputs and master output. Channels can be defined as mono, stereo or ganged together to provide LRC and 5.1 inputs, which are automatically downmixed inside the unit. A single rotary

Up to 64 audio inputs can be chosen simultaneously from various analogue sources with the new AVM-T-Mix

control provides channel or master level, and pan or stereo balance.

“We developed the Touchmix for a major broadcast project in the UK, which specified the operational capabilities when at the time there was nothing on the market which could do it,” said Martin Dyster, business development manager, audio. “We took that specification and developed it a little further, creating a product which we think will really excite the market when they delve into what it can do. The project which came up with the idea has ordered more than 80 Touchmixes. 10.B41

22 theibcdaily

09.09.2011

20x HD ENG zoom lens priced to go Canon

By David Fox

Defining a Look for Amsterdam: The new Arri Look Creator for Mac OS X

Alexa gets the look ARRI

By David Fox Following Alexa Software Update Packet 4.0, ARRI’s Alexa cameras can now apply user-defined looks to customise the rendering of video images for different applications and individual preferences.

The new ARRI Look files enable DPs to preview images as they want them to appear in post and to embed the metadata that defines the look in the media.

Look f iles are different from look-up tables – which change one colour space to another (eg from

Log C to video) – in being a purely creative tool, used within the camera. They can be created by the colourist or the DP, and allow monitors on set to give a better idea of the final look for each scene.

ARRI Look Creator, for Mac OSX, is a free application (currently in beta) for creating Alexa Look files based on f ilm lab thinking, with printer light settings. Look Files can also be created using Pomfort’s Silverstack SET, with other developers planning similar applications.

Creating looks based on ARRIraw will be possible in a future software upgrade.

11.F21

The new KJ20x8.2B IRSD HD lens is the latest in Canon’s HDgc series of por table HD zoom lenses, designed to be affordable for both broadcast ENG use and freelance camera owners. The specification includes a built-in 2x extender – a feature usually seen on higher-end HD lenses – giving a generous range of focal lengths, from 8.2mm164mm to 16.4mm-328mm.

The new launch also boasts an enhanced macro function that effectively reduces the minimum object distance (from the front of the lens) to just 10mm.

Although it is less expensive, the KJ20x8.2B uses the same novel optical glass materials, coatings and dispersion glass as Canon’s flagship HDxs series lenses. The lens has minimised axial and lateral chro-

6.2.1 testing!

DTG Testing

By Ian McMurray Showcasing its full test and confor-

Public standards for Connected TV The Connected TV market is in danger of fragmentation due to confusion over standards and proprietary solutions, argues Colin Prior, director of international sales, Strategy & Technology Connected TV is emerging as a new delivery platform for broadcasters and content owners but, with a plethora of competing solutions and differing technical standards on offer, it is frequently hard for broadcasters to decide between public standards and proprietary CE manufacturers solutions.

Connected TV, or OTT (‘Over the Top’) or hybrid TV, enables delivery of video content by both broadcast and internet connections, usually over an un-managed public internet connection, (whereas IPTV requires a managed IP network). Connected TV does not support internet browsing but

uses applications to support the TV remote control user interface.

Many broadcasters are already supporting public standards-based solutions such as MHEG-Interaction Channel (MHEG-IC) in the UK and HbbTV in Germany, France, Spain, etc.

The BBC iPlayer is implemented on the Freeview HD and Freesat platforms in the UK using MHEG-IC. In Germany, ARD, ZDF and other major broadcasters already offer their ‘Mediatek’ catch-up TV services using HbbTV, and France Télévisions provided a comprehensive HbbTV application for the 2011 Roland Garros tennis tournament.

But at the same time, broadcasters are being courted by the major TV receiver manufacturers to implement their Connected TV services on proprietary portals that are unique to each brand. Increasingly, CE manufacturers are negotiating deals direct with content owners to ‘differentiate’ their TV products from their competitors. Broadcasters have to decide whether to support (and then sustain) multiple connected TV implementations. Most manufacturers are also supporting the public standards of HbbTV and MHEG-IC to some extent.

matic aberrations, coma aberrations and geometric distortion. The new materials and multilayer coatings reduce ghosting, flare and glare.

The lens is said to benefit from the latest improvements in C a n o n ’s Advanced Drive Unit technology.

This includes Shuttle Shot, which allows users to rapidly zoom back and forth between any two positions. Users set specific zoom positions with a Memo push switch, which enables more reliable Shuttle Shot set-up in the field.

The zoom can travel end-to-end in just one second – an improvement from previous models. New, faster noise suppression on the servomotor

in the Advanced Drive Unit is designed to ensure quiet operation.

The new ADU has also been ergonomically redesigned with a ribbed surface on the bottom of the Drive Unit for a firmer grip and better control. A new grip support allows users to securely grasp the ADU without inadvertently pressing the VTR or Shuttle Shot buttons. 11.E50

mance ecosystem for Connected TV devices and applications at IBC is DTG Testing, which is a subsidiary of UK digital TV industry association the Digital TV Group (DTG).

Visitors to the stand can expect to receive expert advice and information on D-Book 6.2.1 and D-Book 7

compliance for Freeview, Freeview HD and Freesat receivers, the ‘digital tick’ certification mark, and hybrid broadcast/broadband ‘Connected’ devices and applications. DTG Testing’s latest developments include an automated testing system and a digital radio test facility. 5.A45

At the time of writing, MHEG-IC is the most mature technology, with a complete standard, conformance tests available and no known IPR. HbbTV is less mature, with the standard and conformance tests still in development and as-yet undetermined licensing costs for IPR. However, broadcasters across Europe are committing to HbbTV services, due in part to the relative ease of application development in HTML and Java Script but also with the support of Digital Europe and the EBU who ideally seek a common pan-European standard.

The situation is equally complex world-wide with, for example, Disney, ABC, CBS, HSN, and Showtime all offering content through the Yahoo Widget platform, Comcast and Time Warner Cable both working on Samsung TV Applications, Philips, Sony, LG and Panasonic all offering their own portals and YouView in the UK, promised for launch at the end of 2012.

And I haven’t mentioned Google TV...

Macro economics: Canon’s new KJ20x8.2B IRSD HD lens with 2x extender

Opinion

Colin Prior: Broadcasters across Europe are committing to HbbTV services

Content protection adds further complexity with Ultraviolet, the new video streaming DRM standard supported by many industry players, and Keychest from Apple and Disney, competing with established solutions from the broadcast CAS vendors. Clearly no single DRM is going to prevail, and the industry is going to need to support multiple systems.

For broadcasters, implementing a public standards-based Connected TV solution, using either MHEG-IC or HbbTV offers a low-risk solution allowing them to offer consistent user experience to viewers across multiple receiver brands, and should also avoid fragmenting their audience and ensure that they maximise reach of their Connected TV services.

1.C31

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DECIMATOR 2

MD-QUAD

ͻ ƵƚŽ ĚĞƚĞĐƚƐ ϯ'͕ , Žƌ ^ ;Ϯϲ &ŽƌŵĂƚƐ ƐƵƉƉŽƌƚĞĚ ŝŶ ƚŽƚĂůͿ ͻ ŽǁŶͲĐŽŶǀĞƌƚĞĚ ŽŵƉŽƐŝƚĞ ŽƵƚƉƵƚ ǁŝƚŚ LJŽƵƌ ĐŚŽŝĐĞ ŽĨ ĞŝƚŚĞƌ Ed^ Žƌ W > ͻ ^ŝŵƵůƚĂŶĞŽƵƐ ƐĐĂůŝŶŐ ŽŶ ďŽƚŚ ƚŚĞ , D/ ĂŶĚ ŽŵƉŽƐŝƚĞ ŽƵƚƉƵƚƐ ǁŝƚŚ Ă ŵĂdžŝŵƵŵ ĚĞůĂLJ ŽĨ ŽŶĞ ŝŶƉƵƚ ĨƌĂŵĞ ͻ &Ƶůů ϭϲͲ ŚĂŶŶĞů ƵĚŝŽ ŵĞƚĞƌŝŶŐ ĚŝƐƉůĂLJĞĚ ŽŶ ƚŚĞ , D/ ŽƵƚƉƵƚ ͻ ĚũƵƐƚĂďůĞ 'ƌĂƟĐƵůĞƐ 'ĞŶĞƌĂƚŽƌ ŽŶ ƚŚĞ , D/ ŽƵƚƉƵƚ ͻ dĞdžƚ KǀĞƌůĂLJƐ ĚŝƐƉůĂLJĞĚ ŽŶ ƚŚĞ , D/ ŽƵƚƉƵƚ ͻ ĞͲ ŵďĞĚĚĞĚ ŶĂůŽŐƵĞ ƵĚŝŽ ;ͲϭϬĚ ƵͿ ŝƐ ŽƵƚƉƵƚ ŽŶ Ϯ dž Z ĐŽŶŶĞĐƚŽƌƐ ͻ ϯ'ͬ, ͬ^ Ͳ^ / ĐƟǀĞ >ŽŽƉͲdŚƌŽƵŐŚ KƵƚƉƵƚ ͻ ^ŝnjĞ ŝƐ ϯ͘ϱ͟ dž Ϯ͘ϴ͟ dž Ϭ͘ϵ͟ Žƌ ;ϵϬŵŵ dž ϳϭŵŵ dž ϮϯŵŵͿ ͻ džƚĞƌŶĂů ŝƉƐǁŝƚĐŚ ŽŶĮŐƵƌĂƟŽŶ ͻ h^ ƉŽƌƚ ĨŽƌ ĐŽŶƚƌŽů ĂŶĚ ĮƌŵǁĂƌĞ ƵƉĚĂƚĞƐ

ͻ >Žǁ ĐŽƐƚ ŵŝŶŝĂƚƵƌĞ ;ϯ'ͬ, ͬ^ ͿͲ^ / ϰ ƚŽ ϭ YƵĂĚͲ^Ɖůŝƚ Žƌ ϰ ƚŽ ϭ ŝŶƉƵƚ ŵƵůƟƉůĞdžĞƌ ͻ ^ĞůĞĐƚĂďůĞ ŽƵƚƉƵƚ ĨŽƌŵĂƚ ŝŶ YƵĂĚͲ^Ɖůŝƚ ŵŽĚĞ ͻ >Žǁ ůĂƚĞŶĐLJ ďƵīĞƌŝŶŐ ĨŽƌ ĞĂĐŚ ŝŶƉƵƚ ĂůůŽǁŝŶŐ ŶŽŶͲƐLJŶĐŚƌŽŶŽƵƐ ŝŶƉƵƚƐ ͻ >ŝŶŬĞĚ ;ϯ'ͬ, ͬ^ ͿͲ^ / ĂŶĚ , D/ ŽƵƚƉƵƚƐ ͻ ϰ dž ;ϯ'ͬ, ͬ^ ͿͲ^ / ŝŶƉƵƚƐ ǁŝƚŚ ĂƵƚŽ ĚĞƚĞĐƟŽŶ (26 Formats supported in total) ͻ sĂƌŝĂďůĞ ĂƐƉĞĐƚ ƌĂƟŽƐ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ ϴͲ ŚĂŶŶĞů ƵĚŝŽ ŵĞƚĞƌŝŶŐ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ KŶͲ^ĐƌĞĞŶ ϭϲ ĐŚĂƌĂĐƚĞƌ / Ɛ ;hD ƐͿ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ KŶ ^ĐƌĞĞŶ ŝƐƉůĂLJ ŽĨ ĨŽƌŵĂƚ ƚLJƉĞ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ h^ ƉŽƌƚ ĨŽƌ ĐŽŶƚƌŽů ĂŶĚ ĮƌŵǁĂƌĞ ƵƉĚĂƚĞƐ ͻ 'W/ ŽŶ Z:Ͳϰϱ ĨŽƌ ƌĞŵŽƚĞ ƐǁŝƚĐŚŝŶŐ ĂŶĚ dĂůůŝĞƐ ͻ >ŽĐŬŝŶŐ WŽǁĞƌ ^ŽĐŬĞƚ

MINIATURE (3G/HD/SD)-SDI to HDMI with De-Embedded Analogue Audio and NTSC/PAL Down-Converted Outputs

MINIATURE (3G/HD/SD)-SDI QUAD-SPLIT with (3G/HD/SD)-SDI and HDMI Outputs

sŝƐŝƚ ƵƐ Ăƚ ƚŚĞ / ^,Kt͕ KKd, ϳ͘ ϰϬ

ǁǁǁ͘ĚĞĐŝŵĂƚŽƌ͘ĐŽŵ FUTURE-PROOF SOLUTIONS

24 theibcdaily

09.09.2011

Your IBC badge If you have it, you can scan it

Whether you are here for the conference or the exhibition, your first task must be to pick up your IBC badge. The good news is that the system is set up to be very fast: the intention is to get you a badge and into the event in 10 seconds.

When you registered, you will have been sent an email containing a barcode. If you have it with you simply scan it at any one of the stations and your badge will be printed.

If you have not got your barcode simply go to one of the computer

desks, find your registration then print out the badge. It may take a few seconds longer but you should still be quickly on your way.

If you have not yet registered you can do it now. The best way is online at www.ibc.org/register, but there are computer workstations in the registration area to allow you to do it onsite. The full range of badges is still available, including Gold, Silver and Bronze conference passes as well as exhibition only entry. You can upgrade your pass in the conference area, including to a Gold Pass if you want to benefit from the full VIP experience at any time during the show opening hours.

All IBC badges contain an RFID chip, which as well as helping exhibitors track leads means that IBC gets completely accurate information on who attends. While other major exhibitions in the industry can only offer vague estimates of attendance, IBC uses the latest in badge technology as part of its efforts to get visitor numbers precisely right.

Captioning solutions launch ice presence, while there is support for SD/HD content with automatic

By Michael Burns format detection.

The CD-2 is available for both The CD-2 from Wohler is one of a WST/OP-47 (page) and CEArange of products to support cap- 608/CEA-708 (caption stream) stantions/subtitles dards, selected and ancillary through serial data manageport via a PCment workbased graphical flows making user interface. their debuts at Wohler is I B C . A n ew also displaying caption/subtitle Wohler has upgraded the HDCC line of closed the upgraded video monitor caption and subtitling products and improved adapter, the HDCC Series CD-2 provides an OSD-decoded of captioning/subtitling products. captions/subtitles output that main- These allow users to handle encodtains the original video format, as ing, decoding, and monitoring of well as a reclocked pass-through CEA-608, CEA-708, WST and OPvideo output.

47 captions/subtitles, as well as Also provided is a captions/sub- encoding and decoding of multiple titles present LED indicator on the GPI triggers. front panel for quick check of serv- 8.D56

Wohler

Media delivery management system debuts Ericsson

By Ian McMurray The worldwide video-on-demand market is continuing to expand and is arguably set for its most explosive

phase as operators and content owners connect millions of devices and consumers with unlimited on-demand assets. IBC exhibitor Ericsson says that it is creating the solutions that will enable the next generation of ondemand multi-screen services.

Making its debut at this event is Ericsson’s Media Delivery Management System. Designed as a successor to the OpenStream Digital Services Platform, the Media Delivery Management System is a new, purpose-built software platform

specifically designed for the challenges in the next phase of service delivery. A scalable, fault-tolerant system, it includes a number of enterprise management features for flexible and adaptable service introduction and management.

Specif ic features include: dynamic routing and asynchronous messaging for quick and easy addition of service and applications; high performance, document-oriented database for unlimited transactions; and an open architecture using virtualisation and cloud computing for increased capacity and disaster recovery.

1.D61

26 theibcdaily

09.09.2011

New DRM receiver options DRM Consortium

By David Davies Three key DRM Consortium members will host Digital Radio Mondiale (DRM) events at this year’s IBC. Transradio (event on 10 September), Nautel (11 September) and Fraunhofer IIS (12 September) will present updates on the latest market developments and demonstrate how DRM (DRM 30 and DRM+) can deliver multi-platform, rich, digital c o n t e n t d i r e c t t o u s e r s . N ew receiver options will be on display at the three stands, while there will also be opportunities for visitors to

have their queries answered.

DRM provides the complete AM and FM solution, being a universal, open standard. The technology is said to bring superior audio performance, with extra features such as EPG, slideshow, Journaline advanced text, emergency warning and TPEG delivering a wealth of extra data and information.

In a successful year for DRM, a number of trials have taken place around the world both in high and low power scenarios in the FM band, including in the UK, Sri Lanka, India, Germany and France.

Transradio (8.D50), Nautel (8.C61), Fraunhofer IIS (8.D80)

Web Workflow PPS v5 Ceiton

By Heather McLean After two years of development in Leipzig, Ger many, Ceiton has released version 5 of its workflow optimisation and resource scheduling product, Web Workflow PPS. A popular choice across the media industry, users of Web Workflow PPS range from larger Hollywood studios to smaller post facilities

and broadcasters of all sizes.

According to Russ Walker, Ceiton’s EVP sales americas, the main focus with version 5 – which is

Version 5 of Ceiton Workflow PPS

Q&A Claus Menke, head of portfolio management professional, Sennheiser Electronic DRM Consortium member Nautel presents new receiver options

on display here at IBC – was to make usage for operators simpler and faster by extending existing web technologies, such as AJAX and WinLIKE, as well as introducing more new features.

Version 5 provides new user interface elements for the workflow engines, including inline editing in drag and drop trees, and extended use of AJAX for faster operations in a normal web browser. It also provides some improvements for browsers on tablets like Google Android, in order to allow system usage on the go without requiring a notebook PC. 3.A60

Has IBC come at a good time for the electronic media industry? Why? The timing of IBC is perfect to start into a very productive period after the summer season. For Sennheiser as a manufacturer of professional audio solutions this is a perfect time to introduce new products to the market as well as talk to our customers about their requirements.

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

The key development is the convergence of production workflows. Most equipment can be controlled via some kind of

Ethernet connection from a single computer. Audio I/O has been standardised for years and now it’s time to also standardise bus systems, control data and interfaces. I see initiatives like AVB and Ravenna driving this development and we are very proud to support this.

Why should delegates visit your stand at IBC? Visiting our booth is always a good opportunity to talk to product managers and developers who created the products. So if you want to learn the story behind the products come and see us at IBC.

8.D50

28 theibcdaily

09.09.2011

4K mastering workflow

Clear your head and recharge the mind

Sony

By Adrian Pennington At NAB earlier this year, Sony unveiled its much-anticipated CineAlta camera prototype, the F65.

At IBC, Sony is revealing more of its strategy for bringing the camera to market by showing how it fits into

the company’s broader 4K workflow.

The camera will be available at the end of the year through a group of new and existing channel partners as part of its 4K Alliance strategy.

Supporting Sony’s 4K workflow is a new SRMemory pack, which takes into account the need for varied card capacities and writing speeds. Six separate cards will be

which production teams may be familiar. The Timecode Transmitter is now Wi-Fi, and sends information timecode as it was recorded to the from the camera to web-connected ‘clipboard’, where it was displayed in devices. Like the original, the timerealtime, allowing users to code display can be hold the count while paused, but the app also making production includes Shot and Take notes. buttons to capture timeProwse added: code automatically and “This year, we are store in the Notes area introducing a tablet/ for later export to editing smartphone version and logging systems. which is based on the The Notes Editor original concept but stores text from the also includes comNotePad and images prehensive notes and from the DoodlePad so pre-editing script that the final stored notes functionality,” file resemble those using The new i-Script- i-ScriptBoy pen and paper. It will work Boy works in a similar wireless timecode with any mobile device with a way to the legacy prod- system web browser, as the transmitter uct, with extra features, contains its own website. but maintains the functionality with 11.G11

ScriptBoy makes return

The Business Lounge The intense debates in conference, the buzz of interest as thousands of people throng the exhibition halls: IBC is always alive with excitement.

But sometimes you may feel the need to talk somewhere quiet.

You may be finalising a system architecture with a lead integrator, agreeing contract terms with a lead vendor, signing up a new distributor or reseller, or talking through a new job opportunity. These important conversations need calm concentration without bustle around you.

That is why the IBC Business

Lounge was created. It is an oasis of calm just a moment away from the heart of the exhibition: you will find it in the Holland Lounge on the first floor, near Halls 9, 10 and 11. There are tables and chairs for small groups to talk, and if you need extra privacy you can book a private meeting room.

Coffee and snacks are available and staff in the lounge can help with internet access and office tasks such as photocopying. The IBC Business Lounge is available for all visitors and is open during exhibition hours.

Vortex Communications

By David Fox Until a few years ago, Vortex Communications manufactured the ScriptBoy Wireless Timecode Clipboard. It was “well-liked and hundreds are probably still in regular use,” said Vortex Director, Ian Prowse.

“Then the RoHS lead-free directive came along, which meant that our custom-produced LCD Display was no longer allowed to be used in the product and the whole setup cost for a re-fabrication would have been prohibitive.”

The original ScriptBoy used a licence-free wireless transmitter attached to the camera, which sent

available for different applications with a colour scheme to provide differentiation.

To enable users to transfer all the memory from camera to computer, Sony also has a new range of SRMaster products on show here.

These address all the challenges of data wrangling, both on set and in post production.

Sony says it is looking to provide the entire end-to-end 4K editing process, with the introduction of SRMaster and SRMemory. Hall 12

Visit us at IBC 2011 Booth 8.B90

Sports Production

Shaping the Future of Sports

Designed to Perform www.evs.tv

30 theibcdaily

09.09.2011

Super Hi-Vision Make a date to view SHV

The statistics of Super Hi-Vision are remarkable. Picture resolution is

7680x4320, at 60 prog ressive frames a second. Audio is equally impressive, offering an immersive 22 channels set at three heights, plus two more sub-bass channels front and rear.

The system has been developed

by NHK (Japan Broadcasting Corporation) drawing on their own research into what human perception really needs to feel like it is part of a scene not looking at it on a screen. A paper on this research is being given on Sunday morning, and was regarded as so important that it has won this year’s IBC Conference Award.

But nothing beats experiencing Super Hi-Vision, and once again NHK has brought a demonstration to IBC. It made its first appearance

here in 2006 when it was very much a science project, and in 2008 IBC saw the first ever international live broadcasts.

This week the demonstration very much focuses on the practical implementations of Super HiVision. Manufacturers who have joined the project will be showing how the signal can be compressed, stored and delivered.

But alongside these ver y important developments will be a full demonstration of the system.

If you have not yet had a chance to experience Super Hi-Vision then make it an IBC priority. If you have seen it before you will not need much encouragement to see it again.

The Super Hi-Vision theatre and related demonstrations can be found in the Future Zone, in the Park Foyer near Hall 8. Tickets for the theatre are free but demand is always high, so book early.

Agile solutions, trusted partners Jeff Rosica, executive vice president, Grass Valley explains the pressures that the economic recession has had on both broadcasters and vendors I think we would all agree there have been some challenges in the broadcast industry in the last few years. We had the global economic recession, of course, but we also had the multi-platform revolution which was significant to our industry. Broadcasters had to address multiple outputs like the web, mobiles, and tablets, while at the same

time seeing their advertising revenues checked because of the other opportunities on those multiple outputs.

In turn, this has created a huge change in the relationship between buyers and sellers, and has put pressure on companies like Grass Valley.

Some of the pressures are obvious; some, not so much.

There is, for instance, a changed expectation around speed of response. Once, even a simple editing facility was a capital purchase: now it is a download, and can be operational within minutes of identifying the requirement for it. Broadcasters need that speed of response because they have to be agile to capture opportunities as they present themselves.

So, as manufacturers we can no longer quote extended lead times on product shipments. Our customers expect to have support locally, with updates and spares available in hours rather than weeks.

But at the same time, there is the

Making connections to meet users’ demands Netgem

By Ian McMurray Outlining how it has extended the scope of its business model from the connected TV to the connected home is at the heart of Netgem’s participation in this year’s IBC. The company says that it is defining how pay TV operators can use its NCloud connected home solution to meet user demand for easy to use and consistent multi-screen services in the home.

The N-Cloud hybrid approach is said to offer service providers the means to blend the best of broadcast – alongside streaming of over the top (OTT) and on-demand content widely reported shift from selling products to selling solutions. A second feature of commoditisation is that you can buy the basic technical building blocks from a number of manufacturers and they will all work: the decision is made on how well they fit together and how best they suit the operational requirements.

Increasingly, requests for solutions are being expressed in terms of outcomes, not technical functionality of each element. And because broadcasters and production companies are constantly changing their workflows to meet new challenges and opportunities, the solutions have to be equally agile, capable of rapid reconfiguration without putting capital investments at risk.

We see service oriented architectures as central to achieving this. To

and services from the Cloud – while preserving the user’s privacy by maintaining their own content within a home cloud. Netgem is outlining why it sees the intelligent set-top box as the most cost-effective and scalable solution for a multi-screen environment, and is showcasing the types of connected home experiences it can bring to its customers.

The company is also showing its new media ser ver in action by demonstrating its connected home application for iPad, Android phones and connected TV, alongside other value-added services designed to help operators take advantage of connected technologies to open up new revenue streams.

4.B79

Opinion

Jeff Rosica: We can no longer be reactive

the user it is a workflow layer that can create new processes quickly and easily. Beneath it are the technical layers, connected to the common framework using simple adaptors, software plug-ins that provide the translation and connectivity.

If a third-party should change its functionality – and all systems will involve equipment from multiple vendors working together – then it is only this simple adaptor that needs to be updated.

To deliver systems based on outcomes, to provide guaranteed availability in service level agreements, and all the other new ways of doing business in our changing industry means that the relationship between vendor and customer has to shift. As manufacturers we can no longer be reactive, showing how good our point products are and then waiting for orders.

We have to become trusted partners.

Broadcasters and production companies have to know that if they describe a requirement to us, we will deliver a packaged solution, using best of breed technology from our catalogue and from other manufacturers as appropriate, which will meet that requirement — with the flexibility, reliability, and lifetime cost of ownership they require. 1.D11

The world’s first media convergence platform just got better. And managing hybrid broadcast environments has never been easier.

Media convergence delivered. Only at the Harris stand.

Hall 7 Stand G20 www.harrisbroadcastlive.com For more information, please email sales.europe@harris.com or telephone your regional office: North America +1 800 231 9673

Europe and Africa +44 118 964 8200

Asia, Pacific Rim +852 2776 0628

Middle East, South Asia +971 4 433 8250

Caribbean and Latin America +1 786 437 1960

32 theibcdaily

09.09.2011

Passing clouds Cloud computing comes of age

The concept of the ‘cloud’ as the next stage in our technological evolution has grown rapidly of late. But what are the benefits of the cloud, and how can they be translated to the very specif ic needs of media creation and delivery.

The term essentially means moving some or all elements of processing and storing content from local devices to a remote location, hosted by a specialist provider. Terms like ‘software as a service’ and ‘communications as a service’ are typical of cloud applications.

The benef it is claimed to be around business agility. It gives you the chance to adapt your infrastructure rapidly to changing demands, allowing your business model to follow the consumer landscape not be bound to a fixed platform.

Wholesaler chooses monitoring solution Agama Technologies

By Ian McMurray TV quality assurance company Agama Technologies has been chosen by Swiss wholesaler Netstream to provide Agama’s complete end-to-end monitoring solution for its managed IPTV

service. The installation enables full control and understanding of the service quality from creation to consumption, supporting Netstream in the efficient discovery of problems and SLA follow-ups with wholesale partners.

Since 2006, Netstream has acted as a wholesale provider of a managed IPTV service to the telecom-

munications industry in Switzerland. With the technical IPTV solution from Netstream, telecom operators are given a tailored opportunity to offer digital television services under their own brand.

In the latest stage of its development in this area, Netstream has deployed Agama’s DTV Monitoring Solution. “As a solution provider of

But there are big questions over how well that can be applied to broadcast and media. Can cloud solutions, and the network infrastructure providing the connectivity, cope with the traff ic volumes of high resolution video? For many applications, from news to top end movies, the ability to access content from any location is a clear advantage – but only if that access is fast and reliable.

What about the security of the content? On the one hand, leaks and piracy can have huge commercial impact. On the other hand, the risk of losing part of an irreplaceable archive would also be potentially devastating.

Is this another area where broadcast and IT engineers appear to be using the same words but meaning something significantly different? managed IPTV services, Netstream has essential SLAs to meet with their connected wholesale partners,� said M i k a e l D a h l g r e n , C E O, A g a m a Technologies. “The deployed Agama solution will support them in this, as well as keeping their service quality high and problem discovery quick and eff icient. We are excited about this new installation in Switzerland, and honoured to become Netstream’s trusted service quality assurance partner.�

4.A55

Open systems for archive management Opinion Adoption of IT standards are no afterthought but of utmost business importance, says Howard Twine, product manager, SGL With IBC 2011 upon us, the broadcast industry is no less surprising now than it has been in the last decade or so. The convergence of technology within our own industry and the adoption of new technologies from broader fields such as IT, continue to throw-up surprises and exciting possibilities. New interfaces and innovative development partnerships continue to bring fresh ideas to the market, each with individual challenges and pitfalls that we all (both supplier and customer) know and love so well.

In the content archive and storage management field, there are some interesting technology developments that will provide new opportunities for revenue streams for all broadcastcentric organisations. As always, customers will define what is most

appropriate to their requirements, and IBC is a perfect opportunity for them to begin to discover how new technologies will impact on and bring tangible benefits to their enterprises.

One of the current major interest points in archive management is the advent of open systems, technology that will allow archive material to be freely exchanged between systems in a vendor-independent contentexchange environment. However, different approaches are being taken in the implementation of archive system interoperability; some vendors are continuing to create new ‘standards’, while others approach the issue from a wider, technology-based viewpoint that operates under less restrictions and across a wider framework.

Howard Twine: customers will define what is most appropriate

It’s not as if there aren’t enough standards in broadcast already, and while most may have their place, the application of standardised ‘wrappers’

for content in order to make it transportable is surely not as efficient, or workflow-friendly, as simply using a technology that has transportability designed-in at a base level.

In addition, technology-based solutions are available more immediately and do not have to undergo the lengthy ratification process of standards-based solutions, which can take many years to be ratified by organisation bodies – and thereafter adopted by all vendors.

There has already been widespread industry intent to adopt wider IT-based technology standards that facilitate this technology-based interchange, such as the Linear Tape File System (LTFS). This new technology from the LTO Program (HP, IBM and Quantum) is already proven and pub-

These questions and more are addressed in the conference session Cloud Computing Comes of Age at 11:00 this morning in room E102.

Taken from a business perspective, it tackles the practicalities behind the hype. How can cloud computing change your business, and will the impact be all for the good? How challenging will it be to integrate the cloud with the rest of your operational workflows? Is this a business edge through flexibility and agility, or a technological solution in search of a problem? Hear the arguments on all sides, and join in the debate.

View the full Conference Programme at www.ibc.org/conferenceprog ramme. Alter natively download the IBC2011 Mobile App at www.ibc.org/mobileapp to have the programme to hand.

IPTV monitoring “solution will support SLAs�, says Agama’s Mikael Dahlgren

lished, and is in use in the real world, in the broadcast arena and across the wider IT marketplace.

We’re starting to see potential shifts in emphasis with respect to media archives with LTFS technology; the content portability that this technology offers means that for the first time, archive processes traditionally viewed as end-of-cycle could now become the first point of contact. In essence, the archive may now be seen in terms of content acquisition and transportation, rather than an afterthought.

These kind of broad IT standards are what the industry needs, with a view to attracting new blood (for example in the form of engineers etc from the IT sector). In time perhaps this will create a better understanding of important factors like disaster recovery, and will help our industry to realise that these solutions should not be an afterthought in an RFP – they should be thoughtthrough strategy of utmost business importance. 7.15Ja

Transmit-Route-Receive

MULTIDYNE COM s

Canon’s latest range of professional video cameras.

Set your own standard.

Canon’s XF series of camcorders utilizes an MPEG-2 recording codec with 4:2:2 colour sampling and a data rate of up to 50Mbps, capturing Full HD footage in stunning detail.

The XF105 & XF100 are compact, powerful and packed with features such as professional audio, 10x zoom Canon HD Video Lens and infrared recording, for exceptional versatility.

The XF305 & XF300 combine a Canon L-series lens and 3 Full HD Canon CMOS sensors for broadcast-quality HD video stored on Compact Flash memory cards.

The innovative XA10 AVCHD camcorder packs Canon professional technology into an ultra-compact body.

IBC

Hall 11 E50

For more information visit cpn.canon-europe.com or canon-europe.com

INTRODUCING AT IBC 2011

COMBING LEADING EDGE DIGITAL AND OPTICAL TECHNOLOGIES 3 3 3

www.arri.com

4:3 sensor with ALEXA image quality Uncompressed, uncompromised ARRIRAW Optical viewямБnder and mirror shutter

Visit the ARRI Booth: Hall 11.F21

theibcdaily 35

09.09.2011

Encoder’s Euro launch

Newscoder 4 is a compact video/audio encoder with AES Encryption

Integrated Microwave Technologies

By Ian McMurray IBC2011 sees the European market launch of Nucomm Newscoder 4, new from Integrated Microwave Technologies. The Newscoder 4 is a compact, low power, HD/SD, video/audio encoder with AES Encryption.

At only 3.7 cubic inches in size, Newscoder 4 is said to deliver

superior MPEG-4 H.264 SD and HD encoding, enabling broadcasters to transmit HD content eff iciently over the same infrastructure used to transmit standard definition content.

The Newscoder 4 input accepts either a composite (NTSC or PAL), SD-SDI or HD-SDI input.

The encoder automatically detects the video input format, digitises and passes it to a high performance H.264/AVC MP@L4 video encoder, where the video is compressed down to an extremely low data rate. The resulting output is an ASI transport stream.

In addition, the encoder has one stereo or two mono audio inputs and supports both line level inputs and microphone level inputs. Each mode supports independent gain selection ranging from 12 dB of attenuation to +50 dB and embedded audio.

“The Newscoder 4 defines the next level of video compression,” said Integrated Microwave Technologies President Stephen Shpock.

1.D40

Free travel from IBC

To make your time here as productive and enjoyable as possible, IBC works closely with the city of Amsterdam authorities and the RAI Centre. One of the benef its of this co-operation is that we can offer free travel for all visitors from Thursday 8 September to Tuesday 13 September.

Why SFNs are essential for streaming content to mobile handheld, according to Mondae Hott, director of sales, Ensemble Designs

Opinion

Mondae Hott: All signals in the SFN need to be synchronous

The phone rang and my customer and I ended up chatting about the ins and outs of content delivery to mobile handheld devices. As broadcasters increase service choices to cell phone users, they are searching for the best way to deliver content in a reliable way.

Mobile handheld (M/H) requires synchronous transmission of content from multiple sites, commonly referred to as single frequency networks, or SFNs. This is different from typical cellular use, typically voice or data, which entails communicating with one, single cell tower.

The cellular system operates on a point-to-point model. When a call is made but then dropped, the phone negotiates with the next cell site

with overlay and collectively these sites create a network. Costs don’t go up when more viewers are added.

Multiple cellular sites must all be transmitting on the same frequency and synchronous to each other in order to work. Mobile handheld devices must all be able to seamlessly switch from one originating site to another. An M/H device may even be receiving from two sites simultaneously. This only works if all of the signals are synchronous. One could take license and think of the ‘S’ in SFN as ‘everything synchronous,’ or as ‘seam-

less’ coverage of a wide area.

Since all signals in the SFN need to be synchronous, we have developed new technology that provides regenerative retiming and signal resynchronisation for DVB-ASI signal. All signals in at each individual transmission point or emission point can be locked to a GPS reference, retimed and synchronised for optimum performance.

The Avenue 4500 and 4445 modules all support DVB-ASI signals and can be used at each cell tower, transmitter or emission site to ensure the SFN is operating as its best. 8.B91

Be sure to get your IBC tram pass

Streaming content to mobile before a call can be placed again.

Streaming content for M/H needs a different approach from voice and data usage. Content can’t reasonably be delivered individually to each handheld device, so content is broadcast

Make sure you get your free ticket. If you do not have one yet, pick it up from an IBC Info Point.

They will also be able to help with maps and advice on how to get around. The free passes cover all buses, trams and sneltrams (metro) within the city boundaries – which

of course includes IBC – run by GVB, the Amsterdam transport authority.

Tram route 4 and the IBC special route 11 both run from outside the RAI into the heart of the city, terminating at Centraal Station. If your hotel is close to Centraal Station, or on the eastern side of the old town, then take sneltram route 51, which leaves from the RAI station, just a couple of minutes’ walk away. The 51 reaches Centraal Station in under 15 minutes with just a couple of stops on the way, and can often be less crowded at peak times.

For major hotels which are not close to the 4, 11 or 51 routes there are IBC shuttle bus services. Check with an IBC Info Point for a map, timetable and guidance on how best to get back to your hotel. There is also a shuttle bus service from IBC to Schiphol airport, and you can check in here at the RAI for many of the major airlines.

Check the IBC Event Guides for more information or download the IBC2011 Mobile App at www.ibc.org/mobileapp for the shuttle bus timetable.

instead. The broadcast model is well suited for covering a wide area and for providing service to multiple viewers where the tower and the M/H do not need a unique relationship. Multiple transmission sites create a wide area

36 theibcdaily

In brief

09.09.2011

Get up to speed with HD engineering training BBC Academy

By Michael Burns

Router configuration A new router control configuration tool from Snell, Centra Vite, is designed to offer fast set-up and immediate router use as desired. A web control panel ensures out-of-thebox operation, while an external snapshot application saves the live status of all or a selection of routes and subsequently recalls those settings. Free with Snell routers, Centra Vite offers a straightforward upgrade path to Snell’s Centra system-wide control and monitoring system without compromising existing user interfaces and fundamental operation.

8.B68

Green transmitters The Elite 100 GreenPower Transmitter Line is a medium power addition to Thomson’s environmentally-friendly GreenPower series. The Elite 100 GreenPower is described as the optimal choice for low CO2, low-OPEX operation in initial digital deployments, or for the extension of coverage in tandem with high-power Elite 1000 GreenPower transmitters. From the same family – and also on show at IBC – is the Elite 1000, which features 50 V LDMOS technology, an output power of up to 9.6 kW DVB per unit, and an energy consumption saving of up to 15 percent over the previous Elite transmitter series.

5.A17

Standards-based solution for OTT service delivery Video Content Authority System (VCAS) 3 solutions are being displayed by Verimatrix. VCAS for internet TV – the standards-based solution for secure OTT service delivery – now supports what the company says is a dramatically expanded range of client device types. ViewRight Web integrations with HTTP live Streaming (HLS) players now support smart (connected) TVs and OTT STBs, Android smartphones and tablets, as well as the PC/Mac and iPad/iPhone. Meanwhile, VCAS for DVB – the company’s recently acquired DVB conditional access (CA) technology – is now fully integrated with Verimatrix’s IP-based content security.

4.B54

You can sample one of the BBC’s most popular High Definition training courses here at IBC. The BBC Academy is hosting short HDSM presentations at 16:00 today, and at 11:00 and 16:00 on both Saturday and Sunday.

The full High Definition Standards and Measurement (HDSM) course examines format differences, timing, installation, surround sound coding and distribution, display systems, and Up/Down conversion.

During the programme, lab-based practicals examine key areas to ensure the attendees get the most from the course.

“This represents a real landmark in HD Engineering training,” said Andy Wilson, head of the BBC Centre of Technology. “The key to successful HD output is ensuring that quality is measured and maintained throughout the production and distribution chain.”

Staff from Arqiva, CNN, DR Byen, Virgin Media, Sony and Siemens, among others, have attended the four-day programme.

9.A38

Experience BBC Academy training in high definition standards and measurement at IBC

Video production flagship Broadcast Pix

By Carolyn Giardina The largest member of Broadcast Pix’s family of integrated live video productions systems, Granite 6000, has debuted with an expanded 2 M/E control panel. The new control panel has rows of 24 buttons for rapid access to more sources, as well as two banks of device controls to run the built-in clip store, Harris or Chyron CG, and control cameras and streamers.

“Granite 6000 is our new flag-

ship two M/E control panel for producers creating sophisticated shows with a lot of cameras,” said Ken Swanton, president of Broadcast Pix. The panel has 142 PixButtons, the patented Broadcast Pix invention that displays sources and file names on the buttons. The new control panel also features a row of PixButtons for Fluent Macros, which combine switcher effects and files with one-button recall.

The Granite 6000 includes a production switcher and companion server. The switcher supports up to 22 SDI multidefinition inputs and

Granite 6000 is the largest of Broadcast Pix’s live video production systems

seven channels of clips, animations, and graphics.

Available this month, Granite

6000 can be purchased as a new system or as a panel upgrade to any existing Granite system. 7.B20

Making a PowerPlay in sports production Orad

By Carolyn Giardina A joint offering from Orad and IBIS, PowerPlay is a new system designed to manage sports productions from ingest through instant highlight editing, to sports media asset management in a post environment. The system is being showcased on the Orad stand.

Aimed at giving sports broadcasters a f ast tur naround with advanced data management tools, PowerPlay is founded on two primary building blocks.

Ingest, instant editing and playout are based on PlayMaker, an 8-

channel instant replay sport replay server. Then there is a media management system based on IT technologies.

The iFind Asset Core database underpins the MAM system. PowerPlay also supports archiving, restore from archive, clip transfer and search functions.

The new offering is available in two ‘flavours’. PowerPlay Studio is a studio system for live editing of multiple game feeds, with realtime access to MAM tools and video storage. Alternatively, PowerPlay OB allows multiple OB trucks to ingest, tag and deliver content to a main facility.

7.B27

PlayMaker’s Controller

A fine idea The new dFINE headset range from DPA is said to feature some radical updates on the design of its existing 4066 and 4088 models, which are widely used in international theatre, broadcast and conferences. dFINE, says DPA, was launched in response to market demand, and its name reflects the headset’s accurate audio definition and sonic characteristics. The company is also showing microphones from its Reference Standard family.

8.D70

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38 theibcdaily

09.09.2011

European broadcast technology budgets on the rise in 2011 - 2012 This article reviews the state of broadcast technology capital spending budgets in Europe versus the rest of the world and then shows what broadcast technology buyers predict will happen to their capital budgets in the future

By Joe Zaller, Devoncroft Partners With the broadcast industr y in Europe seemingly rebounding from the recession, one of the key questions at IBC is what’s happening to broadcast technology budgets today, and will they increase or decrease over the next few years. To determine the state of broadcast technology budgets in Europe, we asked a series of in-depth questions to a global sample of broadcast technology professionals as part of the 2011 Big Broadcast Survey (BBS).

The BBS, which is conducted annually by Devoncroft Partners, is the largest and most comprehensive study of the broadcast indus-

set to outpace both Europe and the Americas in 2011-12. The Asian market was not as adversely impacted by the recession as

try. More than 8,000 people participated in the 2011 BBS, including more than 4,000+ broadcast professionals who provided detailed information about their budgets and technology spending plans.

Regional comparison of broadcast tech budgets Using data from the 2011 BBS, this article compares broadcast technology spending around the world and then focuses on what’s next for Europe, both in terms of how much is projected to be spent, and in what areas.

As seen in the Figure 1, the growth of broadcast technology budgets in Asia look

ers primarily rely on advertising for the majority of their revenues, was deeply impacted by the recession. However, the market in the Americas is bouncing back nicely, driven by a recovery in ad spending in North America, and major expansion in certain Latin American countries, most notably Brazil.

The European market has more state and license fee funded broadcasters, so the recession was not as deep in the region. The vast majority of European research participants reported that their budgets are either stable or growing. Less than 10 percent of respondents indicated that their budgets will be declining next year.

Tech Budgets in EMEA Figure 1. Regional comparison of broadcast technology budgets in 2011-2

other regions, and it appears that its spending is continuing to look good for this year and next.

The Americas market, where broadcast-

Looking specif ically at the market in Europe, we asked more than 3,000 broadcast professionals from EMEA how their broadcast technology budgets are evolving. By probing research par ticipants about the movement and velocity of their budgets over time, we get a good repre-

theibcdaily 39

09.09.2011 sentation of the state of technology spending in Europe. Figure 2 shows the movement of broadcast technology budgets in Europe over a three-year period.

Using 2011 as the base year, we asked European research participants about their 2011 broadcast technology budgets in the

budgets had declined versus 2009.

The predicted outlook for 2012 looks better still. 91% of European respondents predict that their broadcast technology budgets will stay the same or increase in 2012. An impressive 64% of respondents predict that their budgets will increase in 2012 versus 2011. On an overall basis, this is positive news for European broadcast technology spending.

tion to HDTV operations is the major driver of technology spending this year, with upgrades to infrastructure and transmission and distribution capabilities topping the ranking. European broadcast professionals also plan to implement file-based and automated workflows in mainstream operations

big money on these projects. For example the average budget in EMEA for upgrading infrastructure for HD/3Gbps operations is close to $7m.

Traditionally, in the broadcast industry, major projects drive technology budgets, which in turn drive product purchase. But

Planned technology spending in Europe

Figure 2. 2010 Evolution of Broadcast Technology Budgets in Europe

context of the previous year (2010), and also to predict how their budgets will move next year (2012).

So firstly, what’s the outlook for 2011?

Overall 82% of respondents said their budgets for this year were either staying the same or growing, with 51% saying their budgets would increase in 2011. This is a major improvement from 2010 when just 34% of respondents reported that their broadcast technology budgets had increased versus 2009, and 28% said their

With broadcast technology budgets improving in Europe, the obvious question at the IBC show is: how are broadcast professionals in Europe planning to deploy their b u d g e t s ? Te c h n o l og y s p e n d i n g i n t h e broadcast industry tends to be projectbased. Projects might include international elections and sporting championships, to the long-term planned capital upgrades of broadcast infrastructure and facilities.

Thus, an understanding of the major projects being implemented by broadcaster professionals around the world provides useful insight into the capital expenditure plans of the industry.

We presented broadcast professionals with a list of major projects and asked them to indicate which ones they are currently implem e n t i n g o r h ave p l a n n e d / b u d g e t e d t o implement in the next year. Their responses were then used to create the 2011 BBS Broadcast Industry European Project Index, which is shown in Figure 3.

By a wide margin European broadcast technology buyers indicated that the transi-

Figure 3. 2011 BBS Broadcast Industry European Project Index

as well as in the archive. Other top projects include launching new (presumably HDTV) channels, moving towards automated operations, and upgrading newsroom operations.

In other words, broadcast professionals in EMEA are spending money on three things the transition to HDTV operations; and on those things that either save money through increased efficiency (e.g. asset management and automation), or generate new revenue streams (e.g. new channels).

In some cases, broadcasters are spending

there has to be money available to fund the projects. It now appears that the industry is recovering from recession and spending on broadcast technology will also improve.

This is good news for everyone here at IBC2011.

Joe Zaller is the founder and president of Devoncroft Partners, which provides market research and strategic consulting services to a wide range of digital media clients. He can be contacted at jzaller@devoncroft.com

40 theibcdaily

09.09.2011

Channel-in-a-box comes of age per-channel basis. However, these are still open to the criticism that other features, from graphics to switching, are far less developed.

Existing systems provide basic graphics capabilities via off-theshelf graphics and video I/O cards.

Customers seeking to create more sophisticated branding over multiple channels are frustrated at the severe limitations placed on them.

To meet the demands of complex channel branding, customers currently need to purchase a specialised third-party system, which pushes up the investment, takes up more space, and creates two different and unnecessary workflows for graphics. This contradicts the whole point of integrated technologies.

The lack of ability to support live content is also a fundamental drawback: there are a large number of channels that incorporate live events that until now have not been able to benefit from an integrated playout solution.

Pixel Power’s ChannelMaster uniquely answers these limitations with an architecture that provides best-of-breed graphics – including realtime 3D elements and texture mapping – and the system reliability needed to create a highly visible channel, while crucially minimising the cost and time of getting a new channel to air.

Because ChannelMaster has a built-in master control switcher it’s an excellent proposition for channels that include live events. This is in marked contrast to the systems on the market that are limited to only one video input, or lack a master control hardware panel with which a master control operator would be familiar.

ChannelMaster has three live video inputs, but can also control an upstream router providing access to

an unlimited number of sources. It’s also capable of live transitions between sources with preview – vital in a live environment as any broadcaster knows. In short ChannelMaster delivers full mastery of integrated channel playout. Experience on our stand.

7.A31

tainment company – Loft London handles all content processing for the company’s emerging markets in Europe and the Middle East. Signiant provides a direct connection with the client’s content exchange backbone, also based on Signiant, to enable fast, secure and managed delivery of HD content to the Loft London facility.

Signiant technology is used to distribute programmes to multiple playout platforms and broadcasters, including Chellomedia, Encompass, Red Bee Media and ESPN. “All of our clients have transmission service level agreements that make it imperative for them to receive their content on time,” said Davide Maglio, director and partner,

Loft London. “With Signiant, we have complete visibility into the entire transaction, and the system generates a delivery confirmation receipt that ensures that the media has arrived at its destination in good working condition. That’s just not possible using FTP or more traditional WAN acceleration-only tools.” 13.341

The limitations of integrated and automated playout systems have now been addressed, declares James Gilbert, joint MD, Pixel Power Highly integrated and automated playout systems (channel-in-a-box) have been in existence for over a decade and have proved themselves sufficient for handling the playout of basic thematic channels – indeed they have been an undoubted success in that field. However, there are two key aspects that currently available integrated playout technologies fail to address: the ability to generate high-class graphics that are proven to significantly enhance the value of a channel’s brand; and the ability to support any channel that uses live content.

The initial driver for the first channel-in-a-box systems was to reduce cost by combining a number of discrete pieces of functionality

into a single device. In some cases the functionality was supported by the integration of discrete hardware, in others by executing the functionality in software on standard IT servers.

A criticism of these early technologies was that they lacked the sophistication to support complex multichannel systems, were not easily scalable at reasonable cost and one or more of the integrated features, such as automation or graphics, was lacking in some way.

More recent systems have tried to combat scalability and complexity by offering a client/server approach where certain features such as content storage and automation can be centralised to avoid replication on a

Distribution gets boost Signiant

By Anne Morris Loft London has expanded its deployment of digital content man-

agement solutions from Signiant.

Based in the UK, Loft London provides a variety of post production and media services.

For its largest client – a high-profile international media and enter-

Opinion

James Gilbert: Early technologies lacked sophistication

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theibcdaily

08-13.09.11

I

IBC2011 exhibitor list and floorplan Future Zone incorporating New Technolog Technology gy Campus & NHK (Japan Broadcasting Broaadcasting Corporation) Super Hi-Vision Big Screen Auditorium

Conference

Halls 1, 2, 3, 4, 5 & 6 – Pii Halls 9, 10 & 11 – Pv Hall 7 – pviii, Hall 8 Pix Halls 12 & 13 Px Outside Exhibition area Pxi

13

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II

theibcdaily

08-13.09.11

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A23 C16

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C4 41 C41

C13

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B26 C533

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theibcdaily

08-13.09.11

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theibcdaily

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Exhibitor list (accurate as of 8 August 2011) 10 LiveDefinition 3.A15ci 2020 3D MEDIA 8.G35 27M Technologies 3.C30 2Connect-IT (Co-exhibiting with Thrane & Thrane)

OE202 8.E78 9.B40 13.193

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(Co-exhibiting with Nagra Kudelski)

Accedo Broadband ACCESS Accusys Ace Marketing Acetel Co Acorde Acrosentec Co Actia Sodielec Active Circle Active Storage

(Co-exhibiting with Global Distribution) 7.G16 Actus 4.A91 Acz Group 6.C22 ADB Lighting Technologies 11.A34 Adder Technology 7.B33 Adobe Systems 7.G27 Adtec Digital 1.D01 Advanced Broadcast Components 8.A30 Advanced Digital Broadcast – ADB 5.B48 Advantech Wireless 1.A11 AEQ 8.C55 Aeta Audio Systems 8.B30f AF Electronics 4.C53 Agama Technologies 4.A55 Agilent Technologies 2.A50 AIB (Association for International Broadcasting) 11.F02 AIC/Xtore 7.J49 AIRSTAR (Co-exhibiting with Matthews Studio Equipment)

11.G71

AirTies Wireless Networks 5.B33 AJA Video 7.F11 Akamai Technologies 7.A14 AKG Acoustics (Co-exhibiting with Harman International/Studer) 8.D60 ALBENTIA Systems (Co-exhibiting with BTESA – Broad Telecom) 8.B02 Albiral Display Solutions 10.A42 Albis Technologies 4.C71 Albrecht Elektronik 10.A40 Aldena Telecomunicazioni 8.E37 Allegro 1.A46 Alpermann+Velte 10.B48 Alpha Networks 9.A12 Alphatron Broadcast Electronics 11.B40 Altech GDL (Co-exhibiting with Altech UEC) 4.B50 Altech MediaVerge (Co-exhibiting with Altech UEC) 4.B50 Altech SetOne (Co-exhibiting with Altech UEC) 4.B50 Altech UEC 4.B50 Altera 5.A15 Altermedia 7.D02 Alticast Corp 1.F50 AmberFin 7.J15c Ambient Recording 8.A80 AMD 7.H35 Amino Communications 5.B40 Amos – Spacecom 1.C65 Amphenol Broadcast Solutions 9.B08 Amplidata 6.A05 Amptec (Co-exhibiting with DPA Microphones) 8.D70 Amsterdam inbusiness (Co-exhibiting with Dutch Media Hub) 9.A20 AnaCom 1.D91 Andersson Technologies 7.A03 Anet 9.B45 Anevia 4.B66 ANNOVA Systems 3.A31 Anritsu 1.C95

ANT Group ANT Software Ant Systems Antik Technology Anton Bauer

8.E20 4.C98 13.198 13.313

(Co-exhibiting with Vitec Group)

11.D61 7.K27 7.K21 1.C61 1.A81a

Apace Systems APANTAC Appear TV APRICO Solutions ARA – Antenna Research Associates (Co-exhibiting with Vialite by PPM)

ArabSat Arbor Media Archion Technologies

1.F29 1.C38 7.G15b

(Co-exhibiting with EMEA Gateway) 7.E06 Ardis Technologies 7.J17 ARET video and audio engineering OE201 Argosy 10.D55 Arion Technology 4.A71 Arkivum 8.G44 arqiva 1.B61 ARRI 11.F21 ARRIS 1.D41 Artec Technologies 7.G35 Artel Video Systems 2.A20 ASC Signal Corporation 1.C51 ASL Intercom 10.B31 Aspera 7.G11 Aspiro 13.223 ASSIMILATE 7.H11 Aston Group 2.A30e 1.B51 ASTRA (SES ASTRA) ASTRA Broadband Services (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 ASTRA Platform Services (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 Astro Strobel Kommunikationssysteme 3.C20 ATEME 1.F70 Atempo 7.J03 ATG Broadcast (Co-exhibiting with Dan Technologies) 8.B51 Atomos EMEA 6.C28e ATOS – Siemens 9.C25 Atos Origin 13.163 3.B20a ATS (Co-exhibiting with Enesys) ATTO Technology 7.F41 Audio AG – RME 8.A19 Audio Developments 8.D97 Audio Ltd 8.D96 Audio-Technica 8.D78 Aurora Lite Bank 9.B18 Austin Insulators (Co-exhibiting with Kintronic Labs) 8.E35 Autocue 11.E51 Autodesk 7.D25 Autoscript 11.D61a Avanti Communications 1.A50 Avateq Corp 4.C59 Aveco 3.B56 Avid 7.J20 Avitech International Corporation 7.K30 Aviwest 2.C21 AVL Technologies 5.A49 AVP Europa 10.E57 AVT Audio Video Technologies 8.E91 AWEX 10.D31 AWOX 2.C33 Axcera 10.F28 Axel Technology 8.C62 Axia Audio (Co-exhibiting with Telos System) 8.D29 Axon Digital Design 10.A21/10.B21 Ayecka Communication Systems 4.C51 Azden Corp 8.D80 Azure Shine International 6.A29c

B B&H Photo Video, Pro Audio Band Pro Munich Bangchen Barco Silex Barix Barrowa Bazhou HongXingJieTu studio lighting equipment Co BBC Academy BCE Beat the Traffic bebob

10.A01 11.F40 13.382 9.A57 3.A48 1.B26 11.F61b 9.A38 7.J40 2.A10 11.F54

BeeSmart 13.281 Beijing Brightcast Co 11.G80 Beijing Feiyashi Technology Development 11.F81 Beijing Hualin Stone-tech 11.F79 Beijing OSEE Digital Technology 10.F33 Beijing Phylion Battery Co 11.A20 Beijing Realmagic Technology Co 3.A52 Beijing United Victory Co 11.D71 Beillen Battery – JIADE Energy Technology 11.E80 Bel Digital Audio 10.A30 Belco 8.C60 Belden 1.C21 Belgium Satellite Services 1.A03 BES and Media Products 10.C51 BESAT Broadcasting Systems 9.C47 BETTERVIEW 3.A15ai BFE Studio und Medien Systeme 9.B25 BHV Broadcast 10.F35 Binocle 11.D70a BIRTV 10.A08 Blackmagic Design 7.H20 Black-Tek OE118 BLANKOM Antennentechnik (Co-exhibiting with BLANKOM Digital) 1.F51 BLANKOM Digital 1.F51 BLT Italia 8.A68 Blue Lucy Media 7.F04 BlueArc Corporation 7.E10 Bluebell Opticom 3.A68 Bluefish444 7.J07 BlueShape 11.A14 Bluestreak Technology 13.123 Bluetop Technology Co 5.C43 BMS Broadcast Microwave Services Europe 1.A10 BON ELECTRONICS, 11.D85 Boris FX/Media 100 6.A03 Boxx TV 11.C66 BPL Business Media 13.211 Bradley Engineering 11.C37 BRAINSTORM MULTIMEDIA (Co-exhibiting with FOR-A UK) 2.B59 Brexel 5.B15c Bridge Technologies 1.A30 BrightSign 3.C17 Bristol Vfx (Co-exhibiting with Photon Beard) 11.C44 British Kinematograph Sound & Television 8.B99 Society (BKSTS) Broadcast Bionics 8.D73 Broadcast Electronics 8.C91 Broadcast International 13.362 Broadcast Pix 7.B20 Broadcast Solutions 5.C29/OE110 Broadcast Traffic Systems 3.B25 Broadcast Unifying Gears (Bug.tv) 7.B01 Broadcom Corporation 2.C39 Broadcom 8.B38h Broadpeak 2.C40b Broadtec 3.A15c Bryant Unlimited 10.D15 BSI 9.A46 BTESA – Broad Telecom 8.B02 Building4Media – Primestream 7.D21 Bulcrypt 5.C46 Burli – EuMediaNet 6.A26 Büro Für Neues Fernsehen (Co-exhibiting with SeaChange) 1.C27 Burton 8.G48 BW Broadcast 8.E73 C C&C Technic Taiwan Co 5.C41 13.373 Cabletime Limited – IPTV Cache-A Corporation (Co-exhibiting with Global Distribution) 7.G16 Caldigit 7.B42 Calibre UK 7.J43 Calrec Audio 8.C58 Camargus 9.D26 Cambridge Research Systems 8.B38b Camera Motion Research 9.A55 Canara Lighting & Sconce 11.E74 Canare 11.B63 Canford 9.C01 Canon Europe 11.E50 Carl Zeiss 11.D75 Cartoni 11.C30 Caspian One 4.A61hi Cavena Image Products 2.A47

CB Electronics 8.A04 CCBN2012 8.F56 CEITON technologies 3.A60 Celeno Communications 3.A15f Cetel 3.A20 Chambre De Commerce Et D’Industrie De Paris 2.A30/2.B39/2.C40/3.B20/8.B30/8.D82/11.D70 Channelot 3.A15k Chellomedia (Co-exhibiting with Liberty Global Europe) 1.D39 China Anhui Modern TV Technology Co 7.D03 China Ruige 9.B06 Christie 9.B30 Christy Media Solutions – Broadcast Recruitment Specialists 6.C20 Chrosziel 11.E65 Chyron 7.D11 Cine 60 10.D57 Cine Power International 11.F11 Cinegy 7.A30/7.A41 Cineroid 11.A58 CINE-TV broadcast systems 11.B12 Cinevation (Co-exhibiting with DFT Digital Film Technology Munich) 7.E21 Cintel International 7.B35 Cisco Systems 13.197 City of Hilversum (Co-exhibiting with Dutch Media Hub) 9.A20 Civolution 2.C30 Clear-Com 10.D29a Cmotion 11.C40 Cobalt Digital 8.A94 Cobham 1.F41 Codan Satcom 4.C75 Code One 10.F38 4.A61g Cogent Technologies (Simtra) Cognacq-Jay Image (Co-exhibiting with MEDIA BROADCAST) 1.B79 COGNIK 2.B39e Colem Engineering 4.A61hii Colt Technology Services 3.C41 Commonwealth Broadcasting Association 10.A03 Communications Research Centre Canada 8.F49 Communications Specialties 8.A15 Comrex (Co-exhibiting with Vortex Communications) 11.G11 COM-TECH High Freq and Broadcast 8.C74 Comtech Telecommunications 1.F80 Conax 1.D69 Concurrent 4.B78 Conducfil 8.E79 Connected Home Academy 13.311 Conspin Co 4.C50 CONTENTUS (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 Contentwise 13.332 Convergent Design 7.A07 Cooke Optics 11.D10 Coolux 11.D66 CoreELTechnologies 1.F96 CoreTrust 13.421 Coship Electronics Co 1.A74 Cosmolight 11.C36 Cotech 11.A54 CP Cases 10.A44 CPE Italia 8.B11 CPI International 1.B41 Craltech Electronica 9.B14 Craze Productions 3.A15i Creative Network Design, Inc (Co-exhibiting with MSV) 8.A04 CreNova Technology Co 5.B15b Cryptoguard 3.C53 Crystal Vision 2.B11 CSE 2.C40c CSTB Russia 8.F57 CTE Digital Broadcast 8.C38 Cube-Tec International 8.D03 Cubiware 5.C35 CUK HING Industries (Hong Kong) 11.F61c CV Support 11.C84 CYTAGlobal 5.B05 (Co-exhibiting with MSV)

D D&R D.I.P. Company D4D INGENIERIA VISUAL d’accord broadcasting solutions Dalet Digital Media Systems

8.C70 7.D01 11.D70cii 9.A53 8.B77

Dan Technologies Group 8.B51 Danmon Systems Group (Co-exhibiting with Dan Technologies) 8.B51 Darim Vision 7.C10 Data Vision & Allied Vision Technologies 9.A50 DataDirect Networks 7.C30 Dataton 7.G12 Datavideo Technologies Europe 7.D39 DAVID Systems 7.F20 Dawson OE120 Dayang Technology Development 7.H39 Dazmo 9.A34 dB Broadcast 10.A28 DB Elettronica Telecomunicazioni 8.B16 De Sisti Lighting 11.D50 Decimator Design 7.B40 Dedo Weigert Film 11.D31 DEEP VISION 11.D70c Dega Broadcast Systems 7.G07 DekTec 2.A41 Delec Audio und Videotechnik 10.D30 Delta Meccanica 8.E36 DELTACAST (Co-exhibiting with DELTACAST.TV) 10.D10 DELTACAST.TV 10.D10 DEV Systemtechnik 1.F34 Deva Broadcast 8.D79 Devlin Keyboards 6.C28b devolo AG 13.273 DEXEL Lighting 11.G74 Dexin Digital Technology(Chengdu) Co 6.A29b DFT Digital Film Technology Munich 7.E21 DHD 8.A50 DiBcom 3.B51 Digidia 8.A13 Digigram 8.C51 Digimetrics-DCA 7.A01 Digisoft.TV 13.291 Digispot System 8.E83 DigiTAG (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 Digital Instruments 8.A11 Digital Nirvana 10.A12 Digital Rapids 7.G41 / 13.293 Digital Stream Technology 5.B15e Digital TV Group 5.A45 Digital TV Labs 2.A18 Dimetis 4.B77 DirectOut 8.E02 Discretix Technologies .

3.A15b Disk Archive Corporation 8.B38g DivX, now part of Rovi 5.A31 DK-Technologies 8.E60 DLNA 13.376 Dmlite c.

9.A04 DMT SyES 8.C49 Dolby 2.B28 Doremi Technologies 10.B10 Doteck Digital Technologies 2.C27 Double D Electronics 1.F58a Doughty Engineering 11.B61 DPA Microphones 8.D70 Draka 11.C31 DSPECIALISTS 8.E69 DTS 2.B50 Duma Video 5.C39 Dutch Media Hub 9.A20 DVB 1.D81 DVBControl 3.B50 DVEO division of Computer Modules 2.A48 DVLab 5.C07 DVS Digital Video Systems 7.E25 Dymo 3.C31 Dynacore Technology Co 11.E70 E e2v – Stellar Eardatek Easyrig EBH Radio Software EchoStar Europe ECRIN Systems Eddystone Broadcast Edgeware Editshare Eela Audio Egatel Egripment EgyptSat Elber Elbit Systems Land and C4I

1.A78 4.C67 11.A10 8.A02 1.F76 5.C21 8.B38e 4.B71 7.C21 8.E85 8.C16 11.A21 1.B91 8.C11a 3.A15di

(continued on page vi)

theibcdaily

08-13.09.11 Halls 9, 10 & 11

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B08

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Doremi Technologies Te echnologies D21

D20

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QoE Systems

Clear-Comm Clear Comm

A0 04 A04 A29 A08

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F25 B31 A30

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Norwia Norw wia

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F35 TSL

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A33 A32 A3 32

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A36

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C45 PPanasonic Marketing Europe GmbH

A46

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B48 F51

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A49 A42

A35

A3 A38 38

A4 44 A44

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D41 Professionaal JVC Professional Europe Ltd

C49 C449

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ORG ORG

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Conference Conference

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Holland Holland Restaurant R estaurant

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1

Exhibition Entrance E trance En &V Visitor isitor Registration Reg gistration

G29 B31 B331

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theibcdaily (continued from page iv)

Elecard Electronics Research Inc (ERI) Electrosys Elemental Technologies Elettronika Elrom Studios ELTI Emcore EMEA Gateway Emotion Systems emotion3D EMS Technical Personnel Enco Systems Encompass Digital Media Enensys Enigma Systems Ensemble Designs, Enterprise Europe Network

2.A28 8.E23 8.C40 7.H37 8.A35 3.A15g 8.A31 2.A24 7.E06 6.A23a 6.A01 1.B09 10.F26 5.C33 3.B20a 5.B21 8.B91

(Co-exhibiting with Dutch Media Hub) 9.A20 EnterpriseData Technologies 4.C89 Entone 13.266 Entropic Communications 3.A41 Envivio 1.D73 EPAK 2.C35 Ericsson 1.D61 ESL (Co-exhibiting with Thrane & Thrane) OE202 Espial 5.A18 Etere 8.B89 10.D31 ETILUX (Co-exhibiting with AWEX) ETL Systems 4.B84 Etnatel Consorzio Export 5.C30 ETRI 8.G31 ETSI 2.C29 Euro Light System (Co-exhibiting with Nila LED Lighting) 9.A19 Euro Video System 10.F25 European Broadcasting Union (EBU) 10.F20 Eurotek 8.A59 Eutelsat 1.D59/OE112 Eversat 1.A52 Evertz 1.A33/8.B40 Evoxe – Newsroom 2.C59 EVS 8.A96/8.B90 Exir Broadcasting 8.D28 Explorer Cases by GT Line 11.G76 Exterity 13.335 Extron Electronics 3.A51 Eyeheight Limited 8.D92 Ezako 8.B30c

F F&V LED Lighting 11.F70 2.A21 F.A.Bernhardt, FAB Facilis Technology 7.D05 Factum Electronics 8.B92 Farmers Wife 9.A10 FascinatE 8.G44 Fast Forward Video 9.A16 Fiberfox 11.G59 FileCatalyst 7.H40 Film and Digital Times (Co-exhibiting with Transvideo) 11.F31 Film Gear – Eclalux 11.G48 Filmfabriek 9.B43 Filmlight 7.F31 FIMS (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 Fischer Connectors 11.E21 Flanders Scientific Inc (FSI) (Co-exhibiting with Zunzheng Digital Video Co) 10.F22 Floatcam 9.B51 Flolight (co-exhibiting with Prompter People) 11.G75 FLYING-CAM (Co-exhibiting with AWEX) 10.D31 Focal Professional 8.B30i FOR-A UK 2.A51/2.B59/11.A70b Forbidden Technologies 7.J15e FORTIS 5.B45 Foxcom 5.C40 France Broadcast 8.B30j Fraunhofer Alliance Digital Cinema 8.B80 Fraunhofer FIRST (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Fraunhofer Gesellschaft (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Fraunhofer HHI (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Fraunhofer IIS (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Front Porch Digital 7.C16 FTTH Council Europe 5.A10

08-13.09.11 Fujinon (Europe) Fujitsu Funke Digital TV Furukawa Future Media Concepts FX-Motion

11.C20 1.F90 3.C60 11.D11 5.C08 11.D81

G G Technology Hitachi 7.D12a 10.A38 G&G Tape Check Gazprom Space Systems 4.A95 GB Labs 7.J15b Gearhouse Broadcast 10.D46 Gefei Tech Co 8.E05 Gefen 7.B30 Gekko Technology 11.D40 Genarts 7.J15d Genelec 8.D61 General Dynamics Mediaware 9.A06 General Dynamics SATCOM Technologies 1.A41 Gennum Corporation 9.A45 Geolink Satellite Services (Co-exhibiting with Cetel) 3.A20 Gepco International/General Cable 9.B02 Geritel Giomar 8.E29 Ghielmetti 8.C77 Giga Communications (Gigasat & Giga-Com) 1.C30/OE207/OE208 Gigawave OE115 Gilat Satcom 3.A15w GkWare 2.C51 Glensound Electronics 8.E89 Glidecam Industries 11.G45 Global Crossing Genesis Solutions 13.297 Global Distribution 7.G16 Global Invacom 4.B75 Global VSAT Forum 8.F58 GlobalTT.com (GT&T) 1.F71 GlobeCast 1.A29 Globecomm 4.C74 Glyph Production Technologies (Co-exhibiting with Global Distribution) 7.G16 GoPro 9.A36 GOSPELL Digital Technology Co 5.B11a Grass Valley 1.D11/1.E02/OE301 Gravity – Rock Solid Recommendations 13.413 Green Wave Telecommunication 1.B90 GreenPeak Technologies 1.F94 Group 47 8.G49 Guntermann & Drunck 4.B74 Guramex 10.B20 H Haivision Network Video 13.451 9.D10 Hamlet Hangzhou Xingfa Transmission Equipment Co 6.A29d Harman International/Studer 8.D60 Harmonic 1.B20 Harris Systems 7.G20 HDI Dune Europe 13.200 Headroom Broadcast 2.C57 Hego Group 6.C19 Hellas Sat Consortium 4.A80 HHB Communications 8.D56 Hi Tech Systems 10.A49 Hiltron 4.B89 Hispasat 4.C72 Hitachi Data Systems (Co-exhibiting with Hitachi Kokusai Electric Europe) 11.F51 Hitachi Kokusai Electric Europe 11.F51 Hitron Technologies 5.B13 HMS 8.C25 Homecast 4.B81 HoseoTelecom Co 3.B60 HS-ART DIAMANT Film Restoration (Co-exhibiting with DFT Digital Film Technology Munich) 7.E21 HTTV 4.C60 Huawei 13.111 Huawei Symantec Technologies Co 9.B17 Humax Co 4.B70 Hyperion Video (Co-exhibiting with Tcube) 8.B30a I I Tech Electronic 5.B11g 9.B20 I.S.P.A. – Group IABM 8.F50/8.F52/8.F54 IBC Partnership Village 8.F51 IBM 2.B31 3.B67 Icareus (Co-exhibiting with SysMedia) IdeasUnlimited.TV 8.C97 iDirect 5.B30

IDX Technology 11.C21 IEEE Broadcast Technology Society 8.F51b IET – The Institution of Engineering and Technology 8.F51c IGP 1.F58d Ihlas News Agency 3.A40 IHSE 7.B10 ikan Corp 9.B47 Ikegami Electronics (Europe) 11.A31 Ikonoskop 11.C87 Image Engineering 11.E16 Image Systems 7.A28 Image Video 8.A58 Imagine Communications 3.A15j Imagineer Systems 7.J47 Imaqliq 13.372 I-MOVIX 11.E60 Impeq 3.B31 Impire 2.C23 INA – Institut National de l’Audiovisuel 9.A17 IneoQuest 1.C39 Infomedia Digital Technology Co 2.C53 Inmarsat 2.A15 Institut für Rundfunktechnik 10.F51 Integral Systems 1.A01 Intek Digital 5.B37 INTEL 13.191 Intelsat Corporation 1.C71 Inter BEE 10.A02 International Datacasting Corporation 1.C29 Interra Systems 6.A15 10.D31 INTOPIX (Co-exhibiting with AWEX) IntraTec 8.B38di 1.D71 ioko (Co-exhibiting with KIT digital) IP4.TV 13.442 iPanel.TV 5.B11f IPE Products (Co-exhibiting with Global Distribution) 7.G16 Ipgallery 3.A15e iphion (Co-exhibiting with Dutch Media Hub) 9.A20 IPV 8.B59 Irdeto 1.D51 IRIS GATEWAY SATELLITE SERVICES LTD (Co-exhibiting with CYTAGlobal) 5.B05 IRTE 8.D10 Isilon Systems 7.H10 ItalTelec 8.A21 Itelsis 8.E19 J J.L. Fisher Jampro Antennas JK Audio (Co-exhibiting with Vortex

11.D51 8.B96

Communications) 11.G11 JMR Electronics 7.F06 JoeCo 8.A17 Jos. Schneider Optische Werke (Co-exhibiting with Schneider Optics) 11.A28 Junger Audio - Studiotechnik 2.C49 Justad.tv 3.A15o Jutel 8.A24 JVC Professional Europe 10.D41

K K5600 Lighting Kabelkom .

Kaltura Kantar Media – Audiences KaonMedia KATHREIN-Werke KCEI KDDI Kino Flo inc/Cirro lite (Europe) Kinotehnik KINOTON Kintronic Labs KIT digital Czech

11.B31 8.E11 3.A15a 4.C57 1.B16 8.C29 2.B39f 8.F48 11.D35 11.F72 6.A10 8.E35

3.C35 KIT digital 1.D71 Klewel advanced webcasting solutions 4.C85 Kobatt Benelux 11.C81 Kontron 13.182 Korea Digital Convergence Association (KODICA) 5.B15h Korea Pavilion 5.B07/5.B15 Kramer Electronics 8.B81 Kroma Telecom 10.A24 Kronomav Sistemas (Co-exhibiting with Medialuso-Kronomav) OE204 K-Tek 8.A72 Kupo Grip 11.G69 Kvant-Efir 8.E75 (Co-exhibiting with Visual Digital)

L Labwise 5.C20 8.D82b Lacie L’Aigle Paris 11.D86 LARCAN 11.G70 Lasergraphics 7.F01 Latens 4.B60 LAWO 8.C71 Lectrosonics 8.A60 LEMO Connectors 11.C41 Levira (Co-exhibiting with MEDIA BROADCAST) 1.B79 LGZ Broadcasting Tech (Co-exhibiting with Broadcast Solutions) OE110 Libec Europe 11.B55 2.A31 LiberoVision (Co-exhibiting with Vizrt) Liberty Global Europe 1.D39 Lightequip 11.C74 Lightstar (Beijing) Electronic Co 11.A38 Linear Acoustic (Co-exhibiting with Telos System) 8.D29 Lino Manfrotto & Co 11.F50 Litepanels (Co-exhibiting with Vitec Group) 11.D61 LiveU 3.A15x/3.B43 Livewire Digital 4.A61b LMC 11.D70ciii LMP Lux Media Plan 10.F21 LogicKeyboard – BSP 7.F49 Logiways 2.C40d LS telcom 8.E39 L-S-B Broadcast Technologies 8.C20 LSI 6.A27 LSI Projects 11.D41a LTO Program 10.D42 LUCI 7.A32 Lumantek 2.C19 Lund Halsey (Console Systems) 2.B10 LUTEUS 2.A30d Lynx Technik 8.E24 LYTEK International 11.F73 M Magic Software 3.A15l 8.A14 Magix MainConcept, now part of Rovi 5.A31 Mandozzi 8.A48 Mantrics 7.A09 Mariner 13.275 Mark Roberts Motion Control 11.G35 Marquis Broadcast 2.A58 Marquis Consulting (Co-exhibiting with Marquis Broadcast) 2.A58 Marshall Electronics 11.D20 Mart, JSC 8.B15 Marvell Semiconductors 13.301 Marvintech 7.K01e Masstech Group 8.B73 Masterclock 10.A10 MathEmbedded Consulting 4.A61hiii Matrox Video Products Group 7.B29 Matthews Studio Equipment 11.G71 Mayah Communications 8.B94 Maxon Computer 6.C10 MBT 8.D82a MEDIA BROADCAST 1.B79 Media Excel 13.353 Media Links Systems 1.B11 Media Logic 7.J18 MEDIA360/DEBRIE 7.E30 Media-Alliance 8.B71 MediaGeniX 3.C59 Mediaguru Consultants 10.F31 Medialuso-Kronomav OE204 Mediatec Group (Co-exhibiting with Broadcast Solutions GmbH) OE110 mediatvcom 2.B39c Meduza 9.A40 Megahertz Broadcast Systems (a Kit Digital company) 11.F20 MELTZER MOBILE 3.A15s Memnon Archiving Services (Co-exhibiting with STP) 8.C85 Merging Technologies 6.C29 MeteoGraphics 2.C48 Metracom 2.A30b MICRODOLLY HOLLYWOOD 11.A40 Microfilms 11.E61 Microtech Gefell (Co-exhibiting with SchulzeBrakel Schaumstoffverarbeitungs) 8.D77 Mic-W Audio 8.B09 Mier Comunicaciones 8.E30 MikroM 8.B95

Miller Camera Support 11.D30 Mindspeed Technologies 10.F39 Minerva 13.342 Minexa 13.433 miniCASTER 1.A80 Minnetonka Audio Software 7.J01 Mirada 5.B26 Miranda Technologies 8.D41 MiraVid 13.434 MIS 6.B20 8.A04 MIT INC (Co-exhibiting with MSV) MITEQ/MCL 1.A18 MIT-xperts 3.A58 mLogic (Co-exhibiting with Global Distribution) 7.G16 Mobile Broadcast 3.B21 Mobile Viewpoint-Triple IT 13.363 Mode-AL 10.F30 MOG – Technologies 7.G39 Mole – Richardson Company 11.F35 Monarch Innovative Technologies.

7.K41 Mosart 5.C26 MO-SYS 11.A41 Motama 13.274 Motorola 1.D31 /4.A75 Movea 3.C11 MSA Focus International 3.B40 Mstar Semiconductor 3.A14 MSV 8.A04 MTF Services 11.C73 M-Three Satcom 8.C11c Multidyne Video & Fiber Optic Systems 2.A54 Murraypro Electronics 10.F23 MUSCADE (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 MWA Nova 7.J39 Myat 8.E17 N NAB Show 7.A43 9.A14 nac Image Technology Nagra Kudelski 1.C81 Narda Test Solutions 5.B08 National Instruments 8.D71 Nativ 4.A61e Nautel 8.C61 Nautilus Studio 3.A26 ND SatCom OE219 NDS 1.A71 NEC Corporation 8.E10 Nediva (Co-exhibiting with CV Support) 11.C84 NEO TELECOMS 8.B30b Neotion 4.B53 NET INSIGHT 1.B40 Neta 3.A30 Netgem 4.B79/4.C79 1.A29 NETIA (Co-exhibiting with Globecast) Netris 4.C55 NetroMedia 6.B22 NetUP 13.383 10.D31 NEURO TV (Co-exhibiting with AWEX) Neutrik 8.C94 never.no 3.A36 Nevion 8.B70 Nevion (Co-exhibiting with Colt Technology Services) 3.C41 Newland Communication 5.B11c Newtec 1.A49 NewTek 7.K11 NEXTO DI 11.G37 8.A04 Neyrinck (Co-exhibiting with MSV) NHK 8.G01 NICT 8.F39 /8.G30 Nikon 11.A70a Nila LED Lighting 9.A19 Ningbo Eimage Studio Equipment 11.C75 NKK Switches 8.A70 No Tube 13.202 NOA Audio Solutions 8.D91 Nokia Qt 13.265 Nokia Siemens Networks 13.225 NorCom Information Technology OE215 Nordija 13.271 Norsat 1.F75 Norwia 10.F34 Novella SatComs 1.F58b NovelSat 3.A38 Novel-SuperTV 4.B61 Novotronik 1.A54 NSA Telecom 3.A15p NTP Technology (Co-exhibiting with Dan Technologies) 8.B51

theibcdaily VII

08-13.09.11 NTSI 2.B39b NTT Corporation/NTT Advanced Technology Corporation/NTT Electronics Corporation 2.C50 Nucomm/RF Central 1.D40 Numedia 3.B55 NVIDIA (Co-exhibiting with PNY Technologies) 7.J38 NWIEE 4.C83 NyeTec 2.C31 O OASYS 8.B38d 6.C28a Object Matrix Oconnor (Co-exhibiting with Vitec Group) 11.D61 OCTOPUS Newsroom 2.B19 OIPF (Co-exhibiting with Open IPTV Forum) 13.151 OiV 5.B04 Olympus 9.A35 OMB Broadcast 8.C92 Omega Digital Electronics 5.A16 Omnia Audio (Co-exhibiting with Telos System) 8.D29 Omnitek 6.A18 Onair Media 8.B05 OneSat 4.A61c ONETASTIC (Co-exhibiting with Elber) 8.C11a Open IPTV Forum 13.151 Open Text 13.203 Opentech 3.C10 Opera Software 5.B47 Opsomai 2.A30c Optical Cable Corporation 10.F29 Optocore 9.A47 Optoway Technology 8.A16 Opvision Technology Co 8.A40 Oracle 9.C15 Orad Hi-Tec Systems 7.B27 Orban Europe 8.D93 Orca Interactive 2.B40/3.A15v ORION TECHNOLOGY Co 5.B07b Oticom Corporation 5.B15f OVERLINE – Systems 10.E59 Oxygen DCT 10.B44 P P+S Technik 7.D07/11.E28 1.B19 Pace Packet Ship Technologies 4.A61d PAG 11.E20 Pals Electronics Co 4.A51 Panasonic Marketing Europe 9.B42/9.C45/9.D40 Pandora International 7.K01d Panther 11.D21 Paywizard 13.185 Peak Communications 1.B10 Pebble Beach Systems 8.B58 Peer TV 3.A15h PENKI KONTINENTAI GROUP 13.331 Penta Studiotechnik 10.A41 Percon 10.E51 Pesa 10.A11 Petrol Bags (Co-exhibiting with Vitec Group) 11.D61 PGM Optical Fiber 1.D95 Phabrix 8.E25 Philips Home Control 1.A81 Philips uWand Remote Touch (Co-exhibiting with Philips Home Control) 1.A81 Phoenix7 3.C21 Phonak Communications 8.E95 Photon Beard 11.C44 Photron 11.G25 Pilat Media 3.A15q/ 3.B14 PIPTV 4.A61hiv Pixel Power 7.A31 Pixelmetrix Corporation 1.B28 Plaber – HPRC Cases 9.A42 PlayBox Technology 8.C30 Playcast Media Systems 3.A15n Plisch 8.B37 Plura Broadcast 8.C76 PNY Technologies 7.J38 Polecam 10.C49 Polymedia (Co-exhibiting with KIT digital) 1.D71 POND5 9.A01 Portaprompt 8.A90 Preco Broadcast Systems 8.E49 Pre-Met 8.B38dii Preview GM System 8.B61 Prime Focus Technologies 7.D20 Primera Technology Europe 7.H09 PrimeSense 3.A15z

Prism Sound ProConsultant Informatique Prodys Professional Show Professional Sound Corp Profitt Progira Radio Communication Promax Electronica Promise Technology Prompter People ProSat Solutions

8.E98 2.B21 1.B24 8.B31 8.D95 7.A04 8.D21 8.B22 9.A33 11.G75

(Co-exhibiting with Broadcast Solutions)

OE110 8.C48

ProTelevision Technologies Province of Noord-Holland (Co-exhibiting with Dutch Media Hub)

Provys PRO-X CO Publitronic Q Qbit QoE Systems Qphonics Quadrille Quadrus Technology Quantel Quantum Qube Cinema Quicklink Video Distribution Services Quintech Electronics QUOTIUM TECHNOLOGIES Qvest Media (Co-exhibiting with Wellen+Noethen)

9.A20 2.B49 11.G60 2.A49 8.A26 9.A05 8.C05 3.B20b 7.K31 7.A20 7.G30 7.F45 7.B13 4.C56 2.B39g 3.A35

R Rabbit Labs 3.A22 8.B34 Radio Frequency Systems 5.C07 Radiodar (Co-exhibiting with DVLab) Radioscape 8.D90 RaLex Solutions 8.D75 RAMI 8.B30g Rascular Technology 8.B38bi RealNetworks 13.285 Red Bee Media 1.A40 Red Digital Cinema 9.B49 Reelway Gmbh 13.232 Remote Solution 3.A54 Renesas Electronics Europe 1.B31 Reply (Discovery Reply) 8.C90 Research Concepts 1.F58c 8.C61 Rfmondial (Co-exhibiting with Nautel) RGB Networks 4.C78 RGBlink 7.F05 Riedel Communications 10.A31 Rights Tracker (Co-exhibiting with StorerTV) 2.C41 Rimage Europe 7.G15a RJS Electronics 6.C28d RO.VE.R Broadcast 8.C37 Robycam/Movicom 9.B41 Rockwell Collins Sweden (Co-exhibiting with SWE-DISH) 1.A31 Rohde & Schwarz 8.D35 Roland Systems Group 7.B17 Roland Systems Group UK (Co-exhibiting with HHB Communications) 8.D56 Romantis 4.C63 Root6 Technology 7.C17 Rorke Data 7.A10 Roscolab 11.G21 Rosenberger – OSI Fiber-Optics 11.C65 Ross Video 9.B12/ 9.C20 Rotolight 11.G73 Rovi 5.A31 RRsat Global Communications Network 1.A25 RS2I 2.C40e RSComm 8.E15 RT Software 2.B16 RTI Group 6.A21 RT-RK Computer Based Systems 5.A01 8.F51d RTS (Royal Television Society) RTS TELEX 10.D20 RTW 8.E76 Russian Satellite Communications Co 5.B20 Ruwido Austria 1.F68 RVR Elettronica 8.C28 Rycote Microphone Windshields 8.A86 Ryerson University 8.F41 RYMSA 8.D16 S S Net Media S&T (Strategy & Technology)

5.B15a 1.C31

S3 Group 3.B23 S3 Satcom 1.A99 S4M – Solutions for Media 3.B26 Sachtler (Co-exhibiting with Vitec Group) 11.D61 SAD 7.A12 SADiE 8.E96 Sagemcom 1.F40 SAIL LABS Technology 8.E13 SALZBRENNER STAGETEC MEDIAGROUP 8.C80 Sam Woo Electronics Co 8.E97/11.G33 Samim Rayaneh Co 8.B18 Samsung Electronics 1.D35 San Solutions 7.G01 Sanken/VDB 8.C01 SAPEC 1.F21 Sat-comm Broadcast OE101 Satlink Communications 5.A41 SatService 1.F47 SAV (Co-exhibiting with Vortex Communications) 11.G11 ScheduALL 1.D30 Schill GmbH & Co 11.C61 Schneider Optics 11.A28 Schoeps Mikrofone 8.E90 Schulze-Brakel Schaumstoffverarbeitungs 8.D77 Sconce Exhibitions (Co-exhibiting with Canara Lighting & Sconce) 11.E74 Scottish Development International 9.B16a Screen Plane (Co-exhibiting with Cmotion) 11.C40 Screen Service Broadcasting Technologies 8.C41 Screen Subtitling Systems 1.C49 Screenkeys 8.A54 SCTE 8.F51e SeaChange 1.C27 SecureMedia 13.233 SELECOM 8.B30h Selevision (Co-exhibiting with Gravity - Rock Solid Recommendations) 13.413 Sematron 1.A62 Sencore 1.C36 Sennheiser Electronic 8.D50 Service2Media 13.244 Servicevision 11.B51 SES (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 SES WORLD SKIES (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 Sezmi 13.231 SGI 9.A08 SGL 7.J15a SGO 6.A11 SGT 2.A30a Shantou Nanguang Photographic Equipment Co 11.E10 Shenzhen Advanced Video Info-Tech Co (AVIT) 5.B11e ShenZhen Geniatech 5.B11b Shenzhen MTC 3.A55 Shenzhen Ourstone Electronics 5.B11d Shenzhen Skyworth Digital Techonlogy Co 5.B46 Shively Labs 8.A18 Shotoku Broadcast Systems 11.G30 SI Media 8.B93 Siano Mobile Silicon 3.A15u Sichuan Changhong Network Technologies Co 6.A29e Sichuan Jiuzhou Electric Group Co 3.C56 Sichuan Video Electronic Co 5.B11h Sielco 8.A12 Sierra Video (Co-exhibiting with Kramer Electronics) 8.B81 Sigma Designs 4.C59 Signal 3G 3.A18 Signiant 13.341 Signum Bildtechnik 7.D31 Sintec Media 2.B41 Sinuta 4.C61 SIRA Sistemi Radio 8.C31 SIS LIVE 1.C55/OE205 Sisvel Technology 13.106 SJTek Co 5.B07c SkyDigita Co (Co-exhibiting with Rabbit Labs) 3.A22 Skyline Communications 1.A21 Skyware Global 5.C11 Slik Corporation 11.A30 SmarDTV (Co-exhibiting with Nagra Kudelski) 1.C81 Smart AV 10.F32

SMART electronic 3.A24 Smart TV Pavillion 13.192 Smartclip 13.412 SmartJog (Co-exhibiting with MEDIA BROADCAST) 1.B79 SmartLabs/In-Line 13.181 SMiT 1.F86 SMK EUROPE 1.C90 SMPTE 8.F51f SMT Electronic Technology 3.A19 SnapStream 6.A06 Snell 8.B68/13.381 Soft at Home 5.A11 SOFT VALLEE 8.B30k Softel 1.A27 Softlab – NSK 7.A05 SoftNI Corporation 1.A39 Softron Media Services 7.H01 Solarflare 9.A30 Solaris Mobile (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 Solectrix 11.G72 Solid State Logic 8.D83 Sondor/Marquise Tech 7.K25 Sonic Solutions, now part of Rovi 5.A31 Sonifex 8.E61 Sonnet Technologies 7.G03 sono Studiotechnik 8.C81 Sony Professional Europe 12.A10 Sorenson Media 6.A02 Sound Devices 8.E72 SOUND4 8.B30e Soundfield 8.A84 SPB Software 13.424 Spectra Logic 7.K36 Spinner 8.B27 SPX Communication 8.E93 Square Box Systems 7.F07 ST Electronics (Satcom & Sensor systems) 1.F55 St.Petersburg State University of Film and 7.D01 Television (Co-exhibiting with D.I.P Co) Stardom 7.G09 Starfish Technologies 2.C18 Starline Computer 7.H05 Step2e Broadcast 5.A03 Stereolabs 11.D70b Stereoscopic Technologies 9.D20 Stergen High-Tech (Co-exhibiting with Vizrt) 2.A31 Stirlitz Media (Co-exhibiting with Broadcast Electronics) 8.C91 STMicroelectronics 1.F36 Stordis 7.A16 StorerTV 2.C41 STP 8.C85 Stream Labs 7.G47 Streambox 5.C45 Streamit 8.A74 STRYME 7.C28 Studio Network Solutions 7.A08 Studio Technologies/E and E Exports 9.A48 Studiotech 8.A20 Suitcase TV .

2.C10/2.C15 Sumavision Technologies Co 1.C11 1.F59 Surface Heating Systems (Kirkcaldy) SVC4QoE project 8.F40 SVP Broadcast Microwave 1.C93 SWE-DISH by Rockwell Collins 1.A31 Swedish Microwave AB 1.A91 Swisscom (Co-exhibiting with RGB Networks) 4.C78 SWIT Electronics Co 11.D60 Switchcraft 9.C49 SysMedia 3.B67 Systembase 8.C03 T Tac System (Co-exhibiting with MSV) TAG V.S. (Co-exhibiting with Ayecka

8.A04

Communication Systems) 4.C51 Taiyang Movie and Television Equipment Co 11.F61d Talia 4.A61f Tangent Wave 7.B16 TangoTec 3.A15t Tata Communications 3.A61 Tata Elxsi 1.F31 TC Electronic (Co-exhibiting with HHB Communications) 8.D56 Tcube 8.B30a TDF (Co-exhibiting with MEDIA BROADCAST) 1.B79 Teamcast 2.B51 Technisat Digital 1.A44

Technocrane 11.B39 TechnoTrend Goerler 1.A58 Tedial 8.B41 Tektronix 8.C75 Teleca 13.315 Telecast Fiber Systems/Belden 10.B39 Telecommunications Technology Association (TTA) 5.B15g Teledyne Paradise Datacom 1.B22 Teleidea 13.195 Telemann Corporation 5.B07d Telemetrics 11.F45 Telenor Satellite Broadcasting 1.A59 Telesat 1.F56 Telespazio 4.C88 Teleste 5.C36 Telestream 7.D16 Teletest 11.D80 Television Research Institute 5.C37 Teliasonera International Carrier 3.C16 TELIKOU TECHNOLOGIES CO 11.A56 Telmaco 8.E45 TELMEC BROADCASTING 8.B21 Telos Systems 8.D29 Telsat 8.C11b Temwell Corporation 6.A29a Teracue 13.423 Teradek 9.A51 Teranex Systems 10.D21 Terrasat Communications 1.F81 Texas Instruments 9.B19 Thales Angenieux 11.F30 The Associated Press/AP ENPS 7.D30 The Bakery 9.A59 The Foundry Visionmonger 7.B21 The Israel Export & International Cooperation Institute 3.A15 The Pixel Farm 6.C18 TheLight 11.C71 ThinkAnalytics 1.D93 Thomson 5.A17 Thomson Broadcast (Co-exhibiting with Thomson) 5.A17 Thomson Video Networks (Co-exhibiting with Thomson) 5.A17 Thrane & Thrane OE202 THX 7.K01b Tieline Technology (Co-exhibiting with You/Com Audio) 8.E74 Tiffen International 11.D36 Tiger Technology 7.G05 Tightrope Media Systems (Co-exhibiting with EMEA Gateway) 7.E06 Tilta Technology Co 9.A03 TiVo 13.283 Tixel 7.A02 TMD 2.C58 Toner Cable Equipment UK 4.B91 ToolsOnAir 7.H32 TOUCHCAST (Co-exhibiting with AWEX) 10.D31 TRANSRADIO SenderSysteme Berlin 8.D30 Transtel Communication 7.K01a Transvideo 11.F31 TRedess 8.C10 Triada-TV 8.D31 Triaxes Vision (Co-exhibiting with Elecard) 2.A28 Tribune Media Services 13.276 Trident Microsystems 1.F49 Trilogy 10.A29 2.A28 Trinity (Co-exhibiting with Elecard) Tripleplay Services Holdings 4.A61a TriVis Weather Graphix 3.A50 True Lens Services 11.G65 10.D31 TSF.BE (Co-exhibiting with AWEX) TSL 10.B41 Turksat Satellite Com.Cable TV Operator 5.A21 TV Genius 13.325 TV ONE 7.C27 TV Skyline Plazamedia 11.C80 TVBEurope 11.F04 TVINCI 3.A15d T-VIPS 1.B71 TVLogic Co 10.B29 TVU Networks 2.C28 U UK Pavilion c/o Tradefair 4.A61/6.A23/6.C28/7.D12/7.J15/7.K01/ 8.B38/9.B16/10.D29/10.F30i/11.D41 7.B25 Ultimatte Corporation Unique Broadband Systems 8.A28

(continued on page x)

VIII theibcdaily

08-13.09.11 ĂœBERFILM TECHNOLOGY MADE IN GERMANY STAND NO. 11.E28

WEISSCAM HS-2 MKII

PS-MAG 16D SR-III

Digital Film Camera Excellence A passion for innovation and exceptional pictures – that’s the maxim of P+S TECHNIK, the Munich-based manufacturer of high-end, professional ďŹ lm equipment.

P+S TECHNIK SCREENING “Inspirational Tools for Exceptional Images�

ON THE BIG SCREEN Saturday, 10th September, 15.30 to 17.00

www.pstechnik.com Traditionally reliable. Daringly innovative.

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Hall 7

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08-13.09.11 (continued from page vii)

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Volleyball V olleyball Cour Courtt

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Emerald Room Em merald R oom (1st floor) (1sst flo or)

The IBC Big Screen and IBC A Awards wards

Onyx On nyx Lounge Lounge (Ground (Ground floor) floor)

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18

A uditorium Entrance Entrance Auditorium

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G003 (1st flo floor) or)

19 INFO

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Decimator Design

W B40 B42 WASP3D 3.B62 8.A44 Wave Science Technology Unitend Technologies 3.C51 ee e WaveStream 6.A20 A11 UnitronGroup 5.C23 A10 WAZE MOBILE 3.A15r Unity mobile (Co-exhibiting with Visual Digital) WB Walton EnterprisesL 1.F33 C A15 3.C35

Weather Central 3.B61 ee Universal Electronics 1.C41ee A18 2.C55 University of Essex 13.201 C01 Weather Services International A21 WeatherOne 2.C11 B2 (Co-exhibiting with Liberty Global Europe) UPC Omnitek A01 A02 A03 A04 A05 A066 A14 Well Buying Industrial Co 8.A22 B2 C111.D39 A25 C10 A16 A15 WellAV Technologies Limited A20 1.F11 Utah Scientific 2.B20 The Israel Export & A29 A24 A26 A27 A28 A23 A Wellen+Noethen 3.A35 A18 International International Cooperation Cooperation C16 C17 C17 Whisper Power OE221 V B09 A03 A01 AB on Air WIGE MEDIA 11.A60 Vaddio 11.F41 A22 WC WC Winmedia 8.B30d C2011.C11 B21 varavon A19 C21 C221 Sumav Su mav A24 WireCAD B111.F57 C1 A15 A11 4 B14 B10 VBOX COMMUNICATION 3.A15bi A26 (Co-exhibiting with Broadcast Solutions) Wireworx B23 A20 VBrick Systems 13.403 OE110 VCS 3.C44 A30 Enensys Ene ensys B19 Wisi CommunicationsB16 5.B25 B 8.C01 C31 VDB (Co-exhibiting withB200Sanken) Pace plc p C Kaon Media A10 Wisycom 8.D89 A35 A36 VDL B25 C308.C99 S4M M Wiztivi 13.432 A18 C Vector 3 7.C01 C35 B266 WMG, University of Warwick/goHDR 8.G41 A31 B31 Solut ions Solutions Venera Technologies 6.A28 KIT Digi Digital ital C A21 B22 for Me edia Media with AWEX) 10.D31 WNM (Co-exhibiting Verimatrix 4.B54 A38 Annova Anno va Systems Wohler Technologies OE225 Vestel 13.131 C4 C41 41 A40 VCS Wohler Technologies B24(Co-exhibiting with HHB A25 C44 1.A51 Viaccess A41 B40 A42 Communications) 8.D56 C Vialite by PPM 1.F29 Entropic Prodys ys A48 B20 Work Microwave Prody 4.B63SSeaea C C511 VianeosCommunications 2.A30f C5 C48 Harmonic B43 B26 Working Easy 11.A50 VidCheck 10.A09 A50 A51 B500 C533 World DMB A27 9.D30 Videobewerken B28 WorldCast Systems 8.B50 A52 B51 11.F90 (Co-exhibiting with Zacuto) A55 B5 B566 Wowza Media 13.121 C A54 VideoPropulsion 5.C25 B55 C56 A30 wTVision – Software for TV 3.C61 A58 Videosolutions Group 7.A06 C5 C599 Wuxi Huaxin Radar Engineering Co 1.C97S&TT A60 Videssence 11.B10 B60 A61 C311 (Co-exhibiting with Commonwealth edia G GeniX eWWBTI niX A29 VidiGo 7.H30MMedia C60 B61 GlobeCast A68 Broadcasting Association) 10.A03 VidyoCast division, Vidyo 6.A25 C30 B31 Strateg Strategyy & B62 Wyplay 5.C42 Viewcast B67 13.199 C61 61 Vigintos Elektronika 8.E21 C6 C39 XYZ Viking Media Group 3.A16 X Frame Software 5.C13 C38 VimondInmar Media 13.391 A31 A33 Inmarsat sat Solution 5.B07a C3 XCRYPT Evertz Ever tz Vimond Media Solutions (Co-exhibiting with Vizrt) C1 A40 11 C11 B11 A15 B10 XD MOTION 11.D70ci A10 C102.A31 XDA44Productions A39 8.D82c 15 C15 Group) 11.D61 C1 Vinten (Co-exhibiting with VitecOctopus A18 Newsroom Ne wsroom B16 XenData 7.H47 (Co-exhibiting with Vitec C18 Group) C1 Vinten Radamec B40 19 C19 B19 XForm Systems C 11.D61 Starfish TTechnologies e echnologies A46 (Co-exhibiting with Penta Studiotechnik) 10.A41 Visio Light Inc. B20 11.F71 C2 21 C21 A41 A21 Xilinx 10.D25 B41 Vision Research 11.F60 C23 C B21 C28 A20 Xytech Systems 3.C48 Visiware 2.B39d C2 A50 27 C27 Yegrin LiteworksA49 9.A44 C B28 VISLINK 1.A61 A24 Yellowtec 8.A51 29 A52 A54 C29 Visual Research 7.J30 C2 Subti ubti Screen Su YoSpace 13.242 Visual Unity 3.C35 You/Com AudioVViaccess 8.E74 C A28 Vitec Group 11.A70c/11.D61 iaccess B31 C30 Yuvsoft 11.F74 31 C31 Vitec Multimedia 7.J31 C3 B51 A51 Zacuto 11.F90 C5 C3 33 C33 ASTRA Vivesta 2.A46 A31 Civolution (SES ASTRA S.A.) 9.A32 Zalman VIXS Systems Vizrt 5.A12 Zappware 4.B51 35 C35 A58 Vizrt 2.A31 C3 C40 B39 with Ambient Recording) Zaxcom (Co-exhibiting A30 A59 Vocas Systems 11.B43 C39 C339 8.A80 Voice Technologies (Co-exhibiting with Ambient Zhengzhou KEMA MOVIE-TV Logiways Logiw ays C4 41 C41 Recording) A41 8.A80 C B40 OPTO-ELECTRONICS CO 11.F61a Appe A Volicon A47 7.J16 B41 Zhuhai Hansen Technology Co 3.A42 A46 Vortex Communications 11.G11 C4 49 C49 B61 Zixi 13.351 A61 B49 C48 Arqiva VRT-medialab 8.G39Jßng Jßnger ger A48 Publitron Zoran Corporation 5.C06 DTS Audio Aud io V-Shine Technology Co 6.C11 C A49 B50 Zunzheng Digital Video Co 10.F22 A50 7.G33 C5 VSN (VIDEO STREAM NETWORKS) 51 C51 A62 (Co-exhibiting with Zylight C508.A10 VTE Microwave Technologies B51 A54 C5 53 C53 Nila LED Lighting) 9.A19 Amos s– VTS Studiotechnik 8.A03

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theibcdaily

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Visitor Registration Visitor Registration & Exhibition Entrance Entrance

e

ee

A10 Professional Europe

110 BBroadcast Solutions GmbH

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Elicium Passage/Basement Passage e/Basement Elicium New R egisstration New Registration Visitor Registration Regiistration Visitor Lead Retrieval Retrieval Collection Collec o tion Point Point Lead

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54 theibcdaily

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Summarising the state of the art All the papers presented in the IBC Conference are made available, in electronic form, to all delegates. But for some years now IBC has collaborated with IET to publish a selection of technical contributions to

give them a wider readership.

The best of IBC and IET brings together a selection of IBC2011 Technical Papers with articles from the IET’s flagship publication Electronic Letters. Together they provide

a snapshot of the state of technology and research in broadcast and media.

The IBC Technical Papers which go forward to this publication are selected by the Technical Papers Committee. The selection includes

Super Hi-Vision system offering enhanced sense of presence and new visual experience by Yukihiro Nishida and colleagues from NHK (Japan Broadcasting Corporation), winners of this year’s IBC Conference Award.

IET is one of the partner organisations behind IBC, and this collaboration is an important initiative to spread knowledge about the indus-

try as broadly as possible. Copies of the publication and more information about IET and its work in broadcast and media technology, can be found in the Partners’ Village, in the Park Foyer near Hall 8.

If you miss any notes or important information, then don’t panic.

The Technical Papers and Conference presentations will be available for purchase after the show through the IBC Registration System.

Take Center Stage with AMOS Performance.

Bridge Technologies’ VB252 offers DVBT2-RF interfacing

Keeping tabs on DVB-T2 Bridge Technologies

By Ian McMurray

Meet us at

IBC

Spacecom delivers comprehensive satcom solutions for Direct-to-Home (DTH) operators, TV broadcasters, broadband Internet service providers, governments, and international corporations.

Soon, the addition of AMOS-5 at 17ºE providing pan-African coverage to the existing AMOS constellation at 4ºW, will extend broadcast and broadband reach for cross-region connectivity between Europe, the Middle East and Africa.

September 9-13, 2011 Amsterdam Hall 1, Booth C65

E-mail: amos-info@amos-spacecom.com • Website: www.amos-spacecom.com

DVB-T2 is estimated to be the transmission format of choice for 70% of the broadcast infrastructure currently under construction, and DVB-T2 networks are already coming on-air in most countries in Europe, Africa and the Middle East. In acknowledgement of these trends, Bridge Technologies has launched what the company says is the industry’s first complete solution for monitoring and analysing DVB-T2 transmission, with comprehensive support for the T2-MI stream format.

Part of the DVB-T2 specification, T2-MI is used for contributing streams from the master head-end to regional sites in a highly efficient and controlled form. T2-MI provides important advantages for operators, especially in single frequency network (SFN) applications, where it ensures accuracy, allows all scheduling and allocation decisions to be made at the central head-end, and lets each modulator in the network unambiguously create an identical on-air signal. However, the complex T2-MI formatted streams are structured in a way that made them inaccessible to standard monitoring systems until the introduction of the DVB-T2-MI option for the VB120 or VB220 Probes, according to Bridge Technologies.

Together with the new dualinput VB252 DVB-T2 RF interface, the system provides complete visibility and packet analysis of both outer and T2-MI inner streams, together with accurate drift monitoring for SFN networks, impulse response analysis, and high quality MER measurement and level readi n g s . Wi t h a s y s t e m o f p r o b e s including the VB252, operators can monitor DVB-T2 transmissions from the central head-end to transmission sites, with full analysis of IP core transport (IP/FEC), SFN drift monitoring on ASI and RF, T2MI analysis of PLPs (physical layer pipes), and RF input for DVBT/DVB-T2 monitoring.

1.A30

theibcdaily 55

09.09.2011

Connected approach to multi-screen The connected multi-screen television opportunity and threat is far greater than many imagine, says Staffan Pehrson, VP and head of Solution Area TV, Ericsson As our industry embraces multi-screen TV, and the concept of video on all devices, it is critical to understand that extending the video offering to these new screens will not remain a fundamental differentiator for long.

Nor will it assure new revenues unless it marks out an experience evolution that consumers can embrace and integrate into their social and personal lifestyles.

It is clear that the catalyst for success of video on any device is the combination of compelling content, amazing new devices such as smart-

phones and tablets, and broadband connectivity everywhere. But most importantly it is the thread that intertwines them with the social and personal lives of the consumer that will see multi-screen TV evolve into new ways of consuming, sharing, and discovering content. This has never been possible before, nor will it be possible to ignore afterwards.

As devices become connected, so do consumers through everything they own and do. The potential opportunities are enormous, the threats are also apparent for those that do not

adapt. There is no doubt that service providers hold the ultimate key to unlocking consumer value in the devices they own. The power of interconnected social interaction, the simplification and aggregation of the most compelling content is in the hands of the service provider.

Yet, the future will be far from exclusive. The world of universal broadband access and connected devices is one that also allows content to be found and consumed easily and directly. Content owners will benefit from this ability to deliver content that consumers want, directly to their devices.

Multi-screen TV should be about far more than just making popular television and movies available in different places. It must give people access to the content that is most important to them – the content they own. Con-

Trigger workflows with XML messaging Tedial

By Michael Burns Increased integration to third-party systems including traff ic and automation are among enhancements to the Ficus Business Process Manager (BPM), which is being

demonstrated on the Tedial stand.

Ficus is vendor- and hardware-independent, allowing broadcasters to customise the way information and content flows through the enterprise, basing it on commercial requirements rather than technology.

For example, Ficus can be used to manage and automate the way

that commercials and programmes are booked, placed, transferred and transmitted, as well as controlling the production or acquisition of content. Broadcasters can establish rules by which all processes are fully automated and tracked from commission to final transmission.

The high-level integration allows

Opinion

Staffan Pehrson: Service providers hold the ultimate key

sumers should be able to enjoy their home subscription services – including DVR, PVR, nPVR and catch-up – when they are not at home, and their home TV service provider is best placed to deliver this capability.

Service providers should look towards developing a single system that can be responsible eventually for delivering content to all screens – one

that is both platform agnostic and network agnostic. It needs to be flexible, extensible and centrally accessible. While unifying the way services are managed physically, it must also be sensitive to the organisational realities within each individual TV service provider. Traditionally, one group might be responsible for managing VOD on television and another responsible for managing on-demand services to the web and mobile.

At IBC, we’ll be demonstrating our complete and flexible multi-screen TV solutions, which are based on preintegrated products. We believe we are uniquely placed to help our customers to harness the greatest change to our industry for a long time.

1.D61

new workflows to be triggered using simple XML messaging, thereby allowing broadcasters to continue to take advantage of legacy systems when required. Tedial highlights the scalability of the solution, claiming that Ficus’ grid computing system can support the management of over 3,500 workflows a day. 8.B41 Manage commercial requirements with Tedial’s Ficus BPM system

A completely managed video services system delivers more value See VideoIPath in action at stand 8.B70 Nevion’s new VideoIPath is the future of video networking—intelligently managed video transport services incorporating hardware and software. The VideoIPath intra- and inter-facility optical networking platform, built from Flashlink components, and VideoIPath’s metropolitan / long-distance solution for networking over IP, built from Ventura components, deliver new levels of efficiency, flexibility and QoS reliability.

Make your move to intelligent, managed video services Building 8 Stand B70

WHERE VIDEO IS MOVING NEVION.COM +47 33 48 99 99

56 theibcdaily

09.09.2011

Production control goes into OverDrive Ross Video

By Michael Burns V10 software for the OverDrive automated production control system has been released by Ross Video. The company is also highlighting a new OverDrive feature, QuickTurn, which provides automated web delivery.

OverDrive integrates with the Synergy SD, MD/X and Vision series of production switchers, leveraging their control interfaces over video servers, VTRs, DDRs, audio mixers, robotic cameras, routers, still stores and more. Ver-

sion 10 of the software offers new features including enhanced NRCS CG timing support, GlobalView user personality settings, and support for control of all eight MLEs (multi-level effects) of the Vision Octane production server.

QuickTur n is a New Media Workflow (NMW) option for OverDrive that enables news facilities to quickly place content from their linear production directly to a web page or streamed to a mobile device.

In other areas of its product portfolio, Ross Video is showing the latest enhancements to the XPression 2D/3D CG and motion graphics systems, including new workflow tools,

support for additional NLE and NRCS partners, and a new entrylevel system.

The live graphics platform’s new workflow tools cover all steps from graphics creation to playout. The XPression Project Server is a collaborative creation and media distribution product that allows users to share projects and move media within a facility or across an entire enterprise. Ross has also joined forces with asset management company and openMAM partner, Media B e a c o n , t o p r ov i d e t i g h t ly integrated, closed-loop asset/order management for XPression. Additionally, the XPression Remote

Ross Video has released new software for its OverDrive automated production control system

Sequencer gives operators the ability to control an unlimited number of XPression systems or channels in a MOS environment from a single location.

Also new for IBC, the XPression NLE plug-in for Grass Valley Aurora editing systems adds to XPression’s existing support for Avid Media Composer and Newscutter. 9.C20

Modules for media transport platform Home and away modules and forms the heart of an ATP node. It employs a completely non-blocking architecture to route signals between the user and the network, providing full add, drop

In addition, new control and conf iguration software features

By Michael Burns are being introduced for the ATP, designed to provide greater flexiA new Switch Fabric and fresh b i l i t y a n d c o s t s av i n g s wh e n access modules are being designing converged netintroduced for ATP works. With deployments (Advanced Optical Transin mission critical applicaport Platform). The video tions, Evertz claims that transpor t platfor m from the ATP is quickly becomEvertz incorporates transing the platform of choice port, compression, conver- Evertz has expanded its ATP with a new switch fabric for use in high availabilsion and processing into one ity, high reliability video, unif ied platfor m for use on and pass functionality at any node audio and data transport applicaSonet/SDH, IP or dark f ibre net- on the network. As a result, users tions, with installs in Australia, works. have the ability to support any con- New Zealand, Europe and North The Switch Fabric lies between ceivable unicast, multicast or broad- America. the Signal and Trunk Interface cast signal requirement.

8.B40

The Whole Home Solution with Media Gateway and Media Player is among the developments being showcased by Arris at IBC2011, writes Ian McMurray. The company is also spotlighting its Multiscreen On Demand and Advertising solutions, as well as the DOCSIS 3.0 high density products.

Being able to access one’s information and entertainment anywhere, anytime and across multiple screens is an increasingly desired feature for subscribers, and delivering such a seamless multi-screen experience helps operators meet and exceed their customers’ evolving demands. Arris says it is demonstrating its capability to address these requirements in the new Arris ‘Digital Home’ at BoothLive, with the company showing how its solutions can facilitate service provider content and feature distribution.

Products being demoed include the Arris C4 CMTS with new 32D Annex B/24D Annex A eXtended downstream Cable Access Module (XD CAM) and 24U CAM, and the Whole Home Solution with Media Gateway and Media Player.

1.D41

True video quality assessment

dard for video quality assessment. These subjective test procedures are indeed used to compare against, and it is the correlation to subjective scores that the ITU workgroups use as the basis of selecting any alternative method of test.

Recently (January 2011) the ITU-T released its recommendation J.341, which is the most recent video quality test recommendation and includes psycho-visual metrics to accurately predict the MOS. This recommendation is for a proprietary algorithm VQuad which came out ‘head and shoulders’ above any of the 14 candidate algorithms including those from the leading companies working in this field. The J.341 recommendation shows up to 92% correlation with subjective scores.

There are tools available to accurately measure video quality for all

Evertz

True broadcast video quality can and should be measured according to the new ITU-T J.341 recommendation, explains QoE Systems President, Walter van Hooff For decades the broadcast industry has relied on a very dated and relatively simple metric to assess the video quality, the PSNR (Peak Signal to Noise ratio). This metric still proves to be helpful to determine certain video impairments such as snow or stripes, etc., however it has proven to be inef-

fectual to assess major impairments often caused by compression/encoding such as blurring, blocking and jerkiness, which can be detected only using psycho-visual principles. Despite such ineffectiveness to assess video quality for compressed/de-compressed video PSNR has continued to

be used, simply because there was no reliable metric which uses psychovisual principals until now!

The traditional methodology to accurately measure matters such as video quality is to use a statistically significant sample of subjects and measure a large number of clips subjectively, asking the subjects to rate each clip between 1 and 5 (bad to excellent=5). Using all the subjects’ opinions the total generates a Mean Opinion Score (MOS according to ITU-R BT.500-8 or ITU-T P.910).

These are laborious, tedious and costly test procedures that are highly accurate but very costly as well – one could say that they are the gold stan-

Without a multiscreen strategy, you’re missing 78% of your audience.

Download our whitepaper to learn how to reach them.

Scan this code with your mobile phone’s QR reader to download our Multiscreen Integration whitepaper.

www.visualunity.com

Stand 3.C35

Opinion

Walter van Hooff: A new toolset is showing at IBC

video formats; the first one on the market is the Q-Master2 toolset from QoE Systems showing at IBC. There are a number of applications for this technology and QoE Systems has developed an initial set of tools both software only as well as a system solution for immediate deployment. The J.341 uses the full reference methodology and incorporates PSNR as one of the many metrics accumulating into MOS. This implies a closed system, however with a Real Time Reference function QoE has made an open solution to easily deploy the tool to measure any video source. 9.A05

Identify | Manage | Monetize

58 theibcdaily

09.09.2011

Camera-mountable Keeping ‘trax’ on monetised media encoders debut today Civolution

By Heather McLean

Teradek

By Michael Burns Two Teradex cameramountable HD video encoders are making their IBC debuts. The Cube 150 and Cube 250 encoders feature dual band (2.4/5.8 GHz) Wi-Fi, for improved range and video quality in congestion environments.

The Cube 150 is a HD-SDI encoder, while the Cube 250 offers HDMI encoding. Both feature an external USB port, allowing users to stream video over WiFi at fixed locations, and can use an optional 4G LTE USB modem for on-the-go streaming (in suppor ted coverage areas). The Cube encoders also feature adjustable Mic level inputs with optional AGC and compression.

Cube comes in a compact 7oz

form factor, uses 2.5W of DC power and will mount onto a camera rig in via a rail system, cage, hotshoe, or camera baseplate.

The device uses H.264 High Profile (Level 4.1) video compression and features a built-in scaler to convert from 1080 to 720, 480 or 240 resolutions.

Users can choose a resolution and a target bitrate based on the availability of IP bandwidth. To further extend The Teradek Cube broadcast camera-top HD range, the video encoder C u b e Encoders can join an infrastructure network by using a wireless router and stream over a LAN or WAN. 9.A51

VideoSync 2nd Screen – described as a ‘companion device synchronisation solution’ – is being showcased by media content management/monetisation specialist Civolution. The company is also highlighting important new features for the Civolution Teletrax platform.

Plura Broadcast

By Michael Burns Two 3G-ready broadcast field-testing monitors are being shown on the Plura Broadcast stand. They include the PBM-207-3G Plura Precision Broadcast LCD Series, which features 3Gbps 1080P/60P input capability and dual 3Gbps input display, as well as support for HD, SD-SDI digital video formats and analogue video formats including RGB, component and composite.

The 7-inch Grade A LCD panel on the PRM-207-3G series is said to offer a wide viewing angle, accurate colour reproduction and quality

Our platforms offer a radically different approach to broadcast challenges, explains Mathias Eckert, VP, sales and services, Europe and Africa, Harris Broadcast Communications is on driving through the migration to HD. However, the ways in which broadcasters, facilities and electronic media organisations are looking to achieve the goal of HD vary widely. The debate, more than ever, is baseband versus broadband – which is best?

The simple answer to this question is that today there is no ‘better’ option – some customers look at the challenge in terms of migrating their baseband video operations while others see tremendous opportunities offered by the broadband world. With-

watermarking plug-ins for leading asset management systems to make it easier for customers to integrate Teletrax media monitoring; and the launch of Civolution’s Transportable Transcoding Embedder.

Civolution also is demonstrating some enhanced TV second screen applications for the VideoSync interactive content synchronisation solution and devices including the iPad and iPhone. 2.C30

3G-ready monitoring solutions

Baseband versus broadband Without doubt, the last few years have been tough for all in the broadcast industry – the global economic downturn has affected us all and the requirement has been for consolidation, cost-cutting and increased efficiency. But this year we sense renewed optimism amongst our customer base – at NAB we met a large number of people and organisations that have a focus on investment and we see this progressive attitude continuing as we move into IBC. Our market feedback indicates that the investment focus in Europe

Teletrax Media Monitoring is said to offer powerful media monitoring through the combination of watermarking and fingerprinting technology.

A number of new features are being launched at IBC, including: the global expansion of Civolution’s Video Fingerprinting broadcast monitoring network and clients; expanded coverage of regional sports and news networks in the US;

out doubt, trends such as the rise of IPTV offer our customers a host of new opportunities: the challenge is how to exploit these new media options while protecting your existing and longstanding investments.

At Harris we continued to invest in the research and development of new technologies throughout the lean years. As a result, now that our customers are looking to reinvest in their businesses, we can offer a rich and elegant technology solution from production, right through to transmission.

picture consistency, along with a fast response time for smooth video display.

Display functions such as auto calibration, advanced waveform and vectorscope with line select are also on offer, says the manufacturer.

Multiple monitors can be controlled by a centralised wall control system, able to connect different size monitors in any combination.

The 4.3-inch monitoring station FTM-043-3G is another 3G-ready field-testing monitor, this time featuring an audio and video test generator. It offers a LCD screen and stereo speakers, which are capable of displaying and decoding digital (3Gbps, 1.5Gbps, 270Mbps) and We continue to introduce products, systems and platforms that offer a new and radically different approach to broadcast challenges. A good example of this inventive spirit at Harris is Selenio, which makes its European debut at IBC. We launched this unique media convergence platform at the start of the year and already we have numerous customers worldwide that are using Selenio in imaginative and innovative ways.

At IBC, we will unveil new compression and networking features for Selenio that greatly augment its video contribution capabilities and cement its reputation as a complete, singlebox DVB-T/T2 video headend solution.

Whether it is Selenio, servers or transmission systems, Harris has all the technology building blocks that our customers need to develop strong and vibrant business operations. We believe that IBC will represent an important milestone: we feel well

The PBM-207-3G features a widescreen 7-inch LCD with LED backlighting

analogue video and audio signals simultaneously. It has a compact size, fitting a half 2RU frame, which Plura suggests is ideal for applications such as flypacks, TV truck I/O, backstage and booth kits.

8.C76

Opinion

Mathias Eckert: Selenio makes its European debut here at IBC this week

positioned to respond to customers’ needs and look forward to a busy time on the show floor.

One final issue that has been reinforced by the recent downturn is the perception from customers of their need for technology partners that possess the financial strength and stability to provide long-term support to their operations. In this respect, Harris is rock solid: we represent one of the most secure, best financed broadcast manufacturers and this is reflected in our recent performance results, which see double digit growth in many markets including Europe.

Let’s hope that IBC2011 fulfils its promise. We look forward to meeting visitors on our stand.

7.G20

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Getting the brief

Confused about Connected TV? Get the lowdown at special briefings

Here at IBC to look into new media opportunities or the application of IT to broadcast? Want to get a quick insight into the topic from someone who has already been there?

If so, the IBC Exhibition Business Briefings are for you. Part of the IBC Connected World, this is a programme of short presentations by vendors of new technologies, or early adopters of it. Informative not commercial, they aim to outline the considerations you need to think about to help you get up and running on the topic, and each present a t i o n i s f o l l owe d by a l ive ly debate.

The programme runs tomorrow, Sunday and Monday, in rooms G102 and G103 above the IBC Connected World in Hall 13. To view the full schedule for the Exhibition Business Briefings head to Hall 13 or search

Scaling to new heights?

Ensemble Designs

By Michael Burns Three new scan converters in the Ensemble Designs BrightEye Mitto family are being showcased at IBC this year. BrightEye Mitto Fiber, BrightEye Mitto HD and BrightEye Mitto Pro take video from a computer – such as Skype,YouTube, maps, or medical content – and conver t the material to SD, HD or

3Gbps serial digital video.

All Mitto units accept VGA, DVI and HDMI input signals from PC and Mac computers. Ensemble’s proprietary upconversion and filtering processing provides broadcast quality video for use in high-end applications, says the developer. A small part of the screen, such as a Skype window, can be selected with a mouse and converted to full screen HD. The new BrightEye Mitto 3G Fiber has DVI, VGA or HDMI

BrightEye Mitto’s scaling technology and multi-tap filtering have been developed to provide high quality video output

inputs, and provides SD, HD or 3Gbps SDI video outputs, as well as an optical SDI output. Complete control of audio levels, channel mix-

one of the many IBC Interactive Event Guides placed around the show where you can also download the IBC2011 Mobile App for free, or check www.ibc.org/connectedworld.

Vendors taking part in the IBC Exhibition Business Briefings programme include Ericsson and IBM. Cisco – Platinum Sponsors of the IBC Connected World – are presenting each day at noon. Expect stimulating thoughts on the way that connectivity in the home and the latest improvements in IT networking are transforming the world of content creation, management and delivery.

The Exhibition Business Briefings sessions are open to all IBC attendees and offer a great opportunity to boost your knowledge and enter the debate. ing and audio delay is provided for the analogue, AES and embedded audio inputs. The BrightEye Mitto 3G Fiber can also be used with Apple’s iPad and iPhone, enabling video from these devices to be converted to SDI. The new BrightEye Mitto HD outputs HD or SD SDI video and also includes complete audio controls, while BrightEye Mitto Pro has a reduced feature set for customers who don’t need 3G or highend audio controls. It outputs HD or SD SDI video.

8.B91

TV4 expands ATG Broadcast

By Paul Watson Key members of the ATG Broadcast team, including Managing Director Graham Day and Business Development Manager Jim Greaves, are highlighting the company’s extensive range of systems integration services, which have recently been employed in several countries.

“We work closely with our clients to ensure that the solutions they choose are capable of easy expansion to accommodate additional channels, future delivery standards and the ever-increasing number of content-distribution options,” explained Day. “We have the operational experience, technical skills and commercial understanding required to ensure that these projects are achieved successfully, within budget and on schedule.”

Recently completed projects include a five-camera production studio and file-based ingest system for Arab Radio & Television, Jeddah, and a 13-channel playout system expansion for TV4 Sweden in Stockholm. Meanwhile, in Kuala Lumpar, ATG Broadcast totally rebuilt Astro’s All Asia Broadcast Centre (AABC), including HD infrastructure. 8.B51

EDIT

www.aja.com

Io XT Harness the power of Thunderbolt™ Scan this with your QR code reader.

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Announcing the Thunderbolt-equipped Io XT, a new portable, compact capture and playback solution that offers the power of KONA desktop systems.

Io XT uses the blazing-fast 10Gbps available bandwidth on the latest Thunderboltequipped Macs to deliver true desktop-level performance to your MacBook Pro, enhancing the quality and speed of your workflow - wherever you are.

Designed for today’s workflows, Io XT provides compatibility with the most popular NLE programs, the newest codecs, video formats, stereoscopic 3D workflows, and more.

Io XT connects to your Mac with a single Thunderbolt cable and provides a second connector for daisy-chaining other Thunderbolt devices, such as storage, making it perfect for on set, or in the edit suite. It’s loaded with KONA-grade features that provide 3G/Dual-link/HD/SD-SDI, Component Analog, and HDMI connectivity. AJA's industryproven OS X software and drivers provide extensive codec and media support - and superior 10-bit "always-on" hardware-based up/down/cross conversions allow you to seamlessly ingest and output in the video format of your choice.

Io XT Features: • (2) Thunderbolt ports (supports multiple Thunderbolt-enabled device “daisy-chaining”) • (2) 3G/HD/SD-SDI inputs and outputs • Single link SDI 4:2:2 or 4:4:4; Dual-link SDI 4:4:4 support • HDMI input and output • Analog component/composite output, 10-bit • Video Up, Down, and Cross conversion (hardware-based, 10-bit) • 8-Channel embedded SDI audio I/O • 8-Channel analog audio output (via standard DB-25-type cable) • Front panel LED VU meters and Headphone output w/level control • Reference In/LTC In (selectable) • LTC output • RS-422 • 4-pin XLR Power (AC adapter included) • AJA Technical Support and International Warranty included

Pair Io XT with a MacBook Pro and Thunderbolt-based storage solution and you've got a no-compromises, fast editing system - portable enough to fit in a backpack.

Find out more about Io XT by visiting us at IBC Stand 7.F11

B e c a u s e

i t

m a t t e r s .

62 theibcdaily

09.09.2011

Integrated playout: We’re ready – are you?

The dominance of software-based integrated playout is inevitable, according to Harold Vermeulen, managing director, PubliTronic We have long said that integrated playout represents the future of broadcasting, and that conventional playout will eventually be replaced by software solutions distributed through IT platforms, but acceptance of integrated playout has increased dramatically throughout the industry in the past year.

No longer is integrated playout seen merely as a cost-efficient alternative to conventional playout systems, instead there is now a general understanding that integrated solutions are there to entirely replace traditional technology. We have reached a point where the question is ‘when?’, not ‘if?’, and at PubliTronic we suggest the answer is within the next two to three years.

Beyond this, it is unlikely that new investments will be made in traditional solutions. Unlike existing ‘channel in a box’ systems, which deliver limited functionality as cheaply as possible, integrated playout is driven by capability. Its goal is to integrate asset management, automation, playout, branding and associated broadcast functionality into one or more IT based systems in a way that is far easier and efficient for broadcasters to use. Cost efficiency is a knock-on result rather than the goal from the outset.

Conventional workflow processes, whereby complex programming is assembled close to playout, are widely recognised as flawed. By abandoning the conventional approach of making television in two or more disparate

steps, integrated playout holds the key to radically simplifying and improving content preparation and playout workflow in SD, HD and now 3D channels.

Acceptance of IT-based integrated playout systems as superior in functionality and cost for both simple and highly complex broadcasting requirements is the crucial step in making an integrated future reality.

The software environment is key to integrated playout; where in the past companies would have no choice but to buy a dedicated broadcast platform, nowadays standard IT technology is perfectly capable of delivering the necessary performance.

The IT hardware element of the playout platform is fast becoming merely the enabler – it is the develop-

Cost-effective DCP tool for Mac users Qube Cinema

By Carolyn Giardina A new tool that enables the creation of Digital Cinema Packages (DCPs)

for film festivals and theatrical distribution is being shown by Qube Cinema. The QubeMaster Xport plug-in is compatible with Apple Compressor, and also works with Compressor 3.5.

“Rather than requiring the whole Final Cut Suite, anyone with a Mac can now master their digital cinema content, regardless of what editing application they use,� said Eric Bergez, director of

ment of software and algorithms where the IP lies for suppliers like us, and what represents the real value for the customer. However, while an entirely software-based playout industry is on its way, broadcast hardware may still offer specific functionality required in some environments and we mustn’t get ahead of ourselves and neglect this demand.

At IBC, the market shift is reflected in PubliTronic’s simultaneous launch of the second generation of our NEXUS-avs (Advanced Video Server), together with NEXUS-itvs (IT based Video Server), a new software-based alternative, delivered on a lower-cost model, specifically for channel playout with less complex functionality and performance requirements.

This double-launch reflects our continued work to develop our systems, not only in-line with core technology advancements but also by adapting according to market needs. Software-

based integrated playout represents a more reliable, scalable and conceptually superior infrastructure for delivering broadcast workflow. Its dominance is inevitable, and acceptance of this will have a big influence on the playout industry. We’re ready – are you? 2.A49

sales and marketing at Qube Cinema. “Compressor 4 is a g reat application and we highly recommend it to our customers. “Our goal is to empower the small post house or independent filmmaker and provide them with the tools to distribute their stories,� he explained. “The DCP format is quickly

becoming the standard for exhibition and film festivals. With Compressor 4 and QubeMaster Xport, production companies, documentary makers, post production facilities and even f ilm students can now master their own DCPs for the cost of a couple of film prints,�

Bergez continued.

7.F45

RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September

IBC2011 Mobile App As the leading event in electronic media, IBC presents more than 1,300 exhibitors and a conference programme packed over 6 days. The IBC2011 Mobile App contains everything you need to maximise your time at the show.

Download the app and start planning your schedule today.

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Opinion

Harold Vermeulen: Driven by capability

theibcdaily 63

09.09.2011

Screen control for switching streams Wohler

By Michael Burns The Presto video switcher makes 16 3G/HD/SD-SDI video channels readily available for monitoring and straightforward switching.

Content for connected society Ericsson

By Ian McMurray In addition to announcing new products to enhance its portfolio, Ericsson says that it is using IBC to demonstrate its leadership in advanced video compression, content management and workflow, back office and delivery solutions, internet video caching and distribution. The company is also highlighting its open suite of enablers for creating unique consumer experiences.

Staffan Pehrson, VP and head of solution area TV, Ericsson

“Ericsson ConsumerLab research predicts that by 2020 there will be 50 billion connected devices globally,” said Staffan Pehrson, vice-president and head of solution area TV, Ericsson. “Of these, more than 15 billion are expected to be video-enabled. As the number of connected devices continues to grow, significant new revenue opportunities are opening up for the television industry. Our role at Ericsson is to help content owners maximise the value of content and enable platform operators to create the most compelling and differentiated consumer experiences. At IBC, our TV and network experts [are] on hand to discuss how our next generation solutions meet the challenges and goals of today and deliver a strong vision for the Networked Society of tomorrow.”

1.D61

Presto is a compact 1-RU unit that displays video on 16 OLED screens that are themselves buttons.

Pressing each button switches that input, both video and associated audio, to a pair of re-clocked

outputs for downstream QC monitoring and scopes for verification.

An associated LED indicates the signal cur rently selected to be routed to the output.

As well as the stand in Hall 8,

Wohler is also showcasing its video and audio solutions in the new Wohler Euro Van, which has concluded its multi-country European tour in Amsterdam. The Euro Van

is situated in the outside broadcasting area, stand OE225, and is available for attendees to tour as well as for private demonstrations.

8.D56

As the screens on Wohler’s Presto are themselves buttons, it’s almost impossible to select the wrong source by mistake

64 theibcdaily

09.09.2011

Rohde ahead LA media services group Push VoD revenues are rising Rohde & Schwarz

By Michael Burns The Rohde & Schwarz SFC compact modulator – a universal signal source for testing broadcast receivers and components – makes its debut today. SFC can handle all established analogue and digital broadcast standards, including DVB-T2.

The R&S SFC is said to be costeffective and energy-efficient, offering the user a high-end signal generator for the price of a simple modulator. It boasts a frequency range up to 3GHz and is designed for integration into test systems.

The company says SFC makes it easier for network operators and manufacturers to switch over to the latest digital TV generation.

8.D35

implements MediaPulse Xytech

By Heather McLean Facility management software provider Xytech is highlighting its recent deal with AEG Digital Media, which is implementing MediaPulse.

The LA-based, multi-platform media services company selected Xytech’s platform to manage its facility scheduling, teleport services and media fulfillment operations.

Determining that traditional, standalone facility management systems were not appropriate to its 21st century business model, AEG Digital Media turned to Xytech’s MediaPulse to manage its teleport and media fulfilment businesses.

Greg Dolan, executive vice-president at Xytech, commented: “For more than 12 years, AEG Digital Media has delivered the most watched and anticipated content around the world. They have an absolutely amazing track record in inter net broadcasting and live streaming media, and they perfectly illustrate the modern workflow that is the hallmark of a successful media services company today.

“We are proud to be working with our colleagues at AEG Digital Media and see MediaPulse as the ideal solution to support their varied business lines. We look forward to the next phase of project implementation with them.”

3.C48

Growing at the speed of sound Studer VP & General Manager, mixing, microphones and headphones Andy Trott discusses the direction of digital audio mixing with General Manager Bruno Hochstrasser Andy Trott: Since I took over the management of Studer eight years ago, the industry has gone through several paradigm shifts. We’ve seen the rapid transition from analogue workflows to digital workflows, from simple stereo broadcasting to surround audio and the vast increase in channel capacity and format control required for that, and we’ve seen first

digital broadcasting and then HD and 3D take over faster than anyone may have expected.

The number of free-to-air channels has exploded, fuelling the demand for AOIP and technology and infrastructures, particularly distributed routing systems have put strains on existing installations to the point where refurbishment and re-equip-

ping is becoming more and more common-place.

We are seeing tremendous growth in the Studer brand globally, and for this reason I decided recently to persuade Bruno Hochstrasser out of retirement. His experience in the broadcast market is unmatched in the industry, so I am extremely pleased to have him back as my General Manager.

Logiways

By Heather McLean Rick Smith – Logiways’ recentlyappointed senior VP of sales and marketing – has told The IBC Daily that VoD revenues are set to explode in the next few years, according to various studies. He also predicted equally impressive growth in the less well-known push VoD sector, which addresses the majority of the global population without access to the broadband or cable infrastructure required for streaming VoD services.

“Today’s VoD focus is on fibrebased operators, who face huge capital investment to deliver acceptable quality of service,” said Smith.

“Meanwhile, one-way satellite and DTT networks are reaching massive populations from single head-ends.

Bruno Hochstrasser: I am so proud to be back at Studer. I believe we help our customers to meet the challenges which Andy outlines in a way that no other console manufacturer has or can. With the financial backing and core technology strengths of Harman, we have been able to develop cutting-edge products and systems that ensure a futureproof investment for our clients.

For example, we’ve continually enhanced and developed our Vista Series to cater for the latest workflow requirements, including new operations software to handle surround channels more effectively than our competitors, introduced complementary hardware such as the 3G SDI card which allows de-embedding and re-embedding of up to 16 audio

This brings substantial revenue opportunities for push VoD. “The US experience suggests that around 80% of paid streams constitute less than 20% of the available titles! That formula fits perfectly with push VoD, as you can push and revolve a couple of hundred hours of content onto an average DVR in the home in a typical monthly cycle. The consumer gets the very best of the VoD experience, while the infrastructure investment is fractional for an existing linear broadcaster.”

Smith – who joined Logiways with Jean-Philippe Plantevin, now serving as CEO – also noted that by teaming with a GSM or 3G data back-channel, push VoD can easily handle subscription, transaction and PPV services, as well as light internet applications such as Twitter and Facebook. 2.C40D

Opinion

Andy Trott: the number of freeto-air channels has exploded

channels per card within the console.

We’ve developed more sophisticated monitoring and metering with unique features that really help the operator.

We specialise in user interface design and own several patents that enable us to deliver a much-enhanced experience over our competitors – the whole design workflow is just so important when working in a pressured environment.

We’ve developed more cost-effective products to allow our customers a wider choice of products to suit their multi-function applications. We continue to develop our OnAir range software to keep pace with the way our customers need to work. We’re expanding our interfaces to the outside world to work with more and more third party systems to provide more tightly integrated systems, instead of looking inwards and only providing proprietary solutions that won’t work with other systems. And we’re expanding our connectivity options with other systems as visitors to our booth at IBC will discover.

Andy Trott: In short, we listen closely to our customers, and we’ve moved to meet their needs. Studer has been in existence for over 60 years and we see a bright future working with our esteemed client base. I don’t believe anyone else in our market can say that. 8.D60

theibcdaily 65

09.09.2011

Start your day with IBC Reporters and crews are out and about around the exhibition and conference, capturing all that is new, controversial and exciting. The stories are distilled into a concise 20 minute programme, ideal for view-

IBC TV News anchor Rob Curling conducts an interview

Even before you reach IBC you can start planning your day with IBC TV News. This special daily breakfast programme is on air every morning between 07:00 and 09:00, and is available in your hotel room.

The show is produced by a professional team, based in the IBC Production Village in Hall 11.

Access to content in more places Motorola

By Ian McMurray Methods by which service providers can give greater access to more content in more places constitute a key theme of Motorola Mobility’s appearance at IBC2011. Reflecting its desire to facilitate the delivery of high quality multi-screen experiences and home connectivity, Motorola is demonstrating how its technologies can drive more value from content.

Demonstrations include Motorola’s latest set-tops and accessories, among them the Motorola VIP1853, which features a ‘clickin’ DVR module for customers wanting to add/increase the DVR capacity of their basic box. Then there is Motorola Medios, Motorola’s cloud-based software p l a t f o r m t h a t a l l ow s s e r v i c e providers to merge video content with social networking, games and web-based content, and deliver it across multiple devices anywhere in the home and beyond.

Solutions for delivering video around the home are also on show, including the VAP2400 wireless video bridge and Motorola Televation, a cable TV device that works with a Wi-Fi router to allow consumers to watch live TV on a connected IP device anywhere around the home.

1.D31, 4.A75

ing between shower and breakfast to pick up on the hot topics.

T h e b r e a k f a s t s h ow i s a l s o ava i l a bl e o n t h e we b , a t www.ibctvnews.com and on the IBC Info Channel, the digital signage network around the RAI. The website also has extra stories and ex t e n d e d i n t e r v i ew s w i t h key industry f igures. And each day

there are two live web broadcasts, from the stage in the IBC Production Village, featuring interviews with key personalities.

The lead sponsor of IBC TV News this year is EVS, which is providing the soft of tapeless, networked production system that a broadcast newsroom would use.

Here it lets the crews create high

definition programming under the special pressure of working in a very busy exhibition.

You should find a card in your hotel room telling you which channel to use for IBC TV News. It is distributed throughout the city on cable channel AT5, so wherever you are staying you can almost certainly wake up to IBC.

66 theibcdaily

09.09.2011

‘Unique’ 3D lenses, controller and wireless system launch today Fujinon

Fujinon’s new XA4x7.5BMD-D3R/L lenses in a matched 3D pair

By David Fox Fujinon is drawing visitors’ attention to a new HD motor drive lens, synchronisation unit, and wireless controller for 3D and robotics at this year’s IBC. The XA4x7.5BMDD3R/L motor drive HD zoom lens comes in right and left lens versions, and features a F2.8 maximum aperture over its 7.5mm to 30mm focal length and minimum focus distance of 450mm.

“For the size/weight these are u n i q u e t o F u j i n o n ,” s a i d Pa u l Goodwin, divisional head broad-

Two new rasterisers revealed Phabrix

By Paul Watson Launching here at IBC, the Rx 1000 and Rx 500 rasterisers are new from Phabrix. The rasterisers are based upon the company’s Rx technology, which allows different broadcast test and measurement modules to be

added for a range of applications.

A unique onboard digital control screen controls the output of instruments to full HD resolution. Output to a separate screen at full HD 1920x1080 is also available via an HDMI connection. A separate SDI output allows a secondary output to be routed through a studio.

The onboard screen enables operators to select different screen

cast & CCTV products division, Pyser-SGI (Fujinon distributor for the UK and Ireland). The 2/3-inch lenses feature “high precision optical systems supplied in matched lens pairs for correct 3D image rendition”. The compact size and weight (450g) are useful for 3D rigs in tight spaces, on jibs or for handheld/Steadicam use.

Precision servos with anti-backlash systems offer “high precision synchronous control over lens pairs using just one set of pan bar controls or RS232C serial (robotic) control, both of which are via the Fujinon 3D Synchronisation Unit HJ-303A08A. Thus when zooming/focusing

both lenses move in precisely the same way to the same optical positions. 16-bit encoder outputs are provided from the synchronisation unit for feedback to 3D positioning control and tracking systems,” explained Goodwin.

The 3D lenses can be remotecontrolled using Fujinon’s new WL325A wireless controller, which works up to about 100m, permitting one set of pan bar controls to be used for rigs on jibs or in remote locations. This device can be used with any Fujinon Digi Power HD/SD lens or for 3D stereoscopic rigs using a matched pair of lenses.

11.C20

The new rasterisers are based on Rx technology

views such as full, bi, tri and quad.

Standard presets can also be activated via one of the eight memory/control buttons.

The Rx 1000 is a rackmount rasteriser with up to eight simultaneous outputs. The independent FPGA heart of each module is said to be powerful enough to support simultaneous display of instruments across each module. With its four modules,

this works out to eight analysis instruments with central control and report logging – representing a world first, according to Phabrix.

The Rx 500 is a half-rackmount unit able to accommodate a variety

Changing expectations in signal processing

of applications, from camera shading in OB environments to studio editing suites. It features two input slots with four simultaneous outputs; all inputs are switchable and can be controlled independently. 8.E25

Opinion

Router and conversion gear must match the way broadcast video and audio buyers want to manage signal distribution across a wide range of transport options, says Dan E Holland, vice president, product marketing, PESA IBC2011 will present many challenges and opportunities for buyers in the broadcast market environment. There is abundance of new technologies available but the current economic situation adds an enormous burden on buyers who must consider longevity, product compatibility, and the cost of change. Conversion gear allowing a blend of seamless compatibility between legacy analogue, prosumer grade A/V gear and next generation broadcast A/V gear will be a key element for this year’s IBC buyers.

Despite the bad economic downturn, the flow of new and disruptive technologies like 3D, fibre optic transports, compression and digital media

conversion gear will take center stage at IBC. In a large part, these new technologies are fuelled by the side effects of customer demand to have improved universal distribution and content management tools to enhance user experience anytime and anywhere.

Signal path management is clearly one of the most critical parts of any broadcast television system and today’s routers should have the ability to auto-detect multi-format signals, convert from one signal format to another, upscale and downscale signals, embed audio, de-embed audio, transport over fibre or coax, accept 3D signals, and automatically detect any

failures and attempt immediate notification to the user.

Next generation routers and signal processing gear must match the way buyers want to manage signal distribution across a wide range of transport options. Advances in the delivery of streaming live and pre-recorded video has allowed users to access media content from a number of distribution methods – the anytime and anywhere experience – and this has played a pivotal role in how content must be routed and distributed within television stations and communication centres.

Another key element to router technology is support for multiviewers and high resolution computer graphic

formats such as DVI and HDMI. As routing systems get larger and display technology gets better – and cheaper – broadcast centres are increasingly adopting larger multiviewer displays. As a corollary, demand for simplified integrated computer graphics has also increased.

Routers must deal with ASI, SDI, HDSDI, 3G-SDI and 3D Cinema while seamlessly integrating computer graphics like VGA, DVI, HDMI, and DisplayPort.

In addition to video, buyers must also deal with the increased complexity of audio. Routers must be able to support embedded audio, allow users to de-embed, switch asynchronous

MioEverywhere logistics solution for TV2 Denmark Nativ

By Ian McMurray Content services company Nativ is helping to make TV2’s ingest processes completely tapeless in the wake of a deal to roll-out the latest version of the signature MioEverywhere platform to all of the Danish broadcaster’s channels.

Mio Everywhere – a total video logistics solution that debuts its latest functionality today – has apparently enabled TV2 to streamline processes, lower operating costs, and improve reporting by

automating and digitising its broadcast ingest workflow. The newly-installed solution, which has commenced with the ingest of all TV2’s advertising content, also integrates with the broadcaster s transmission system, as well as its legal and planning departments, for seamless end-to-end file-based content management.

The new system also integrates TV2’s production partners using Mio Desktop Client, an application for remotely validating and transferring large media files to the MioEverywhere platform. Once ingested, all validated content will automatically go through TV2 s customised

workflow – which includes quality control, repurposing, metadata management and approval before being pushed into the broadcaster’s transmission system for playout.

Nativ CEO Jon Folland commented: “Moving towards tapeless is a monumental step for any major broadcaster and we’re really excited that TV2 has chosen the MioEverywhere platform to streamline that process. Today’s broadcasters and content owners face the challenge of getting their digital assets organised in order to quickly reach audiences on all platforms and devices at a low cost, and MioEverywhere is allowing TV2 to do just that.” 4.A61e

Dan Holland: Signal path management is critical

and synchronous, and manage multiple audio paths in formats such as Dolby E, DTS, AES, and basic stereo or mono audio – all within a seamless and unified distribution system.

To round out IBC2011 buyer’s expectation for routers is the need for full-scale system control and signal path management system. Networkbased control systems were once considered upgrade options, but now the buyer expects that all routing and control features be network based.

Router control systems must include a wide range of network based control panels as well and the ability to make switches over a browser-based interface. Touch panel and tablet devices such as the iPAD are now seen as viable wireless control panel in both large scale and small scale studios.

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New features for production switchers Ross Video

By Michael Burns On a newly expanded IBC stand, Ross Video’s Vision Series high-end production switcher family is marking what is described as an industry first with the addition of selectable user layouts for its internal MultiViewers.

The company claims that Vision MultiViewers offer tremendous flexibility and cost-savings while dramatically simplifying control room design, integration and cabling.

The Vision QMD and Octane Production Switchers have been fur-

Get the ViBE for powerful encoding Thomson Video Networks

By Ian McMurray The latest addition to the Thomson Video Networks range of MPEG broadcast reference-grade encoding solutions is the ViBE EM4000 multichannel HD encoder. Incorporating what Thomson says is a substantially more powerful evolution of its Mustang compression engine, the ViBE EM4000 is one of multiple products being highl i g h t e d by t h e c o m p a ny a t IBC2011.

The ViBE EM4000’s performance is claimed to deliver significant operational cost-savings through better use of satellite or terrestrial bandwidth. This is achieved through improved motion estimation and enriched encoding logic.

Wi t h i t s H D p e r f o r m a n c e , T h o m s o n s ay s t h a t t h e Vi B E EM4000 typically allows users to add an extra channel to a transponder without reducing picture quality, or opt for improved quality with the same number of channels.

Designed for evolution, the ViBE EM4000 supports future formats including 1080p and 3D, and prov i d e s c o n t i n u o u s e ff i c i e n cy improvement through further development of the platform.

Scheduled to ship in the coming months, the ViBE EM4000 multichannel HD encoder can be deployed as a standalone encoder or as part of a head-end infrastructure with multiplexers and a network management system.

5.A17

The new ViBE EM4000 from Thomson Video Networks features improved motion estimation

ther enhanced with the addition of the new 8-keyer MultiDSK module, doubling the layering power of programme outputs. This new module is backward-compatible with existing Vision switchers.

Ross Video is also highlighting the new Carbonite mid-size switcher series – which offers 1 & 2 MLE variants with 16 or 24 inputs – and undertaking the European debut of compact switcher CrossOver Solo. 9.C20

Ross Video’s Vision series of production switchers now support selectable user layouts for their internal MultiViewers

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Real customer deployment on show RGB Networks

By Ian McMurray The connected and multi-screened home of tomorrow has been the real

focal point for the industry over the past year, according to exhibitor RGB Networks. But questions linger around the topic of content monetisation as Video Service Providers (VSPs) struggle to reconcile the req-

uisite changes in infrastructure with a return on investment.

At IBC today, RGB Networks is demonstrating how its solutions enable VSPs to overcome this problem – highlighting new technology

which is said to facilitate seamless user-targeting of advertising to multiple screens. The company is also showcasing a customer deployment live on stand so visitors can see first-hand the far-reaching capabilities of a multi-screen environment.

The company also is discussing the latest trends in the connected home, including the advent of social

TV and the increased opportunities this brings for the advertising industry, as well as the shift away from the STB market to IP-video based services. Also under discussion is the latest addition to RGB s Video Multiprocessing Gateway product line the VMG-8 and how this is further helping to facilitate TV Everywhere.

Visitors also have the opportunity to find out why robust multi-screen technology is required to capitalise on future events such as next year’s Olympic Games in London.

4.C78

Hiltron’s HSACU SNG controller is widely compatible with leading antennas

HSACU SNG controller auto-acquires news satellites Hiltron

By Ian McMurray In what is described as a major addition to its product range, Hiltron has unveiled the new HSACU SNG controller. It is said to be compatible with all leading motorised satellite newsgathering antennas, and to provide fully-automated satellite autoacquisition.

“The HSACU serves two key roles, being designed for integration into SNG trucks or for refurbishment of existing SNG antenna control systems,” said Hiltron’s managing director, Dr Michael Schiestl. “Housed in a compact rack-mountable chassis, it provides easy and efficient control of threeaxis motorised antennas of up to 2.4 metres diameter. Azimuth, elevation and polarisation control are performed entirely in software.”

Full control of the Hiltron HSACU can be performed locally or from a remote IP browser. Local control is achieved via front-panel push-buttons and a coloured touchpanel graphic display. In IP remote control mode, the entire system can be controlled from wherever is convenient to the SNG workflow. Fully automated acquisition of accessible satellites can be achieved within less than two minutes, according to Hiltron. An internal DVB-S/S2 tuner is provided for satellite verification.

Heading determination is performed using a GPS and/or a fluxgate compass. The HACU-DSNG includes dual-axis compensation of truck inclination.

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UK Audio Description – a quiet evolution The availability and growth of Audio Description services in the UK should be the envy of the world, says Peter Blatchford, sales & marketing director, Starfish Technologies

Peter Blatchford: Access service provision can be controversial

The UK broadcast industry should be justifiably proud that it leads the world in providing an Audio Description service on a significant and growing percentage of programmes transmitted via digital TV platforms. Audio Description is the provision of a complementary narrative audio service for people that have difficultly viewing TV programmes – such as those who are blind or partially sighted.

Europe and the USA have been trialling AD services for a number of years, but the UK now has a mature and efficient infrastructure for supporting TV channels that wish to offer this additional service to its customers. The AD service can be accessed via DTT TVs and set-top boxes, or the Sky satellite service. Many TVs are now supplied with integrated AD decoding (you will notice an AD button on the remote control of an increasing number of new TV’s sold in the UK).

The provision of an access service such as AD or closed captioning can be controversial, as it brings no direct additional revenue for the broadcaster, and in tough economic times such as these, budgets are increasingly under scrutiny.

AD implementation may be desirable, but typically only government mandates tend to drive an increase in the service.

Starfish began working on AD technology with the BBC over 10 years ago, and our customers have helped us develop a specialised and fully featured product range for creating, processing and delivering AD. The major providers of AD services in the UK have increasingly sophisticated workflows to help with efficiency, and the quality of AD being pro-

duced is of an extremely high standard.

We have sold systems in France and Germany recently, and the Greek state broadcaster ERT purchased a complete Starfish AD system to offer the service on its new digital channel.

At IBC this year we are demonstrating our complete range of AD products and expect to see a growing interest from European and US broadcasters.

In the USA, the provision of an AD service by major broadcasters has

recently been mandated by the US government. (The service is known as Video Description or VI in the USA.) The availability and growth of the AD service in the UK has been a quiet evolution, and if you don’t have a friend or family member with impaired vision, you can be excused for not even being aware the service exists. However the evolution of the service will continue and we

Opinion expect to be developing ever more sophisticated products to service this market. 2C18

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Answers to SI challenges Opinion

All aboard! It’s time to party

System integration of AV and IT technologies is essential, says Peter Nöthen, MD, Wellen+Nöthen Group and Qvest Media Today’s broadcast infrastructures consist of a number of widely differentiated components, including the areas of audio and video technology, IT and their peripheries. On top of that, thanks to new distribution channels like IPTV or mobile TV we have been seeing an emergence of completely new business models for broadcasters to interact with audiences.

For our company this means giving our customers thorough consulting – not only in terms of technology but equally as regards economic aspects.

It is essential for broadcasters to keep an eye on technological progress as well as market trends at all times. For this reason, we are constantly monitoring new developments and analysing them not only from the economic perspective but more importantly in terms of actual customer requirements.

In this close collaboration we are constantly developing new and efficient workflows. The seamless system integration of AV and IT technologies has become one of our most important tasks, especially in view of managing the enormous diversity of interfaces. In this context, it is very necessary that we sensitise the IT and

broadcasting manufacturers from our integrator’s perspective to make their respective components compatible, to ensure that more and more standard interfaces are available down the line.

Such standards not only accelerate planning measures and also subsequent system integrations, they also facilitate the user’s handling of the systems that are relevant for them – be it in a newsroom, signal processing or issues pertaining to data and licence management.

However, it is generally agreed that the use of modern technologies and software is becoming significantly more complex due to the increasingly short development cycles. For this reason, the customer becomes increasingly dependent on comprehensive services that extend far beyond the planning and implementation phases of system integration.

We reacted to this challenge very early on and developed the necessary know-how to support our customers with a wide spectrum of services and support. These services include, for example, internal training which ensures that new technologies and workflows are supported.

Peter Nöthen: Standards accelerate planning measures

A wise man once said, ‘If we stop improving, at some point we will stop being any good at all’. This applies today more than ever to the numerous and highly diversified challenges we face every day in our business. New technologies pave the way for innovative concepts and solutions, but at the same time also raise a host of questions that must be answered.

One of our future tasks will be centralising data archives on an international level. Connecting them to intelligent media asset management systems will make it possible for internationally operating broadcasters to access all the data they require more quickly and effectively in a media Cloud.

And such developments are going to keep on revolutionising the world of broadcasting, not only today but also tomorrow. 3.A35

Enjoy Amsterdam The facilities at the RAI make it a great venue for IBC. Even better, it is located in one of the friendliest, most cosmopolitan and cultured cities in the world: Amsterdam. It is the perfect combination for concentrated work during the day and a little relaxation in the evenings.

Your IBC registration entitles you to free travel over the six days of the show on the buses, trams and sneltrams (metro) run by GVB, the Amsterdam transport authority. If you have not yet done so, pick up your ticket and map from an IBC Info Point.

Then you are free to explore the

city. You are sure to find colleagues in the cafes and bars of Rembrandtsplein, or the restaurants around Leidseplein. The whole city is compact and fascinating to explore. Take a canal cruise or rent a bike: you can even combine the two with the Canal Bike for a pedalo tour of the city. For the really energetic there are nightly roller blade tours.

At the end of the evening you may feel a taxi is the best way back to your hotel. They are available at many ranks throughout the city, are licensed by the city authorities and charge a standard, metered fare at around €1.50 a kilometre.

RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September

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VIP treatment STACs up for VoIP Networking evolution Comrex

By David Fox Voice-over-IP reduces phone costs and broadcasters can benefit from this with devices such as the new Comrex STAC-VIP. The new solution integrates legacy PSTN/POTS phone lines with VoIP technology to deliver a new way to manage telephone calls for talk shows, interviews and contests.

C o m r ex i s a p p e a r i n g a t IBC2011 on the stand of Vortex Communications.

STAC-VIP can take traditional POTS calls, but also handles calls from HD Voice-capable phones and smartphone apps as well as high quality calls from Skype users. It has STAC-IP Call Screening with CLI Caller Identification and Call Logging as standard, while its Caller

Comrex STAC-VIP makes it simple to screen and select calls

Management system integrates with VoIP PBX systems.

The familiar STAC Control Surface provides clear indication of phone line and caller status. Connection to the 1U mainframe, like screener control, is via IP, which means that it can be located anywhere with IP connectivity.

STAC VIP can process up to 12 incoming VoIP calls on a single DSL line using telephone-grade G.729

audio compression, providing significant cost savings. Traditional phone lines can be accommodated via VoIP Gateway devices that provide conversion of POTS/PSTN, ISDN and T1/E1 telephone lines to a SIP compatible VoIP trunk for connection to the STAC-VIP Mainframe.

The new HD Voice standards include high-quality audio codecs such as G.722, Silk, Speex and variants offering 7KHz audio (and better) instead of the 3.4kHz used by the telecoms industry for more than 100 years. STAC-VIP can accept wideband calls from VoIP phones, smartphones and soft codecs such as the Comrex ARC, and negotiates to find the highest quality codec supported by a caller’s phone. This means that callers can sound like in-studio guests, making it useful for journalists or other programme contributors.

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Not just transport, conversion is king As a fibre transport company, we find we are quickly becoming a format conversion company as well, says Frank Jachetta, managing director, MultiDyne Video & Fiber Optic Systems In today’s ultra-competitive media environment, broadcasters and content creators are faced with the everincreasing challenge of having to support multiple formats and distribution platforms while keeping costs to a minimum. With consumers now dictating when and where they want to

view content, it’s made all of our jobs that much harder.

For our customers, this 24/7 demand means having to figure out how to efficiently convert baseband signals to optical to allow them to travel farther, or simply transcode a 1080i HD file to a HTML5 file for dis-

play on small portable devices. And let’s not forget the internet and streaming video, with its myriad of formats and coding schemes. The more automatic the process is made, the better.

Amidst this entire deluge of signal types, we often lose site of the fact that that all of this content ends up in

Optocore’s new generation DD4MR dual MADI, video and data network device

Optocore

By Michael Burns An evolution in the Optocore open platform networking concept for the transmission of audio, video and data is being showcased at IBC2011.

With the ‘R’ series of interface devices, Optocore can now offer 1024 input channels and unlimited output channels within a distributed matrix while giving the capability to route MADI, AES/EBU, data and video over a 2Gbps fibre optical ring.

Specific products in the Optofront of our eyes. At the end of the day, it’s all just video.

We find that we are quickly becoming a conversion as well as a fibre transport company. This is necessitated by all these forms and formats, and not just video but audio and data as well. As we listen to our customers, we develop transport products with the conversion elements built in, forgoing little conversion widgets at every drop in order to save our customers money and set up time.

For example, our DVI-6000 Single and Dual Link, a long-haul fibre optic transport solution is ideal for keeping video and audio communications secure in command and control facilities. It has a DVI 1080p input but can

core range include the DD4MR-FX device, which is designed to function as a digital interface wherever MADI por ts are required in an Optocore Optical or CAT5 Sane digital network system.

Optocore is using IBC to demonstrate that its technology – which was originally designed to provide a simplif ied method of distributing audio within the pro audio arena – offers diverse benef its for different markets. For example, for live performance and broadcast applications, the company suggests that Optocore offers a simplif ied set-up and easier operation. Within f ixed installations, says Optocore, elimination of the need to install copper cabling means that clients can benef it from economies of scale as well as performance.

9.A47

Opinion

Frank Jachetta: Navigating through the alphabet soup of formats

optically output a 3G HD-SDI, 1080p signal that can then be received by a variety of MultiDyne products, as well as any SMPTE compliant 3G receiver.

The reverse is also true; you can receive a 3G signal and output DVI. The fact that 1080p is now prevalent in broadcast facilities using 3G HD-SDI as well as DVI (traditionally a ProAV format), is clear evidence of market convergence. This convergence has blurred the lines that were once brick walls. We have to help customers break down those confusing acronyms and format types so they can support their clients’ varying needs. Most importantly, our products do the conversion work, so customers don’t have to think about it.

For video professionals, IBC offers a quintessential road map for navigating through this alphabet soup of formats.

With the advent of 3D, and soon 4K, production and display, things are only getting more complicated, not less.

Annual gatherings like IBC provide the platform to bring us all together for the common good of helping broadcasters and video professionals do their job better, expending the least amount of time and energy. When that happens, we’re all successful.

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Q&A

New STB gets market trial Pace

By Ian McMurray The launch of a new hybrid DVR set-top box for Comcast has been

David Hochner, CEO, SatLink Has IBC come at a good time for the electronic media industry? Why? SatLink’s strategic location and global infrastructure assists broadcasters, payTV and IPTV operators reach Europe, Africa, Asia-Pacific and the Americas. Our full teleport capabilities in HD and 3D transmission serve as a gateway for delivering your content to every corner of the world via SatLink’s global satellite and fibre network. With broadcasting and data markets continuing to move forward, our expanding service offerings ensure that clients maintain and enlarge their market shares. IBC is our opportunity to meet clients, current and potential, at one time and in one place.

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

SatLink is among the world’s fastest growing teleports because our industry understands expertise, creativity and efficiency – all embedded in our superior service offerings. We are seeing further inroads of our clients to HD and 3D and also to OTT markets. Taking advantage of both worlds, SatLink’s new iStream solution assists TV channels deliver broadcast quality video over the internet in an easy, fast and reliable way and by using the latest technology we are able to create additional value for them.

Why should delegates visit your stand at IBC? SatLink is showing how our creativity provides clients, longterm partners, with cost-effective, cutting edge solutions. At IBC they will meet a company providing high quality global TV distribution services to reach DTH viewers; content management and playout facilities; production services, cost effective transmission services; and reliable content delivery via our comprehensive infrastructure.

They will see and understand why Tier-1 broadcasters such as Thomson Reuters, Viacom brands MTV & Nickelodeon, CNN, Daystar and others select SatLink for their gateway to the world.

5A41

announced by Pace. The new STP offers tru2way and IP capabilities, and is said to deliver an advanced personalised TV viewing experience.

The Pace set-top box platform is being used by Comcast in a market

trial of its next-generation Xfinity TV service in Augusta, Georgia.

This service allows customers to search and select from tens of thousands of TV shows and movies that reflect their interests for a personalised TV viewing experience.

“Comcast has a track record of delivering the unexpected and taking TV services to a whole new level,”

said Mike Pulli, president, Pace Americas. “We are very proud that Comcast has chosen to partner with Pace on this extraordinary project.”

The Pace set-top box features an architecture that leverages Comcast’s hybrid fiber coax network and DOCSIS 3.0 to deliver the new guide and user experience.

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Pros embrace master monitor panels Initially, there was considerable resistance to the use of panels, generally, and master grade panels particularly. That resistance to professional flatpanel display screens is now melting away. By Douglas I Sheer

plays – those with under-scan and test signal capabilities – that now ranges primarily from 17-inch (diagonal measure) to 27-inch and encompasses a wide number of brands. The 17-inch size is a relatively new one – certainly new to the flat panel master grade category – and has grown very popular this year. The previous normally sought size had been almost exclusively the 24-26-inch range.

8% of all buyers of professional flat panels have indicated plans to purchase one or more master quality flat panel monitor in 2011, in the 1726-inch range, making it one of the singularly most active screen size groups within all pro flat panels, as well as a significant sign of the success of panels as replacements for CRTs in the most difficult-to-please category of master grade.

Early failure

Percents of screen sizes amongst planned purchases in 2011

With the advent of the professional flat panel display, over the past decade, and its distribution in so many screen sizes ranges, perhaps the most hotly debated issue has been in the provision of a reliable category of master monitors to replace the aging, outmoded and rapidly failing box-type master CRTs. According to the findings of the latest pro display report from DIS Consulting Corporation called Professional Displays World 2011, the master monitor part of the profes-

sional flat panel display market is f inally beginning to satisfy the needs of demanding professionals, after a prolonged period of scepticism and complaints leveled at manufacturers’ early solutions.

Many broadcasters and other professionals found that models provided in the past years to be far from satisfactory and that opinion slowed the acceptance of test grade quality panels amongst professionals.

Instead, many chose to hang on to their CRTs longer than they would

have liked, rather than sacrif ice quality for price.

The DIS global study, conducted this past winter and published in mid-June, focused on gathering only professional grade displays ownership, past purchases and purchase plans information and excluded consumer and computer flat panels from consideration. The study also honed in on these by each of the main screen sizes in eight size ranges.

Among them was a broadening size range for master quality dis-

IP-based TV studio control system Danmon Systems Group (DSG)

By Michael Burns A new IP-based television studio control system has been launched at the DSG stand. Peter Thomsen, deputy managing director of DSG, says that

the system “enables television broadcasters to establish highly efficient regional contribution studios without requiring local operational staff to supervise and operate them”.

The result, adds Thomsen, is “greater production flexibility without sending operating costs through the roof ”.

It is claimed that special atten-

tion has been made in the design of the system to ensure completely foolproof local operation. Based on integ rated pan-tilt-zoom HD/SD cameras, it can be driven from a standard internet browser in a network headquarters. Features include full camera and pedestal control, return monitoring and 60-inch height-adjustable

With so many traditionally entrenched master-grade CRTs, the move away to embrace utilisation of flat panels for this purpose was slow, as many end-users felt that the early examples were lacking the quality, predictability and durability of the boxier forebears. There were also concerns about how long the highest priced panels would last, as flat panels generally have a reputation for early failure and thereby much shorter life spans than CRTs. Given the higher prices of these particular panels, professionals have held back until very recently and continued grudgingly to use their aging CRTs. Professionals, in particular, are intently interested in the exact specifications and features of their flat panels and this is certainly most true in those being depended upon for mission-critical master grade uses. This is also true as there are in the master grade monitors many more features than in their presentation grade coun-

terparts (in the same size range).

Master g rade models are expected to have certain basic qualif ications as well as performance abilities. And, they are expected to be more rugged, precise and dependable than their presentation grade counterparts. And, they are also expected to contain waveform and vector-scope abilities as well as time-code displays and under-scan, multi-format inputs and HD/SDI, Composite, Component and YC in most cases. 12-bit processing is common along with 10-bit drivers, wide colour gamut, LED back-lighting and colour management abilities.

The ability to capture and store pre-sets is an essentially sought factor as well in most such displays.

Auto-black and auto-white as well as various forms of auto-set-up calibrations are commonly sought and often found features as well.

This intensified interest in panels and growing acceptance of master grade models has led recently to a increase in manufacturers offering master products as they have rushed to take advantage of the new found growth.

Top of the range master prices tend to fall in the $25-30,000USD range for a full-fledged (24-inch or larger) panel and accommodate the full HD (or in specialised cases 2K, 4K or other resolutions this can escalate). Of course, not all master monitors cost that much money.

Even in the 24-26-inch range, there are companies with models that fall below $10,000USD and sometimes far below that threshold.

The good news is that with so much competition, in pro flat panels today, you can be a miser and still own a master.

Douglas I Sheer is CEO and Chief Analyst of DIS Consulting Corporatio n a n d m a y b e re a ch e d a t dougsheer@gmail.com.

background display screens. All control data is carried securely via intranet or VPN. Video signals can be car ried on black f ibre or as JPEG2000 via IP. “Nothing in the studio can be rendered inoperative, even if the equipment is used by a distracted repor ter or a f irst-time studio guest,” explained Thomsen. “The only local user-adjustable element of the entire regional studio is the earpiece volume level.”

Web-based control delivers max-

DSG’s IP-based studio control system is set to boost production flexibility

imum operational flexibility between different control rooms or galleries without requiring installation of additional hardware. Sound quality is achieved by using very high-grade microphones and ultra-low-noise pre-amplifiers, plus an audio delay unit to maintain lip sync. 8.B51

Pioneers of automated playout solutions OASYS has been at the forefront of the IT broadcast workflow revolution for 20 years. We provide efficient, high quality, function-rich software-based playout solutions that are easy to use, scaleable, flexible and reliable.

Come and join our 20th anniversary celebrations on Stand 8.B38d at IBC 2011, where we will announce some exciting new features and innovations â&#x20AC;&#x201C; and introduce our new friends!

t: +44 (0) 845 0942 612 e: sales@oasys.com w: www.oasys.com OASYS is a trading name of ON-AIR Systems Limited.

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Celebrating 30 years in a unique position Apple Mac based broadcasting applications are core to good business, says Daniel Tapie, CEO, Softron Media Services

Daniel Tapie: We’re a strong player in our chosen market segment

2011 has demonstrated that the industry slowdown that many compa-

nies experienced and feared would continue is over. Even though Softron sales increased yearly by over 30% since the beginning of the downturn, there was always that prevailing industry vibe that the world economy would continue to be a drag on our industry segment. However, we are on target to do even better this year than in recent years.

The reason is simple, we are a strong player in our chosen market segment – Macintosh-based broadcasting applications. And this is tied to our experience. At this year’s IBC, Softron Media Services will celebrate 30 years of software development. As one of the first international companies to provide Apple Mac platform

solutions for broadcasters in radio, television and on the internet, we have has earned a unique position.

This is why we maintain the loyalty of our existing customer base and why new users flock to us. New and old users alike acknowledge not only the stability and reliability of our product offerings but the vision that the company’s management team transforms into reality.

An example in this case is the new release of Softron’s OnTheAir Studio that will be released with an entirely new graphical user interface. Patterned on Softron’s OnTheAir Manager interface for scheduling television broadcasts using OnTheAir Node, OnTheAir Studio offers a calendar dis-

Extend the possibilities with Optiva Opticomm-EMCORE

By Heather McLean New from Opticomm-EMCORE is the Optiva OTP-1DVI2A1SU DVI/HDMI/VGA/RGB, stereo audio/SPDIF, serial data and USB

2.0 extender. The product is a solid solution for transmitting the full range of realtime digital or analogue video with audio and serial data capabilities over f ibre up to distances as great as 49 miles.

With features such as video f o r m a t c o nv e r s i o n , s c a l i n g ,

SPDIF/ analogue audio, breakout audio for HDMI, KVM and USB 2.0 data, the OTP-1DVI2A1SU is suitable for professional audiovisual applications such as digital theatres, concerts, digital signage, video conferencing and similar applications.

play to easily schedule short and long term radio and internet radio shows.

We envision its use in live event performances as well.

Since many radio broadcasters are moving to live or internet TV, this upgrade will provide an impetus to begin a transition to those formats.

Put another way, our radio users will be instantly familiar with our advanced video scheduler, making their transition to television and internet television a much easier one.

Another case in point has been the overwhelming acceptance of our client server playout applications including OnTheAir Node, OnTheAir Live and OnTheAir Manager. We invested quite a lot over the last two years in anticipation of the move to client-server based playout. While we constantly add new features, this year we are including multi-user Both the transmitter and receiver are dual slot cards that can be used as standalone devices or as part of a larger Optiva system. The OTP1DVI2A1SU was designed to fit in the Optiva dual slot desktop/wallmount enclosure, 4- or 6-card 1RU chassis, or 16-card 3RU rack mount chassis. 2.A24 The Optiva OTP-1DVI2A1SU extender is new from Opticomm-EMCORE

Opinion capabilities to allow different users across the local network, or across the globe, to collaborate and or change TV programming schedules. A number of our customers are working in just this way.

Something brand new for us is OnTheAir Stream. We hope to do for web and mobile device programming what we did for cable and satellite broadcasters – provide a usable and friendly way to make realtime streams and VOD available for the viewers of Softron programming applications.

Today it is simply not enough to have TV output from a Mac – you have to deliver that output to your customers’ customers – and the importance of streaming with our products has taken a position front and centre. 7.H01

IBC2011@RAI, Amsterdam Stand# 2.A51 (HALL 2)

www.for-a.com G Head Office (Japan) G USA Western (CA) G USA Eastern & Midwest (NJ) G USA Southern (FL) G Latin America & Caribbean (FL) G Canada (Toronto) G UK (London) G Italy (Milan) G Korea (Seoul) G China (Beijing)

Tel: +81 (0)3-3446-3936 Tel: +1 714-894-3311 Tel: +1 201-944-1120 Tel: +1 305-931-1700 Tel: +1 305-931-1700 Tel: +1 416-977-0343 Tel: +44 (0)20-8391-7979 Tel: +39 02-254-3635/6 Tel: +82 (0)2-2637-0761 Tel: +86 (0)10-5170-9870

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Introducing next generation headend Media data mining WISI Communications

Sail Labs

By Ian McMurray Showing solutions and headend systems for high-performance cable and IPTV networks is WISI Communications. Highlights of the company’s appearance include two new next generation headend systems: Chameleon and Tangram.

The Chameleon headend solution, it is claimed, can migrate to any application and make the vital transition between the analogue and digital world, as well as between HFC and IP distribution platforms.

Modules can operate as receiverdecoder-analogue-modulator and be programmed to add IP streaming.

They can operate as Edge-QAM or Edge-PAL as well as IP Gateways for

By Michael Burns

Tangram is one of two new headend systems from WISI Communications

DVB-S/S2/T/C signals to feed a backbone and, at the same time, produce four QAM or two COFDM outputs for the local network. Additional modules linked via IP interfaces increase the processing capacity of the system, giving the computing capacity of bigger multiplexers, despite the low starting price.

The new Tangram system with its DVB-IP gateway and Edge products (Edge-QAM, Edge-PAL and EdgeFM) is cost-optimised for acquisi-

tion/aggregation as well as modulator functions to receive, aggregate, transport (via IP) and re-modulate broadcast TV into HFC and Fttx f ibre overlay networks. Tangram supports various encoding standards, as well as high density re-multiplexing. The system is said to be ideal for IPTV contribution and end-to-end IPTV-based video for residential customers in IP-only networks such as xPON, P2P, xDSL and DOCSISbased IPTV in HFC. 5.B25

Capture the 3D opportunity IBC2011 signals a confirmation that 3D is a key player in the future of the broadcast and production industry, says Christian Sokcevic, director of Professional AV, Panasonic Europe the demand for a new type of TV experience.

In this context, this year’s IBC signals a time when 3D has reached a level of acceptance that confirms it as a key player in the future of broadcast. Its specific applications are still being explored but we know for a fact that it is here to stay. We have already witnessed 3D taking centre

Christian Sokcevic: A whole new dimension opens up

The outlook for the broadcast and production industry is bright, driven by an ever-increasing demand for high quality, relevant content. Even in today’s multi-platform world where content is accessible on a variety of devices including tablets, smartphones, iPads as well as throughout the home, desirable content remains at the very heart of the viewing experience.

But content itself is undergoing something of a revolution – driven by the propagation of 3D. 3DTV has, quite literally, added a whole new dimension to the way we watch TV, at the same time acting as a catalyst for growth within the industry and creating a wave of anticipation among broadcasters and consumers alike.

This positive change will help to sustain the health of the industry for years to come. The broadcast community understands both the great potential that new types of content offer and the opportunities for growth that co-exist alongside. Correspondingly, there is a wealth of opportunity to create, distribute and commercialise fresh 3D content and to satisfy

stage at some high profile sporting events – Six Nations Rugby and the FIFA World Cup for example have been captured in the third dimension – and this year Panasonic’s endto-end 3D solution and collaboration with Eurosport provided live 3D coverage of the Roland Garros French Open to 17 countries. The successful uptake of Eurosport’s 3D coverage by

The Media Mining System from Sail Labs provides a new route for media intelligence and media analytics. Based on the Sail Labs speech recognition technology, the product creates metadata and key infor mation from multimedia sources in multiple languages.

The Media Mining Indexer component can process speech from multiple sources in various formats and produce annotated text output in realtime. The XML output is uploaded as input into diverse digital asset management systems for subsequent multimedia search and retrieval.

Technologies such as automatic operators Europe-wide testifies the attractiveness and huge potential of live 3D sports programming.

With this backdrop, it’s clear that appetite for 3D sports is on the rise.

And it’s no longer the case that 3D filming is a costly exercise. At Panasonic, we have worked hard to deliver the products and technology that overcome the traditional challenges of 3D. The broadcast quality 3D cameras on the market today such as the AG3DP1 offer the economic viability, flexibility, ease of use and high quality that will help to open up 3D to a wider professional audience and range of content applications.

As the 3D entertainment revolution gathers pace around the world, there is a need for companies to continue to focus on expanding their 3D prod-

speech recognition (ASR), speaker identification, named entity detection, topic classification, and story segmentation have been integrated in the system, and together produce comprehensively indexed text files from the media stream input.

Ve r s i o n 6 . 0 o f t h e M e d i a Miner Indexer features enhancements such as online acoustic adaptation, a SOAP Web-Service interface and improved gender identification (GID).

The Media Mining Server stores the indexed audio data processed by the Media Mining Indexer. Meanwhile, a GUI, the Media Mining Explorer, allows search and retrieval of relevant information from a user’s previously inaccessible multimedia database.

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Opinion uct line- up to cover the full range of filming and broadcast requirements.

The industry also needs to recognise the full potential in 3D and to realise the opportunities that it brings. As Panasonic continues to encourage more users to create passionate to grow the industry, more professional third party partnerships will help to make 3D more accessible, allowing the industry to maximise its return from 3D. Now is the time to capture the 3D opportunity.

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Soundscape puts you in the scene and accentuates the drama - dialogue is the centre of communication.

Consumers really get this. With HD content becoming ubiquitous, consumers are demanding a better audio experience now more than ever. The more engaging the visual experience, the more important it becomes to have accurately matched, immersive audio in creating a satisfying environment.

Currently the highest quality source of in-home entertainment content is the Blu-ray disc format. DTS is the leader in HD audio with 85% of Blu-ray discs encoded with DTS-HD 5.1 and DTS-HD master audio 7.1, which delivers superior sound qual-

ity – providing high fidelity and an excellent dynamic range. With new advances in audio codec solutions consumers can also enjoy broadcast and IP video with these advanced surround sound technologies on their home theatre systems.

DTS has further developed Neo:X which provides a semi-spherical sound field using an 11.1 or 9.2 speaker configuration adding height/wide speakers to create a natural, immersive, spacious and lifelike 3D surround soundscape.

Perhaps the biggest talking point at IBC this year is the need to address multiple platforms. Content might be created once and then ver-

sioned for everything from the IMAX cinema screen to the mobile phone.

This meets real consumer expectations, and gives the content creator new revenue opportunities, so it is clearly a vital issue. DTS’ Neural Surround provides a revolutionary new approach to surround sound production and playback. It enables broadcasters and telcos to create and deliver superior multi-channel surround sound using minimal bandwidth over stereo channels.

At DTS we have a scalable sound solution, which extends from Neo:X 11.1 for an immersive 3D audio experience, DTS HD Master Audio for lossless surround, to our DTS Neural technology which delivers incredible surround sound over an absolutely standard stereo infrastructure. Watch DTS Neural drive a jaw-dropping surround sound experience off your iPhone, it really does work!

Whether you are in conventional broadcast, IPTV, over the top internet television or radio, come along to the DTS stand, take a comfortable seat and enjoy some nice music. And

Adrenalin rush for Melita

back office and SeaChange VOD Managed Services.

Melita is also using a premium content offering with service management from SeaChange’s On Demand Group.

Simon Montanaro, CTO of Melita, commented: “Melita’s selection of SeaChange as its partner for integrated viewing solutions and on-

demand content ensures that Melita remains in the vanguard for delivery of premium video solutions and remains well positioned for the future as internet and traditional broadcast systems continue to converge.”

The SeaChange Adrenalin video back office – which the company is demonstrating at IBC – will provide an end-to-end management and

The home entertainment audiovisual reception experience would be nothing without good sound quality, says Leonard Lloyd, managing director and regional vice president, DTS It is easy, when walking about IBC, to be gripped by the visual side of our industry. Wall after wall of displays featuring bright, vivid, high definition video rendered through projection technologies, large screen ultra flat panels, 3D technologies, even holographic displays, all steal your focus.

Yet the actual home entertainment experience would be nothing without sound. While video capabilities may seek to steal the glory and limelight, studies have shown superior immersive sound greatly enhances the overall consumer entertainment experience. The soundscape puts you into the scene. Music builds moods

SeaChange International

By Ian McMurray Melita is the Republic of Malta’s leading television operator, and SeaChange International is provid-

ing it with a fully integrated solution of software, services and content to bring on-demand television to Melita’s user.

The company selected the SeaChange Express solution with the SeaChange Adrenalin video

Opinion

Leonard Lloyd: Perhaps the biggest talking point at IBC is the need to address multiple platforms

appreciate why, when it comes to delivering the quality of experience that will win and retain audiences, sound really does matter.

2.B50 delivery platform for Melita’s ondemand service. Adrenalin is based on an open service-oriented architecture to deliver a television experience that scales to serve millions of assets to any video device across multiple network types, either deployed in network or in a hosted model, as in this instance.

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Hassle-free transfer Integrated Microwave Technologies

By Ian McMurray The Nucomm Messenger system being showcased by Integrated Microwave Technologies (IMT) enables broadband IP connectivity between an ENG/OB/SNG truck or news bureau and the broadcast studio. The Messenger system takes account of a variety of changes in broadcast practice.

IMT points out that, with the deployment of video editing systems into remote vehicles or the bureau, the traditional workflow is rapidly shifting. In the new workflow, stories can be edited in the field and delivered to the studio over alternative networks. With an IP network, provided by the Messenger system, other applications can also run between the studio and the ENG

Joined-up thinking Harris

By Dick Hobbs To deliver workflow efficiencies, Harris is demonstrating strong interoperability between its software solutions. Long recognised for its playout automation products, at IBC the emphasis is on links with asset management, advertising sales and content scheduling systems, using the BXF protocol and other messaging layers.

Two automation products, the ADC and the D-Series, are being shown alongside Invenio digital asset management, and Broadcast Master, Landmark and Vision sales and scheduling systems. Harris claims that by integrating multiple products it can deliver greater ease of use.

The architecture of the systems means that some software modules in one application can be called by another application to simplify user operations. For example, a scheduler could be notified at the time of planning the transmission of a programme that the actual content is not yet available. This can only be achieved by linking in realtime into the asset management system.

Harris points out that it is the only major vendor which can offer automation, asset management, sales and scheduling without the need to introduce third party products. This, the company suggests, is the route towards faster return on investment since it allows the broadcaster to add new services and distribution channels quickly and easily.

7.G20/7.G23

vehicle, such as tools for remote cueing or remote truck control.

The Nucomm Messenger can be used in either Opportunistic Data Insertion (ODI) mode or broadband mode. In ODI mode, live video is

sent using the MPEG encoder, reducing the IP traffic to a rate in the range of 100 Kbps to 1 Mbps.

The ODI mode does this by replacing null packets within the MPEG transport stream with IP packets. In the broadband mode, nearly the entire link is dedicated to IP traffic.

The user either turns off the MPEG encoder or removes the video source

to the encoder, creating a transport stream nearly full of null packets. In this mode, the encapsulator

responds automatically to the changing network conditions.

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Nucomm Messenger provides IP connectivity for a host of broadcast applications

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Modular approach offers alternatives Snell

By Michael Burns Two enhanced approaches to modular infrastructure are being show-

cased by Snell. They include the new IQ3HB 3RU IQ Modular platform, which supports greater densities and greater throughput in a single space-saving frame.

The platform also accepts a full

complement of high-end processing modules from current and next-generation card types. An alternative mix of network interfaces can be produced for different applications simply by fitting an alternative rear

module. All IQ modules can be fitted in the new frame, while new

Snell’s new IQ3HB 3RU IQ Modular platform

IQ3HB frames can be seamlessly added to an existing RollCall network with current frames (IQ3H, IQ1H) and controllers.

Snell is also highlighting the opportunities offered by its IQ Modular 3G range of f ibre-optic interfacing modules. These combine electrical-to-optical conversion with critical processing functions such as video synchronising, audio embedding and audio de-embedding. These single-slot solutions provide users with an alternative to copper infrastructure and enable them to work with both coax and f ibre in planning costeffective HD expansion and 3Gbps (1080p) signal delivery. The fibre solutions can be fully integrated with Snell’s Centra control and monitoring platform for comprehensive monitoring of signal status.

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DMI installing Omneon MediaGrid Harmonic

By Ian McMurray Dubai Media Incorporated (DMI) – the official public broadcaster for Dubai and a major satellite TV broadcaster in the Middle East – is installing a Harmonic Omneon MediaGrid active storage system.

The new purchase will serve as central storage for the broadcaster’s first-phase archive project.

Harmonic says that the Omneon MediaGrid system – supplied by local dealer and integrator Tevido LLC – will not only provide fast, convenient access to media, but also allow DMI to take a significant step towards implementing fully f ilebased workflows.

“We needed a reliable nearline storage system capable of providing sustainable bandwidth that will best suppor t our present and future media flow,” said Hassan Chahine, corporate technology and engineering advisor at DMI. “This was an important decision for us, and we thoroughly considered several possible solutions before deciding to invest in the Omneon MediaGrid system. We’re confident that it will bring g reater eff iciency to our broadcast workflows, in turn making it easier for us to expand our operations and achieve an even wider viewer base.”

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Sport is a 360-degree operation Broadcasters are caught in a balancing act between mobilising a mass audience and catering to particular interests, says Nicolas Bourdon, marketing & communications director, EVS The media business is undergoing rapid change, which is creating demanding challenges for today’s content owners and broadcasters. Among these challenges are the partitioning of rights; the profusion of competing digital media platforms such as social media, online video as well as consumer-generated media; and consequently the emergence of multitask audiences, which have the dexterity to consume media on television while they are texting on their mobile phone or tweeting on their tablet device at the same time.

As a result broadcasters are increasingly caught in a balancing act between mobilising a mass audience and catering to the particular

interests of viewers just to keep their attention.

At EVS we have been attentive to these changes and have sought to enhance the capabilities of existing technology as well as develop new complementary solutions that help broadcasters to increase content value and facilitate the delivery of media across multiple platforms. During this year’s IBC show, EVS will present these new developments under one umbrella name called Sports360°.

Sports360° brings together all EVS solutions designed for the ultimate sports coverage. It guarantees increased content value with breathtaking live actions based on industry-

leading Slow-Motion and Ultra-Motion replays in 2 or 3 dimensions, instant graphic overlays for in-depth game analysis (also available in 3D) and advanced highlights factory tools.

With descriptive metadata or statistics associated to the content at the roots of its creation, EVS production content management aims to guarantee immediate access to enriched media at any moment in the workflow process, and for any purpose including archive management and web streaming.

The growing use of IT in the broadcast industry and the continuous changes in today’s production requirements are at the top of EVS’ attention. With a digital landscape

Free upgrade for Ninja ProRes users Atomos

By Carolyn Giardina Users of the Ninja ProRes HDMI compact f ield recorder can now receive a free upgrade to AtomOS

2.0. The Ninja debuted a year ago at IBC, turning heads with its lightweight design (it weighs roughly one pound) and list price of €795.

“Atomos is demonstrating its commitment to users with yet another free update,” said Jeromy

Young, CEO, Atomos. “With instant on-screen playback for immediate review of footage, instant clip navigation and new timecode settings, the Ninja is now the ultimate record and review tool while mobile during production. It’s all about battery life,

that is full of mixed media file formats from varying technology partners, it has become very cumbersome to exchange files, which negatively influences workflow efficiency. At IBC, EVS will present a set of new solutions designed to streamline news and production workflow operations as well as facilitate media exchange from production to delivery in any broadcast/IT environment.

The solutions include: increased NLE systems integration with a new Final Cut Pro plug-in to facilitate job requests and file exchange with EVS systems, and referenced proxy media exchange with Avid editors; an ITbased ingest server for tape and archive migration that supports new standard codecs such as XDCAM and AVC-Intra; new media rewrapping and transfer tool that guarantees full interoperability of media files during any step of a connected production workflow; new Lynx API and MOS gateway for full interoperability with all types of third-party systems such as Avid iNews, ENPS and Annova; and a portable storage device for unconquality and instant functionality at the time you need it – this product is now a truly portable deck in the palm of your hand.”

AtomOS 2.0 includes new features for advanced playback (i.e. touchscreen scrub navigation), along with improved file-naming (i.e. sequential clip naming) and timecode features (i.e. time of day

Opinion

Nicolas Bourdon: Facilitating media exchange

nected live to post production media import with a new streaming module which allows live streaming of up to 10 HD feeds at 100Mbps.

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timecode for multicamera shoots).

Young added: “We’ve listened and responded to feedback. With 2.0, we’ve proved the flexibility of our custom AtomOS, adding valuable features that are free for all Atomos customers. This process will continue as we constantly improve the AtomOS platform.”

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Central control for cross-media sales S4M

By Heather McLean The Central Sales Order (CSO) module from broadcast manage-

ment and production systems specialist S4M enables broadcasters to centrally control cross-media sales campaigns. Existing and new sales systems for diverse platforms can be combined, while clients are able to

deal with joined advertising campaigns for TV, mobile devices, the internet and more.

S4M is also highlighting the availability of spot optimisation engine S4AdOpt as ‘software as a

service’. The module is said to enable broadcasters to reduce the over-delivery of manual GRP bookings.

Other developments under the spotlight include the S4M Video Production Management System (VPMS) and the availability of version 2.0 of studio production tool ClipJockey.

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Meaningful metadata Sony

By Adrian Pennington More details have been released about XM Pilot, the new metadata system from Sony. Compatible with XDCAM EX and XDCAM HD 422 camcorders as well as the PMW-F3, XM Pilot uses a compact Wi-Fi module or cable to stream proxyquality video and audio as it is captured to a dedicated app on a laptop or handheld device with a delay of just a few seconds.

The system has been trialled by TalkbackThames on BBC2 series Escape to the Country and is claimed to have reduced logging time in post by several days.

Buttons representing metadata categories appear in the app’s interface for as-live logging input. Data is then returned wirelessly to the camcorder and embedded in the MXF video file stored on the camcorder’s optical disk or solid state memory.

This metadata can be referenced in the MXF production workflow.

The proxy-resolution video and audio with metadata can also be relayed back to a production office using the smartphone’s own mobile data connection. This is particularly beneficial to news crews, which can be sent story slugs direct from the newsroom for material to be rapidly put on air, edited or ingested.

“Instead of writing pieces of crucial information such as timecode or story name onto slips of paper in the field, wouldn’t it be so much simpler if footage could be linked with metadata at source?” asked Sony Product Manager David Young.

“The XM Pilot metadata management system does just this. Working with a range of smar tphones – including Sony Ericsson Xperia Pro, Android and Windows Mobile phones as well as iPhone, iPads and laptops – a production assistant can input data wirelessly and live.”

XM Pilot automatically captures timecode, lens and camera data, but also permits descriptive and story planning information. Producers can set templates at the outset of production which can then be filled in as the scene is being shot.

The new system is one of a new breed of tools bringing metadata management into production. A number of lens manufacturers have added sensors to capture essential positional information which, when synced with the pictures, can be of immediate onset use by DPs or can speed up the creation of VFX shots in post.

“People are waking up to metadata because they are finally seeing it add value,” said David Peto, CEO, Aframe. “Many producers never saw the point of it but when they see how it can be used properly, metadata can genuinely save and make them money.” Hall 12

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New DVB-S/S2 modulator Work Microwave

By Ian McMurray The new generation DVB-S/S2 modulator with multistream tech-

nology has been introduced by Work Microwave. The company is also showcasing its enhanced IP-modem with powerful user interface and additional power supply for BUCs. A live demonstration of the

company’s enhanced IP-modem and an interactive test-bench set-up are a l s o t a k i n g p a r t o n t h e Wo r k Microwave stand.

The company’s latest, new-generation DVB-S/S2 modulator features multistream technology. The high-speed modulator with up to six multistream inputs, 50-180MHz, and/or L-Band output (950-

2150MHz) is said to be suitable for f ixed satellite ground stations as well as for SNG vehicles, fly-aways, or any other mobile or portable applications. The product supports DVB-S2 transmissions in variable coding and modulation (VCM) mode to ensure the highest transmission throughput at all times.

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Q&A

Dr Manfred Heinen, CEO, S4M – Solutions for Media Has IBC come at a good time for the electronic media industry? Why? IBC is the number one European market place for the electronic media industry. We meet the right people and can show in what ways our software systems can help broadcasters. So yes, the time is right – if you want to approach customers actively, Amsterdam is the place to be.

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

S4M’s market sector is software and we focus on broadcast management systems and media asset management. For broadcasters it becomes more and more important to have easy yet effective solutions that either help to cut costs or to increase revenues.

For example automated spot optimisation makes it possible to reduce the over delivery of ‘manual’ GRP-bookings dramatically while keeping – and even improving – customer placement preferences. Or simply said: using less airtime opens up the opportunity to generate additional revenue. And this functionality can be offered as Software as a Service (SaaS).

Why should delegates visit your stand at IBC? S4M presents all the management software a broadcaster needs to run a TV station or network. At our booth visitors can find sophisticated solutions for Channel Management and air-time sales as well as production planning and MAM. All of this combined with most modern technology and important subjects like Service Oriented Architecture and SaaS. And additionally you will be able to meet a dedicated team; openminded professionals who listen to customers and enjoy doing their job. A lot of reasons to come around at our booth... 3.B26

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Meeting today’s OB lens challenges What kind of demands can lens manufacturers expect to see from the increasing number of sports TV outside broadcasters, asks Ken Koyama, director, Canon Europa, Broadcast Division

09.09.2011 With the increasing number of sports channels and the ever-increasing requirement for HD coverage, outside broadcasting is expanding on several levels. Viewers’ expectations have also become higher. Consequently, broadcasters are continually trying to capture more powerful and exciting shots by using unique tools like the very high crane Spider Cam, extra

Opinion

Ken Koyama: Launching a new field lens at IBC

powerful zoom ratios and more recently, Auto Focus.

For OB events, lenses and cameras are normally set up a day in advance. To make working life easier, operators prefer lighter equipment for carrying and setting up. Over a day’s shooting, it’s important to reduce inertia. So the preference is to operate a field lens with a shorter length.

At Canon we have been receiving an increasing number of requests and demands for more powerful zoom ratio lenses that weigh less, in a more compact size. And while the tele side used to be the most important feature, this demand has been superseded by considerations regarding size, weight, wide angle and effective image stabilisation.

Shots from a high crane are often subject to strong wind conditions, especially, in sports such as golf. I recently watched live golf coverage and noticed how stable the shots were from the high crane, which could only have been achieved with image stabilisation. In fact, for the really powerful zoom field lenses, an effective image stabilisation system is absolutely critical.

It is always a challenge for lens manufacturers to increase the zoom ratio without increasing length and weight or sacrificing the optical quality or iris speed. Yet we have continually managed to achieve this over the years.

That’s despite challenges such as wider angles which require larger diameter glass with consequently more weight gain. Ghosting needs to be kept to a minimum and condensation too, particularly where there is a big difference in temperature and high daytime humidity.

Precise adjustment of the focus is another essential that must be taken care of, especially for the slow motion image. All of these are challenges that Canon continually strives to overcome and improve upon.

At IBC this year we shall be launching a very important new field lens, based on an intensive research and development programme combined with a major evaluation of the demands and requirements of broadcasters. I think this lens answers many, if not all, of these demands and I recommend if you are in the outside broadcast market to come and visit our stand for a demonstration and talk to our sales and technical staff.

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Smarter, quieter, faster pan/tilt head Telemetrics

By David Fox The PT-RM-1 pan/tilt head from Telemetrics offers 360° movement, a belt drive system for fast fluid movement, and a wide range of p r og r a m m a bl e f e a t u r e s f o r automatic operation. The newlyintroduced product can also be adjusted manually.

The pan/tilt head allows motion through a sequence or motion record playback, and its variable operating speeds include a velocity range of 0.005° to 90° per second, an acceleration speed of up to 180° per second with 3.6 arc-sec accuracy, and a stopping accuracy of ±15 arc-sec. It

is available with a slip ring option to allow continuous 360° rotation.

Multi-axis control includes pan, tilt, zoom, focus, track, Televator, dolly, iris and master pedestal. Up to 255 pre-sets can be memorised, while the pre-set recall function features an on-the-fly time parameter to enable all axes to start and stop simultaneously using pre-programmed acceleration parameters.

Robotics controls are via RS-232, RS-422 or 10/100 BaseT Ethernet.

Control of the lens is analogue or digital. Power is provided from a 48v DC source, with a DC-DC converter providing the appropriate levels to power the pan/tilt head, camera, lens, optional teleprompter and other auxiliary robotic devices.

A serial camera control interface for most Sony, Panasonic, JVC, Ikegami and Hitachi cameras is available.

To assist in managing cables, the PT-RM-1 offers provision for har nessing power, serial/Ethernet control, video, genlock and prompter video cables at the base of the pan/tilt unit. The tilt yoke provides a direct interface to the camera, lens and optional teleprompter to avoid twisted cables when the unit is rotated. The PT-RM-1 may be installed upright or inverted and can support a dynamic load of up to 16kg. 11.F45

Datavideo’s SE-2800 switcher

New 12-channel switcher Freedom of movement: Telemetrics’ PT-RM-1 pan/tilt head

Plug-and-play for multiple screen formats Viewcast

By Anne Morris Plug-and-play capabilities that enable users to quickly capture and stream premium quality audio and video to IP and mobile networks in multiple formats and at multiple bit-rates – all simultaneously – are being showcased by Viewcast at this year’s IBC. Featured product the Niagara 7550 offers a touch-control interface that streamlines and simplifies operation. A high-resolution

widescreen monitor on the front panel displays captured video, and multi-segment LED meters and a headphone connection are provided for audio monitoring.

The Niagara 7550 accepts standard or high definition video through its SDI interface, and can switch between HD or SD sources without having to re-initialise the system.

An SDI loop-out is also provided to facilitate workflow. Audio inputs include analogue stereo (balanced and unbalanced), two channels of AES/EBU, and eight stereo pairs of embedded SDI audio.

Viewcast Niagara 7550 offers a touch-control interface for streamlined operation

The system also includes ViewCast SimulStream technology, which enables a single video source to generate several video streams at once, with each stream con f igured differently for laptops, cell phones or mobile devices. It allows simultaneous streaming

in many popular for mats, such as Windows Media (Silverlight), Flash and H.264, including live streaming to Apple iPhones and iPads. The Niagara 7550 also suppor ts 3GPP and 3GPP2 for mobile applications.

13.119

Modular digital test and measurement more compact Hamlet

By Michael Burns The DigiScope DS900 is a new addition to the test and quality control market from Hamlet. The launch follows the company’s move to redevelop its digital modular test and measurement platform into a more compact form factor.

Consequently, four modules can be packed into the half-width 1U cabinet, performing multiple tests on four independent signals. The motherboard includes a multi-view display of associated parameters, putting the quad display on a DVI or XVGA monitor for maximum flexibility.

Modules are available for analogue and digital inputs, SD/HD/3G with and without eye pattern testing, and a test signal generator with measurement inputs. Confidence monitoring and audio demultiplexing is available on any input.

The unit uses three touchsensitive iScope displays, enabling one-touch movement of the traces and cursors. Alternatively, it can be controlled as part of a managed system over IP. The software in the processor platform and individual modules can be updated online when required.

“Good signal management, especially in production areas, is still fundamental to broadcast

Hamlet’s DigiScope DS900 is a modular system that can be tailored to the requirement

By Anne Morris Visitors to the IBC Access stand will be able to see why it is experiencing increased traction in the HbbTV (Hybrid Broadcast Broadband TV) browser market as

HbbTV widens its deployment base throughout Europe. Access reports that shipments of set-top boxes and DTVs powered by its NetFront Browser DTV Profile HbbTV edition continue to increase.

Access-powered HbbTV set-top boxes and DTVs are now available in Ger man retail stores, while

The latest addition to Datavideo’s line of digital switchers, the Datavideo SE-2800 is a 12-channel 10-bit broadcast quality digital video switcher.

The input signals support both high and standard definition.

The SE-2800 inputs can be reconfigured into HD-SDI, SD-SDI, CVBS and HDMI. The output is simultaneously HD and SD-SDI. Expected to ship in early 2012, the SE-2800 switcher offers 1920x1080 HD quality, as well as features including two-channel DSK, logo insertion, clock, countdown timer, two PIP displays and PC remote control.

The switcher has a separate rack-mountable processing unit and could, for example, be built into an outside broadcast van.

7.D39

Getting Flash graphics In cooperation with Adobe, VidiGo has developed a dedicated Flash Player that is part of a new version of VidiGo Graphics. The player allows users to design their own interactive broadcast projects based on Flash, which are then rendered and output in realtime.

“High end broadcast graphics can now be built on true open standards,” said Hans Krouwels, CEO of VidiGo. “The power of Adobe Creative Suite, in combination with VidiGo Graphics, will change the workflow of professional broadcast graphics. Every broadcaster can now tap into the already available creative Flash Community to realise the most advanced graphics at substantial lower costs and in a minimum of time.”

VidiGo is also featuring version 4.0 of its VidiGo Live production system, while Netherlands-based Eyeworks is scheduled to demonstrate its use of VidiGo Works 2.1 as a user case study in the Production Village.

7.H30

Filters gain power quality,” commented Steve Nunney, director of Hamlet. “Our customers told us that they needed to be able to have this monitoring constantly available, so in the new DS900 we

have given them a practical, usable and affordable piece of equipment with precision and stability they can rely on.”

9.D10

HbbTV proponents outline their global ambitions Access

In brief

Access is also behind the f irst HbbTV service in France, with French broadcaster Normandie TV choosing HyperPanel Lab’s HbbTV terrestrial set-top boxes powered by the Access HbbTV browser for its pilot services.

Vestel is the ODM for three major European TV brands that are

using Vestel’s HbbTV set-top boxes and iDTVs powered by the Access NetFront Browser DTV Prof ile HbbTV edition.

STB middleware companies in Europe are also using Access’ HbbTV browser as their browser of choice, including Cabot, S&T and Logiways. 13.115

PeakPower+ filters and combiners that can safely sustain the very high peak power requirements of digital television (DTV) are on show today.

The PeakPower+ filter range from RFS was launched last year and now features a selection of five filters that are said to satisfy every demand.

The range now comprises the 500W, 1kW, 2.5kW and 5kW filters, plus a new 8-pole-filter. They feature a compact design that makes it easy to integrate them into existing equipment, plus a very low insertion loss and the highest power rating. RFS claims that this enables broadcasters to experience fewer system shutdowns and increased revenue through the safe addition and diversification of digital channels and services within their existing infrastructures.

8.B34

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09.09.2011

Sophisticated video content evaluation Snell

By Michael Burns A new way to monitor the integrity of content throughout the broadcast infrastructure is being introduced in the form of the dedicated QC Engine powered by Hyperion.

Snell claims that this is the f irst time a broadcast monitoring Hyperion QC Engine offers a new way to monitor content integrity

Features aplenty for playout solutions Oasys

By Michael Burns Celebrating 20 years in the business, Oasys is unveiling some key new features for its IT-based automated playout solutions. The company is also showing a full playout solution running on a laptop computer.

TimePlay is the first of the new features for the automated playout solution. Using a unique combination of automatic event refresh on a playing event and time delay event synchronisation, a single operator

can perform different local insertion on multiple systems, insert streams from multiple live sources, and create files on the fly for playout. As well as supporting Teletext and Open Sub-titles, the Oasys system now supports DVB and streaming outputs, enabling users to play subtitles directly out of the playout system.

Another new feature is Audio Shuffling, which allows users to move the audio tracks between outputs depending on which language is required for which output, either from a schedule, metadata or the Quicktime reference file.

Additional new features include multiple live inputs with selectable sources and up to four picture-inpicture; customisable AS-RUN logs; Evoxe integration; and multiple channels in one box, enabling clients on smaller budgets to have more than one playlist running in a single system.

Further enhancements to the Oasys modular system include QT reference file playout and file management; new file format support, including GFX f iles; and redundancy manager automation.

8.B38d

Primed to deliver brighter LEDs Lowel Lighting

By David Fox The first lights in the new Lowel Prime LED range, the 200 and 400 fixtures, will be available for delivery after IBC. The new offers are claimed to be brighter than similarly sized production LEDs, and also offer a wide 50°-beam angle, making their output easier to use.

Outputs are 4870 and 7095 Lux at 0.9m for the 200 and 400, res pectively. The lights are compact at

44.9 x 38 x 8.9cm and 6kg for the 200 and 63.3 x 38 x 8.9cm and 7.9kg for the 400, both including the C clamp. The kits also include a gel frame and three safety cables.

All models are available in daylight or tungsten colour temperature with a colour rendering index of more than 91. Manual dimming is included as well as DMX control. All models run from 90-240v AC , a r e q u i e t w i t h f a n l e s s operation, and are available with a hanging C-clamp or for stand mounting. Accessories include

By Michael Burns

with video and audio applications in mind, offering inherently low latency and highly accurate time synchronisation capabilities. With 10 Gbps of full-duplex bandwidth per channel, it simplif ies the

Thunderbolt I/O technology in the Promise Pegasus line of hardware RAID storage systems is set to provide a high-speed performance boost for rich media workflows.

Pegasus is being demoed on the Promise stand as a four-bay or six-bay RAID enclosure, supporting seven RAID modes including RAID 0, 1, 5, 6, and 10.

The Pegasus system features two Thunderbolt Technology ports, an aluminium enclosure in a small form factor, and a smart Promise’s Pegasus is described as the fan for reduced system noise.

Intel’s Thunderbolt technol- industry’s first hardware RAID system with ogy was specifically designed Thunderbolt technology

regions, and AFD detection and comparison.

Other new products being showcased by Snell include Kahuna 360, the multi-format (including 1080p) production switcher. The company said that the switcher breaks away from the tradition of fixed M/Es and supports many simultaneous productions from a single frame.

Snell is also providing a demo of the Morpheus/Screentoo ‘second screen’ application, which allows media and broadcast organisations to distribute and monetise their branded applications to iPad tablets and other mobile platforms.

8.B68

4K camera prototype JVC

By David Fox A new prototype 4K camera from JVC uses the world’s f irst largescale integration (LSI) chip for high-speed processing of high definition video. This technology is set to be integral to the next generation of JVC camcorders.

The company’s first professional 3D camcorder, the GY-HMZ1, features an integrated 3D twin-lens design, enabling simultaneous recording of left and right images in full 1920 x 1080 resolution.

JVC is also highlighting a new 32-inch 3D display for medical and broadcast use, a 24-inch 3D production monitor and an upgraded IF2D3D1 image processor, now with the ability to control both positive

Full resolution 3D: JVC’s GY-HMZ1 camcorder

and negative parallax. Its DT-V range of professional production monitors has also been extended, with two new 17-inch and two new 21-inch monitors.

For digital signage, the company is demonstrating the latest version of its TV-Tools software, which includes design, scheduling and play-out tools for the creation and display of multi-media, multiformat presentations.

10.D41

Plug-in and play for HD TV Exterity

By Anne Morris Wide beam: The Lowel Prime LED 200 and 400 models from Lowel Lighting

barn doors, honeycomb grids and front diffusers.

11.D36

Media workflows on a winged horse Promise

system will evaluate the content of a video signal, rather than measure the absolute technical properties of the signal.

This facility will, says the company, allow broadcasters to realise more sophisticated multichannel monitoring and signif icant new p r o t e c t i o n s wh e n d e l ive r i n g premium, high-value content.

Additional features enable remote m o n i t o r i n g ove r I P v i a v i d e o thumbnails, audio level metering and metadata monitoring. It also offers content identification from source to output using Program Identif ication (PID) and UMID data insertion, multiple detection

end-user experience by concurrently supporting data (PCI Express) and display (DisplayPort) connections over a single cable.

The Promise stand is also featuring the new VTrak x30 RAID sub-system, a scalable 8G Fibre Channel storage sub-system designed to provide round-theclock enterprise-class availabili t y. Powe r e d by I n t e l X e o n C3500 Series processors and optimised to work within a Mac OS X environment, the VTrak x30 Series offers up to four times more performance than the previous generation of the VTrak system, delivering up to 5.5GBps for reads and 2.2GBps for writes.

9.A33

The new AvediaPlayer Plugin and the AvediaPlayer Viewer are being demonstrated by Exterity for the first time at IBC this week. The latest developments promise extra benefits for the distribution of HD TV content across an organisation’s IP network.

Exterity said these latest additions to the AvediaPlayer PC player product suite extend the level of third party application integration to include a range of popular digital signage solutions (AvediaPlayer Plugin), and Windows Media Player and the Microsoft Office product suite (AvediaPlayer Viewer).

The company added that the products offer organisations the benefit of live HD TV content for dissemination across their IP networks – without the need for a costly additional distribution network just for AV content.

The AvediaPlayer Plugin allows organisations to use live TV and video feeds to implement engaging and customisable digital signage for distributing visitor information and advertising content across a building

or campus using the IP network. The AvediaPlayer Viewer offers integration capabilities supporting delivery of live HD TV and video streams via PC desktop applications.

“The AvediaPlayer Plugin and AvediaPlayer Viewer both directly address the growing market expectation for HD content without the need for expensive network investments,” said Colin Farquhar, CEO of Exterity “We are quickly becoming a content-rich society, a n d o rg a n i s a t i o n s n ow r eg a r d accessing video content in the workplace as a necessity rather than a luxury.”

The AvediaPlayer Plugin and AvediaPlayer Viewer will both be available in early Q4 2011.

13.335

Exterity has boosted third-party application integration with the latest additions to the AvediaPlayer suite

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Visit Lawo at the IBC 2011 Amsterdam, September 9 – 13, Hall 8, Booth C71

92 theibcdaily

09.09.2011

Hire co increases SprintCam stock

Against the clock: an Editec I-Movix SprintCam used for show jumping

I-Movix

By David Fox UK broadcast production and hire specialist Editec now has the largest fleet of I-Movix SprintCam ultraslow motion systems in Europe.

The announcement emerges in the wake of a recent purchase of multiple units.

“Since taking delivery of our first SprintCam systems in 2008, we’ve used them in a wide range of conditions and for events as varied as equestrian sports, athletics,

speedway and hip-hop dancing – all with great success,” said Editec MD Steve Cotterill.

“This latest order is a response to sharply rising demand as broadcasters have seen what SprintCam is capable of. Technically the system has performed well – it is truly a plug-and-play device. Tally and full talkback facilities and dual outputs (live/replay) enable the camera to be used live at any time, and a senior vision engineer was recently heard stating ‘this is the best picture quality I have ever seen from a highspeed camera’.”

The latest addition to the SprintCam range is the Phantom-powered SprintCam Vvs HD, which can operate at frame rates up to 2,700fps in 1080i50 or up to 5,800fps in 720p60 (more than 200 times slower than live action), with instant replay at native HD resolution and image quality.

11.E60

Video capture cards offer versatility Viewcast

By Anne Morris The Osprey 260e and Osprey 460e video capture cards from Viewcast are said to be ideally suited to broadcasters, enterprises, governments and OEM system integrators looking for reliable solutions for a wide range of applications. Viewcast is exhibiting the cards at this year’s IBC. Webcasting, live streaming, podcasting, mobile TV, video on demand and/or surveillance are among the suggested applications for the latest capture cards.

Both the Osprey 260e and 460e optimise the PCI Express (PCIe) bus architecture to unleash the power of modern multi-core PC engines with unfettered access to all PC resources. This capability means more power for the most demanding streaming applications. They are designed to work with industry standard media encoding applications, including Microsoft Expression

Viewcast is offering more power for the most demanding streaming applications with its latest video capture cards

Encoder and Adobe Flash Media Live Encoder. By adding SimulStream to either card, users can encode content in multiple formats, bit-rates and resolutions simultaneously, from a single video source.

Mix and match for fibre Communications Specialties

By Michael Burns The new Fiberlink FlexPOD is a configurable passive optical signal distribution system for the creation of up to four different and independent optical coarse wave division multiplexers (CWDM), wave division multiplers (WDM) and/or splitt e r s in 1RU. Th e s y s te m, s ay s Communications Specialties, Inc (CSI), offers broadcast engineers unrivalled optical signal distribution flexibility.

FlexPOD can be configured with a CWDM to multiplex up to 16 optical signals on a single fibre, four WDMs to multiplex eight signals onto four fibres, four optical splitters to split four input sources onto 16 f ibres, or any combination of CWDMs, WDMs and splitters.

CWDM and WDM signals can be transmitted in any direction, wh ile Flex PO D can b e u sed upstream, midstream or downstream. CWDM options operate with single mode fibre and WDM and Splitter options function with single mode or multimode f ibre.

The Osprey 260e provides one channel selectable between composite, component, or Y/C video and balanced or unbalanced audio in a low profile form factor, suitable for compact system enclosures. The Osprey 460e card is designed to simultaneously capture four independent channels of analogue video and unbalanced stereo audio signals and process them independently, minimising internal PC space requirements.

The channel density offered by the Osprey 460e is said to dramatically reduce total system cost by increasing the capture capacity within a single system.

The 460e A/V option also provides additional video inputs and four stereo balanced audio inputs to the rear panel connectors. The optional video inputs include the selection of component or Y/C (SVideo) for each of the 4 channels or 3 additional composite inputs for a total of 16 switchable composite inputs per card.

13.119 FlexPOD requires no power to operate and can be equipped with ST or LC connectors.

“Fiberlink FlexPOD offers broadcasters the ability to maximise their fibre optic infrastructure by multiplexing multiple signals in any direction onto a single fibre optic core,” said Paul Seiden, director of Sales for CSI. “Additionally, they can split their sources into multiple optical signals for point-to-multipoint signal distribution without the need for multiple transmitters or distribution amplifiers. Best of all, they can do all of this with one customisable unit; no need for multiple pieces of costly hardware-consuming rack real estate.” 8.A15

Charity bike riders roll into Amsterdam for IBC On 3 September a team of dedicated cyclists set out to ride the 300 miles in 24 hours to the RAI in Amsterdam for the IBC show. After 18.5 hours in the saddle they made it, sore, very tired but elated to have been able to raise money for the Vision Charity, the TV industry charity that gives blind and visually impaired children a better chance to succeed in life.

The full list of riders for the one-day challenge is: Ciaran Doran, Harris Corporation; Joss Armitage, Jump PR; Chris Blakeston, Audio Network; Darren Whitehead, IBC; Karl Stone, PieroFC; Simon Tillyer, TV Bay; Matt Robbins, TV Bay; Matt Upton, Arris; Anthony Harrison, Calrec Audio and Mark Hallinger, TV Technology Europe/Asia. There was an additional ride that split the journey and taking part in that were: Jonathan Cooper, NEC Display Solutions; Clare Bell, ASP and Nick Pannaman, JCA TV. Over 1.5 hours of the ride was streamed live courtesy of a LiveU LU60 cellular uplink backpack unit – supplied by UK distributor Garland Partners – that used 3G connectivity to stream the images to the website. Media Freedom and ProBand’s technology and expertise was also vital, while Media Kinnon’s editing skills will pull the highlights together for later viewing.

Donations can still be made and are very welcome. Please donate online through the team JustGiving page: www.justgiving.com/IBC2IBC-Team.

The Watford way for BSI

Tony Valentino has joined BSI to help lead its new UK office in Watford

Broadcast Sports Inc

By Michael Burns Dave Remnant and Tony Valentino have joined Broadcast Sports Inc (BSI) to lead its new UK off ice located in Watford, Hertfordshire.

Headquartered in Hanover, MD, USA, BSI supplies RF-over-fibre

systems, cameras and audio systems for dry hire to production companies for news, sports and other events throughout Europe and Asia.

Business development director Dave Remnant has almost 20 years of experience in the broadcast media and electronics manufacturing industries in the UK, where he is best known for his role as sales director with wireless camera systems manufacturer Link Research.

Engineering director Tony Valentino comes to BSI with two decades’ experience supplying wireless camera systems and services to the global broadcast market.

“We are very excited with the opportunities available in the European and Asian markets. We are building a great team in the Watford office,” said Peter Larsson, general manager of BSI. “I am convinced that with our people in place in Europe and the cutting edge technology we can supply, we can undertake any project, anywhere in the world and deliver a superior, competitive product.”

9.A46

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Helping make informed decisions about future technology directions

New window for future of public broadcasting EBU Research

By George Jarrett The European Broadcasting Union (EBU) has teamed up with the research company Futuresource Consulting to give public service broadcasting a window on its troublesome future.

Announci n g P r o je c t Fa ir Exchange, for which EBU members will provide company-specific data on a confidential, aggregated basis, EBU technology and development director Lieven Vermaele told The IBC Daily: “We continuously look for ways to help EBU Members make informed decisions about which technology roads to take. It should also help our membership and the wider industry to understand where and how to make large investments; how to manage costs; and, how to exploit opportunities such as opening up extra revenue streams.

“This is an ambitious project, and something of an experiment, but it’s well worth it. If it is successful, it can become a yearly event,” he added.

The project teams up the EBU’s internal statistical information team with Futuresource. What are the unknowns that Vermaele wants to identify?

“We are looking for trends and tendencies. Where is their investment going? Is it in ingest, high-end content production, post production, archiving, generic IT systems, cloud computing, streaming? What are they looking for? What do they believe will be important? What are their experiences with vendors – good and bad? Issues should be unearthed which should lead to a better service from vendors,” he said.

Can EBU members be trusted to share the secret information required.

And why not widen the research into commercial broadcasting?

“At no time will company specific information be revealed. This is the only way this could work,” said Vermaele. “Personally, I think it would be benef icial to include non EBU Members in the survey, but this is something we will discuss with our members and with Futuresource. Don’t forget that this could be just the first of many successive surveys.”

Project Fair Exchange is purely an EBU initiative, but Vermaele pointed to a jointly run conference with SMPTE, set for Geneva in May. “At this summit we will try to project ahead to the next five, 10, and 15 years in the media markets, he said. “We plan to invite the best and most accurate ‘gurus’ to help us identify what media organisations will look like in the future, and what the EBU should be doing to remain relevant.

“Figures like Leonardo Chairiglioni have agreed to come and pontif icate, so we are very excited about the outcome,” he added. If we have results from Project Fair Exchange which are striking and relevant, we could present them at the summit.”

Emmy win for AFD technology: The DVB, led by Peter Siebert (pictured), is being honored by the National Academy of Television Arts and Sciences as the recipient of a 2011 Technical/Engineering Achievement Award. The Technology & Engineering Emmy Award is in recognition of DVB’s outstanding work in the Pioneering Development and Deployment of Active Format Description Technology and System. It will be presented at the Awards Ceremony, which will be held on Thursday 12 January, 2012 as part of the International Consumer Electronics Show (CES) in Las Vegas.

Active Format Description (AFD) allows the broadcaster to control how images will be displayed on screens with different resolutions such as 16:9 or 4:3. AFD consists of a standard set of codes embedded in the MPEG video stream providing the necessary information so that a receiver can present the content in the appropriate format and also identify the relevant area of interest to be displayed.

1.D81

Scott outlines global growth vision Harris

By Dick Hobbs “My mission is to grow the international business,” declared Richard Scott, vice president of international sales and service at Harris. Regarding “the share in the market there is still much for us to do,” he said. “Forecasters are predicting growth in the broadcast and media market of 4-5% – we want double that.”

According to Scott, while Harris traditionally found the majority of its business in its home market of North America, in the last year the company has reversed that. More than half its business now comes from the rest of the world. “Our plan is to push it to 6%, and even 70%,” he said.

The recently published IABM market valuation study suggests that the market recovered by six per cent in 2010. Harris’ latest financial year ended in June 2011 so reflects more of

Richard Scott wants up to 70% of Harris’ business to come from non-US markets

the swing out of recession, but according to Scott, “Harris had an amazing year. Measured across the entire business we grew more than 20%. Our four international markets – outside North America – were all strong. We achieved 115% of plan in Asia, and virtually the same in Latin America.”

Invited to consider how that success was achieved, he suggested that it came from systems sales in workflow and automation. “Product categories are becoming commoditised, and we end up competing on price,” Scott said. “We are working closely with our channel partners, driving them harder, and supporting them with demonstration stock, support and training. We want them to focus on product sales, where local support is important.”

He pointed to servers as an area where the company has enjoyed particular success recently, adding that Harris was “taking market share from other leaders. And customers come to us for servers, then see that we have the automation and asset management too.”

Although Harris has used ‘one solution’ as a marketing message recently, Scott was keen to emphasise that he did not see the company as a one-stop shop, and that strategic alliances were a useful way of working.

Free Shorts at the show: At IBC AmberFin has announced the launch of a free, non-vendor specific, educational programme that is delivered to your email in-box, targeted at professionals working in the broadcast and electronic media industries. Called Bruce’s Shorts, the programme consists of a series of weekly video shorts and monthly in-depth webinars covering a range of industry topics including: how to avoid the common mistakes when migrating from tape-based to file-based workflows, to ‘the secrets of metadata’ and ‘which is the best HD format for your facility’. The programme has been developed and will be led by Bruce Devlin, AmberFin’s chief technology officer and co-author of the MXF specification. Devlin brings 25 years of experience working at the leading edge of the broadcast industry, working on standards committees, designing products and developing software algorithms that help organisations create content effectively and efficiently.

7.J15

Multimillion HD upgrade The Associated Press is getting ready to begin a massive international rollout that will involve switching over its entire newsgathering, production and distribution systems to HD. The completion date for the project is set in time for the 2012 London Olympics and the US presidential elections.

“We believe that 2012 will be the tipping point when a majority of international TV news markets will want pictures in high definition. The transition to HD is part of the multimillion dollar transformation of AP’s video business,” said Daisy Veerasingham, senior VP and business development & partner relations, EMEA and Asia, who will lead the upgrade effort.

“This initiative is about expanding our global video coverage while

upgrading our newsgathering infrastructure. So as well as getting the strong content AP is famous for, customers will also now have choice about how they receive that news content.”

The plan includes upgrading cameras, and mobile and portable satellites to HD; enhancing backhaul capabilities to handle HD signals, and implementing new editing and transmission technology in its video news bureaux.

All AP video news bureaux will handle HD, with key locations set to undergo significant upgrades. This will include HD master control rooms in locations including London, New York and Washington.

The phased approach to the project begins with entertainment news in November, followed by SNTV in January. As part of the project, AP’s video archive will be upgraded to handle HD and file-based delivery.

7.D30

“We have a partnership with Sony for outside broadcast trucks, for example,” he offered.

To ensure further growth, Harris has to be seen as a global player with a real regional presence, Scott said. “We are putting support and service into the regions. We have just doubled our off ice space in Dubai, for example, and we now have manufacturing facilities for transmitters in Brazil, Russia and China – near our big customers.”

With a global viewpoint, how important is a global event like IBC? “IBC is definitely the right venue,” Scott said, before wondering, “but have we passed the sell-by date of putting a complete set of products on a stand? I see IBC as giving us time with our customers, time to sit down and talk about their projects. As a networking environment, and as a place to do business, it is still invaluable. But we do make sure that all the sales guys arrive with full diaries.

“We have a limited marketing budget like anyone else,” he concluded, adding “but IBC is important and we will continue to support it.”

7.G20/7.G23

Opening up the Vault: The new Codex Vault series is making its European debut. This laboratory solution is designed for dailies review, deliverables production and archiving, and supports digital cinema cameras made by RED, ARRI, Aaton, Sony and other leading manufacturers.

A fully featured Vault is a standalone solution fitted with Codex’s new Transfer Drives. With the ability to support all of the most popular professional cameras, the Vault provides a single, standardised workflow. It also has the capability to produce deliverables in all formats required for dailies review, post production and archival purposes.

ARRI (11.F21)/Band Pro (11.F40)/ Assimilate (7.H11)

AP

By Carolyn Giardina

Whatever your journey.

Sony Interactive Seminars Friday 9th September Whatever your business aspirations we have the solutions to make your journey easy, valuable and engaging.

Believe Beyond HD

Add value to your journey by dropping in to one of our free seminars. This year at IBC we will be hosting daily sessions covering a range of topics in the Sony Experience Theatre. These interactive seminars will provide advice and information on getting the most from your Sony equipment, as well as giving you updates on Sony’s latest technology.

Friday 9th September 2011 11:00 - 11:45

Sony F65 & open file-based workflow

12:00 - 12:30

3D Production Tutorial

15:00 - 15:45

Sony F65 & open file-based workflow

16:15 - 16:45

My Experience of the NEX-FS100

THE EXPERIENCE THEATRE Hall 12, The Elicium No registration required.

Come and get involved in our Experience Theatre.

Sony and ‘make.believe’ are registered trademarks of Sony Corporation.