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Booth 7.H20 (Hall 7)
theibcdaily
10.09.2011
3
Beware social media news
Landmark contract for Turkmenistan Television
Conference Analysis
Harris
‘Distribution of misleading information can be very sophisticated’
By Chris Forrester
By Dick Hobbs
“TV News is embracing social media, and User Generated Content is a reality,” said Kate Bulkley in her introduction to IBC’s conference session on the impact of Wikileaks, Facebook and Twitter on news-gathering. The panel shared her view, but issued many caveats on the use of UGC. Kevin Bakhurst, the BBC’s News Channel controller, confirmed that the BBC’s newsflow had been “transformed” by the use of social media. “We are all ploughing into this new world, and it is now an important part of our newsroom input. But it presents challenges. We must be wary that a little bit of local noise, on Twitter perhaps, being followed by 20 people, doesn’t have an impact beyond its true value.” Bakhurst also placed into context the fewer than 2 million people who follow the various BBC Twitterbased news reports during a week with the far larger number using the
Turkmenistan TV is close to completing a major project to modernise its services, including a new broadcast centre and three outside broadcast trucks. Harris is serving as key technology supplier to a project whose total overall value, including construction, stands at US$450 million. Harris says that its orders constitute the largest project of its kind awarded to a single manufacturer in the broadcast arena in recent years. Total technology spend including all suppliers will be US$200 million. The new complex is a 211m tall tower in the capital Ashgabadö. It houses 13 television studios and 50 edit suites. Tv-Tower will also be home to six radio stations backed up with 50 studios. The whole project is being undertaken by Turkishbased const r uct i on company Polimeks and its subsidiary, Policom, which is working with Harris on the technical infrastructure. The project is being delivered to a ver y tight timescale. The orders were placed earlier this year, and the centre is due to go on air
Kate Bulkley: TV news is embracing social media
BBC’s web-pages, or the millions tuning into conventional news reports on the mainstream channels or the BBC’s News24 channel. Simon Bucks, Sky News’ associate editor, said the Twitter and social media feeds from users represented a superb addition to the newsroom’s sources, but the content still needed verification. “The Arab Spring has generated an avalanche of information, and almost all our coverage of the Syrian situation depends on local social media. But UGC is often not
what it seems. Distribution of misleading information can often be very sophisticated, hence the need for verification.” Stephen Phelps, a factual producer and launch editor of The Stream, an Al Jazeera programme devoted to social media, said working without autocue, graphics and VT was a liberating experience. “What we have learned is that social media is capable of changing not just what’s happening in the news, but pointing us to what is the actual news.”
AVC Ultra to cover all production Panasonic By David Fox AVC Ultra will become Panasonic’s new codec family. It is based on AVC Intra and H.264, but expanded to cover 1080p recording and visuallylossless master quality 12-bit 4:4:4 and 4K resolution. The EBU has already tested the AVC Ultra 200 Class, which can record at up to 400Mbps for 4K or 4:4:4. The bit rate depends on the resolution and sampling rate. Panasonic will also extend the codec into the low bit rate segment. “This is really a big differentiator
Spot the difference: Sokcevic with a comparison between MPEG-2 50Mbps and AVC Ultra 25Mbps
and a big milestone for the industry,” said Christian Sokcevic, Panasonic’s director of Professional AV, Europe. “With AVC Ultra, we can offer
customers the choice to record from 25Mbps 4:2:2 10-bit up to 400Mbps.” Panasonic will launch AVC Ultra products in 2013 (probably starting with a mid-range model), but it is showing a comparison of different versions at IBC, notably uncompressed versus AVC-Ultra 200 Class, and MPEG-2 50Mbps versus AVC Ultra 25, which shows no difference in quality but offers twice the efficiency, with commensurate cost savings on storage and bandwidth. “We believe that the intra-based codecs are the most suitable for quality-conscious productions,” said Sokcevic. 9.B42/9.C45/9.D40
All-purpose PS motion P+S Technik By David Fox P+S Technik’s new PS-Cam X35 combines the benefits of sync-sound and higher speed rates into a single, flexible digital camera, which can record at any speed from 1-450fps. “The PS-Cam X35 is the f irst film-style digital cinematography camera made for the daily creative use of various kinds of special speed and motion effects (slow-motion, fast-motion, ramped-motion and time lapse),” claimed Matthias Brabetz, P+S Technik’s marketing coordinator. The new camera has a Super-35 CMOS sensor with global shutter, base sensitivity of 640 ISO, dynamic
range of 11 stops, and HD-SDI outputs (1.5 or 3Gbps). Onboard memory (18GB) records more than four minutes in normal speed or 40 seconds at 150fps. It is a “proper all-purpose sync sound camera” and an “exciting alternative for crews and producers who want to make the leap from film to digital as seamlessly as possible while having motion effects capability with their main camera package at their fingertips,” says the manufacturer. It avoids the additional cost of a separate high-speed camera and technician. This is the first camera that is a 100% P+S Technik product (it codeveloped and manufactured was the Weisscams and SI-2K). Footage
At any rate: P+S’ Michael Gamböck demonstrates the PS-Cam X35
from a music promo shot with it will be shown on the IBC Big Screen today, 16:00-17:30, with comments from the DoP and director. 11.E28
Harris Broadcast President Harris Morris (L) with Erkan Güntüre, project co-ordinator Ashgabadö Tv-Tower
next month. Harris is providing all the core infrastructure, including servers, routers, graphics, asset management, multi-viewe rs, test and measurement, audio consoles, and signal processing and distribution. One of the key aims of the project is to launch an IPTV service in Turkmenistan, and as a means of communicating with staff within the Tv-Tower itself. Harris is implementing this using its InfoCaster digital signage solution to create unique content. To provide the bridge between the video and the IP world Harris is using its Selenio convergence platform. 7.G20
DaVinci Resolve new capabilities Blackmagic Design By Carolyn Giardina Blackmagic Design has made a string of announcements at IBC surrounding the DaVinci Resolve, including Windows support, new version 8.1 software, and a new Linux package. “We were asked for this quite a lot,” said Blackmagic’s Stuar t Ashton of DaVinci Resolve for Microsoft Windows, which effectively allows customers to use a range of hardware and GPU processing options with support for up to a massive 16 GPU’s per system. DaVinci Resolve for Microsoft Windows will be accompanied by the Mac OS X version, so when a cust omer purchases DaVinci Resolve they can choose which operating system they want to use. “We think this is very exciting because it just makes things even more flexible for DaVinci Resolve customers, and makes it even easier to integrate Resolve colour correction into facility workflows when using a wider range of editing and effects software,” said Grant Petty, CEO of Blackmagic. DaVinci Resolve for Microsoft Windows is slated for release in Q1 next year and will be included with all current DaVinci Resolve models. Meanwhile, Blackmagic is featuring the new Resolve 8.1 software update, which includes new layer
Stuart Ashton: “It just makes things more flexible for Resolve customers”
node composite effects, ACES (Academy Colour Encoding Specification) colour space support, compatibility for Avid AAF and “round trip” with Avid Media Composer, Final Cut Pro 7 clip size and position support, new copy commands for grades, upgraded EDL features, support for UltraStudio 3D for Thunderbolt, and compatibility with the 2011 MacBook Pro 15inch computer. Blackmagic has also reported at IBC that DaVinci Resolve Linux will now be included free with the DaVinci Resolve control surface. In related news, Ashton called Adobe’s acquisition of Iridas “great news”, saying that Blackmagic’s capture and playback technology integrates with Premiere Pro, and he hopes that Iridas’ Speedgrade will talk to Resolve. 7.H20
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theibcdaily
10.09.2011
Urgency for new spectrum model with ‘innovative sharing technologies’
Hard decisions ahead on radio spectrum scarcity Gabrielle Gauthey: Data traffic will increase by a factor of 30 in five years
Conference Analysis By Kate Bulkley The pressure on spectrum capacity in Europe is reaching a point where some hard decisions need to be made about how to allocate this scarce resource going forward, and Roberto Viola, vice chairman of the Radio Spectrum Policy Group, has suggested that dedicated frequency assignments may not
be the best way forward. “The internet is posing a wakeup call that we cannot resist,” he said. Gabrielle Gauthey, executive vice president at Alcatel Lucent, echoed the urgency to come up with a new spectrum model that she said needs to include ‘innovative sharing technologies’. She said that in five years, 70 per cent of mobile devices will be internet-enabled and 80 per cent of the traffic on wireless broadband net-
works will be video. “Data traffic over the next five years will increase by a factor of 30,” Gauthey observed. The RSPG is looking at how to accommodate the deluge of traffic that will require spectrum as smartphone use and the growth of internet-delivered video explodes. According to Viola, in order to achieve the European Union’s stated objective promoted by the EU’s Digital Agenda Commissioner Neelie Kroes to bring high-speed broadband to all Europeans, he says everyone, especially broadcasters, has to realise that we need to design networks that are flexible enough to accommodate IP traffic in a much more efficient way. “Internet will not replace traditional broadcasting tomorrow,” said Viola. “But traditional broadcasting has to realise that transformation is necessary in the direction of more efficiency.” Viola continued: “Whether we like it or not IP transport will be the standard and the question is whether to have a network that is flexible enough to allow for different priorities’ of traffic.” Beyond more efficient use of spectr um, he also proposed more sharing of spectrum between broadcasters and broadband providers, like mobile operators.
The IBC Party is as described, a party – and a great party it was too last night. But it’s not just a chance to grab some food and drink and unwind, it’s always a great opportunity to meet and network with people in the same industry as you. Members of Nigerian firm Delta Broadcasting Service were in particularly good spirits. “We don’t wanna get drunk man,” smiles Mike Gheghor, sipping from a large glass of red. “But we do like to enjoy ourselves, because this is a very interesting place.” Rohde & Schwarz were also in party-mood. “We’re here to have a really great time,” says David Smith, who’s been coming to IBC since 1996. “This year is a lot bigger and busier; and having the party onsite is a great idea – we’re going to let our hair down, that’s for sure!”
SIS Live selects Grass for first time Grass Valley By David Fox The UK’s largest OB company, SIS Live, has bought Grass Valley equipment for the first time with the purchase of f ive LDK 8300 Super SloMo cameras, and is looking to order equipment for two new HD OB trucks this month.
“We are expanding quite rapidly and decided to look outside of our traditional suppliers because Grass Valley came up with some very good offers and very good equipment,” explained David Meynell, SIS Live’s MD. SIS Live did a comparative test on the BBC’s Match Of The Day, alongside a Sony HDC-3300 camera and found no discernable dif-
ference in quality, so was able to chose on price. During IBC, SIS Live is talking to Grass Valley about equipping its next two trucks, having ordered the two chassis this week. The f inal design and equipment will be decided by the end of the month. It hopes to have the trucks in service by April of next year or work on Match Of The Day and
EDITORIAL Editorial Director Fergal Ringrose Managing Editors David Davies, Melanie Dayasena-Lowe
OB choice: David Meynell with Phil Neighbour, MD Grass Valley Northern Europe
the Olympics. OE301/1.D11/1.E02/1.C555/OE205
Juggling your day: Get the Inside Knowledge in the Production Village
By David Fox As part of IBC’s tradition of added value, there are free Masterclasses from exhibitors in the IBC Production Village, in Hall 11. These Inside Knowledge sessions cover everything from shooting 3D to post production workflow. The sessions include a 30minute presentation with plenty of time for questions and answers. Go to the reception in the Production Village to book your place. First up today is Root 6 (10:00-
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 Photographers James Cumpsty, Richard Ecclestone, Chris Taylor
Gaining an inside track to production knowledge 11:00), whose ContentAgent was used to help whittle down Ridley Scott’s mammoth Life in a Day project from the 80,000 clips submitted from filmmakers around the world to tell the story of 24 July 2010. 3Ality Digital (11:00-12:00) will show how its tools can simplify S3D stereo broadcast integration. Tightrope Media Systems (13:00-14:00) will focus on Zeplay, a multi-channel instant replay system for sports, while VidiGo (14:0015:00) shows XDCam workflow for Avid. EVS (15:00-16:00) demonstrates how to maximise media exchange operations based on modern IT/broadcast infrastructures, and Autocue (16:00-17:00) will look at low-cost news production. The IBC Production Village also offers the chance to try out and compare 3D, high-speed and other cameras from different manufacturers. It is also home to the IBC TV News.
Production Editor Simon Croft
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 Inmarsat, provider of global mobile satellite communications services, has introduced a new interruptible feedback (IFB) capability for BGAN X-Stream, a super fast on-demand mobile satellite service, writes Heather McLean. The new IFB function for BGAN X-Stream allows news crews to communicate with the studio, monitor audio and receive cueing information during live video reporting. It has been made possible via a new simultaneous voice and data capability introduced on the service, allowing both broadband IP data and circuit-switched voice channels to be active at the same time. “We are continually looking for ways to enhance the services we deliver to broadcasters. The introduction of an IFB capability for BGAN XStream is a good example of this, as it provides a useful enhancement to a service that we know is popular with broadcasters around the world,” said Mike Seery (pictured), head of media sector development for Inmarsat. “It’s our job to innovate. Our overarching ambition is to deliver services to suit broadcasters requirements, so keeping kit as small as possible, but delivering a service with maximum bandwidth for high video quality.” 2.A15
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.
6
theibcdaily
In brief
10.09.2011
Antenna contract hat trick Jampro By Michael Burns
The all-digital revolution Information delivery platform provider Colt is showcasing a portfolio of integrated broadcast management solutions, including ones that support the transmission of high quality video content across metro, national and international borders. Colt says it currently serves more than 50,000 organisations, including major broadcasters, leading postproduction agencies and global broadcast content providers. MTV, TF1, Canal+, Berlinale, France 24 and Globelynx are among Colt’s customers. Patrick Patterson, senior segment manager for enterprise services at Colt, commented: “There is a huge focus on high definition broadcasting and how high quality content can be shared between production houses and broadcast networks, whether they are located within metro, national or international boundaries.” 3.C41
httv’s software solution A software solution for connected TVs and set-top boxes is being showcased by httv. According to the company, httvBOX simplifies and unifies access to all types of content including broadcast, ondemand and OTT programmes. httvBOX is an embedded software solution offering a range of functionalities, including features such as user-based profile, personalised mosaic, push VoD, catch-up TV, online enhanced EPG, and OTT. There is also compliance with the HbbTV standard. The company says that the httvBOX’s modular approach can be customised to meet customer requirements and can also be adapted to accommodate any device from a simple IP or DVB zapper to an advanced hybrid PVR/mediacentre. 4.C60
Rain on imageMill Rain – Marquise Technologies’ flagship system for colour grading – now integrates Cintel’s imageMill2 board, a hardware platform that allows the parallel processing, in realtime, of restoration-dedicated applications Grace, Steady and Origin on 2K images, and up to 8fps in 4K. With these tools, Rain provides not only colour correction but realtime capabilities for image cleaning in operations like chromakeying and tracking. Rain also includes a new versioning mode to memorise up to nine versions of a clip; StoryBoard mode, allowing creation of up to 32 groups of sequences to grade them as an ensemble; QuickStore, for immediate access to the grades stored in the Grade Library; and an enhanced GradeLibrary. 7.K25
Managing semantics A semantic environment structured to cover all steps of modelling, enriching, exchanging and exploiting any kind of media asset and the associated processes has apparently been created by Memnon. The company – which focuses on cultural sectors, as well as TV and radio applications – says it offers a general purpose modular system for the creation and the management of semantic objects. The results of the operations are representations of physical or abstract objects as Autonomous Semantic Objects, which can be interchanged and exported or imported. 8.C85
It’s proving to be a bumper season for Jampro Antennas, with the company celebrating three major deals made just prior to IBC. Egyptian Radio and TV Union (ERTU) recently placed a
major order for 20 Jampro flat panel FM antennas; Vietnam Television (VTV) has contracted Jampro to supply 10 DTV-ready antenna systems as well as facilitate installation and commissioning; and a new partnership has been announced with Mectrônica, the largest and most experienced antenna manufacturer
and contractor in Brazil. ERTU is Egypt’s national broadcasting network as well as the largest radio and television broadcaster in the Middle East with a total audience of approximately 60 million. “We are gratified that ERTU returned to Jampro once again for their antenna needs,” said Alex M Perchevitch, Jampro president. “They have found our antennas are not only a costeffective solution, but have also performed reliably for decades under
the harshest hot weather conditions including violent sand storms.” As for the massive turnkey project in Vietnam, Perchevitch said Jampro was proud to be part of a significant milestone in Vietnam’s television history. “For many years, we supplied Voice of Vietnam (VOV), the founder of VTV, with radio broadcast antenna systems,” he continued. “That excellent relationship and the proven field performance of our antennas has led to this award.” 8.B96
Morpheus-driven screen
Snell is showcasing second-screen Apps on iPad tablets
Snell By Michael Burns The ScreenToo second-screen platform from The Application Store (TAS), driven by Snell’s Morpheus automation system, has made its European debut at IBC. The ScreenToo demonstration, now running on the Snell stand, highlights how Morpheus automation can enhance online and mobile applications by synchronising them to the primary broadcast. By providing accurately timed metadata, Morpheus enables Screen-
Too to provide the consumer with options that correspond directly to events within the primary broadcast. Metadata about both the programme and programme contents allows ScreenToo to trigger targeted advertising, provide information about a character or actor in the show, or launch a viewer poll. Snell claims that this technology, which media and broadcast organisations can distribute as their own branded application, will allow broadcasters to monetise their content and generate new revenues from premium interactions. “Consumers today increasingly engage with media simultaneously through multiple devices, and Morpheus plays a key role in enabling broadcasters to capitalise on this trend,” said Neil Maycock, chief architect at Snell. “Morpheus not only facilitates accurate, reliable playout of content to television screens, but also provides the metadata that broadcasters can leverage to extend the viewing experience onto a second device.” 8.B68
Plasma goes SuperNova
QTube takes next steps forward: Quantel is showing the next stage of its QTube rollout, which includes the ability to integrate files held on generic IT storage, as well as to access and combine content from multiple sites, writes Carolyn Giardina. QTube, which was introduced a year ago at IBC, is a potentially disruptive technology in that it provides instant access to live production for frame-accurate editing from anywhere over the internet. This year, Quantel is demonstrating how MXF files held in ASO2 bundles on COTS storage can be accessed across the internet by the QTube browser and included in timelines on QTube Edit. The edits are then published, with QTube managing the movement of the selected frames from the generic storage into the Quantel Enterprise sQ server for playout. “This demonstration of QTube working with generic IT storage really shows what we mean by openness,” said Quantel’s CEO Ray Cross. QTube also works with content held on commercial Cloud-based storage. An IBC demonstration yesterday showed MXF files stored on the Amazon Elastic Compute Cloud-based platform being incorporated into a timeline on QTube Edit, with the final edit taken to air in HD. 7.A20
Haivision and KulaByte showing fruits of merger Haivision
Photon Beard
By Anne Morris
By David Fox Photon Beard is planning a 2.5kW version of its new Nova 270 lightemitting plasma-based light called the SuperNova. It will have nine 270s in a single frame, giving a huge amount of light powered via a single 13-amp cable. Usually such huge lights have very heavy cables and separate ballasts, but the SuperNova will probably have the power supply built in to the frame. The lights could also be individually or bank switchable, remotely, using Wi-Fi. The development is still in its very early stages. “We will sit down and look at what we can do, and what is desirable to do, after IBC,” said Simon Larn, Photon Beard’s technical director. The company hopes to have production units by IBC2012. “The Nova 270 entered production at the beginning of the week, having passed all of its technical tests, and the first 20 will be delivered this month,” said Peter Daffarn, Photon Beard’s managing director. The design is energy-efficient as it
IABM Award finalists: Daffarn and Larn with the Nova 270
doesn’t pass electricity through a light-generating element, but focuses radio frequency energy on to a small, gas-filled glass bulb that excites the mixture of gases so much that it becomes plasma. The bulb is guaranteed for three years, as is its colour. It doesn’t h ave d i m m i n g ( a s i t c h a n g e s colour when dimmed), but does have a standby switch at one-fifth power to save energy. The Nova is one of five finalists for the International Association of Broadcasting Manufacturers’ Design & Innovation awards, which will be announced tonight. 11.C44
KulaByte and MontiVision were only acquired by Haivision at the end of July, but the companies are already showcasing the first fruits of their joint research at this year’s IBC. The Viper KB is the result of just five weeks of collaboration between the two companies and comes with a price tag of US$10,000. The product was not even off icially preannounced because it was not clear if it would be ready for IBC, revealed Peter Maag, Haivision EVP. Haivision’s Viper is a compact, integrated appliance for capturing, streaming, reviewing, distributing, and publishing rich, multi-stream high definition content. By adding in KulaByte’s expertise in live internet streaming, Viper KB allows users to launch video streams onto the internet and also fuels KuleByte’s HyperStream cloud-based video transcoding solution. Maag said the addition of KulaByte and MontiVision, which came as part of a ‘package deal’ with KulaByte, has allowed Haivision to extend its remit from providing video inside an organisation’s firewall to
sending streams to the live internet. Speaking at the time of the acquisition, Mirko Wicha, president and CEO of Haivision Network Video said: “All market segments now demand access to a high-quality live and on-demand HD media experience regardless of network or platform. With KulaByte and MontiVision, Haivision can now deliver end-to-end rich media solutions for both inside and outside the enterprise firewall. The new division is also focused on addressing the challenges of effective social media networks for the enterprise.” “It was a ‘make or buy’ decision,” said Maag, on the reasons behind the acquisition, although he was unable to disclose further details of the deal. 13.451
Peter Maag of Haivision and Peter Foreman of KulaByte: a natural marriage of technologies
PENTA 725 IP Audio Router Fast, flexible, and economical audio routing via IP can now be provided using the latest addition to the PENTA 725 router familiy. The PENTA 725 IP Audio Router enables broadcast-quality audio routing using Internet Protocol, and delivery of linear PCM audio quality with sub-millisecond latency via Gigabit Ethernet. • Up to 1024 x 1024 cross points • 64 bi-directional channels over IP Ethernet • Gigabit Ethernet Layer 3 protocol • Configurable I/O capacity • Up to 64 AES3 I/O channels • Up to six MADI or router connections • Optional sample rate converter interfaces • Redundant PSU and IP matrix core • Cross point control via advanced NTP VMC software • Compact and easy to install
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8
theibcdaily
In brief
10.09.2011
Optimism ‘returning’ says IABM Conference Analysis
SSD storage for video launched
By Chris Forrester
The GB Labs Space family of products has been extended with Space SSD (Solid State Drive) networked storage for video editing. The company claims it offers broadcasters and post-production companies SSD storage that is more than 30 times faster than traditional spinning hard drives. Space SSD allows online editing of 2K and 4K DPX files in a shared environment. It is said to deliver more than 3,000Mbps, which GB Labs says could manage the equivalent of nine streams of 2K DPX, 900 streams of HDV, 146 streams of Pro-Res 4.2.2 or 30 streams of uncompressed HD. In conjunction with Space SSD, GB Labs offers Space file transfer software. SSD technology is developed to provide fast IOps (input/output operations per second) to simultaneously read and write operations without degrading performance. Dominic Harland, director, GB Labs, commented: “We understand that broadcasters aren’t likely to go completely SSD but some editing tasks do require high performance storage that spinning disks can’t match. We’ve provided a complimentary set of products which efficiently use high performance SDDs and larger capacity, lower cost storage.” 7.JI5B
Peter White, director general of the IABM industry association, told IBC delegates that despite some challenges, there was a greater sense of optimism both from the demand side of the business, as well as the supply side. White used the IABM’s recent Global Market Valuation Report (compiled by HIS/Screen Digest) which showed that the global economic downturn, as well as major events such as the Japan tsunami and “Arab Spring” uncertainties had not helped confidence. However, after the 2010 low point respondents were now more optimistic that by
Alain Andreoli: “We remain optimistic”
2015 t he i ndust r y woul d have regained and passed its pre-recession business levels. White said this meant an industry likely to be worth $29 billion in 2015.
Stereoscopic market to be ‘fully integrated’
Official debut for PIX recorders PIX 220 and PIX 240 – constituting Sound Devices’ first range of portable audio/video recorders – are being presented to the European market. The new recorders can be connected to cameras with HDMI and can record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codec. This means files recorded in the field are able to be used directly in post production, which ensures a quick and simple workflow. The PIX 240 adds further flexibility with its HD-SDI input and simultaneous SDI and HDMI outputs. The audio circuitry on both models is based on Sound Devices’ 7-series digital audio recorders, and its inputs are mic/line switchable, with limiters, high-pass filters and phantom power. PIX 240 includes a built-in Ambient Clockit timecode generator/reader with Genlock output for multicamera and doublesystem sound applications. Other features include digital audio outputs on AES3, and an external eSATAp connection for direct connection to large SATA storage volumes. 8.E72
Easy way to channel signal information Providing a highlight of the Promax’s test and measurement offerings this year is the new TV Explorer HD+ meter. The company claims that it is the first of its kind to offer DVB-T2 compatibility, measurements and signal demodulation. Designed for the installation, maintenance and surveillance of terrestrial, satellite and cable TV systems, the TV Explorer HD+ provides complete information about the channels available in a network and their quality. The solution offers measurements, signal decoding and spectrum analysis functions. 8.B22
The IBC session, chaired by Media Asset Capital’s Adrian Scott, saw all panelists express enthusiasm about growth prospects in the BRIC markets, and Africa, as showing betterthan-average growth prospects. Alain Andreoli, president/CEO at Grass Valley, said: “The positive trends are coming from these emerging markets. The focal point of our business is shifting from Europe and North America to China, Asia and wherever there are g r e e n f i e l d d eve l o p m e n t s . We remain completely optimistic. I do feel that we sometimes need to switch off the TV and radio news and escape from stories which seem to say that everything is crisis and chaos.”
(L/R) Stephen Pizzo, Hector Ortega and Steve Schklair celebrate first public appearance of the newly rebranded company, 3ality Technica
3ality Digital By Michael Burns 3ality Digital’s acquisition of Element Technica is proving to be a big hit with customers of both developers, according to the CEO of the newly merged company. Steve Schklair, CEO of 3ality Technica. “It’s great for our customers who have been mixing the two technologies anyway, but they had to integrate
them themselves,” said Schklair. “Now that we can offer them fully integrated technology, they can go off and shoot their television broadcasts or films with an ideal package. All our customers love this.” It was good news for the employees too. There have been no layoffs, unusual for an acquisition of this nature. “There really weren’t any redundant positions,” said Schklair. “Our strength is in our software and their strength has always been in
mechanical design – now we’re merging the two.” Schklair revealed that the two companies had been “dancing around” the idea of a merger for the past year. “Eventually, I broke the ice and said let’s do the deal,” said Schklair. “Everybody was relieved that it was finally on the table. Everyone [at the two companies] was for it – there wasn’t a moment’s hesitation.” In acquiring Element Technica, 3ality gains an in-house manufacturing and design capability, and the opportunity to further expand its already sizable R&D infrastructure. Physically, the companies will combine in an expansion to the former 3ality Digital headquarters in Burbank, California. “We’re now a hundred-person company,” said Schklair. “In the 3D business that’s quite substantial.” Element Technica will now provide all of the product lines from both companies. As well as its range of stereoscopic rigs, Element Technica is also well known for its line of both 2D and 3D accessories, and this product line will continue under the existing Element Technica banner. 9.B40
IBC stand prompts Amsterdam contract Ensemble Designs By Michael Burns An eyecatching display on the Ensemble Designs stand at IBC last year led to the Academic Medical Centre (AMC) of Amsterdam upgrading its whole infrastructure from copper to f ibre. AMC has selected signal-processing equipment from Ensemble, which allows connection between 24 operation rooms plus six college theatres. “I was walking down the aisle at IBC2010 and the Ensemble Mitto caught my eye,” said Jaap Tuyp, technical manager of the AVC at University of Amsterdam. Tyup was
Lodewijk Jansen of Telequipt Amsterdam, Mondae Hott, director of Sales at Ensemble Designs, and Jaap Tuyp, technical manager of the AVC at the University of Amsterdam
in need of a device to take DVI or HDMI out of medical devices and convert to high detail, broadband video for the AMC and University.
“I wanted to know how Ensemble could make just a small portion of the computer screen full-screen HD with such good quality.”
Daniel Pope, TeliaSonera: Period of testing with Twentyfourseven
Cross-border HD launch TeliaSonera By Heather McLean TeliaSonera International Carrier has launched its Cross Border Remote HD Production Solution here in Hall 3. It uses TeliaSonera’s fibre broadcast network, the largest in Europe, and promises to remove the need for onsite OB infrastructure and personnel. International remote production exploits the unlimited bandwidth offered by TeliaSonera and presents a real alternative to satellite, where gaining access to capacity at these levels can be a challenge, says the exhibitor. In addition, fibre offers the lowest possible latency, enabling true realtime TV production over long distances and across international borders. TeliaSonera is showcasing this new broadcast practice by delivering four uncompressed HD feeds on its MediaConnect platform from The Royal Tennis Club in Stockholm to a production team here at IBC, 1500km away. The announcement follows a period of testing with Twentyfourseven, one of Scandanavia’s biggest independent production companies, which utilised TeliaSonera’s fibre network in conjunction with Net Insight’s Nimbra Platform. TeliaSonera International Carrier is the owner and operator of the largest fibre optic network in Europe, the third largest in the world, serving more than 85% of all European ISPa. 3.C16 This encounter led directly to the upgrade project at the AMC, which is being installed this week. After trying out the Mitto scan converter in Amsterdam’s Telequipt facility, the AMC moved ahead with the installation of 12 Mitto scan converters for use with the University of Amsterdam medical broadcasts and programmes. The 3Gbps video outputs on the Mitto scan converters were critical for the system. The endoscopes and ultrasounds in use at the AMC are already compatible w i t h 3 G , a n d t h e r e i s a m ove towards 3G for the whole facility to retain as much quality and as m u c h d e t a i l a s p o s s i bl e . T h e upgrade also involves more than 100 Ensemble BrightEye 46 and 48 fibre converters and BrightEye video converters. 8.B91
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
Cardless CAM Described as being ideal for use in mass retail markets where devices are sold and distributed to consumers without operators’ smart cards, the Neotion Cardless CAM with Irdeto cloaked CA can be prepared for use with multiple operators, each of which uses its own Irdeto CAS. Security updates, new features and functionalities can be downloaded over the air to the device, eliminating the need for costly card swaps. The Neotion CAM uses the Neotion Secure Chipset for control word encryption and as a hardware root of trust for the cloaked CA agent. 4.B53
Expedus DVA probe With deployments in more than 500 video networks around the world, IneoQuest is a leading supplier of video assurance and network intelligence solutions. At this year’s IBC, the company is showcasing Expedus DVA, a QoS and QoE monitoring probe that monitors video in the network head-end and anywhere else in the network where video is modified. The product also monitors audio loudness levels and commercial insertion compliance for historic performance analysis. The Expedus DVA can fully integrate with iVMS Software for a ‘single pane of glass’ view of the health of the entire video network. 1.C39
Managing the cycle The VMp unified framework from Viewcast – one of the company’s multiple focal points at IBC – helps organisations manage the full life cycle of their digital media. VMp supports online video, including content acquisition, transformation, indexing, workflow and distribution. Together with the Portal, Live and Production modules, VMp provides comprehensive support for live video sources and events as well as archived or on-demand content. 13.119
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Movie transforms your Saturday night Tonight you can relax and enjoy the state of the art in 3D creativity and delivery. The Saturday Night Movie, courtesy of Paramount Pictures International, is Transformers 3: Dark of the Moon. Director Michael Bay – king of metal mayhem – retur ns to the Transformers franchise in what is widely recognised as a stunning technical achieve ment. Sh i a LeBeouf retur ns, too, as Sa m Witwicky to oversee the battle between the Autobots and th e Decepticons. A mysterious event from Earth’s past erupts into the
present day, and threatens to bring a war so big that the Transformers alone will not be able to save us. As part of IBC’s Big Screen programme, all visitors are invited to join us for the Saturday Night Movie, which is being presented in stereoscopic Dolby 3D with Dolby 7.1 sur round sound. The movie starts at 18:30 and is free, so it is sure to be popular – be early to secure your seat and 3D glasses! View the full IBC Big Screen programme at www.ibc.org/bigscreen or on the Interactive Event Guides placed around the RAI.
Take control of loudness Harris By Dick Hobbs The harmonisation of the ITU and EBU standards on broadcast loudness, alongside the Calm Act (commercial advertisement loudness mitigation) in the USA, has finally enabled broadcasters to tackle the issue of perceived audio levels and ensure that audiences are comfortable. With the international stan-
Q&A Peter Morrone senior VP, engineering and product management, Chyron Has IBC come at a good time for the electronic media industry? Why? Yes. The proliferation of internetenabled devices and the dropping cost of readily available broadband
dards in place as the foundation, Harris is demonstrating an end-toend solution. The company has implemented, in both its modular range and its Selenio signal processing platform, the Neural Loudness Control from audio specialists DTS. This uses critical band analysis for perceptual loudness measurements that preserves the spectral balance of the signal. This, it is claimed, delivers a natural sound quality
What do you think are the key developments in, or threats to, your market sector at the current time? The commoditisation of production technologies, the proliferation of consumer/prosumer-level products capable of creating broadcastquality graphics, and the need to
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even after loudness processing, which is not the case with traditional multi-band compression. The loudness processing capabilities can be a part of a broader audio processing stage, including up and down mixing, Dolby encoding, and audio/video frame synchronisation. The APM6803+ modular card – or its implementation in a Selenio platform – allows the user to define the signal path and workflow, and intelligently handle and generate the associated metadata. This processing engine is just one part of the complete solution from Harris. The Videotek QuiC
have opened up an unprecedented number of media delivery channels. At the same time, content acquisition, production, and distribution technology is becoming commodity-based, more IT-driven, and increasingly Cloud-hosted, lowering the cost of entry for new vendors and players. IBC will demonstrate how these innovations help to address changing fiscal and technical challenges and changing viewer trends.
The Future of TV is here
Production: Hall 11.F20
Spectacular action in Michael Bay’s sci-fi extravaganza
Web: KITD.COM
f i l e - b a s e d a n a ly s i s t o o l a n d Vi d e o t e k L L M - 1 7 7 0 r e a l t i m e measurement device both now include loudness metering to the ITU/EBU standard, logging output levels for transmission and compliance applications. M e t a d a t a g e n e r a t e d by t h e LLM-1770 can be routed through to the Har ris ADC or D-Series playout automation. This facilitates the recording of loudness confirmation and exceptions in the as-run log, allowing Harris to claim the unique ability to analyse, correct, verify and demonstrate good loudness performance. 7.G20/7.G23 relationships to maximise resource use, and highly integrated end-to-end solutions to ensure better efficiency.
Why should delegates visit your stand at IBC?
optimise production costs are forcing M&E companies to look outside their walls for centralised resources, inexpensive outsourced labour, and freelance talent. To adapt successfully, broadcasters can leverage new Cloud-based technologies to support greater collaboration, strong vendor
The Chyron BlueNet workflow marries traditional broadcast production tools with the latest Cloud-based technologies to address the challenges of the new media world. The BlueNet workflow allows broadcasters to produce strongly branded content for multiple media outlets using a consistent set of tools applied to news production, web, mobile, and even the video edit suite. Chyron’s hosted services instantly enable collaboration, content sharing, and global access to production tools.
7.D11
NEW! MORE THAN JUST AN SDI TO HDMI MINI CONVERTER -/.)4/2 s $)342)"54% s 37)4#( s -5,4)0,%8 s #/.6%2'%
Dual SDI to HDMI Mini Converter for 3G/3D/HD/SD As a broadcast engineer or A/V professional you likely have diverse needs when it comes to managing SDI signals within your environment - for monitoring, distribution, switching, multiplexing, and processing 3D in real time. Until now, you have been forced to purchase different devices to perform these tasks. The new Matrox MC-100 solves all these challenges in one inexpensive, easy-to-use device. Matrox MC-100 is a dual SDI to HDMI mini converter that supports a wide range of display resolutions through 3G, Dual Link, HD, and SD SDI. This single portable unit can be used as a HD-SDI switcher, a distribution amplifier, a multiplexer and a 3D processing unit, making it the most versatile mini converter on the market. It should be in every video professional’s toolbox.
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 Matrox is a registered trademark and Matrox MC-100 is a trademark of Matrox Electronic Systems Ltd. All other trademarks are the property of their respective owners.
12 theibcdaily
In brief
10.09.2011
On air or online?
Pace CEO Neil Gaydon speaks on the Connected TV plenary panel today
Hub club in the Cloud Extending its connected TV proposition to the connected home, The Cloud is the new software solution from Netgem. The product, says Netgem, enables operators to meet customer demand for easy access to all content – including live TV and video on demand – from any connected device within the home while maintaining a consistent interface. Monaco Telecom will be the first to offer the new service to its subscribers. The hybrid solution employs a media hub for the storage and local distribution of content around the home over a Wi-Fi internet connection. This gives end-users full control over their own content by offering the choice to either put the content into the wider ‘cloud’ to share with family and friends or to protect their privacy by restricting it to the ‘home Cloud’. The first implementation of The Cloud is an application for the iPad, which allows users to receive all linear TV channels alongside access to their personal content. 4.B79/4.C79
Going the distance The new 55D-CAU Coax/Fibre Link system from Telemetrics enables camera control for distances up to 900m on RG-11U cable between the base station and camera location. It is claimed to be an ‘affordable and efficient camera control system to easily and conveniently transmit standard or HD/SD SDI video from a camera location to a head-end without signal degradation’. The system is suitable for permanently installed and mobile applications, and uses frequency multiplexing to transmit composite video from the camera and external video, genlock and power to the camera. Also transmitted are microphone audio from the camera, auxiliary audio to the camera, intercom to and from the camera, and tally. 11.F45
Consumer electronics companies see the connected TV as the next big thing. Consumers are already dealing comfortably with simultaneous on air and online content using multiple devices. Mapping a course through these behaviour changes, and earning the right to be the primary screen, is a critical issue, and IBC is tackling it today with a series of conference sessions. It starts with a plenary session
Connected TV: Remaking the TV Industry: The Battle for the Home Screen featuring four of the most significant figures in the world of content delivery. Hiroshi Yoshioka is CEO and executive deputy president of Sony Corporation, effectively number two in this massively influential company. Neil Gaydon is CEO of one of the world leaders in set-top boxes, Pace. Representing online delivery is Michael Comish,
CEO of Blinkbox, and completing the panel is Romulo C Pontual, CTO of American satellite broadcaster DirecTV. This is a remarkable panel for any event to assemble. The Forum at 9:30 is your chance to hear what they have to say and to join in what is sure to be a lively and stimulating debate. That is followed by two sessions which look at this issue of content for the online world. The first asks if connected TVs democratise content. Over the top platforms can deliver content straight to consumers without the need of a broadcast intermediary, but how do viewers find the content they want without the broadcaster’s trusted brand suggesting it to them – Do Connected TVs Democratise Content? At 11:30 in the Forum. The second debate, The Tablet is Coming – How Broadcasters will Manage the Second Screen at 14:00 in the Forum looks at the rise and rise of the tablet. When Apple introduced its iPad in early 2010 no-one was quite sure what it was for, but it became a favourite media consumption device almost overnight. Do
broadcasters simply watch their audiences go online, or can the tablet be harnessed as a tightly linked second screen. Hear the views of experts, and add your own experiences to the discussion. The day ends with two parallel sessions. The creative debate about how best to use tablets and smartphones continues in the Forum, at 16:00 with Devices Devices Everywhere – How Technology is Changing Viewer Behaviour and Vice Versa and over in the Emerald Room the business of broadcast stream looks at the challenges for broadcasters who have to adapt their popular and trusted brands to retain relevance in the age of multiple choice in the session Cutting the Cord – Will Traditional Broadcasting Survive? This is an issue that goes to the heart of the future profitability of broadcasters. To view the full Conference Programme go to www.ibc.org/conferenceprogramme or check the Conference Programme onsite on the Interactive Event Guides or IBC2011 Mobile App, which can be downloaded at www.ibc.org/mobileapp.
Q&A Wirecast 4.1 is free to existing customers
Simen Frostad chairman, Bridge Technologies Has IBC come at a good time for the electronic media industry? Why? The major tradeshows in the calendar – like IBC – are gathering points for the industry’s most influential and inventive people, and for the key decision-makers. With the pace of change and diversification so rapid now, one thing everyone can be sure of is that there will be plenty that’s new each time IBC comes around.
What do you think are the key developments in, or threats to, your market sector at the current time? The growth of non-managed IP based services like Netflix and iPlayer are a big challenge and
opportunity for the industry. These services are growing so fast that traditional providers need to act fast to avoid losing audience share. Manufacturers are providing the means to take OTT services to air quickly and with a high quality of service.
Why should delegates visit your stand at IBC? We have some new industry firsts that are crucial to the industry as it grapples with increasingly diverse forms of delivery. We have incorporated comprehensive OTT service monitoring into the VideoBRIDGE system, and launched the industry’s first monitoring and analysis solution for DVB-T2 with T2-MI. On top of that, we also now deliver complete and continuous 24/7 remote datagathering at the subscriber premises. 1.A30
Wirecast integration options Telestream By Carolyn Giardina In the latest development affecting the Wirecast range, Telestream has brought Wirecast 4.1 live video production and streaming software. The upgrade to Wirecast and Wirecast Pro adds new partner integrations and features that provide additional options for getting content into Wirecast, including remote, multi-channel and wireless IP transmission. Wirecast 4.1 – which is Mac OS X Lion compatible – also brings new audio support for Wirecast Desktop Presenter and extends input support with integration of LiveU, Teradek, Matrox, Viewcast and Axis technology. Integration with the LiveU 4G/3G video transmission backpack
is aimed at offering a portable option for transmission of live video from a LiveU backpack to a remote Wirecast Windows computer, or feed a live show from a Mac or Windows Wirecast computer to a LiveU backpack for transmission. Wirecast 4.1 also includes integration with Teradek Cube, which adds wireless IP camera support for Wirecast Pro, and Matrox MultiIngest capture card, which enables four simultaneous live HD-SDI inputs into Wirecast or Wirecast Pro for Mac. Wirecast and Wirecast Pro 4.1 for Windows include support for Viewcast Osprey 240e, 450e and 700e video capture cards, while support for Axis P1344 and M1104 network cameras is now available for Wirecast Pro. 7.D16
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10.09.2011
Attaining the next level of production Are integrated production architectures mature for commodity use, and will 1080p/50-60 HDTV become mainstream? David Wood and Hans Hoffmann, who lead the EBU’s technical department, investigate the key industry trends or a number of years two major trends have emerged in programme production. The first is the development of digital workflows that improve production efficiency and reduce costs through flexible, commodity IT-based production architectures. Secondly, we have seen that today’s HDTV formats and mainstream HD production systems may not always be able to provide the technical quality required for premium HD productions. In addition, users have found that migration from IT-based production in SDTV towards HDTV has thrown up interoperability issues, particularly when HDTV production uses modern IT and filebased workflows involving different manuf acturers’ products. Consequently the industry needs a solution to this interoperability dilemma and must come up with an optimum master production format for HD. Two requirements for such an HD master are progressive scanning and high spatial and temporal resolution for multiple genre productions. And the 1920 pixel x 1080 lines 50frame progressive image, as def ined by SMPTE and ITU-R, had looked the most likely candidate. However, recently this project has proven difficult to realise in cost-effective and mainstream products. In 2011, we may be witnessing a maturity of technology in both areas: interoperable and integrated production architectures that utilise the service-oriented architectures approach, and mainstream production equipment and software supporting 1080p/50.
F
Whereas 1080p/50-60 was once only available for very expensive cameras with inefficient dual link interfaces, it is now becoming a commodity option
Less hype as 3DTV matures
EBU test content is available to all EBU members
Joint FIMS taskforce The good news is that the European Broadcasting Union (EBU) and the Advanced Media Workflow Association (AMWA) have, since late 2009, established a joint taskforce on Interoperable Media Services, and in June 2011 the first Framework for Interoperable Media Services (FIMS) specification was published. This initiative has been backed by key manufacturers and will likely be a game changer for IT-based programme production. FIMS is a specific open interface and associated metadata that can be used to allow different systems to interoperate easily. Current equipment can be made interoperable using the ‘media orchestration system’, with a FIMS adapter that converts the capturing or processing device interface to a common interface standard. New equipment can include the FIMS interface; the specification is now ready. Several manufacturers have announced the implementation of FIMS in their products end of 2011 – early 2012. An added advantage of FIMS is that it eases the monitoring and harmonising of the technical workflow with the business workflow. Building on the success of FIMS 1.0, the project is already planning the definition of new FIMS interfaces for more services. For information about FIMS and details of the specification, see http://wiki.amwa.tv/ebu. HDTV’s launch in Europe sparked debate about the ‘best’ HD format in production and delivery. But it has become apparent that
for 1080i/25 (though 15-20% higher than for 720p/50) since ‘interlacing’ is more strenuous for the encoder and decoder and causes typical artefacts. 1080p/50 compared to the same interlaced bit rate could provide a better image quality and would, in addition, offer business considerations for stereo3DTV too. There is still a major hurdle in broadcasting 1080p/50 in an environment of legacy 1080i/25-30 and 720p/50-60 receivers. But here too, business considerations, such as the premium quality argument, international exchange or best quality archives, and using next generation compression codecs, like HEVC, are been developed. This will further bring down the bit rate requirement for distribution.
Interoperability is achieved by a common interface - currently with three services
It should also be noted that the hype around 3DTV in recent years has reached a more realistic tone – 3DTV has matured. This means that 3D event-based broadcasts can compatibly utilise the infrastructures put in place for new 1080p/50-60 2D HDTV capable receivers. This can be achieved by using two native resolution legacy HD formats (720p/50, 1080p/25, 1080i/25) each repres e n t i n g t h e l e f t - r i g h t v i ew, w i t h n ew advanced and bit rate efficient (2D plus 3D delta) algorithms. For programme production we are seeing a steady movement towards 1080p/50 capable products. Content creators are realising that the technical quality of programmes is a commercially competitive factor, and that 1080p/50 can bring advantages for certain genres in the home too, such as live sport, which excels through the improved motion portrayal of 1080p/50. Whereas in the past 1080p/50-60 was only available for very expensive cameras with inefficient dual link interfaces, it is now becoming a commodity option for all production systems in the chain via a single link interface.
Extensive testing An internal EBU Technical feasibility study was undertaken to set up a full realtime production test chain in 1080p/50, including contribution and distribution codecs. This flow is being demonstrated at IBC
there is no longer a need to keep the same image formats in production, distribution and presentation. In addition, while the experts were extolling the advantages of a fully progressive system like 1080p/50, the reality of legacy product availability has held the technology back.
Cost of receivers Receiver chip makers contested that forced implementation of H.264 Level 4.2, as required for 1080p/50, would drive HDTV receiver costs too high. Today the situation
has changed. DVB has included Level 4.2 in its specifications, and all consumer display compliant to DigitalEurope’s HDTV 1080p label can display 1080p/50-60 via the HDMI 1.3 interface. Newer set-top boxes have chips that can decode H.264 Level 4.2 (1080p/5060), similar to two stereo-3DTV streams, each with 1080p/25 (or two 720p/50 or 1080i/25 streams). Research done by the EBU in 2005 found that for the same degree of compression artefacts, the broadcast bit rate for 1080p/50 would be similar to or less than the bit rate
In one of our recent strategic programmes, EBU Technical extensively tested new 1080p/50 capable studio codecs from Sony, Panasonic and Avid, and provided practical guidelines on new studio infrastructures based on the SMPTE 3G-SDI standards. In addition, an internal EBU Technical feasibility study was undertaken to set up a full realtime production test chain in 1080p/50, including contribution and distribution codecs. This flow will be demonstrated at IBC2011. In the next two to three years many broadcasters will face the first reinvestment cycle for HDTV production systems, and the availability of 1080p/50-60 options in cameras, including 3G-SDI realtime infrastructures and non-realtime file-based production are a worthwhile consideration. This could enable future-proof investments, competitive advantages in high quality HDTV programme exchange and, ultimately, a superb image quality delivered to the viewer. And the support of stereo-3DTV in 1080p/50 infrastructures may prove to be a valuable argument.
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Looking to the future Your primary reason for visiting IBC is almost certainly to solve today’s challenges. But that does not mean you cannot look to the future, to see what will be the hot topics in five and 10 years’ time. The Future Zone can be found in the Park Foyer near Hall 8. Its centrepiece is the remarkable Super H i - Vi s i o n f r o m N H K ( J a p a n Broadcasting Corporation): the theatre presentations are eye-popping, so make sure you get a ticket. Incorporated in the Future Zone is the New Technology Campus, a regular IBC feature in which some of the research bodies presenting in the conference are invited to bring along prototypes of their work. This
Rose d’Or awards are streamlined Digital Rapids By Carolyn Giardina The Rose d’Or Global Entertainment Television Festival is using Digital Rapids’ MediaMesh content delivery system to streamline the submission of entries for the Rose d’Or Awards competition. This enables entries to be submitted electronically using a web-based portal, while the MediaMesh RX receiving appliance provides an interface for judges to review submissions. The festival’s MediaMesh-powered submission portal supports a range of video f ile formats for uploading entries. Digital Rapids C2 transfer technology forms the delivery foundation of the system. Digital Rapids reseller VCS Productions in Switzerland worked with the Rose d’Or organisers to integrate MediaMesh with the festival’s registration system and database while tailoring the submission user interface to their requirements. VCS has also integrated MediaMesh with the festival’s Jury Rating System. “The digital process saves the cost of the videotapes and shipping, as participants worldwide can now use the simple web-based portal to upload their videos. Dispensing with the need for shipping also eliminates the security risks of theft and the risk of loss or damage of tapes,” said Markus Helbling, festival director. “Digital Rapids’ MediaMesh is the key component of our new workflows, allowing us to use a single platform for both submission and the reviewing and evaluation of the entries by the jury. Pre-selection jurors can also access programmes as soon as they are successfully uploaded, allowing the selection process to take place from anywhere in the world.” 7.G41/13.293
is a real chance to see demonstrations of some of the ideas which will shape our future, and discuss the ideas with the research team. Discussion and debate is also the idea of the Poster sessions. These
are papers proposed for the conference which the Technical Paper Committee feel would be best presented in an informal setting, where visitors can talk the issues through with the author, and maybe even influence its future direction. The Future Zone is open to all IBC visitors: make time to see what is coming up in our industry.
Get your ticket for NHK’s SHV demonstration in the Future Zone
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10.09.2011
Sports television is not a game. See it and debate it at IBC
Watching sport on TV If there is one broadcast genre that actively drives innovation it is sport. IBC is a celebration of sports television, not only in the conference theme day tomorrow but throughout the exhibition.
Q&A Jay Lee, managing director, Dayang EMEA & Americas Has IBC come at a good time for the electronic media industry? Why? This is our 14th consecutive IBC attendance. IBC is always the most important electronic media
Right across the show floor you will see new technologies which f ind their ideal application in spor t. Look out for high speed cameras providing super slow m o t i o n a n d u l t r a s l ow m o t i o n
replays, not to mention miniature and special purpose cameras which get that unique angle. Wireless cameras let you follow the action wherever it takes you, and the latest technologies provide high quality and very stable pictures with low latency. All these camera angles puts pressure on servers and logging too, so check out the latest in asset management. As well as the exhibition halls, look outside where you will find trucks, uplinks, specialist cameras and much more. The conference tomorrow turns its attention towards sport, with a series of presentations which focus on the practical rather than the theoretical, drawing on case studies and experience to illustrate what can and should be done, all in the Forum. 2012 is an Olympic year, and the broadcasting centre in London is now complete, a building large enough to house f ive jumbo jets. The first session of the day looks at the challenges involved in delivering what has been called ‘the first truly
show in EMEA. As the whole industry is carrying out a great evolution, I believe this year’s IBC will definitely provide important reference to the development of the industry.
opportunities to tapeless production.
Why should delegates visit your stand at IBC?
What do you think are the key developments in, or threats to, your market sector at the current time? Dayang Technologies is dedicated to providing highly cost-effective tapeless solutions to global broadcasters. In the past few years, we continuously developed tapeless solutions which are based on workflow engine and SOA-based dual bus infrastructure.
digital Olympics’ in the session Spor ts I – Digital Olympics at 10:30. That sets the scene for more discussion on sports technologies and workflows with the session Sports II – Live Sports Production: From Tape to Tablet at 13:00. How can the call for more camera angles and analysis be met? How can you best serve a multi-screen audience with the action on the television screen and replays, data and social networking on a tablet? How can rights holders, broadcasters and the sports federations themselves deliver more content to an increasingly fragmented audience? What are the new business models? These questions will be answered in the last session at 15:00 in the session Sports III – Monetising Sporting Content. Sports television is not a game. See it and debate it at IBC. To view t h e f u l l p r og r am me g o to www.ibc.org/conferenceprogramme or view the sessions on the IBC2011 Mobile App.
Now we are concentrating on innovating tapeless workflow based on Cloud computing which I believe brings new challenges and
People who attend trade shows always expect to see the latest technologies and inspiring ideas. This year Dayang Technologies released much more new products than ever before. During this year IBC, we will release automation system-iChannel2, powerful live graphic system-DAURIC, breaking news solution-Flash Gather, and the one-stop HD tapeless solutionARMOR, which is made by Dayang and our partner Huawei Symantec.
7.H39
Enhanced metadata for XDCAM Sony By Adrian Pennington XMPilot – a metadata management system designed for XDCAM production workflow and aimed at the broadcast, production and media market – is being launched by Sony. The software application is compatible with all XDCAM camcorders and allows users to input metadata directly into the camcorder at the very start of the content creation workflow. With this new system, users can p la n s h o o ts a n d n ame th em in advance. It is also possible to log events through a mobile application so, once filming has finished, the user can go straight to the error that needs amending. The specification also includes an auto ingest feature which allows users to automatically transfer clips to the right storage location, meaning that information can be saved on any local or networked folder – thereby reducing the opportunity for errors when managing clips. Sony says the XMPilot creates a more effective bridge between the studio and the field. It is claimed to turn a previous two days of logging into just two hours. Hall 12
New KVM switchers Gefen By Carolyn Giardina Two new KVM (keyboard, video, mouse) switchers from Gefen are designed to allow users to save space on the desktop and reduce hardware costs without sacrificing access to data. Both the 4x1 and the 8x1 DisplayPor t KVM Switchers were developed for professionals who want to avoid a networked situation. Each of the switchers gives a plug-and-play method of computer system integration while supporting resolutions up to 2560x1600. The 4x1 DisplayPort KVM Switcher is designed to switch between four computers using the same monitor and keyboard/mouse, while the 8x1 DisplayPort KVM Switcher enables switching between eight computers. With either model, users can switch using an IR remote, front panel selector or RS-232 port. Both switchers are rack-mountable, support USB 2.0 peripherals and supply L/R analogue audio outputs. 7.B30
18 theibcdaily
10.09.2011
European broadcast technology spending continues to be driven by move to HDTV More than 2,000 broadcast professionals across Europe revealed their spending plans for this year and top of the priority list was upgrading infrastructure in order to move to HD and 3Gbps, including transmission and distribution By Joe Zaller, Devoncroft Partners
Market Analysis With the industry emerging from recession, broadcast technology budgets in Europe increased in 2011 and look set to increase again in 2012. This article examines where European broadcast professionals are planning to deploy their budgets, how much they are planning to spend per project, and the factors driving this spending. Our research shows that technology spending in the broadcast industry is project-based, so it is therefore very important to understand what projects are being planned by broadcast professionals. For the past several years the transition to HDTV operations has been one of the key drivers of large scale CapEx by broadcasters and other broadcast professionals in the EMEA region. In 2011, the top planned capital projects in the European broadcast include upgrading infrastructure for HD/3Gbps operations; upgrading transmission and distribution capabilities; deploying workflow/asset management systems; and launching new HD channels. Although this previously published list tracks the volume of planned projects in Europe, it does not track their value. Thus to get a more comprehensive understanding of where money is being spent in the European broadcast industry, one needs to understand both the number of projects being planned as well as the value of each of these projects. To determine the amount of money budgeted per project we asked more than 2,000 broadcast professionals in Europe about the major projects they are planning to implement in 2011, and how much of their budget they plan to spend on each project. The results, shown in the chart below left (figure 1), are extremely interesting because they highlight the value of planned projects, not just the volume.
In 2011, broadcast technology spending continues to be driven by the need to upgrade and enhance infrastructure in order to continue the move to HDTV operations. Indeed the top five value projects on the above list are directly related to infrastructure upgrades either directly or indirectly. Topping this ranking is the upgrading of the actual infrastructure required to help broadcasters make the move to HD and 3Gbps operations. Think cameras, routing switchers, production switchers, interfacing gear, multiviewers, editing systems and video servers. But these results also show that a significant amount of European broadcast technology budgets have been allocated to the transmission and distribution of HD signals. This is highlighted by the volume of money allocated to two of the top f ive budgeted projects – preparing for analogue switch-off and upgrading transmission and distribution capabilities. Finally it’s clear that broadcasters are not simply going to maintain the status quo once they migrate their operations to HDTV. Broadcasters have allocated significant capital to building new studios and OB vans, launching new channels and upgrading their newsroom operations.
Technical make-up These results show that a significant amount of the broadcast technology spending in Europe is directed towards infrastructure projects. What are the factors that are driving these decisions? An examination of the state of broadcast infrastructure in Europe provides some answers. Through our research we continually ask broadcast professionals around the world about the state of their broadcast infrastructure, and their plans to upgrade their equipment to HD. Although HD has been around for many years, it turns out that not only is there still a considerable amount of HD upgrades to be done, but also that customers intend to
Figure 1. Average amount budgeted per European broadcast technology project
HDTV upgrade plans in EMEA
Figure 2. Technical make-up of broadcast infrastructure in EMEA in 2011
carry on with these upgrades over the next several years. As shown in the diagram above, only about a quarter of the infrastructure in the European broadcast market has been upgraded to HDTV, and 3Gbps appears to have not yet been widely deployed in the region. It’s worth noting here that the move to HDTV continues to increase. A comparison of the results shown above with our findings from similar research in 2010 shows that the penetration of HDTV penetration had risen from 29% to its current level by 2011. It is of course very interesting to see that 20% of EMEA infrastructure is still analogue. This begs the question of whether this infrastructure will be upgraded directly to HD, skipping out SDI all-together. With such a considerable amount of analogue and SDI infrastructure in the EMEA today, the transition to HDTV, and the CapEx required to make this happen, would appear to be far from over.
Figure 3. HDTV equipment upgrade plans for EMEA
So having established that the transition to HDTV operations will continue to drive CapEx for broadcast infrastructure, what equipment categories will see the benefit of this spending? We asked European broadcast professionals detailed questions about both the current state of the plant infrastructure, as well as their plans between now and 2013 to upgrade individual products to HDTV. The results are shown in figure 3, below right. Roughly speaking between 20-30% of European respondents have fully upgraded each product category to HDTV, with another 25-40% partially upgraded. This implies that there is still a considerable amount of HDTV upgrades to come in the coming years as analogue and SDI plants, along with those that have partially moved to HD, are converted to full HDTV operations. Overall, acquisition gear such as ENG and studio cameras, news and playout-oriented gear such as on-air graphics and multiviewers have been the most widely upgraded. Bringing up the rear are transmission-oriented products such as playout servers, transmitters and transmission encoders. This is highly consistent with the chart below left (figure 1) which shows the average amount budgeted per European broadcast technology project. Understanding how the factors discussed above drive CapEx should help industry participants to better plan their business strategies for the remainder of 2011 and into 2012. Tracking major projects is important because they are one of the industry’s most important drivers of technology CapEx, because projects drive capital budgets, which ultimately drive product purchase. When interpreting these findings, it’s important to note that these results look across a wide geographic region. Granular analysis of the information in this article is available from Devoncroft Partners. jzaller@devoncroft.com
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20 theibcdaily
10.09.2011
Consulting on connected TV Simon Gautlett, CTO for the Digital TV Group, explains the rationale behind the launch of specifications for connected TV services in the UK contained in D-Book 7, which includes extensions to the HbbTV standard he Digital TV Group (DTG) has always regarded international standards as an essential ingredient in the UK specification for UK digital terrestrial television (known as the D-Book). As the industry association for digital television in the UK, the DTG publishes and maintains the specification which is compiled by experts from the Group’s 150 member organisations including broadcasters, manufacturers, platf o r m o p e r a t o r s , t e c h n o l og y providers, retailers, government departments, trade bodies and not for profit organisations. Since our inception we have worked closely with our members to adapt international standards to create an interoperable UK digital TV platform that consumers can rely on. The DTG also allows Digital Europe to use areas of D-Book copyright under license to encourage international harmonisation. The seventh edition of the DBook, published in March this year, includes the specification for UK Connected TV products and services. This provides manufacturers and service providers such as YouView, Virgin Media and Sky with a core common foundation upon which to build their own consumer offerings. Before work began on D-Book 7, the Group explored the global market to see what standards were available. HbbTV was being written in ETSI for the French and Germ a n m a r k e t s , p r i m a r i ly t o introduce interactive TV services with internet connectivity. In the UK, red button services via MHEG have been available since 1998 and more recent additions of the MHEG interaction channel have
T
The DTG has a liaison with the Digital Entertainment Content Ecosystem (DECE), which owns the digital locker system Ultraviolet – to ensure a common approach to file formats for protected content D-Book 7 includes significant extensions to the original HbbTV standard
provided connected functionality. However, useful work had been undertaken by HbbTV to prof ile the HTML interactive format and move towards a more advance connected TV offering. The DTG reviewed the HbbTV standard in depth as well as the underlying Open IPTV For um (OIPF) specifications HbbTV was built on and discussed with our members what we needed to do to make it work for the UK market. As a result, D-Book 7 includes significant extensions to the original HbbTV standard including: specific requirements for content providers, co-existence or presentation technologies (e.g. HTML with MHEG), adaptive streaming suppor t and an increased security mechanism to allow more content
Simon Gauntlett: consumers are becoming confused about what TV they should buy in order to receive the services they want
on the platform. Many of these extensions have now been fed back into the standardisation bodies to enable the next generation of HbbTV and Open IPTV Forum (OIPF) specifications. The DTG also has a liaison with the Digital Entertainment Content Ecosystem (DECE) which owns the digital locker system Ultraviolet, to ensure a common approach to common file formats for protected content.
European harmony Earlier this year, the DTG chaired an ETSI Working Group with the aim of proposing a new version of ETSI ES 202 184 (MHEG) to include the Interaction Channel and IP Stream-
Prestigious certification for US company IMT By Ian McMurray Integrated Microwave Technologies is publicising the achievement of ISO 9001:2008 Quality Management certification for its Mt. Olive, New Jersey production facility. The announcement follows the company’s consolidation and expansion of its production capabilities in November 2010. The new facility in Mt. Olive is home to IMT’s research and development, application engineering, manufacturing assembly, electronic testing and customer technical support services. IMT’s range of produ c t s f o r comm ercial and government customers includes wireless camera systems, portable
ing features first published in DBook 6.2.1, along with additional advances in MHEG features created in other markets. This was published in March and enables wider adoption of MHEG through its publication in an international standard. This is the relationship the DTG has always had with international standards – we reference them
IMT has consolidated production into a new 65,000 sq. ft. site in New Jersey
video transmit and receive systems, airborne video downlinks, and central and diversity receivers. The ISO 9001:2008 standard is a set of international quality practices that ensures the use of effective processes that are consistently monitored and continually improved.
The certification validates a quality management system that promises customer satisfaction from effective implementation of the system, and conf irms an organisation’s solid foundation for consistent improvement through data use and analysis. “IMT continually strives for excellence and we are thrilled that the hard work and dedication of our employees has earned us this highly respected industry achievement,” said Integrated Microwave Technologies’ President, Stephen Shpock. “While we have received this certification, it does not mean our ISO journey ends here. IMT will continue to operate with a set of principles that ensure a common sense approach to the management of our business activities to consistently achieve customer satisfaction.” 1.D40
where possible, undertake modifications to make them work in the UK market and drive new innovations before pushing them back out, so that the next generation specifications can be harmonised across Europe. For broadcast, the DTG previously developed mechanisms for Active Format Descriptors which were fed into the DVB standard and adopted inter nationally. More recently we defined Target Region Descriptors as a mechanism for handling multiple regional variants and fed this back into the DVB where it was modif ied to meet European requirements, the DTG then modified the UK implementation to ensure it aligned with the DVB standards. Today’s Connected TV market
is increasingly fragmented, with different connected services being available on different products. As a result, consumers are becoming c o n f u s e d a b o u t wh a t T V t h ey should buy in order to receive the services they want. Through the DTG’s relationship with content providers we were informed that they don’t all have the capacity to make and maintain individual deals with manufacturers on specif ic implementations, instead most content providers would prefer a single common platform to target their services. D-Book 7 makes it easier for manufacturers to implement products built upon the same core, stable foundation across Europe and for service providers to support the same single standard. Of course, no technical specification can be effective without an accompanying test and conformance regime that is reviewed and approved by industry. The UK digital television industry’s test centre DTG Testing, which currently runs the test regimes for the Freeview and Freesat logos and the ‘digital tick’ conformance mark, is creating a test and conformance regime for Connected TV products and services. Through its liaisons with international standards and expertise the DTG will be able to test a range of receivers against the specifications, including products manufactured for sale in the UK and those designed for the European market. At IBC the DTG will be supporting a demonstration of MHEG IP Streaming on the ETSI stand (2.C29), with the assistance of Strategy and Technology (S&T). The demonstration is a standard VoD browser and player application, making use of the MHEG IP streaming features for Interaction Channel and Streaming, based on S&T’s MHEGPlayer system. The demo is free-to-view with advertising support. However, the specification includes the ability to stream encrypted premium content. We are also exhibiting on stand 5.A45.
MAM administration via the web Tedial By Michael Burns The latest version of the Tarsys media asset management system includes a web-based administration GUI for managing database data models. Tarsys – being demonstrated by Tedial today – features integrated HSM software. Content in a Tedial f ile-based system is indexed on ingest and a low-resolution proxy copy generated. If needed, only required parts of a file can be recovered from tape. Wherever it is stored, users see all content as a single archive. Combined with intelligent tape management, this means that users can treat content on tape as a readily accessible part of the store.
A web-based GUI can control the Tarsys filebased MAM system
Administrators can now access tools via any PC to manage data repositories, create folders for cataloguing and specialised metadata fields, thesaurus and multi-language dictionaries. The administration GUI provides tools for system auditing, allowing the administrator to check logs and review activities. Tarsys also allows administrators to manage multiple users’ access rights profiles. 8.B41
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22 theibcdaily
10.09.2011
Stars in their eyes
Q&A Tom Lattie, VP of product management, Harmonic Has IBC come at a good time for the electronic media industry? Why? We all know that the industry is changing faster than we realise, and IBC offers an important opportunity for both vendors and media companies to exchange ideas on the impact of these changes. From the latest technology solutions to changing consumer media consumption patterns, the discussions at IBC help shape the infrastructure plans that are necessary to best deal with the changing landscape.
What do you think are the key developments in, or threats to, your market sector at the current time? The most significant developments over the last year have been around the acceleration of multiscreen/OTT services. Not only have we seen the proliferation of connected devices and maturity of multiscreen ecosystems, but also the aggressive deployment of full-fledged services in many markets – so we expect multiscreen/OTT to be an important topic at IBC this year.
Who will be tomorrow’s business leaders?
Why should delegates visit your stand at IBC? With the acquisition of Omneon, we are a much bigger company both in scalable and technology breadth. Harmonic’s presence at IBC this year reflects this new organisation, which can bring comprehensive solutions to the market. Occupying a single and larger booth, we will be showcasing how Harmonic’s broader product portfolio allows customers to build end-to-end solutions that address all stages of the content creation and distribution life cycle, including multiscreen services. We hope attendees will visit us at our booth and see how Harmonic is enabling the video economy.
1.B20
In a fast-moving industry like ours, it is vital to bring fresh young talent into the community whenever possibl e . I B C p l ay s i t s p a r t i n t h i s through its Rising Stars Programme. This brings students and young professionals to IBC, giving them a
chance to see the latest technology and join the conference to add their views to the complex issues facing all of us. To give them a foundation, Meirion Hughes of BKSTS is running a daily tour of the exhibition, ensuring that the members of the
programme see the areas that interest them, and at the same time get a core understanding of the whole industry. The students are encouraged to take part in conference sessions and the programme also includes sessions in the Inside Knowledge area of the IBC Production Village. Networking sessions are also part of the programme, allowing them to share views with their peers as well as with broadcast industry veterans. In return, they were invited to submit entries for the Rising Stars showcase, which is tomorrow at 14:00. The four teams selected to take part will combine their own knowledge and perspectives with their experiences at IBC2011, to provide a focused and relevant – and fun – view of the evolving media world. The session will cover a range of issues, and will be followed by a panel discussion enabling everyone, whether Rising Star or established player, to contribute. To view the full prog ramme go to www.ibc.org/risingstars.
Movietech snaps up Evolution monitors Oxygen DCT By Melanie Dayasena-Lowe The Evolution P3 series of monitors is being launched by Oxygen DCT. The monitors boast a unique onboard HD recorder, as well as a host of useful camera set-up facilities. Two units have already been purchased by Pinewood Studios-based Movietech, which has become the first rental house to adopt the Evolution P3 Series in the UK. S t eve H a t h away, m a n a g i n g director of Oxygen DCT, said: “For many years film productions have employed a second camera that tracks the main camera to give directors a fast video playback without interrupting the main camera recording. “This video assist facility has been a vital part of the production process and required an additional video recorder and ancillary equipment. However, with the Evolution P3 Series, the director’s monitor has onboard recording from the main camera and instant on-screen playback. “What’s more, using optional SD-HC media cards, the video
Oxygen DCT’s Evolution P3 Series features on-board HDMI to HD-SDI conversion
recording can be reviewed and stored on a laptop computer, again saving time and money by eliminating the need for a second recording device. These features are genuinely world-f irst and are set to revolutionise film production,” Hathaway predicted. Available in 7-inch and 17-inch,
features of the monitor include onboard recording, on-board HDMI to HD-SDI conversion, and a special mode that allows users to view DSLR pictures at full size rather than the smaller, reduced size pictu r e ty p ic a lly o u tp u t o n a viewfinder. 10.B44
Making digital content pay PayWizard By Anne Morris How to monetise digital TV platforms and collect payments is an ongoing concern for merchants of high-value content. With this in mind, PayWizard is launching some new enhancements to its platform that it promises will make buying content much easier for viewers on all devices.
The new features introduced to PayWizard include the capability to generate and manage vouchers. For example, a content owner or other merchant is able to release a number of promotional vouchers, offering free money or a limited-time discount. The viewer is thereby encouraged to spend that voucher or, depending on the merchant’s prefere n c e s, i t may b e st o r e d i n th e account for later use. Other new enhancements include
PayWizard supports transactions made on multiple devices
a new account management app for purchases made on connected TVs to improve the management of payments across devices and content sources. 13.185
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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
10.09.2011
Get started on new skills
Go from advanced to master on Adobe, Apple or Avid
Today is your second chance to take part in IBC’s new Certified Training P r og r am m e . T he two day programmes on editing and designing with Final Cut Pro and Avid Editing
Q&A
Workshops both start today, alongside a one day course on Adobe Production Premium. This special training programme has been produced especially for significant additional ad revenues. Integrating broadcast services with companion devices such as tablets and smartphones will be a key trend at IBC2011.
IBC by Future Media Concepts, one of the world’s leading training organisations and the Silver Sponsor, AJA Video Systems. It has assembled a team of leading instructors to IBC to give students a chance to get into the heart of these rich and complex tools. T h e A p p l e c o u r se l o o k s a t Colour and Motion alongside Final Cut Pro, the additional tools bundled into the traditional product Final Cut Studio. It also incudes sessions on Final Cut Pro X, the new version launched earlier this year amidst some controversy. Experts talk through the differences and help you get into the new editing paradigms it presents. Similarly, the Avid course is built around the practical requirements of editing, and most par ticularly achieving the best creative results quickly. It also delves into some of the added functionality, including designing creative titles and getting targeted applications and advertising. The industry is fast and aggressively moving towards the provision of more immersive event-based viewing experience over which consumers have greater control.
Alex Terpstra CEO, Civolution
What do you think are the key developments in, or threats to, your market sector at the current time?
Why should delegates visit your stand at IBC?
Has IBC come at a good time for the electronic media industry? Why?
Developments in content identification for TV screen/second screen synchronisation are very important for the industry. Increasing user engagement and bringing interaction with the content deepens the relationship between content and consumer and opens up an array of untapped opportunities for personalised and
Our stand will showcase our exciting new video synchronisation technology, VideoSync, which enables accurate realtime synchronisation between content played on the TV (either live or prerecorded) and portable devices such as tablets and smart phones, offering greater interactivity and user engagement. Also on show will be new
IBC arrives at a very exciting time for the industry with interesting developments in the integration of social media with broadcast and recorded content. This is particularly important as it provides opportunities for stronger user engagement and potentially
the best out of compression using Sorenson Squeeze. Attendees on the two-day Apple and Avid courses can complete the experience by passing the optional examination and gain widely recognised certification. The exam only takes an hour, and is available on Monday. The one day Adobe course covers the range of creative tasks, from colour connection and titles to working with After Effects and Photoshop. These sessions are aimed at experienced production and post professionals who want to develop their skills even further. If you cannot commit one or two days to the training, you can book for individual sessions if space is available. The full programme is available online at www.ibc.org/ibccertifiedtraining or on the IBC Interactive Event Guides placed around the RAI. To register, go to the Forum.
functionalities in our Teletrax media monitoring which enables broadcasters to accurately measure how their content is consumed; and the latest developments in forensic watermarking including our awardwinning premium VoD solution.
2.C30
never.no’s chat and view profile
TV2 Sporten goes live on iOS/Android never.no By Heather McLean Developer never.no has announced that its Interactivity Suite (IS) has enabled the world’s first live synchronised companion app for iOS and Android devices. TV2 Norway used the IS’ new Synchronised Companion App Framework during its live coverage of the Tour de France to enable a complementary and two-screen experience. Synchronised Companion App Framework allows content to be delivered to a tablet, mobile device, or PC in sync with the action on the viewer’s television screen. TV2 developed companion apps especially for the Tour de France, which viewers downloaded to their iPhone, iPad or Android devices before or during the race. Using never.no’s IS as a framework, TV2 pushed moment-bymoment stats and other information to viewers to complement what was happening on the TV screen. In addition, never.no’s technology allowed producers in the studio to use the apps to interact with the audience via chat and viewer polls relevant to live events. “There has never been a better way to provide a fully immersive two-screen experience, which enhances, rather than distracts from, o u r c o r e p r og r am m in g ,” s a id Morten Jørs, managing editor of TV2 Sporten. “The fact that we now have a tool that allows us to add value and engage our viewers as the action unfolds opens up a whole new world in terms of gaining and retaining audience share.” Powered by the never.no IS, Synchronised Companion App Framework monitors frame-by-frame changes in broadcast programming or live production, and then uses the changes to trigger delivery of specified content to the second screen. It also provides an active return channel to the broadcaster, making tablets, smartphones and PCs ideal peripherals for participation. Said never.no CEO, Lars Lauritzsen: “Throughout our long relationship with TV2, they have always been the f irst to pioneer original viewer experiences and push innovation. TV2 is truly a cutting-edge organisation that sets the standard.” 3.A36
26 theibcdaily
10.09.2011
A landgrab for viewers
Michael Comish: “The hype about the connected home exceeds the reality on the ground”
Online content delivery, of movies in particular, is a fiercely competitive business in which only those with the right strategy and muscle will survive. Adrian Pennington talks to Blinkbox CEO Michael Comish Executive Summary ith the introduction of connected TV products, a multi-dimensional battle is breaking out for the attention of the TV viewer. The battleground is the default screen on the consumer’s primary TV and the role of all the secondary screens that will hang off of it. Not quite how Michael Comish sees it. “It’s less a battle and more of a landgrab, in the UK at least where payTV is in 50% of homes,” he says. “The opportunity for OTT service providers is to reach those people who previously didn’t have access to great movies on demand and other services in the home as well as existing payTV customers who are looking for better value for money.” La n d g r a b or battleg round Comish is in the thick of things as c h i e f exe c u t ive of movies on demand service Blinkbox. A former senior executive at broadcaster Channel 4, he co-founded Blinkbox in 2006 building it to 2 million customers a month before selling to
W
retail giant Tesco to grow the business. Refreshingly for a CEO, Comish is frank in his assessment of the market. “The hype about the connected home exceeds the reality on the ground,” he believes. “People are talking about where we will be in two years as opposed to where the market is today. The vast majority of views for premium OTT services is currently through games consoles (in the UK there are around 10 million Xbox and PS3 owners). “However, in two-to-three year’s time the number of connected TV devices will be around 20m. The tipping point for take-up is 2012 partly because of the Olympics, and the launch of [BBC backed IPTV project] YouView, and improved broadband, but also because of the breadth of devices consumers can access services such as Blinkbox on.” The cost and technical complexity, of building a service across different devices remains a substantial barrier to claiming market share. “If anything the cost and complexity has gone up; distinct DRMs,
operating environments, players and the need to develop a unique service per device means that only a small number of key providers have the skills or capital to offer these services,” Comish reports. “The costs and complexity associated with a successful digital retail business are so significant that small players cannot survive.” Once that became clear he began looking for a partner. “Tesco serves 10m people a week in its stores, all of whom I have an opportunity to sell to. It has 17m Clubcard customers that they know a lot of information about, it is the second largest DVD retailer in the UK and the third largest consumer electronics retailer so in terms of a partner with synergy and clout there was none better.” Blinkbox’s clients, the Hollywood majors, also want to see content on a myriad of different devices but they are also concerned to retain profit margins from the DVD window. “One of the biggest challenges we face is getting the partners you work with to embrace change,” says Comish. “A big challenge is trying
In two to three years time the number of connected TV devices will be around 20m. The tipping point for take-up is 2012, partly because of the Olympics
to help studios better understand the fundamental change that is occurring in the way people will consume media online.” He elaborates: “Whereas consumers used to value ownership they now value access. There will always be people who purchase but a much greater percentage will rent. Consumers want immediate access across multiple devices with a picture quality they‘d expect from a DVD. They don’t care how – they just want immediate access to the films they love on the device they have at hand. The trick for content owners and service providers is to create enough value in the proposition that consumers rent online, en masse, and avoid the ‘free’ option that has crippled the music industry.”
VMG family expands Simplifying newsroom workflows e n d - u s e r devices is putting a signif icant strain on network equipm e n t t o ke e p u p w i t h th e demand,” said Brian Johnson, director, product marketing for RGB Networks. “In consultation RGB Networks has added the VMG 8 to its Video with our cusMultiprocessing Gateway range tomers, we have developed the VMG 8 to address their desire for RGB Networks increased capacity, scalability and By Ian McMurray reliability, while still minimising rack space and power requirements.” A new member of the Video MultiDescribed as being ideal for processing Gateway (VMG) product small to medium-sized deployments family has been announced by RGB or deployments at the end, the new Networks, as well as increased VMG 8 inherits all the capabilities transcoding capacity for its TCM of the VMG family, and packages module. The VMG line of modular, them in a new seven rack unit (RU) chassis-based products is said to high carrier-grade chassis. The enable video service providers VMG 8 holds up to eight modules, (VSP) to deliver and monetise video providing a compact alternative to services cost-effectively to TVs, RGB’s larger VMG-14 that can also PC s , t a bl e t s a nd other m obile accommodate RGB’s recently-added devices in any size deployment. AMP module – a Linux-based blade “With operators going live with developed initially for realtime TV Everywhere IP video services, audio transcoding – without exceedit’s becoming clear that consumer ing the chassis’ capacity when a usage and the growing number of back-up module is added. 4.C78
Harris Dick Hobbs Newsroom operations stand to be further simplified by Harris, thanks to a new Active X control application being shown at IBC for the first time. The application is part of an advanced technology demonstration on production workflows, which Harris is using as a reference point for discussions on future directions. T h e d em o n st r a t i o n b r i n g s t og e t h e r a n umb e r o f p r o d u c t advances, which together contribute towards simplification of the pro-
duction process. The Nexio Farad is the latest addition to the server platform. It provides a new high bandw i d t h p o r t a l i n t o t h e st o r a g e network, with more inputs and outputs as well as supporting additional layers of security. The Nexio Amp, and its smaller cousin the Nexio Volt, have a range of enhancements including Automatic Input Detection, which eliminates the need for an operator to manually set server input parameters for each ingest. This is possible thanks to the Nexio’s ability to implement video codecs in software, which also ensures that formats such
as DNxHD and AVCHD can be added simply and seamlessly. The new Active X control application allows the Invenio digital asset management system to control content flows, with the server platform working to it. In turn, this means that the news workflow – or any other high pressure production p r o c e s s – c a n lin k a ll c o n te n t together easily, such as captions and graphics elements. The demonstration includes the latest version of the Inscriber G-series graphics platforms, designed for fast-paced live production. 7.G20/7.G23
Mac drivers for Convert DVI family Matrox Video Products Group By Carolyn Giardina Mac drivers for the Convert DVI and Convert DVI Plus HD-SDI scan converters are being demonstrated this week at the Matrox stand. This first release is available for Mac OS X 10.6 (Snow Leopard) and 10.7 (Lion), and is a free download for registered Convert DVI and Convert DVI Plus users.
These drivers enable control of output resolution, genlock settings, analogue output selection type, antiflicker filter and standalone mode programming. In addition, Convert DVI Plus offers an upscaling feature provided by the hardware. “Since its launch in September 2009, the Convert DVI family has seen an overwhelming amount of positive feedback and success. However, Mac users were requesting dedicated drivers to take full advantage of the hardware’s capabilities,”
The Convert DVI Plus from Matrox
said Charles P. Amyot, Matrox end user product manager. “Due to the fact that computer-based content comes from the PC just as much as from the Mac, we are proud to announce this first iteration of drivers for the Apple platform.” 7.B29
28 theibcdaily
10.09.2011
The networked society will be televised 30% bandwidth enhancement with NetProcessor 9030/40
NetProcessor includes new DVB-T2 interface Thomson By Ian McMurray The NetProcessor 9030/40 from Thomson now includes a new DVBT2 interface for a more than 30 per cent bandwidth enhancement, as well as MPEG-2/H.264 enhancements for splicing from a national feed to a regional programme in a statistical multiplex without requiring rate-shaping. Combined with the Sapphire MPEG broadcast server, Thomson says that it provides a comprehensive ad insertion solution. Also on show at IBC is Thom-
son’s Sapphire MPEG Broadcast Server. Described by the company as a unique ‘channel-in-a-box’ solution with advanced capture, playout and regionalisation capabilities, and operating frame-accurately in the compressed domain, Sapphire is said to provide all the functions required to ingest, process, brand and generate TV channels ready for air. New elements of the specification include frame-accurate clip editing enhancements, advanced logo insertion features (support for H.264, new scheduling capabilities), and BXF support. 5.A17
A strong presence at IBC Peter Yabsley, business development professional for Pro Video, Canon Europe explains what visitors to its stand can expect This year the Canon stand will be bigger still. In fact, 2011 will be our biggest ever presence at IBC. Visitors will be able to see and try our complete range of products, from Xseries professional camcorders, to
EOS HDSLRs and EF lenses, to lenses for TV and cine production. As with previous years, visitors to our stand will also have the opportunity to talk to Canon staff about how our unique product line-up can
Among the presentations in the opening session in this year’s IBC Business Brief ings programme, starting at 10:00 this morning, is a session hosted by Ericsson. It aims to tackle some of the issues around the networked society. A natural result of the combination of mobility, broadband, the cloud and app, the networked society has the potential to empower consumers far beyond simple communications, promising everything
from greater prosperity to energy conservation. With greater access to broadband and collaboration, society can enjoy information and entertainment anywhere, at any time and on any device. In their session, Ericsson executives will discuss what the networked society means to consumers and to the television industry. Drawing on the experience of research in its consumer labs, the session will talk about real experiences and preferences, and
Tapeless London Studios The London Studios has installed an Omneon MediaGrid storage system to enable a tapeless flow of media from its studios into post production. The HD video clips recorded in studio are transferred along with low-resolution
proxy versions to the Omneon MediaGrid system, which makes media readily available to the post team. By providing secure, scalable media storage and robust bandwidth capacity, the Omneon MediaGrid eliminates The London Studios’ reliance on tape and enables a much more efficient workflow between two key business areas.
support their production needs. Traditionally Canon has always had a strong presence at the show, but it was very much focused on our broadcast lens products. That changed with the launch of our first professional HD camcorder, the XL H1, in 2005. Since then we have continued to bring more and more professional video products to the market, and as the biggest broadcast industry show in EMEA, IBC is the natural place to show them. The recent success of our XF-series camcorders and EOS HDSLRs in the production world has just increased the space
we need to showcase our full range. This year we have rounded out our range of hand-held HD camcorders with the launch of the XA10. This is on display along with our full XF-series lineup: XF100, XF105, XF300 and XF305. We’re also demonstrating updated firmware for the XF300-series, which adds some of the features that our customers saw in XF100-series and requested for the larger cameras. From an EOS HDSLR point of view, this year we will have more cameras than ever but crucially also our widest range of EF lenses – from fisheye to tilt/shift to long telephoto.
Harmonic By Ian McMurray
examine how content owners can maximise the value of their content in the multi-screen world. How can service providers create the most compelling experiences for today’s connected consumers. The IBC Business Briefing programme is free to all visitors, and can be found in Rooms G102 and G103. The full programme can be viewed online at www.ibc.org/briefings or on the Interactive Event Guides located around the RAI. “We’d been proposing this type of business model for some time, and Harmonic provided the missing link,” said Chris Cook, director of engineering support at The London Studios. The London Studios took its Harmonic storage system online earlier this year and, as a result of quick uptake by clients, is already expanding the system to accommodate another 300 hours of HD content. 1.B20
Opinion
Peter Yabsley: Canon won’t be neglecting 3D in 2011
We have many existing EOS customers who are interested in using these products, and this is obviously the perfect opportunity for us to demonstrate the huge variety of creative options that Canon EF lenses can provide to them. Over the past year or two we have also seen more and more users adopting EF lenses for use with cameras from other manufacturers. These users might not be completely familiar with the full EF range, so IBC is a great chance for them to see the high level of quality and possibilities on offer. Canon won’t be neglecting 3D in 2011. In addition to our broadcast lens solutions we are demonstrating both XF305 and XF105 on lightweight 3D rigs. The combination of small size and outstanding image quality make these cameras a particularly interesting option for mobile shoots or situations with restricted space, and our 3D Assist Functions such as OIS Axis Shift make setup really easy. 11.E50
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10.09.2011
New CEO for pay TV technology provider
Dave Habiger is ‘thrilled’ to be taking the helm at NDS
NDS By Ian McMurray Dr Abe Peled has stepped down as CEO of NDS, to be replaced by Dave Habiger, who is making his first major European public appearance at IBC. Dr Peled remains involved with the business and will assume the full-time position of executive chairman. In 2011, Habiger was chosen as Ernst & Young Entrepreneur of the Year. Previously, in 2009, he was declared The American Business Defense and Advisory Council Entrepreneur of the Year.
“After 16 rewarding years at the helm of NDS, the time has come to start the transition to the leadership that will take NDS forward over the next decade and beyond,” said Dr Peled. “NDS has a strong and experienced management team, and an unparalleled cadre of talented and dedicated employees with a proven track record in pay-TV; it has been a privilege to work with them to establish NDS as the market leader in this area. Dave brings to NDS experience as a CEO, and a passion and record of accomplishment in the areas of new media and web delivery that will be increasingly important to NDS and its customers over the next decade. I remain committed to the continuing long term success of NDS.” “I am convinced that NDS is uniquely positioned to offer the technologies and solutions that make content easily accessible to consumers and valuable to service providers,” said Habiger. “I am honoured to be working with the largest and finest research, development, and delivery teams in the industry and with a management team that has helped define the industry since the early 1990s.” 1.A71
Flashlink improvements Nevion
Resource planning gets upgrade Ceiton By Heather McLean Advanced techniques for upgrading traditional resource planning are being showcased by Ceiton. Traditionally, scheduling was perceived as a single and unconnected function, but in the light of process optimisation it has become clear that it is actually a whole chain of steps. T h e se st a g e s i d e n t i f i e d by Ceiton are production request and calculation, approval, pre-scheduling, roster planning, final scheduling, infor mation distribution, equipment set-up, actual time gathering, accounting and settlement. Tobias Soppa, CEO at Ceiton, commented: “What begins with the first request gets more detailed with each step. So information can be routed through a workflow to the different participants or systems, and is reused again and again in different visualisations optimised for the actual process steps.
Production planning with Ceiton’s workflows
“Not only do all of these functions become streamlined in a single unif ied process, people are relieved from manual tracking and coordinating as well. The workflow actively controls the process steps and pushes or escalates information, so everybody can focus on actual work instead of manually managing processes by
Multimedia and more Brainstorm Multimedia By Heather McLean Visitors to Brainstorm Multimed i a ’s b o o t h i n H a l l 2 h ave t h e opportunity to view live demos of Brainstorm’s entire product range. Products on show include the latest version of the flagship product and g raphics engine eStudio V.12,
which is said to offer unlimited power for both g raphic design options and realtime playout of virtual studios and 3D graphics. The company is also showing the latest version of the Aston Character Generator, as well as the templatebased news graphics system BrainN ew s, wh i c h e n a bl e s n ew s departments to integrate Brainstorm’s realtime 3D graphics into
meetings, phone calls, mails, E x c e l o r wo r k i n g i n d i ff e r e n t applications.” Soppa added that Ceiton works for small post production companies as well as large broadcasters, providing best practice workflows that can be adjusted and extended on demand without any programming. 3.A60b their workflows without the need for constant input from designers. Easy OnAir Graphics – which includes an intuitive toolset for live streaming of graphics based on building highly creative designs on pre-def ined templates – is also being demonstrated. Senior advisors from Brainstorm’s Production Services team are on hand at IBC to discuss how their experience can benefit customers worldwide. 2.B59
By Michael Burns Newly improved versions of the Flashlink signal processing solution are making a debut appearance at IBC. Flashlink – which includes modules for format conversion, frame synchronisers, embedders/de-embedders, couplers, up/down/cross-converters, and distribution amplifiers – is being showcased at the Nevion stand in Hall 8. Also new is an ASI changeover switch (FRS-HD-CHO-ASI) that provides protection switching, a dual 3G frame synchroniser (FRS3G-DUAL), and an 8-port distribution amplifier (DA-3GHD-8-DL).
Colour options for video patchbays New Flashlink signal processing solutions unveiled at IBC
Switchcraft By Michael Burns
Additionally, a 2x2 clean switch (CleanSW-2x2) for disruption-free switching of 3G/HD/SD-SDI and embedded audio, and a fully SMPTEcompliant 3G-SDI time division multiplexer/de-multiplexer are being shown. New 3G-SDI versions of Nevion’s existing up/down/cross converters (UDC-UPC/DWC/CRC-3G) are also under the spotlight. 8.B70
Channel colour coding is a new feature announced by Switchraft for its Micro video patchbays. In total, six colour options are available: red, green, blue, orange, yellow and white. The patchbays were launched last year and provide 96 patch points in a 1RU 19-inch patch
panel and 192 patch points in a 2RU panel. With a bandwidth of 3GHz, the patchbays meet SMPTE 424M specifications for HD patching and offer broadcasters and systems integrators the opportunity to reduce the total number of video patchbays needed or fitted. Switchcraft claims this is especially useful for OB and SNG related installations, but adds that the patchbays can also be used for AES/EBU digital audio patching.
Switchcraft’s updated Micro video patchbays feature colour-coded options
The micro video jacks are available internally normalled or nonn o r ma lle d, a n d 7 5 o hm o r non-terminated. Connections to the rear of the video jacks are industry standard DIN 1.0/2.3 connectors. 9.C49
30 theibcdaily
10.09.2011
Sony’s Stephens: UltraViolet to IMF By Carolyn Giardina
for devices Disney and Apple are Quest Asked what he believes it would two notable absences take to gain traction, Stephens responds: “To get UltraViolet to from the list of more achieve critical mass (will require) commitment of the content than 70 DECE member the providers, and we have seen that.” Lionsgate, Paramount, Sony Piccompanies. While he tures, Twentieth Century Fox, Unihopes they join, versal and Warner Bros. have all announced that they would begin to Stephens believes offer UltraViolet content, as early as autumn. there is already enough this“The other thing is the quest for industry participation devices that can suppor t it,” Stephens adds. “Devices that involve for the effort to software like PCs and tablets are going to be the first devices to supsucceed port UltraViolet, but we hope it will
Conference Today Spencer Stephens, executive VP Sony Pictures Technologies, is one of the panelists discussing cord cutting and aiming to answer the question: ‘Will Traditional Broadcasting Survive?’ (at 16.00 today in the Emerald Room) It will, in Stephens’ view. “Cord cutting generally (refers to) linear channels, but that is not the only way a consumer can get content from a broadcaster. That is what we are seeing an evolution of – exp a n d i n g f rom sim ply being appointment-based TV on linear channels to also having other ways of receiving content on demand,” he says. “I don’t see an end to over the air digital terrestrial television, I don’t see an end to linear channels from cable systems for quite some time, although I do see an increase in on-demand services.” A key factor, Stephens points out, is bandwidth – both for customers, as well as for professional production uses. “I hope the infrastructure will grow,” he says. “As we look at connected televisions, it’s still an issue that broadcast content l o o k s b e t t e r someti mes than streamed. Because streamed, the bandwidth is so unpredictable. “I’m very much in favour of open standards,” he adds. “The infrastructure scales better if we standardise ways of doing something like streaming.”
United States will be able to purchase select movies and TV shows with UltraViolet rights. Launch in the UK and Canada is expected to occur early next year.
Spencer Stephens: “It is up to the studios to push it as a requirement”
For Stephens, a big issue in this changing model is whether customers want to collect content. “Sony Pictures is very involved in UltraViolet and we see that as a great way of breaking down the siloed delivery of content and that affects the business model.” UltraViolet is an open system that would give each customer a digital rights locker in the Cloud, aimed at allowing that customer to purchase content anytime, anywhere, and play it back on any registered
device. Stephens suggests that this would benefit consumers as it would allow them to “trust that the content they purchase is going to be available to them in the future.” UltraViolet was developed by the Digital Entertainment Content Ecosystem (DECE) an open, crossindustry consortium of more than 70 companies, which in July launched its licensing programme for content, technology and service providers. DECE anticipates that, beginning this fall, consumers in the
propagate to more traditional consumer electronic devices, like TVs and Blu-ray players.” LG, Microsoft, Panasonic, Samsung and Sony are among the CE manufacturers in the DECE consortium. Disney and Apple are two notable absences from the list of more than 70 DECE member companies. Stephens says that while he hopes that they join, he believes there is already enough industry participation for the effort to succeed. (If Apple does not participate before the consumer launch, DECE representatives have expressed conf idence that Apple devices such as the iPad would still be able to play UltraViolet content, though they don’t yet see iTunes offering UltraViolet content.)
Taxi Driver restoration team taps Baselight Eight FilmLight By Carolyn Giardina
“You talkin’ to me?”: Martin Scorsese’s classic has been restored for Blu-ray release
Martin Scorsese’s 1976 classic, Taxi Driver, was recently the subject of a 4K restoration. The film has been released on Blu-ray by Sony Pictures Home Entertainment, some 35 years after the movie’s American premiere. The project was conducted under the direction of Sony Pictures Entertainment’s Grover Crisp, with guidance from director Martin Scorsese and the film’s director of photography Michael Chapman, ASC.
The restoration process included 4K colour-grading using FilmLight’s Baselight Eight, which was completed at Colorworks, the digital intermediate facility at Sony Pictures in Los Angeles. Before grading began, the original film negative was scanned at 4K using a specially designed wet-gate scanner at Cineric Laboratory in New York. The files were then transf e r r e d t o Co l o r wo r k s, wh e r e colourist Scott Ostrowsky graded to match answer prints personally approved by Scorsese. “Since it is such an important
“There is a lot going on that deserves the attention of the industry,” Stephens says, citing initiatives such as UltraViolet as well as developments including the Interoperable Mastering Format, or IMF, a proposed standard distribution mastering format that would be used for content mastered for platforms from TV to the web. The IMF draft was created by representatives of studios and other stakeholders that worked under Entertainment Technology Center at USC’s umbrella. It is now the subject of a SMPTE IMF working group, which is aiming to standardise the format. “If the studios start using it as a way of handling the mastering of content, I believe the next link in that chain, vendor support, will follow,” suggests Stephens. “It is up to the studios to push it as a requirement.” Stephens suggests that a production development to watch is the Image Interchange Framework, or IIF, which is an architecture d eve l o p e d by a n A c a d e my o f Motion Picture Arts and Sciencesled committee of industry professionals and is typically coupled w i t h AC E S ( A c a d e my C o l o u r Encoding Spec). “This is a way of managing the colour as it going through the production process,” Stephens relates. “We don’t want a director to go into a facility and see one colour, then go to another facility and it looks completely different. (IIF ACES manages colour) right from the point where content is ingest from camera all the way through to where it is mastered. That is very important.” f ilm, we really took our time to achieve the best quality picture,” said Ostrowsky, noting that the grading process alone spanned more than a month. “Our aim, as with all restoration projects, was to make the film look like it did when it was first shown in theatres.” Ostrowsky’s DI grading suite at Colorworks features a Baselight Eight colour grading system and a Sony 4K digital projection system that allowed him to view and grade imagery at 4K, including when working with multiple layers. “Our role was to serve Martin Scorsese and Cinematographer Michael Chapman by remaining true to their vision,” said Ostrowsky. 7.F31
Two new user options for imageMill2 Cintel International By Carolyn Giardina Cintel International launched two new user interface options for the imageMill2 data enhancement and restoration system. The company is also highlighting a number of upgrades for the diTTo evolution 2K/4K film scanner. imageMill2 – billed as being
capable of faster-than-realtime 2K DPX file image processing – features simultaneous film grain management and digital noise reduction (through Cintel’s Grace application), image stabilisation (Steady application), and dust/scratch and digital defect reduction (the new Origin application). The system is available as a full workstation system with 4TB of local RAID storage or, alternatively,
as a plug-in PCI card. Both options include a control user interface freeof-charge, but now users have the option to upgrade to more comprehensive user interfaces. Flow is a new user interface that provides a multi-format and multiresolution project timeline, project management and library functions, 3D-LUT management, waveform, histogram and vectorscope monitoring, and timecode/edgecode burn-in.
Cintel has announced more interface options for imageMill2
Flow supports Tangent Devices control surfaces as well as file formats including DPX, Arri Raw and Red R3D, in any resolution. Colourflow includes all of the
features in Flow along with primary colour correction, zoom, pan, rotate scan effects, blanking tools, automatic scene detection, dynamic events and EDL export. 7.B35
Server and storage solutions that get you to air first — and keep you there.
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32 theibcdaily
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What Caught My Eye A fast track to knowledge
Now an IBC institution, What Caught My Eye is popular with new
visitors and old hands alike. Part of the Added Value stream and free to
all attendees, there is no faster or finer way to get an overview on an emerging topic. IBC invites three experts to tour the exhibition floor, looking for the latest innovations in their specialist areas. They report back in a lively hour-long presentation, with demonstrations and video clips, putting the new ideas into context. Grab a cup of coffee and get all the information you need. Today’s guest expert is Thomas Hoegh, CEO of Arts Alliance UK. Companies working under the alliance have been at the cutting edge of creating alternative content for digital cinema screens, from opera to sport, classic theatre to corporate conferences. At 9:30 in Room E102 he will discuss what he calls the next revolution. For the full conference prog ramme, visit www.ibc.org/conferenceprogramme.
OU capabilities to have upgrade Satlink Communications By Ian McMurray With over 100 Occasional Use (OU) feeds going through its facilities 24/7, SatLink Communications says that its OU division is a prime transm i s s i o n p r ovider for Reuters, APTN, Globecast, EBU and others. Now, the company has announced
that it will be upgrading its OU capabilities with the addition of further high definition (HD) DVB-S2 feeds and other technologies. According to the company, its strategic location, utilisation of cutting edge technology and highly skilled technical staff make it the preferred teleport of choice to transmit OU feeds like sports, breaking news, cultural celebrations, and
other events between Europe, Asia and the Pacific Rim. “SatLink’s new investment plan includes over US $1 million asset build-up of our already strong HD programme to reach transmission capabilities of 25 simultaneous feeds in addition to our existing ability to handle up to 72 simultaneous incoming feeds,” said SatLink CEO, David Hochner. 5.A41
Q&A Christophe Delahousse, president, Thomson Video Networks Has IBC come at a good time for the electronic media industry? Why? We expect IBC to reflect the latest trends in the payTV market and more specifically to show the recent developments in OTT solutions. More and more payTV operators including satellite DTH operators are trialling or even deploying their bouquet on new mobile devices. On the other hand, 3D was over-hyped last year.
What do you think are the key developments in, or threats to, your market sector at the current time? We see the following trends or challenges for our industry: Multiple screen delivery and the challenge of increasing the overall Quality of Service to deliver premium video quality and eliminate frozen pictures.
Secondly, generating money from those multi-screen services through targeted advertising, and the related technologies to enable monetisation. Thirdly, providing the appropriate mix of functions/features in encoder/transcoder products.
Why should delegates visit your stand? The highlight at IBC is our major innovation, the ViBE VS7000 Convergent TV solution designed for IPTV, web TV and internet TV. We also have the ViBE EM4000 multichannel HD encoder, delivering exceptional operational cost savings through much better use of bandwidth. Finally our DVBT2 solution, with a built-in T2 gateway for the NetProcessor 9030 and Sapphire Ad server.
5.A17
Visit us at IBC 2011 Booth 8.B90
Sports Production
Shaping the Future of Sports
Designed to Perform www.evs.tv
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Down on The Beach Fun at The Beach, whatever the weather
Visitors come to IBC to share knowledge, to develop a greater
understanding throughout the industry about the latest creative,
Extending our tool kits Alain Polgar, vice president sales EMEA & APAC, DVS Digital Video Systems, wants to empower your post and broadcast workflows DVS’s main goal at IBC is to demonstrate extremely fast, advanced and reliable products to boost a variety of post production, broadcast and archive workflows. The growing use of digital film cameras has brought new production challenges both in terms of multi-format capabilities as well as data handling on set and in the facility. With the addition of the support of the RAW formats for the ARRI Alexa and RED Epic. Clipster is more than ever the realtime solution of choice for RAW and 2K/4K deliverables.
S3D production is progressively leaving the experimental phase. Producers are streamlining workflows, trying to reduce cost overheads. DVS with a track record of successful feature film and TV productions has extended its S3D tool kit to include automatic geometrical and colour correction as well as subtitling. A growing number of broadcasters and facilities are relying on the ease of integration and multi-codec flexibility of DVS’s video server Venice. At IBC, DVS presents the integration of Venice with
technical and commercial challenges and their solutions. This pooling of experience happens in conference sessions and on the exhibition floor, but it also comes about through conversations with friends and with peers. The chance for great networking is another important reason to come to IBC. The conversations may be serious but the location can be a little less formal, which is why The Beach has become a vital part of the event. The area around the canal harbour is transformed into a beach resort with space for games and sunbathing, but also for eating, drinking and talking. On a sunny day there is no better spot to sit, relax and exchange opinions. On less sunny days there is plenty of shelter. If you want to talk, or just to take time out, arrange to meet on The Beach.
Internet trends by area
an Avid-based production workflow. It allows ingesting video and P2 or XDCAM/XDCAM HD files directly onto the Unity ISIS and the metadata transfer to Interplay through the SOAP interface. As demonstrated with the deployment at the regional broadcaster TeleZüri, the new Venice MOS interface allows the direct transfer of rundowns from an NRCS into the Venice playlist. In combination with ‘while scenarios’ it allows building a highly integrated open news solution using Venice in combination with DVS storage solutions. Broadcasters are looking at mezzanine formats to cope with the issue of multi-platform distribution, repurposing and archiving. On top of the codecs originating in camera and NLE manufacturers DVS now supports a range of dedicated codecs like IMF and AS-O2 mainly based on JPEG2000 compression. DVS will be also the first one to sup-
port the new AVC-Ultra codec family from Panasonic. The skyrocketing need for online media storage is a challenge. Customers are looking for easy to deploy and administrate solutions that provide a long term reliable access to their media. DVS’s dedicated media storage ranges from SpycerBox to large scale enterprise solutions. To help customers maximise the return of their storage investment, DVS has developed a set of storage management productivity tools. It includes, among others, user right management, quality of service as well as defragmenter. New at IBC will be the SpycerBox Flex with 43.2TB SAS storage supporting five 2K streams as well as in place editing with multiple streams from NLEs in a fully integrated 5U compact chassis. If you want to empower your workflow, visit us and see for yourself. 7.E25
Akamai By Carolyn Giardina With its ‘State of the Internet’ report entering its fourth year of providing quarterly analysis, Akamai recently released a new data visualisation tool showcasing trends by geography in several measured categories. Users can generate and download graphs highlighting a variety of criteria. Average connection speed, average peak connection speed, and broadband/narrowband adoption rates are among the data that can be collated with the tool. It is also possible to obtain trend information going back to the inception of the reports.
Akamai’s most recent report, representing Q1 2011, finds that more than 584 million unique IP addresses from 237 countries/regions connected to the Akamai internet platform. This represents 5.2% more IP addresses than connected in the fourth quarter of 2010. In the first quarter of 2011, the average measured connection speed for known mobile providers worldwide ranged from a high of slightly more than 6 Mbps to a low of 163 kbps, according to the report. The latest findings also suggest that cities in Asia dominate the list of the 100 ‘fastest’ cities worldwide, based on average connection speeds, including 61 cities in Japan. 7.A14
Opinion
Alain Polgar: Fast, advanced and reliable products
FIMS ‘fulfils’ TV loudness requirement Cube-Tec International By Paul Watson FIMS – an open media framework for SOA (Service Oriented Architecture) – has been developed by Cube-Tec in conjunction with a string of leading technology companies, including Sony, IBM and Avid. FIMS is said to fulfil the new level of requirements in the TV and media industry. In partnership with the EBU (European Broadcasting Union) and th e A M WA ( A d va n c e d M e d ia Workflow Association), Cube-Tec is demonstrating the orchestration of interoperable media services within the service orchestration engines from Sony and IBM. The company is showing a fully automated service for loudness corrections, according to the newest loudness requirements such as EBU R128. 10.F20
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
36 theibcdaily
10.09.2011
In brief
PL-mount zoom duo meet 4K production standards
ARRIS video solutions
Canon
The VIPr 4000 Advanced Video Processing platform from ARRIS is a second-generation video technology that can generate live multi-screen video through adaptive bit-rate streaming as well as ATSC and DVB transcoding capabilities. The company’s IBC presence also includes the ServAssure networking monitoring and WorkAssure remote workforce assurance solutions, the 1 GHzcapable CHP CORWave Dual Density Forward Transmitter, and a portfolio of EPON and RFoG solutions that support the evolution of HFC networks for business data solutions and PON. 1.D41
New transmitter family The new OnAir air-cooled FM transmitters range in power from 2.5kW to 20kW. The FT series models use the latest generation NXP LDMOS RF transistors and provide RF efficiency, lower AC power consumption and reduced heating. Remote control via TCP/IP is possible, while an internal web server warns technicians via email or SMS message in the event of an alarm. The FT series transmitters have been designed as modular architecture and allow users to conduct analogue and digital broadcasting safely. 8.B05
By David Fox Two new precision-matched wide angle and telephoto cine zoom lenses, based on a new optical d e s i g n p l a t f o r m , h ave b e e n launched by Canon. The FK14.5-60 wide-angle cine zoom and the FK30-300 telephoto cine zoom incorporate breakthrough Canon optical designs claimed to optimise and enhance multiple imaging qualities while minimising optical aberrations and distortions. The lenses are said to be more compact and lightweight than rival PL-mount lenses and feature a new
optical design that virtually eliminates focus breathing. By meeting the emerging 4K production image format standards, both lenses are intended to ensure high performance for 2K and HD use. The lenses are engraved with large, easily visible zoom, iris and focus scales for film-style operation. Both have a common 136mm front diameter for optical accessories. The location, diameter, and rotation angle of the lens gears are also identical, which makes it easier to change lenses on set. The wide-angle FK14.5-60 maintains its T2.6 maximum aperture over its entire focal range. The lens preserves a high modulation
High and wide: Canon’s new FK30-300 and FK14.560 cine zoom lenses
transfer function wide-open, with well-controlled light distribution across the image plane, as well as reduced ghosting and glare from strong light sources. Both lenses allow precision back-focus adjustments to make lens/camera set-up quicker and
Redefining loudness compliance Linear Acoustic By Paul Watson Linear Acoustic claims to be reversing the primary DTV loudness issue from compliance into audio quality by using a new groundbreaking technology. Many of the company’s
si g n a t u r e p r o d u c t s n ow b o a st enhanced designs and upgrades, while new streamlined products have been added to Linear Acoustic AERO and LQ families. The company says its coded audio/loudness manager, AERO.calm, now controls loudness and dynamic range without affecting original con-
tent. The system processes incompliant audio in a consumer-reversible manner, allowing individual viewers the option of hearing the full range of original content. Advanced RadiantGrid transmixing and transwrapping is a new feature of the AERO.f ile f ilebased loudness/audio manager,
easier – useful for multi-camera p r o d u c t i o n s . T h ey a l s o b o a s t ‘superb control over geometric distortion’ to prevent visible anomalies when shooting at extreme wide angles on large sets with extended straight edges. 11.E50 which enables the audio essence to be extracted from a host of f ile w r a p p e r s a n d t h e n m e a s u r e d, scaled, processed, and re-wrapped without disturbing other video or data essences. The upgraded LQ-1000 loudness quality monitor and the UPMAX 5.1 channel upmixer are among Linear Acoustic’s other highlighted developments at this year’s IBC. 8.D29
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10.09.2011
Voyage to rugby’s ‘highest level’ Ericsson By Ian McMurray Coincidentally, the 2011 Rugby World Cup kicked off on the same day as IBC2011 opened its doors. The relevance of that factoid is that exhibitor Ericsson’s Voyager II DSNG solution is being deployed by Sydney Teleport Services to bring the games from New Zealand to a potential 25 million rugby fans across Oceania and beyond. “This is the very highest level for rugby fans and the most highly anticipated event within the sport, and with such a huge following around the world it is imperative
The TS-5 handheld rig, part of the 3flex camera platform range
Stereoscopic technologies and systems 3ality Technica By Michael Burns In its f irst full presence at IBC, 3ality Technica has a full display of stereoscopic 3D (S3D) technology and systems on show in Hall 9. The display includes live demonstrations of two new technologies: Intellematte and Intelle-cal. Part of the company’s 3space suite of products at the company’s booth, these are integrated software solutions that can be used in conjunction with 3ality Technica’s processing units and 3flex S3D camera rigs, as well as with any S3D Left Eye/Right Eye programme feed. IntelleCal automatically aligns the two cameras on a rig, which the company says enables a very fast and precise set-up without the intervention of a technician. It does this by profiling and matching lenses, and performing alignment on five axes through the entire zoom range. Intellimatte provides S3D production crews with the ability to insert a graphic between objects in the foreground and background for true S3D compositing via automated composite scene depth management. The Production Village also includes 3ality Technica’s systems and technology with a live demonstration of Intelle-cam. 9.B40
that we can reliably provide coverage of each match in the very highest quality possible,” commented Scott Jenkins, managing director, Sydney Teleport Services. “A critically important event requires criti-
cally selected solutions, and having worked with the Ericsson team in the past we were confident that it could provide us with the reliability we required for this important project. We have been impressed by the
sheer quality and flexibility that the new Voyager II solution provides, and as a result are pleased to be able to provide broadcasters with the excellent standard of coverage that rugby fans will demand.” Voyager II is a new concept from the company as Ericsson claims that it is the first to harness the power of MPEG-4 AVC 4:2:2 encoding with
10-bit precision. It also features a fully functional front panel that provides users with maximum control. Based on industry feedback, it introduces a re-engineered hardware and menu structure, allowing fast access to the most common SNG operations, easy monitoring of incoming audio and video signals, and operator customisation. 1.D61
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The Vortex i-PPM audio monitoring system includes loudness metering
Monitoring system keeps CALM ment is becoming increasingly important, with the adoption of the EBU’s recommendation 128 and the introduction in the USA of CALM (the Commercial Advertisement Loudness Mitigation Act). The new Vortex i-PPM audio
monitoring system is more than just a peak programme meter or a monitoring system, and includes loudness metering. Derived from the traditional PPM-200 series, it uses TFT screens in place of conventional meters to provide easily-read-
Ruby’s harsh environment
tion, transmissions in a hostile environment are said to reach 100km, even at high speeds. Teamcast is also highlighting the Vyper DVB-S/S2 modulator for satellite applications, the compact Syper DVB-S/S2 demodulat o r, a n d t h e Veg a s t a n d a l o n e solution for simulating individual terrestrial channels for fixed and mobile applications. The company has been shortl i s t e d i n t h e I B C I n n ova t i o n Awards for the ‘Single Frequency Networks for HD with DVB-T2’ project, competing in the Content Delivery category. 2.B51
Vortex Communications By David Fox Loudness is a matter of perception. The longer it lasts, the louder it sounds. These days, its measure-
TeamCast By Heather McLean To respond to the specific needs of mobile transmission systems in harsh environments, TeamCast has launched Ruby modulation, a robust COFDM technology. In order to show customers the benef its of Ruby, a video links demonstrator named Cobra has been launched here at IBC. Ruby modulation, a TeamCast proprietary OFDM modulation
based on DVB-T with time interleave and enhanced error corrector, is suitable for harsh environments, including mobile links in broadcast and defence applications. The Cobra TX system is composed with an HD H.264 encoder, a R u by t r a n s m i s s i o n a n d a 5 W amplif ier. The receiver supports antenna diversity two reception with agile RF input. The HD H.264 decoder is embedded in the receiver, while the Cobra system covers the 2GHz to 2.5GHz frequency. Thanks to this configura-
From big iron to workflow management At this year’s IBC, we are looking to change the perception of our company and reinforce that we are the complete solutions provider for the broadcast video and audio sector, says Fraser Clark, director of Sales & Customer Service, Evertz UK Over the past year, the market space has shifted the spotlight for the broadcast industry. At IBC2010, 3D television was the major focus of new technologies. Both vendors and customers were evaluating 3D as viable production and broadcast options for generating additional revenues. However, over the past year the 3D momentum has subsided. Although there were successful broadcasts and productions, it seems that 3D is still not considered ‘mainstream’. Based on today’s consumer market, this year’s IBC will most likely
focus on the delivery of content to the multi-screen consumer. With the successful introduction of the iPad and other tablets, consumers now look for content to be available using this accessible medium. Although traditional television and web TV is thriving, the growing popularity of on-demand services and handheld tablets has forced broadcasters to implement new content delivery methods. This presents some new challenges, as it adds more pressure on broadcasters to deliver more content,
more rapidly and to more consumer devices. In addition, there is a sense of immediacy brought on by the influx of these new media devices. The new media devices and services have created a demand for content to be made available immediately. Outside of looking at compression technology to deliver this content to the new platforms, content creators are going to look at ways to improve workflow. The delivery of content to these new platforms must be done in a cost effective and efficient manner. Thus, workflow
able audio monitoring with virtual analogue meters and bargraphs. The network interface lets users display combinations of metering and bargraphs from a number of iPPM units on the same network using the i-PPM-NET application. Although the meters look real and have the same ballistic characteristics as their electro-mechanical counterparts, the bright Q-VGA TFT panels can be conf igured to work as PPM mono meters (white pointers), PPM stereo meters (red and green) PPM M3 or M6 Sum-Difference meters (white and yellow), VU metering (white background and red pointers), or Loudness (EBU.R128/BS.1770-1 ITU & ATSC)
with either LED-type display or pointers with LUFS numerical readout. The monitored channels can be mapped in combinations of left, centre, right, left-surround and right-surround including full surround mix – with or without bargraphs. Looking like a conventional PPM audio monitor, the i-PPM comes in a slimline case with builtin stereo loudspeakers, headphone monitoring and phase indication. The six-channel device is switchable between 6 x mono (3 x stereo) analogue signals and 3 x AES/EBU digital audio inputs. Scroll controls select between audio input channels and the type of metering. 11.G11
More content, less bandwidth Motorola By Ian McMurray Additions to Motorola’s encoder portfolio are said to deliver more content with the available bandwidth using statistical multiplexing and smarter encoding. Motorola says service providers can spend less per channel without sacrificing quality. The company is also demonstrating SocialTV companion services for the second screen that allow consumers to find out more about what tools will be at the top of everyone’s lists. Evertz has been primarily known as a ‘big iron’ company that focuses on hardware solutions. At this year’s IBC, we look to change that perception and reinforce that we are the complete solutions provider for all aspects of broadcast video and audio services including workflow and IP based delivery. With tools like Magnum and Mediator, Evertz now offers solutions to assist content creators with file-based asset management and workflow solutions. In the case of Mediator, we now are able to offer a highly scalable solution for tape, live, and file ingest, library management, transcode, spot check, quality control, transfer management and playout for any type of media device. When linked with our EMS (Media Server) and OvertureRT Live (channel playout with branding), we deliver an integrated facility that provides superior file/non-file based multi-channel ingest and playout sys-
they watch, as well as chat and share their viewing experiences with friends via social media and discover new content, without affecting the viewing experience on the main TV. Steve McCaffery, vice-president and general manager, home EMEA, Motorola Mobility, said: “Motorola empowers service providers to do more by protecting their investment with simple and easy-to-use subscriber-facing technologies, features that expand existing service offerings, and products that drive bandwidth efficiency.” 1.D31/4.A75
Opinion
Fraser Clark: Workflow tools will be at the top of everyone’s lists
tems with advanced asset management tools. Our Magnum unified control platform helps operators to unify the control and operation of the routing core, master control, production switching, infrastructure and multi-viewer. Magnum bridges all of the major components within the broadcast path under a single point of control enabling broadcasters to simplify facility workflow and gain efficiency while reducing operational costs. Both of these new software tools help content creators become more efficient and effective in delivering their content to multiple platforms. These tools, in addition to new compression technologies, allow Evertz to be the complete workflow solution provider. 8.B40, 1.A33
G&D DIGITAL KVM systems Modular solutions designed to grow with you
DP64
NEW DVI CENTER
WITH
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When it comes to digital KVM, G&D thinks of your future. Our systems can be combined and cascaded, allowing them to fit and expand to any sized installation through an infinite number of versatile modules. So you can keep growing without having to constantly reinvest in new systems.
Our new DVICenter DP64 matrix switch has 64 dynamic ports to allow flexibility in connecting either a computer or a user console to each port. Hence, multiple computers and platforms can be controlled by teams of users simultaneously. The system provides crystal clear digital images with transmission distances of up to 560m using CAT cables or up to 10 km with fiber optics. It also comes with a superior user interface, easy intuitive configuration and the extra assurance of a built-in monitoring function. With digital KVM systems from G&D, your future’s looking good – and geared for growth
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fischer connectors
10.09.2011
Remake/remodel: Agama has overhauled its DTV Monitoring Solution
New Triax HD Pro+ Broadcast Solution by Draka and Fischer Connectors
Enhanced monitoring solution strengthens interoperability Agama Technologies
1051 Triax
HD Pro +
TM
Integrated Triax HD connector and cable solution
> 30% longer transmission distance
Significantly lower cost of ownership vs SMPTE 304 solution
HD/SD signal compliant
Fast and easy cable assembly
Proven rugged and reliable
Watertight IP68
Maintenance-friendly & easy field repair
By Ian McMurray Earlier this year, Agama Technologies announced version 4.0 of the Agama DTV Monitoring Solution for cable, DTH and IPTV operators. This new release includes a system-wide remake of the GUI and a foundation restructure to increase the solution’s openness and scalability. The Agama DTV Monitoring Solution is described as a complete and modular end-toend QA solution for cable, IPTV and DTH
Isis Subtitle Compare software Starfish
Visit us at IBC, Amsterdam 9-13 September 2011
Hall 11, Booth E.21
operators. With tailored components for headend, delivery network and in-home monitoring, the Agama solution is said to give both realtime and historical understanding of the actual service quality from inside the headend to each individual subscriber. With version 4.0, Agama says that it is further strengthening operators’ opportunities to achieve superior quality of service and customer satisfaction, reduced operational expenses, and increased revenues in their TV operations. Reinforcing the solution’s openness and interoperability has been a particular focus for this release. 4.A55
By Heather McLean A subtitle multi-file compare application for broadcasters and subtitle bureaux that create or use multiple language subtitle files is new from Starfish Technologies. The new software, entitled Isis Subtitle Compare, is on show here at IBC. The transmission of English language programmes with multiple language closed captions is now increasingly common in Europe as it offers a highly economic method of providing programme regionalisation. The Starfish software runs as an automated service and simultaneously compares a series of defined parameters in multiple subtitle files.
The output report details the comparison results and produces a graphic display which could also be used for manual verification. Peter Blatchford, sales and marketing director at Starfish, commented: “The development of this product followed as a natural extension to our very successful subtitle QC application. The accuracy of closed captions and subtitles on TV transmission is increasingly part of a broadcaster’s Service Level Agreement. Our automated QC and subtitle comparison technology will help tremendously to ensure more reliable and accurate caption and subtitling services.” The initial sale of Isis Subtitle Compare is to Discovery Communications Europe, which was instrumental in developing the software feature set. 2.C18
LTFS format for content storage www.fischerconnectors.com
SGL By Carolyn Giardina
Headquarters Fischer Connectors SA Saint-Prex - Switzerland Phone +41 21 800 95 95 mail@fischerconnectors.ch
In Partnership with : www.draka.com/communications
The latest version of SGL’s FlashNet is slated to ship later this year with support for the Linear Tape File System (LTFS) format. The version 6.4 software also supports Avid Interplay 2.3. Specif ic to the LTO-5 tape format and future LTO tape formats, LTFS was developed to enable interoperability between what were once disparate systems. With its IBC demonstrations, SGL is aiming to highlight the portability of content stored on LTFS media by moving tapes in
realtime between SGL FlashNet and other vendors’ LTFS-capable systems. SGL suggests that, in addition to broadcast applications, its approach can be used in post production and acquisition workflows, where content can be acquired to disk on location, dragged and dropped to data tape, and then the tape transported back to a facility. According to SGL, FlashNet’s clustered architecture means that users would be able to grow their storage system from a single tape drive to an automated content repository while maintaining uninterrupted content access. 7.J15a
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HD system contributes to French celebrations NewTek By Carolyn Giardina The Tricaster system from NewTek played an important part in a live broadcast of the fireworks at the Eiffel Tower during French National Day on 14 July. The system was deployed by production and internet broadcast company Streamakaci. The setup included Tricaster, NewTek’s HD portable live pro-
Q&A Jeff McNall, director of audio and video product line management, Wohler Technologies Has IBC come at a good time for the electronic media industry? Why?
duction system, which was used on the f irst floor of the Eiffel Tower to broadcast the audio and video of the show. The conf iguration included a broadband and narrowband broadcast on redundant CDN infrastructure. Feeds were also posted on Facebook and Dailymotion. More than 50,000 internet users are said to have watched the live broadcast of the fireworks display. 7.K11 Indeed, the timing of IBC this year is excellent for a number of reasons. One large factor is changing regulatory climate around the world, exemplified by the new and emerging standards for both programme loudness and closed captioning/subtitling. Content providers are now faced with finding solutions that will help them meet the demands of these new mandates. IBC provides an important opportunity for customers to browse the complete marketplace for loudness and other solutions, under a single roof.
What do you think are the key developments in, or threats to,
LED unit has adjustable beam spread The new ExceLED 225 Nine Light from Videssence is a 225 Watt LED unit with an adjustable beam spread. In spot mode, with daylight LEDs, the ExceLED 225 outputs more than 200 footcandles at 15m. It is claimed to provide ‘the long throw and high light levels required for film and video in large production studios and similar applications’.
The ExceLED 225 provides a concentrated beam of light with even coverage at a consistent 3200K (5600K optional). Additional control can be achieved with the gel frame and spread lens accessory options. The 30,000-hour life is achieved through precision heat sink design and optimum driving of the LEDs. The unit measures about 60x55x12cm. An adjustable mounting yoke allows rotation for ease of focus and may be locked into place. The lights may be ordered in dim and non-dim configurations. 11.B10
your market sector at the current time?
and signals that have to be monitored and controlled effectively. We see this as an opportunity to work closely with customers to define and provide appropriate solutions. The most obvious threats at this point are continued concerns about the global economy and debt crises, and other uncontrollable issues such as sports league labour disputes that present challenges with scheduling and funding major projects.
Videssence By David Fox
Media companies are continuing to move toward multiscreen, multiplatform distribution – which means their operations are becoming more complex with larger numbers of file formats
Why should delegates visit your stand at IBC? We’re excited about our presence at IBC this year. Delegates who have visited our stand in the past
Nine by nine: The new Videssence ExceLED 225
know that we are always on the forefront of solutions to cope with every transition in the industry. This year we’ll be showing a range of new products and technologies to enable better management and control of all types of signals within broadcast facilities, and to help assure compliance with global loudness and subtitling standards. Also, Wohler’s Euro Van will be making its IBC debut this year. At the show, the Euro Van will be wrapping up an 11-country tour throughout Europe to showcase our audio, video, data monitoring, and ancillary data management solutions in a realworld mobile production setting.
8.D56/O.E225
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Opportunities in the Cloud Rino Petricola, senior vice president and general manager Front Porch Digital, explains how the Cloud offers big advantages to content owners
Rino Petricola: Customers can react to market opportunities much faster
Organisations are adopting Cloud technology to drive forward a more integrated and efficient model for their businesses. The Cloud offers big advantages to media content owners as well, by making it easier to keep abreast of changing formats for online services, easier to deal with sudden increases in demand for capacity or turnaround speed, and quicker to extend services to new target platforms. Simply put, the Cloud-based approach to content storage management (CSM) for online publishing, uses private cloud-based services to per-
Context for paint tools The Foundry By Carolyn Giardina Mari 1.3v2 software from The Foundry is aimed at bridging the
company’s creative paint and texture software with its compositing software Nuke for a more complete workflow. With this new version of the software, Nuke artists can access Mari paint tools, keep-
form all of the necessary and complex essence, metadata, packaging, scheduling, and delivery tasks that would otherwise be performed in-house. Cloud-based CSM offers content owners an efficient way of tracking ever-changing formats and requirements as online services evolve. Content owners can benefit from the functionality and features developed for many, without suffering the cost or complexity impact themselves. As platform requirements and essence specifications change over time, the Cloud-based approach can address them and ensure content delivery is always compliant, and in most cases, transparent to the content owner and their individual workflow. The Cloud approach also takes the strain out of adapting to new demands – often at short notice – which require additional technology resources. Most CSM system owners expand capability and capacity by adding additional servers to manage specialist tasks, but with a Cloudbased CSM, these resources can be
made available on demand for as long as they are needed. By removing the need for advanced planning and capital equipment purchase, Cloudbased CSM means that customers can react to market opportunities much faster. The near-immediate availability of support for new target platforms offered by Cloud-based CSM means content owners can reach potential new audiences much more quickly than before. With little up-front capital or staffing cost required to activate each of these potential revenue streams, content owners can take a more adventurous approach to developing new audiences, assisted by the analytics generated by the system, which deliver data on consumption patterns. The online publishing platform automatically collects information regarding viewing patterns, geography, viewer retention, and loyalty, allowing content owners to continuously fine-tune their online presence to ensure they are optimising their return on investment.
Front Porch Digital is working with SMPTE on the proposed AXF standard for media archival, while developing our products to support its core principles. AXF will be the systems foundation for our Cloud strategy and remain at the heart of our offering, complementing other Cloud technologies such as Service Oriented Architecture, Virtualisation, Web 2.0+, and Data Center 3.0. Cloud-based tools are the most cost-effective solution for transforming content to feed current and emerging online platforms. With them, content owners can embrace emerging online business models, test new markets with minimal investment, monetise content, and ensure the longevity of their content and their brand. 7.C16
ing context of the models, cameras and projections in their compositing scene. This development, says the company, removes the need for manual round-trip and data management, which is now automatically handled in the background. The new workflow also means that models, projections and images
can be sent from Nuke to Mari and back in a single step, or over a network when artists need to collaborate. The company also says that users can expect improved integration of digital environments and matte paintings. Mari 1.3 is available on Linux and Windows. 7.B21
Enabling ‘more complete’ workflows: The Foundry’s Mari 1.3v2
Opinion
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Watchout... Éclair restores Les Enfants Du Paradis with Phoenix for the new version 5 Image Systems
By Carolyn Giardina
Dataton By Carolyn Giardina Studio presentation company Dataton is demonstrating version 5 of its Watchout multi-display production and playback system at IBC. New features in the software include stereoscopic playback as well as 3D effect and iPad control opportunities. The new 3D effects and stage preview option is designed to let users position and rotate media objects in 3D space. The preview can be rotated to view the stage from the most appropriate vantage point. Dataton also reports that version 5 allows users to connect sensors and control sources, including iPads, directly to on-screen elements such as images, video and live feeds. Version 5 offers support for multi-head output cards, which, according to Dataton, means that up to six displays can be driven off one supported computer using a single Watchout licence. 7.G12
The Phoenix Refine restoration system from Image Systems (formerly Digital Vision) – which is being highlighted at this year’s IBC - was used by Éclair to restore 1940s French classic Les Enfants du Paradis in 4K. Directed by Marcel Carné, the film was screened at this year’s Cannes and Bologna Film Festivals (Il Cinema Ritrovato). Image Systems explained that the restoration project was vital as the physical condition of the original negative, owned by Pathé, was badly damaged and in danger of falling apart. When it arrived at Éclair the original negative was held in 11 f ilm cans housing approximately 2,000 feet of material. The team at Éclair faced a number of challenges as they had to contend with a lot of moisture and mould as well as missing frames and general wear and tear. Using a further two copies of the original negative, the team at Éclair reconstructed the film in its entirety. It was scanned at 4K in Italy and sent to Éclair on disk. Éclair initially used the Phoenix Refine stabilise tool and then applied a pass to fix
some of the easier problems such as dust and dirt on the frame. A second pass was undertaken to remove scratches and, after that, the system’s auto fix and paint tools were used for repair and touch up, removing further imperfections. “This was new ter ritor y for Éclair as it’s the f irst restoration project that we’ve completed in 4K,” said Charlotte Quemy, head of Éclair’s digital restoration department. “Phoenix provides the starting point for a project like this and straight away we were able to use the system’s automated toolset to remove a number of imperfections. Problems that we couldn’t repair with the paint tool we repaired with the auto f ix tool, which is very powerful as it allows us to accurately rebuild parts of the image. Being able to set several defaults on the same image, such as stabilise and scratch, is extremely efficient and significantly speeded up the workflow.” Christian Lurin, Éclair manufacturing manager, concluded: “In my opinion Phoenix played one of the most important roles in this process because our schedule was very tight. We started in January and we had to deliver the film for Cannes in May.” 7.A28
Les Enfants du Paradis: before and after restoration with Phoenix Refine
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Growth in Latin America Conax By Ian McMurray Last month saw content security solutions provider Conax report that it was seeing strong growth figures in the Latin American pay T V m a r k e t . T h e t e c h n o l og y p r ov i d e r s a i d t h a t i t s aw 4 0 % growth in 2010 and is anticipating an additional 50% in 2011. L a t i n Am erica is a rapidly expanding market in which opera-
tors are migrating from analogue to digital services and require digitisation expertise to make the transition. The company believes that its success in the region is based primarily on its high quality security for DVB solutions, with growth spurred on by freedom of choice, flexibility, security and affordability. Brazil, Argentina, Chile and Pe r u a r e a m o n g t h e c o u n t r i e s expected to see significant growth in the future. 1.D69
HbbTV sets tennis scene
Daniel Scolan, chairman of Wiztivi
Wiztivi By Anne Morris A special application devised by Wiztivi is being showcased at this year’s IBC. The application in
question was developed for the H b b T V- e n h a n c e d i n t e r a c t iv e sports broadcast of the Roland Garros tennis tournament in France this year. During the tour nament, TV viewers were able to explore the new possibilities offered by the Hybrid broadcast broadband TV (HbbTV) standard, with simultaneous enhancement of the live programme including information on the TV screen such as player biographies and statistics. The viewer was able to select data options using the TV remote control without missing a second of the live programme. Based on this experience, Wiztivi is working on HbbTV innovative creative products and services for future business models. 13.432
Systems integrator’s latest projects Danmon Systems Group By Michael Burns Showing off its systems integration services at IBC2011 is Danmon Systems Group (DSG), part of Dan Technologies. DSG has recently been responsible for major projects in Vietnam and Scandinavia. In Vietnam, the company handled the design, construction and c om p l e t e t u r n key d e l ive r y o f regional TV stations, including extensive on-site technical and journalistic training. The company also designed and installed an IP-based remote controlled camera production system at seven region sites for a major Scandinavian broadcaster, as well as developing and installing
A master control system installed by DSG for the Danish Broadcasting Corporation
a robotic camera system for TV2 News in Copenhagen. Visitors to the DSG stand can also find out more about the group’s HD upgrade of production systems for
ATG Kanal 75, Sweden. The first phase of this project, already completed, included a new multi-format router, a new router control system and new HD infrastructure. 8.B51
MAM and OTT modules for OnAir SintecMedia By Heather McLean SintecMedia – a global provider of management solutions for broadcasters, cable MSOs and station groups – is showcasing two new modules at this year’s show. The new Media Asset Management (MAM) and over the top (OTT) management modules are for use with SintecMedia’s OnAir scalable
broadcast management suite. The new modules, OnScreens f o r OT T T V a n d O n Me dia f o r me d i a a sse t ma n a g em e nt, a r e designed to enhance business operations and provide broadcasters with full control over their business and revenue streams. Moses Zelniker, VP marketing at SintecMedia, commented: “SintecMedia continues to enhance OnAir with additional modules for improving all aspects of broadcast business
Extending camera reach Percon By Melanie Dayasena-Lowe Among a host of announcements at this year’s IBC, Percon has launched the new cable TVL 2020/7, designed for Panasonic cameras. The TVL 2020/7 increases by 50 metres the maximum distance recommended by the manufacturer. This capacity enables the signals between the adapter of the Panasonic AG-CA300G studio camera and the
Percon has become the only company certified in Spain to assemble Neutrik opticalCON connectors
base station to reach 150 metres with HD-SDI video quality. It also offers
management. As the market matures and new trends arise, we are committed to provid[ing] our customers with advanced tools to improve their capabilities in the fast-moving digital arena.” Alongside the new modules, the company is augmenting OnRequest, a nonlinear management solution that offers a unified and accessible warehouse for all programming, scheduling, ad sales and planning. 2.B41 the possibility to extend the video and the power over 500 metres using BNC to single mode FO converter through a SMPTE 311M cable and Neutrik’s OpticalConDuo connectors, feeding the camera and the FO receiver remotely. Percon is also displaying the new BNC HD connector series, specially designed to cover the specific needs of professional HDTV signal transmission in applications such as TV studios, OB trucks and large live events. In other news, Percon has become the only company certified in Spain to assemble Neutrik opticalCON connectors. 10.E51
Complete T&M offered for DVD-T2 Rohde & Schwarz By Michael Burns The portable R&S EFL240 and R&S EFL340 TV test receivers are being showcased for the first time at IBC2011 by Rohde & Schwarz. The manufacturer is also highlighting the R&S DVMS monitoring system and the R&S ETL TV analyser. Featuring a compact design and easy operation, the two new test receivers enable installation personnel to reliably measure the quality of cable, satellite and terrestrial signals for cable TV systems and in-build-
ing distribution systems, says the manufacturer. The R&S EFL340 also supports DVB-T2 – a feature it has in common with the new R&S DVMS and the R&S ETL. The R&S DVMS monitoring system provides the entire functionality for monitoring and analysing DVB-T2 signals. Network operators can use it to monitor both the transmitter and the signal feed via the T2 modulator interface. Depending on the configuration, the R&S ETL TV analyser combines the functions of a TV, spectrum and MPEG-2 analyser and a power meter in a single box. As a
The R&S EFL240 can handle cable, satellite and terrestrial television
result, Rohde & Schwarz claims that this is the only instrument on the market that can perform all the measurements required for the installation, start-up and maintenance of DVB-T2 networks. 8.D35
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Dual-fader Apollo has landed
Encoding gets simple
Calrec Audio
Opticomm-EMCORE
Calrec Audio’s Apollo console employs Bluefin signal processing
By Paul Watson
dynamics section in each channel, more than 70 minutes of assignable delay, and three independent APFL systems for multiple operator use. The f acilities do not sha r e
resources so they are available to the user at all times. Processing, power supplies and I/O routing are all fully redundant and contained in an 8U chassis. 8.C58
Regenerating the LTO program LTO Program By Melanie Dayasena-Lowe The Linear Tape-Open (LTO) Program Technology Provider Compani es (T P C s ) – HP, IBM an d Quantum – have announced the availability of licenses for the LTO U l t ri u m G e n e ration 6 for mat. Although the LTO Ultrium Generation 6 format is still in development,
the TPCs have provided the opportunity for licensees to gain insight into the emerging tape specification through a series of regular discussions surrounding its development. Plans for specifications for the Generation 6 tape cartridge include capacity of up to 8TB, almost triple the capacity over the previous generation, and tape drive data transfer rates of up to 525MB per second. Also included are features from pre-
A standard for noise This year’s hot topic at IBC once again is loudness, says Marc Judor, international sales and marketing manager, Junger Audio
Opinion Several major events have focused broadcasters’ minds on this topic, not least the introduction of the new CALM legislation in the US. Operating
in parallel, international broadcast organisations such as the ITU, EBU and ATSC, along with regulatory bodies in a number of countries (CSA in France, OFCOM in the UK etc) have provided norms, recommendations and rules on loudness for broadcasters. These have raised interest levels and also put pressure on broadcasters to comply with the newly edited regulations.
The AVE-1HDP-RM High-Definition H.264 Video/Audio Encoder is among Opticomm-EMCORE’s highlighted products at IBC2011. The AVE-1HDP-RM is a professional grade video-audio encoding solution designed to simplify the process of encoding video-audio streams for IP distribution. Using the newest MPEG-4/AVC compression technology, the system is said to output a visually stunning video stream with clear, crisp audio. Suitable for large video distribution hubs, this 1RU product can convert HDMI, HD-SDI, SDI, Component (RGB) and Composite
Pace
vious generations of the LTO Ultrium format, such as encryption to help protect data in transition, Write Once Read Many (WORM) support, and the dual partitioning feature that was introduced in Generation 5. Visitors to the LTO booth can learn more about the new LTO-5 tape storage technology and find out how the new LTFS can save costs and make tape usable like disks or other removable media. 10.D42
By Ian McMurray
This move is good for the industry because broadcast is a professional environment and therefore it is necessary to tackle the sometimes huge fluctuations in loudness that exist on certain content. Viewers’ quality expectations are not being matched and this is often leading to complaints or to viewers switching channels in search of a better listening experience. Broadcasters obviously need to solve this problem and technically speaking it can be addressed in many different ways. But even today, when we have norms such as ITU 1770 (versions 1 and 2) and EBU R1278 in place, purists are still debating the appropriate method to use. In an ideal world, all content would be treated exactly the same, according to a universal norm. Fur-
thermore, all live events would be produced to the highest audio standards with no sudden explosions, screams or volume fluctuations due to microphone or telephone problems. But in reality this isn’t the case because international content (such as the Olympics, the World Cup, major concerts, movies and even some advertising) is often provided by people who are focusing on very different technical approaches to those we consider standard in Europe and the US. Equally, in an ideal world, all content would be delivered with the right loudness level and, if required, controlled colouration. If this was the case you could safely send content to air with no last minute input and without having to pray that journalists, correspondents and unknown foreign
The App Café platform is ready for deployment throughout the Americas, Pace has announced. The App Café offers cable subscribers access to popular web-based applications via their set-top box for the first time, thereby increasing the range of entertainment available via the television set. The Pace App Café allows cable operators to harness the potential of
Hall 10 D20
Big intercom in n a small package
Bosch Communications Systems Headquarters Europe, Africa & Middle-East: Bosch Sicherheitssysteme GmbH, Sachsenring 60, 94315 Straubing, Germany
The AVE-1HDP-RM encoder from Opticomm-EMCORE
video-audio sources, and convert them to IP or ASI for the most demanding broadcast or IPTV applications. Enclosed in a ruggedised aluminum housing, the AVE-1HDPRM features a front faceplate with manual push-button controls for local configuration as well as a software interface for running the entire system from a remote TCP/IP connected control room. 2.A24
App Café ready to open
Innovating the future of global communications
www.rtsintercoms. com/zeus3
The dual-fader Apollo audio console is being exhibited by Calrec Audio at this year’s IBC. The console offers twice the amount of faders in the same footprint with the same processing power. The design enables two layers of channels to be available simultaneously – a feature that Calrec says is so far unrivalled. The Apollo console relies on Bluef in2, the next generation of Calrec’s trademark Bluefin highdensity signal processing system, which gives Apollo up to 1020 channel processing paths, 128 program busses, 96 IFB/Track outputs, and 48 auxiliaries. The desk features a second
By Heather McLean
online applications within an integrated managed TV service. Applications are offered in a storefront format for subscribers to download directly to their set-top boxes. For pay TV operators, there is the opportunity to provide a range of social networking, gaming and Video on Demand applications. The company has also worked with web-based TV technology platform Clearleap to offer IP-based video services delivered through customisable, whitelabelled applications. 1.B19 television channels have done their job properly. You could also leave the original sound untouched because the whole world would be following the same norm. There is still work to be done on the loudness issue before we get anywhere near a perfect solution. There
Marc Judor: Viewers’ quality expectations are not being matched
are also a number of important topics that still have to be discussed and defined before the industry reaches a consensus. For a while at least, broadcasters will need help with loudness and will probably rely on automated devices to comply with whatever regulation they are following. The good news is that Junger Audio’s loudness control products match all regulations and are suitable for any territory or broadcaster. We have been working with loudness and dynamic range for a very long time and were among the first to recognise that subjective loudness needs to be managed alongside more common levels such as Peak. 2.C49
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Big cats at the RAI (16X16) series of crosspoint routers supporting multi-format HD video for ASI, SDI, HD-SDI, and 3G-SDI applications. The new OC44-3G-P4 is part of the next generation of HD multi-rate
routers designed for SDI studios, high performance digital signage, and the latest in HD video for security and surveillance applications. Self-contained in a 1RU chassis, the new OC44-3G-P4 offers full auto equalisation at each input for cable lengths over 300 metres (1000 ft) at 720p and 100 metres (300ft) at 1080i or 1080p.
PESA’s new easySFP pluggable HD-SDI BNC modules for Cheetah series routing switchers facilitate maximum flexibility for signal transport in electrical, fibre or converted analogue video. A l so n ew i s t h e P ES A P RO H264E HD encoder module, which allows professionals to encode SDI, HD-SDI or HDMI and stream real-
time high quality video signals over an IP based transport. PESA is also showing the Cougar VAC 32X32 – which enables users to manage audio and video signals for a small- to medium-sized broadcast studio – and the Cheetah 144NE: 3G-SDI fibre optic router, among other items. 10.A11
Take Center Stage with AMOS Performance. PESA’s PRO H264E HD encoder module
PESA By Melanie Dayasena-Lowe Design-build manufacturing company PESA is presenting the latest features of its easySFP Cheetah solutions and the H.264 encoder solutions. The company is also highlighting the small scale Cougar VAC ( 3 2 X 3 2 ) a n d O c e l o t - 3
‘Complete freedom’ for embedding Crystal Vision By Heather McLean Tandem 3G is claimed by Crystal Vision to offer ‘complete freedom’. The product is a single board solution providing a combined embedder and de-embedder for four groups of digital audio with the ability to embed and de-embed up to eight AES channels at the same time and in any combination. Working with 3Gbps, HD and SD sources, and including integrated fibre input or output connectivity while still only using a single slot in a frame, Tandem 3G is a space-saving solution for a wide range of applications. Tandem 3G can be used with synchronous 48kHz AES, asynchronous 48kHz AES and synchronous Dolby E. There are eight bi-directional digital audio connections on the board which can each be independently conf igured as either an AES input or AES output, allowing the embedding or deembedding of up to eight AES stereo pairs at the same time. When routing the audio Tandem 3G offers full shuffling and overw r i t i n g o f the m ono channels between all four groups thanks to the two 32 x 16 audio routers. Useful for avoiding lip-sync errors, Tandem 3G provides a switchable one or two frames video delay for matching any delays created by converting to or from Dolby E. 2.B11
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
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4G support for IP codec SD video studio ready to roll Comrex
Datavideo
By David Fox
By Carolyn Giardina
The Access IP audio codec from Comrex – which is exhibiting on the stand of Vortex Communications – has been updated and now has two USB ports as standard with support for select 4G cellular data modems. It works over 4G, 3G, GPRS, Wi-Fi, satellite and cabled connections, and provides 15kHz stereo audio using a standard PSTN phone line. BRUTE (Broadcast Reliable UDP Transport Enhancement) is now standard and is claimed to produce ‘remarkable results even on extremely poor connections where frame loss may be up to 20% or more or the connection is only at 2.5G’. Connection issues should be avoided thanks to the BRIC-TS traversal ser ver keeping track of codecs and taking care of firewall ports, even allowing reverse connections to units on 3G the other side of the mobile provider’s network router. SIP compatibility is included as standard. The new V3X intelligent 3G booster, from Vortex, works in conjunction with the Access and other streaming devices that need the best possible internet connectivity. The size of a CD stack, it contains
A new addition to Datavideo’s line of hand-carried systems, the HS-600 is an integ rated 8-channel SD mobile video studio. The new system is expected to ship in November for $6000. The feature set was developed with an eye towards location work and is recommended for applications including conferences, presentations, places of worship, and education and production studios. HS-600 is designed around the Datavideo SE-600 eight-channel SD switcher with six composite video
The Vortex V3X intelligent 3G booster in its protective storm jacket
four intelligent antenna arrays that scan the airwaves, testing data throughput for any cells it finds. It then locks onto the best performing cell – not necessarily the one with greatest signal strength – to provide a stable network connection, which is important for streaming applications. On the IP side, network devices can be connected using ethernet or Wi-Fi. Units have been used live for broadcast where the nearest cell is more than 16km distant and from where OB connections were not previously possible, says the developer. For all-weather use, its IP66 storm jacket is designed for pole mounting and there is a 12V breakout adapter. 11.G11
and 2 DVI-D inputs. The switcher includes 2 PIP functions, up to two logos displayed on screen, effect wipe and dissolve, SMPTE pattern out, one frame still store, luma key function for text overlay, and two AUX outputs. The switcher is combined with a 17.3-inch TFT LCD monitor including multi-image video output and eight input talkback system with built-in tally feature. The HS-600 comes with eight belt pack units, headphones and tally light indicators. 7.D39
Embedded browser takes to the fast lane ACCESS By Anne Morris Visitors to the Access booth at this year’s IBC are able to see demonstrations of the company’s NetFront browser, which has been integrated with the on-board Mercedes-Benz Comand APS multimedia system. This integration is said to enable a d d i t i o n a l we b f u n c t i o n s t h a t enhance the driving experience.
Users can benefit from weather information being displayed on the Comand APS multimedia system for use while on the road, while they also have the freedom to surf the web for additional travel resources or other services. NetFront Browser also offers support for Adobe Flash. “We are delighted that Daimler has chosen our NetFront browser for its Mercedes-Benz car division, one of the most respected marques in motoring worldwide,” said Neale
Fo s te r, V P g lo b a l s a le s , A I a t Access. “The NetFront Browser is the most widely available embedded internet browser in the world today because it’s specifically designed and optimised to deliver high performance in resource-constrained environments, which makes it perfect for in-car navigation and control systems like the Comand APS multimedia system,” he added. 13.115
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uWand remote can be embedded in any casing
Just the touch for 3D? uWand By Ian McMurray Sterescopic 3D is likely to be a top priority for many IBC visitors because it has implications for the entire broadcast chain. uWand is among the brands showcasing its l a t e s t d ev e l o p m e n t s i n t h i s dynamic area. uWand is demonstrating how its remote touch remote control technology lives up to its claim that it is
the ideal remote control for interacting with connected TVs. uWand interacts with 3D user interfaces and can be embedded in any casing, including remotes with QWERTY keyboards, to allow consumers to surf the web from their TVs. The growth of next-generation services leaves the traditional ‘up down left right’ remote control struggling to keep up, according to the company, giving rise to the need for a remote control that serves the entire TV eco-syste m. uWan d
believes that consumers want a remote control that is simple to use, i n t u i t ive , a c c u r a t e a n d wh i c h enables and entertainment experience in lean-back mode, as well as enabling new services on TV. Operators and service providers, on the other hand, want a remote control that keeps pace with advancing developments in TV interactivity and maximises revenue from existing and dynamic new services, according to uWand, while device manufacturers want a remote control that will boost usage and open doors for growth and development of new and differentiated services such as apps and mobile platforms. Gaming partners also have their needs of remote controls, wishing to reach new markets and target new audiences to increase revenues through opportunities like Smart TVs. They need TV remote controls to be sufficiently advanced to support next-generation services. 1.A81
Cost-effective and configurable? We look into the future and realise that signal distribution will move to a fibre backbone, says Norwia Co-Founder Tracey JW Ford Optical networks for broadcasters have been around for more than a decade. As with any new technology the start of optics distribution is often left for the brave and many were sceptical of its introduction. Time has moved on with the cost reducing and the acceptance increasing of using fibre distribution products in all domains of the broadcast/production chain. The introduction of fibre distribution products has increased tremendously,
mainly due to availability, cost of installation and the ever-increasing signal bit rates over the preceding decade. We all look into the future and now realise that the backbone of signal distribution will move to a fibre backbone. Take for instance, simple studio tie lines to a central technical area; this could breach the coax distance quite easily if you want to have 3GSDI integration into a studio environment. This is also apparent in the
outside broadcast environment and mandatory in the metro fibre distribution networks. We would all like to say it will stop with 3G-SDI, but will it? I would guess not. So the importance of a fibre distribution system is imperative in the design of new and refurbished establishments. Do we really want to keep replacing coax distribution or place a fibre backbone distribution system that will ensure longevity?
Files are kept in line RadiantGrid Technologies By Michael Burns Version 6.5 of the RadiantGrid Platform aims to address the variety of formats demanded by f ile-based new media workflows. It manages all files, from the non-linear editor to the broadcast trafficking system, implementing live SDI capture, quality analysis and video and audio processing on the way. The platform is also claimed to eliminate the over-complicated, inefficient ‘Frankenstein’ architecture, that can result from the ad-hoc linking of largely unrelated hardware and software. With RadiantGrid’s new Quality Analysis Module, the platform will check the f ile for issues with the audio, video and ancillary data
before moving it on to the Preparation Workflow Module and then on to the transcoding stage. Problem files are quarantined, allowing users to decide which files need to be handled immediately or later. The Quality Analysis Module performs the same analysis post-transcode to ensure that all file formats are ready for distribution. RadiantGrid now supports BXF and other open standards to work along with many of the industry’s broadcast traffic and rights systems. Users are now able to pre-def ine and schedule ad placement, lower thirds, branding and other NLEdriven functions within the RadiantGrid Platform. Operational alarms are built-in and triggered when errors occur or a file assigned for processing does not exist. 8.D29
Opinion We have all accepted these first generation optical products but we all want more! We want to have format flexibility, configuration flexibility and the ability to reduce cost over the life of investment. Fortunately, second generation products are being introduced to the market today and these products will give distinct advantages for system designers, financial incentives for owners and flexibility in deployment. It’s quite common to use a minimum of five different cards in a fibre
Tracey Ford: Fortunately, second generation products are being introduced
system to create the specific application that is needed. Today this has been reduced down to one card. This means that spares inventory has been minimised by using a one-card solution rather than having to keep five or more different cards at each location. The true flexibility comes when you can redeploy this card within a system to perform a different function altogether. You can see the one card solution as a building block where the designer can manipulate this block to perform functions like transmit, receive, transponders, optical distribution or provide add/drop/pass functionality in a smart cost effective way. Imagine how these second generation products can lower the total cost of ownership and provide a clean operation and maintenance side of the broadcaster’s business model. This simplification of distribution circuit cuts the training cost and installation cost for systems that need to be installed once or many times, like in an outside broadcast environment. At IBC2011, we are showing how to deliver the second-generation optical distribution system. At the booth you can see how Norwia is leading the market with a format-flexible, application-flexible one card solution that will take users to a new level in meeting the demands of today’s optical distribution systems. 10.F34
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Handy little video deck Atomos By Carolyn Giardina A portable HD-SDI Samurai field recorder, monitor and playback/ playout device from Atomos is now shipping. The device encodes in realtime to the virtually lossless 10bit Apple ProRes audio and video standard. The Samurai includes a 5-inch (800x480) touchscreen/monitor, Atomos’ Continuous Power battery management system, and recording to HDDs and SSDs. Among its many capabilities, Samurai can be used as a full-resolution HD-SDI (1920x1080) single-
channel playout device for instant review or broadcast, or in any situation that requires a Full HD source – with up to 20 hours of HD playout from a single disk. Playback controls emulate a traditional tape transport. The Samurai can accept power via a D-Tap from larger external batteries (7-20V), giving the user the choice of integration with their current camera rig’s power supply. Atomos CEO Jeromy Young commented: “Samurai is a deck in the palm of your hand. Record, playback and playout makes this the complete utility on any type of shoot, including news, broadcast, in fact any production big or small.” 6.C28e
Locking the pirates out Qube Cinema By Carolyn Giardina Digital key management and reporti ng s o f t wa re Qube Keys mith, designed to protect intellectual property, is being demonstrated by Qube Cinema. Keysmith allows f ilmmakers, production companies and post houses to encrypt digital cinema content with Key Delivery Mess a g e s ( K DMs), enabling the exhibitor to unlock and play back digital content on a specific server and projector for a particular period of time. “We’ve engineered a powerful and flexible system for automating
Distribution streamlined Signiant By Anne Morris Signiant Content Point technology is at the core of a new, value-added service that Germany-based cinema dubbing and synchronisation studio Berliner Synchron will offer its clients to streamline workflows and bring new efficiencies to the dubbing process. “We have built our business on top-shelf service and the highestquality dubbing of films in all European languages, and we are proud of the long-term business relationships we have established with the world’s foremost distributors of motion picture content,” said Oliver Goullon, head of IT at Berliner Synchron. “And now, with Signiant, we’ll be able to help our clients maximise the revenue potential of their movies and other programmes by speeding the distribution of foreign language versions to the worldwide market.” 13.341
the creation of bulk KDMs for wide distributions of theatrical content,” said Rajesh Ramachandram, chief technology officer of Qube Cinema, “and the user can just as easily generate small runs of keys cost-effectively for independent films, small theatre circuits, film festivals or studio screening rooms.” Eric Bergez, Qube director of sales and marketing, added: “Now the companies that digitally produce or package movies can also costeffectively create the security keys in-house, without the expense and logistics of relying on a third party. This opens the door to a new business model and new sources of revenue for production and p o st production facilities” 7.F45
Realtime image warping is among the features of the Calibre HQView500S converter/scaler
Universal approach to format conversion Calibre By Carolyn Giardina The latest addition to the Calibre UK HQView range is on display today. The HQView500S is a universal format converter and scaler offering 3G-SDI input and output connectivity, and backwards com-
patibility with HD-SDI and SD-SDI and legacy analogue video formats, along with HDMI and DVI. The latest addition to the Calibre UK HQView range, HQView500S has a feature-set including realtime image warping for on-set projector alignment and curved screen projection as well as soft edge blending for multiple tiled large screen viewing.
“Our new HQView500S has been designed to give our partners an effective all-in-one system which is easily integrated into existing broadcast IT infrastructures and workflows – without compromising on high image quality, reliability and durability,” said Tim Brooksbank, chairman, Calibre UK. 7.J43
HD encoder conserves bandwidth Thomson By Ian McMurray Incorporating what the company says is a substantially more powerful evolution of Thomson’s Mustang compression engine, the ViBE EM4000 multichannel HD encoder is said to deliver significant operational cost savings through better use of satellite or terrestrial bandwidth. The ViBE EM4000 is one of several new developments being showcased by Thomson at IBC2011. Also on show on the Thomson stand are the company s premium
ViBE EM4000 enables more effective use of satellite or terrestrial bandwith
ViBE EM1000/EM2000 MPEG2/4 SD realtime encoders, which, according to Thomson, support all interfaces in a single unit to deliver legacy MPEG-2 SD at a 20 per cent lower bit-rate with no quality loss, reducing disparity with HD channels. The ViBE EM1000 and ViBE EM2000 now feature processing of
MPEG-2/MPEG-4 compressed sources in addition to baseband signals, additional MPEG-1 Layer II audio encoders for multichannel units, forward error correction generation for primary distribution or IPTV applications, and new filters for processing pre-coded MPEG-2 sources on the ViBE EM2000. 5.A17
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Planned camcorder purchases slow in 2011 except for D-SLRs
Comparison of global (all) plans to purchase D-SLRs between 2010 and 2011 shows a 12% increase in planned purchases
By Douglas I Sheer
Market Analysis The global camcorder market appears to be slowing down in 2011, at least when compared with 2010, with the obvious exception of Digital Single Lens Reflex cameras (DSLRs). This is a major finding of the recently published Professional Camcorders World 2011, from DIS Consulting Corporation of New York. The study – the most detailed and extensive of all of the D I.S. multi-client studies– forecast a 4% decrease in global camcorder purchases (overall, among all sensor types) in 2011, compared with the
previous year and that prediction was echoed throughout the world. The past few years had been tumultuous in nature. There had been a precipitous decline in 2009 after a consistently strong 2008 (clearly so in the three quarters prior to the Wall Street crash). Then, quite dramatically, in 2010 the industry bounced back, seeing a dramatic ref illing of stocks, a movement towards higher resolution capture levels – such as 2K, 4K and 8K – resumption of studio and mobile/OB building projects and a powerful uptake for D-SLRs, particularly. This was caused by professionals who reached out to find solutions which would enable them to use
diverse lenses – typical in still camera systems, but not as common in camcorders. But, after that surge in 2010, as the new report shows, purchasing will be slowing down in 2011. These findings are seen in the report published in August, based on field work conducted in spring and the opinions and reporting of 1,841 respondents, worldwide. This is spread among seven vertical segments, including: broadcast/cable, production, mobile, institutional, rental, event and independents and in five regions, globally, including: USA, Europe, Middle-East/Africa, Asia and the Americas. The report, as in the previous year, organised camcorders by sen-
sor type and size in eight sensor groups. A new sensor, 4/3-inch was added this year. And, tripods, batteries and lenses were counted within the camcorder study (and a sister study, Studio Camera World 2011), so they could be seen in context with the camcorders, cameras and the professionals they serve. The study also looked at popular features sought in next generation models and other determining factors effecting purchases. These considered features included: sensor, type of lens, maximum resolution, type of viewf inder, weight class, auto set-ups, type of audio, type of connectors, built-in manual controls provided, recording format and much more. The report also looked at camcorders by recording format, as well as budgets and revenues, magazines read and shows attended. Most respondents completed their surveys via telephone interviews while some others did so using the on-line data web-site collection point. With a wide range of sensor choices available and new ones being added, the market has been reacting to a series of trends, among them: a slow economic recovery; the tendency to utilise more than one type of media (media agnosticism) in a given model; a general decline in tape use (exacerbated by the earthquake, tsunami and nuclear crisis in Japan); the ability to use camcorders with adaptors for studio shooting; the rise of all-electronic capture in motion pictures; 3D production; D-SLRs; and a general lowering of prices.
D-SLRs continue to be extremely popular, driven by their highly prized lens diversity, excellent motion imaging capability and acceptance in high-end applications such as movie making. With their HD motion imaging mode, post workflow adaptability, and compactness, D-SLRs have been enthusiastically embraced by a wide range of professional users. As a result, the sub-categor y has attracted numerous new manufactured brands, migrating from still photography, in what must be seen as a veritable boom within the overall camcorder market. Other traditional camcorder brands, coming from the consumer side of the industry, also arrived in the already fairly saturated professional camcorder space. Additionally, brands formerly associated only with camcorders began offering SLRs as a thoughtful option to their customers, and possibly as a way to deflect the incursions made by the still camera companies. While camcorder purchases, generally, will be in a modest decline for the year, purchases of DSLRs seem slated to continue to grow, at a rate of 12% in 2011. The past few years may have seemed to be erratic ones for imaging products throughout the industry, as the market for camcorders did up and down gyrations, but camcorders continue, overall, to be a lively and upbeat category and growing particularly interesting as film rapidly sunsets in motion picture production and an all-electronic workflow succeeds. www.disresearch.com
CDNs, OTT represent opportunity Reality show gets into Net Insight By Ian McMurray In a move that sheds light on a variety of emerging applications, Net Insight is taking the opportunity provided by IBC to share its vision and success related to four key opportunities in the video transport industr y. The company is also addressing the future for service providers with regard to Content Delivery Networks (CDNs) and Over-the-Top (OTT). The opportunities here are set
to grow as consumers continue to complement broadcast TV with OTT services, which in turn will put pressure on service providers networks where a realtime 100 per cent QoS is required. CDNs are a natural extension of the Net Insight Nimbra platform since it enhanced Quality of Service in media-rich networks. The company says it is driving the trend toward remote workflow in production environments with transpor t solutions that deliver the required realtime, low latency content with 100 per cent Quality of
Service (QoS). Remote workflow solutions significantly improve efficiency, cost savings and quality of both remote production environments and live event production. Net Insight continues to win international orders for national DTT implementations, with recent customers in Sri Lanka, Slovenia, Sweden, Cyprus, Poland, Argentina and Morocco. The Nimbra platform has also been implemented at a number of high prof ile sporting events, including the 16th Asian Games (2010) in Guangzhou. 1.B40
Going over the top with set-top boxes SmartLabs By Anne Morris A scalable over-the-top (OTT) system is being shown by SmartLabs this year. Visitors can experience the capabilities of the SmartLabs convergent IPTV platform, and see the EPG, interfaces and new generation set-top boxes developed by the company. SmartLabs solutions are also being showcased at the Motorola stand as a part of a partnership programme. 13.181
Big things come in small packages: Smart Labs is focusing on OTT
the Flow using new Ark Editshare By Carolyn Giardina TV production company Endemol is using EditShare Flow, XStream and Ark systems to manage production of Big Brother Jakarta. EditShare Flow automates media ingest from the multiple cameras and microphones placed around the house direct to the XStream shared storage system. Recorded media can be viewed from a standard desktop system connected to the network, allowing producers and editors to collectively view material. Purpose-built Flow production tools let editors get a jump on post by creating selects and sequences before going into the edit room. Once in post, XStream centralises all media and facilitates media sharing, enabling multiple Big Brother editors to work on footage concurrently. Ark provides a tiered storage environment with full file restoration across disk and tape-based models. With this workflow, media f iles are moved to LTO-5 tapes.
According to EditShare, all editors can still access clips in Flow Browse via playable proxy video files. They can also make clip selections, edit sequences with the proxy versions, and restore selected high-resolution material without engineering support, the company suggested. “EditShare systems assist us in better managing the frenzied pace of Big Brother Jakarta’s production cycle,” said Claudia Vermeulen, consulting producer for Endemol I n te r n a tio n a l. “ R e lia b ility is extremely important to us. There are no second-takes in reality TV. There are multiple cameras recording footage 24-hours a day, and EditShare has been flawless in ensuring that every second is captured for our audiences.” “Several other Big Brother franchises have deployed the EditShare workflow with the same degree of progress,” added Paul Hayes, VP sales and marketing, EditShare Asia Pacif ic. “We are proud to have a system for reality TV genres, but we have long term plans to extend these capabilities far beyond what we offer now.” 7.C21
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Keep CALM, carry on monitoring Miranda By Paul Watson A product developed as the world’s first loudness monitoring and correction processor for high programme count IP transport streams is being showcased by Miranda. Axino enables television service providers to address loudness control regulations around the world, including the CALM Act in the USA. A single Axino processor provides continuous monitoring and selective loudness correction across hundreds of programs carried within an MPEG IP transport stream, and
meets BT. 1770 and EBU standards. It helps to prevent problems such as overly loud commercials and excessive variation in loudness d u r i n g c h a n n e l b r ow s i n g by addressing excessive segment-tosegment and programme-to-prog r a m m e l o u d n e s s , s ay s t h e developer. Axino integrates with typical service provider workflows and contractual arrangements, so whenever any programme is excessively loud, the problematic signal is logged and put on a watch list. If this excessive loudness persists, the ser v i c e provider can aler t the content provider and request a correction to
Titan receives a boost IDC By Ian McMurray The latest version of the TITAN Video Encoder is being shown by International Datacasting Corpora-
tion (IDC). Following on from the launch of the original TITAN at IBC2010, the new model includes advanced features for compression. ICP positions itself as a pioneer in file-based digital cinema package (DCP) delivery events and live
the prog ramme. If the content provider doesn’t resolve the problem, the service provider can activate Axino’s loudness correction, bringing the problematic programme back within the target loudness range and impacting only the specified programmes. Axino uses Miranda’s Automatic Loudness Control, whereby the AC3 audio is decoded from an IP stream for realtime loudness measurement and correction. After processing, the audio is reinserted back to its original location, ensuring that the Dialnorm setting matches the actual loudness at all times. 8.D41 events, including 3D events, with over 3,000 installations worldwide. In 2010, it delivered the first ever 3D live event, the FIFA World Cup, to movie theatres. Audio delivery via DVB satellite networks is another of IDC’s specialisms. Accordingly, the company is showcasing next generation products for radio broadcasters at this year’s IBC. 1.C29
Real world Cloud dynamics The Cloud allows organisations to grow while managing their costs, says Brick Eksten, president, Digital Rapids Corporation The rapid growth of revenue-expanding, multi-screen distribution opportunities and the exploding volume of available content are driving fundamental shifts in the way media enterprises approach their content processing workflows. One of the hottest topics at this year’s IBC is ‘the Cloud’, as organisations seek more efficient ways to grow their operations while managing costs. For smaller organisations, the Cloud can be an enabler, affording the ability to take on new initiatives or trials for which the capital expenditure of onpremises systems would be prohibitive. For established companies, the focus turns more towards fast, on-demand scalability. These large entities often face the most challenges in terms of being able to scale, with the highest
technical and brand standards to protect; the greatest impact to ongoing workloads; and significant on-premises media processing infrastructures. These companies aren’t about to entirely jettison the large investments – both in money and deployment effort – or the security they depend on; instead, they’re looking to the Cloud as a means of dynamically expanding and managing their media processing capacity. The Cloud model of media processing starts in-house and allows you to move to the pure Cloud infrastructure on demand. The in-house model can address the investment and total ownership cost concerns of expansion while enabling resources to be allocated and deployed dynamically in quick response to demand.
Of course, for those looking to expand their capacity beyond their facility walls, hybrid solutions that seamlessly integrate on-premises and Cloud-based media processing enable elastic resource expansion without the capital expenditure and time-consuming effort of provisioning of additional local physical systems, enabling these organisations to quickly scale up to handle new initiatives or short-term peaks in demand with minimal investment and risk. Cloud processing is just one of many areas we’re highlighting at IBC in the new 2.0 version of the Transcode Manager software, powered by our new Kayak application platform. We’re also raising the bar for workflow automation, enabling new levels of automation ‘intelli-
Europa Plus: broadcasting across Russia
Streaming radio in Russia NeoGroupe By Paul Watson Europa Plus, the most listened-to private radio network in Russia, is streamlining broadcasts to its audiences using NeoGroupe’s NeoS c r e e n e r, N e o Wi n n e r s a n d NeoAgent applications. The broadcaster is deploying the NeoGroupe applications over eight workstations operated by 19 staff during its round-the-clock cycle. Europa Plus – which reaches a daily audience of more than 10 million – uses NeoGroupe’s suite of gence’ that can squeeze even more manual effort out of the process – enabling faster turnaround, reduced errors, greater flexibility and lowered costs. We’re also showcasing Kayak as a next-generation development platform for third-party applications. Development partners can not only integrate their technologies more quickly with our solutions, but also bring their ideas to market faster and with more deployment flexibility from the desktop to the Cloud. Beyond file-based media processing, visitors to our stand will also experience our new advances for live multi-screen encoding including a preview of our new StreamZ Live Broadcast hybrid live encoder, which enables media outlets to more tightly integrate their multi-screen delivery initiatives directly with their ‘traditional’ television operations. Whether you’re pursuing live or on-demand opportunities, Digital Rapids has the technology and insight to help you scale and automate more efficiently and cost-effectively. We look forward to sharing our
applications to manage listener callins, track and schedule contest, and generate multi-dimensional interaction with audiences through smartphones and the internet. Thierry Chamoux, vice-president of strategy, programming and communication at Europa Media Group, commented: “The combination gives us an extremely wells tr u c tu r e d e nv ir o nme n t f o r managing a rolling programme of audience interaction content. The efficiency that we can achieve with this suite of tools means we can develop a very close relationship with the listeners.” 8.D29
Opinion
Brick Eksten: the Cloud can be an enabler
vision and expertise with you at our stand. 7.G41
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Line amplifier range extended
Catapult aims at film XDT
Peak Communications
By Carolyn Giardina
By Ian McMurray L i n e a mp l i f iers to cover the 70/140MHz and all popular SHF TX and RX frequency bands are now available from Peak Communications. The line amplifier units are designed to provide high quality, professional signal amplification, primarily for satellite earth station to overcome the losses associated with cross-site cable runs. Constructed from high-grade components, the units are designed to optimise reliability, high gain flatness and stability. The units are available in various configurations including standard
DLA is one of several line amplifier configurations
1RU rack mount (ILA/ ILA H series), remote weatherproof (PLA series) and ‘hot-swappable’ modular 1+1 redundant systems in 1RU (DLA series). The various configu-
rations are offered with features such as current alarm monitoring and remote control (RS232/485, Ethernet supporting embedded webserver and SNMP). 1.B10
Version 3.2 of XDT’s flagship Catapult products, including new additions to the family and enhancements to the Catapult Protocol, is being featured at the Bluefish 4:4:4 stand. With its focus on networked media transfers and review, the Catapult product line uses standard networking infrastructure. XDT offers a fast transfer protoc o l t h a t i n t eg r a t e s w i t h b o th A r r i sc a n f i lm sc a n n e r s a n d Autodesk Stone FS arrays. The company says that an Arri customer can scan directly to Catapult Servers, taking pressure off their SAN, with the added benefit of
being able to perform instant review for QA on the actual uncompressed DPX frames during the scan from a standard PC workstation without high-end storage. A Stone FS user can run Catapult Server directly on its Flames or Smokes to ingest file based media quickly. “XDT focuses solely on highend frame transfer and review systems for post production and digital film,” said Erik Otto, CEO of XDT. “Catapult Server is addressing current f ile-based network and disk b o ttle n e c k s . O u r s o f twa r e is s e q u e n c e awa r e a n d h a s b e e n designed to solve disk fragmentation caused by out-of-order block writes, which the industry requires due to the increasing complexity of filmmaking.” 7.J07
$19m Ukrainian DTH satellite deal Backwards EPG function Spacecom By Ian McMurray A new agreement between AMOS satellite fleet operator Spacecom and a European company will see the former provide satellite services to a DTH (Direct-to-Home) platform for the Uktrainian market under the Xtra TV brand. The multi-year deal is valued at up to $19 million. The services will be provided by Spacecom’s AMOS-3 satellite at 4°W. Ukrainian multi-channel platform Xtra TV will broadcast close to 100 channels, includ-
ing free-to-air, to the market, which is one of the last major European countries without a large an d AMOS-3 will provide services to a new DTH platform
su c cessful DTH provider. Cur rently, AMOS’ Ukrainian TV neighbourhood has close to 30 of the Ukraine’s most highly-rated channels, among them Inter, 1+1, ICTV,
STB, New Channel, K1 and NTN. The Xtra TV platform becomes the third European DTH service, and fourth overall, on the AMOS satellite fleet at the 4°W orbital position. “We are excited to become part of the already strong AMOS brand in Ukraine with our new DTH platform: Xtra TV,” said Jim Phillipoff, CEO of Xtra TV. “The Ukrainian market is ready for dynamic and progressive pay TV, and our goal is to help Ukraine become one of the most technically developed markets in Eastern Europe.” 1.C65
A mine of additional information Skyline Communications By Ian McMurray The new 7.0 release of the DataMiner multi-vendor network management platform – which is set for imminent release – is being introduced by Skyline Communications. Among other new features, DataMiner 7.0 is said to herald a new user-centric metro-style UI as well as a new cutting-edge inventory and asset management solution. DataMiner Maps for interaction with third party map solutions such as Google Maps, new mobile clients for smartphones, and a new openarchitecture scheduling solution are also part of the latest release. Of the new features, the DataMiner Inventory & Asset Management (IAM) solution features an open architecture, based on industry standard components. DataMiner IAM is said to provide comprehensive user-definable asset reporting capabilities and audit trailing, as
TV Genius By Anne Morris The demonstration by TV Genius of its Content Discovery Platform features the IBC debut of its Backwards EPG functionality. This facility enables viewers to not only view future TV listings, but also look back and watch programmes from the past 24 hours. With Backwards EPG, operators can integrate VOD and catch-up services into their existing EPGs without having to re-work their metadata operations. This means that the
solution can be immediately deployable, opening up new possibilities for both operators and consumers. A standard Electronic Programme Guide (EPG) allows users to only find out what is currently showing on the TV and look at the programmes that will be on later. Backwards EPG, on the other hand, enables viewers to move back and search through the previous day’s listings to select and watch programmes that are available ondemand. With Backwards EPG, says TV Genius, there is no such thing as a missed programme. 13.325
New Encoding.com presets Wowza By Anne Morris Under a recent deal, Wowza Media Systems will add custom Encoding.com presets to its media server. These presets are designed to simplify the optimisation of audio and video for adaptive bit-rate delivery by the Wowza Media Server, which supports live and VoD adap-
tive bitrate streaming. Encoding file content for adaptive bit-rate delivery to popular playb a c k c lie n ts s u c h a s F la s h , Silverlight and Apple iPhone/iPad can be challenging for many enterprises, note the developers. Using Encoding.com’s cloud-based encoding solution and proprietary Encoding Intelligence promises to make any-screen delivery more attainable to Wowza customers. 13.121
IP-modem for L2 and L3 WORK Microwave By Ian McMurray
Data management made easy: Data Miner 7.0 offers a new UI and a range of features
well as the capability to seamlessly integrate and leverage existing CMDB platforms. Skyline reports that the DataMiner solution is currently inte-
grated with more than 2,000 devices and systems from more than 350 industry suppliers, and is in use in more than 60 countries by hundreds of leading operators. 1.A21
On show on the Work Microwave stand is the SK-IP DVB-S2 IPmodem. Designed for high-speed network layer two and layer three operation, the device uses Generic S t r e am En c a p su l a t i o n ( GS E ) according to TS 102 606, and boasts a multichannel ACM system (OptiACM), which supports full integrat i o n o f ACM c a p a b i l i t i e s in point-to-point and point-to-multipoint satellite network links.
According to the company, the combination of these two core featu r e s p r ov id e s o p timis e d d a ta throughput in all usage cases and under all types of environmental conditions. The most recent additions to the IP-modem include: a data rate of up to 160Mbps; additional power supply for direct connection of BUCs to the IP-modem; a new powerful user interface; and an improved singlefan cooling system which provides efficient temperature control with minimal noise. 4.B63
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IBC2011 exhibitor list and floorplan Future Zone incorporating New Technolog Technology gy Campus & NHK (Japan Broa Broadcasting adcasting 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
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Connected World
Producction Village Production
II
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08-13.09.11
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08-13.09.11
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theibcdaily
08-13.09.11
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
2WCOM 3ality Digital 4Mod Technology A A&C Aastrolight Aaton AB on Air Abakus ABE Elettronica Abel DRM Systems Abilis Systems
11.C60 11.G61 11.D39 3.A15m 11.G29 8.D23 1.A76 1.C81 4.C81 13.115 6.A24 5.B11/6.A29/11.F61 5.B15d 5.C49 10.F24 8.E41 2.C40a
(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 8.D60 International/Studer) 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 1.B51 ASTRA (SES ASTRA)) ASTRA Platform Services (Co-exhibiting with 1.B51 ASTRA (SES ASTRA)) 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 Cabletime Limited – IPTV 13.373 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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D40 C45 P Panasonic Marketing Europe GmbH
A40
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D41 Professionaal JVC Professional Europe Ltd
C449 C49
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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 F.A.Bernhardt, FAB 2.A21 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 G&G Tape Check 10.A38 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 Hamlet 9.D10 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 I.S.P.A. – Group 9.B20 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
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
Communications)
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 Lacie 8.D82b 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 Magix 8.A14 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 nac Image Technology 9.A14 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 Object Matrix 6.C28a 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 Pace 1.B19 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 Radio Frequency Systems 8.B34 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 Ultimatte Corporation 7.B25 Unique Broadband Systems 8.A28
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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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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 C21 B21 varavon A19 C221 Sumav Su mav A24 WireCAD B111.F57 C1 A15 A11 B14 4 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) p Pace plc 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 Solutions Solut ions 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 Sea C Prodys ys A48 B20 Work Microwave Prody 4.B63Sea 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 B566 B5 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 S&T T Wuxi Huaxin Radar Engineering Co 1.C97 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 Strategy Strategy & 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 XCRYPT 5.B07a C3 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 Screen Su Subti ubti 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 C3 39 C39 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) C51 51 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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66 theibcdaily
10.09.2011
HDMI and DVI up to 1.5km on fibre Opticomm-Emcore By Heather McLean New developments being highlighted by Opticomm-Emcore include the
VX-1DVI-SD and VX-1HDMI-IR optical extenders. The new products offer long distance transport of DVI and HDMI with data up to 1.5km and on a single fibre. The VX-1DVI-SD will extend
DVI HDCP video/graphic signals up to 1080p@60Hz/1920x1200, along with one channel of serial data. The VX-1DVI-SD reads EDID information directly from any display, eliminating the need for EDID learning.
Opticomm-Emcore has brought its latest optical extenders to IBC
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UÊ Ê*À `ÕVÌ Ê6 >}i – presenting the latest camera technology in a purpose built environment, plus the home of IBC TV News onsite in Hall 11
UÊ Ê iVÌi`Ê7 À ` – including free exhibition business briefings and demonstration area in Hall 13
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UÊ Ê }Ê-VÀii – providing the perfect platform for manufacturer demonstrations and the Saturday Night Movie, Transformers 3: Dark of the Moon*
UÊ Ê Ü>À`ÃÊ iÀi ÞÊÊ – recognises those who have made a real contribution to the industry on Sunday 11 September at 18:15
* in stereoscopic Dolby 3D and Dolby 7.1 ‘Courtesy of Paramount Pictures International’
Scan for more information
ÜÜÜ° LV° À} IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK / +44 (0) 20 7832 4100 Ê +44 (0) 20 7832 4130 ÊÊ Ê v J LV° À}
The VX-1HDMI-IR extends HDMI 1080p video with audio as well as infra-red information from remote controls. EDID information is read directly from the display, making the VX-1HDMI-IR truly plug & play, says the developer. 2.A24
Teleplan to distribute S3 S3 Group By Heather McLean S3 Group – a provider of automated testing solutions for digital TV delivery equipment – has entered into an exclusive reseller partnership with Teleplan in North America. The a g r e em e n t is th e f ir s t f o r th e recently announced StormTest Decision Line portfolio. Teleplan will also distribute S3 Group’s technology in other parts of the world. “Teleplan has a global reputation for delivering top-notch after-market services to the digital TV community. As our StormTest product line continues to support the delivery of reliable content delivery platforms, we determined a strategic partnership such as this one was imperative,” said Ian Harris, director of product management, S3 Group. “The US market, in particular, is rolling out more complex devices in order to support a variety of interactive applications across different operator platforms, increasing the need for proven testing solutions. This exclusive ag reement will enable operators to ensure quality throughout the device lifecycle.” “We went looking for [a] world class automated test system to augment our quality repair process. Since S3 Group lead this field in the digital TV space, they were a natural choice for us to work with,” said Gotthard Haug, CEO of Teleplan. “Significantly, our two companies share the same philosophy: we forge a true partnership with our customers and build processes that look after devices throughout the entire lifecycle. Operators have high expectations for the care their devices receive from us, and quality testing is a key part of our strategy.” Stor mTest Decision Line is designed to quickly and accurately perform automated tests to ensure that new or refurbished devices are ready for subscriber deployment. 3.B23
theibcdaily 67
10.09.2011
Monitor swells Cooltouch family Preco By Michael Burns A 24-inch addition to the Cooltouch range of rack-mountable monitors is among the most versatile ever introduced, according to Preco’s commercial manager Sarah Lenson. Featuring a multi-format 16:9 LCD screen, integral SD/HD-SDI de-embedder and audio confidence loudspeakers, the XP-2401HD is designed for environments such as mobile production vehicles and post studios. “The XP-2401HD is designed for content producers and broadcasters who need to monitor digital video images, video waveforms,
The Cooltouch XP-2401HD features onscreen menu-based controls for fine adjustments
timecode, audio signal levels and programme sound within a single device,” said Lenson.
Capable of being tilted by 60 degrees on its desk-mountable support, the monitor incorporates a
1920 RGB triads x 1200 pixels resolution screen with 700:1 contrast ratio and 450 candela per square metre brightness. Other features include audio de-embedding with on-screen audio level metering, timecode display, video waveform display and a contact-closure-controlled bi-colour LED tally. Connectivity capabilities of the XP-2401HD include HD/SD-SDI, RGB, DVI and audio. Two SD/HDSDI inputs are provided (one with reclocked output), one DVI/VGA input, three loop-through composite v i d e o i n p u t s w i t h PA L / NT S C autosensing, and one stereo-pair analogue audio input. The deembedded audio input feeds the internal speakers. An analogue output of the digital audio input is also accessible. 8.E49
CEO urges joined-up thinking on connected TV SysMedia By Heather McLean SysMedia CEO Andrew Lambourne has warned that too many differing approaches in the connected TV market are simply confusing the consumer and delaying mass market adoption. “At the last count over two dozen platforms can be classed as ‘con-
nected TV’ in the UK alone,” said Lambourne. “Service providers and users have to navigate a bewildering array of technologies and commercial arrangements. “Surely standardisation is the answer,” Lambourne offered. “There are standards – MHEG-IC/HbbTV being the main two – but they are not universal and unfortunately look unlikely to become so in the short term, so broadcasters need to decide
their strategy with this in mind.” Lambourne observed that those who delay deploying connected TV services “risk losing out as internet players threaten to dominate this evolving landscape at the expense of broadcasters. To take full advantage of this new means of access to the living room TV, content providers must work with the portals and mechanisms that are already there as well as having an eye to the future –
and that means supporting multiple technologies and delivery platforms. “Apart from the TV, there is a whole range of other target devices, including smartphones, tablets and games consoles. This is an exciting time to be in the content distribution business and the time to develop strategies for efficient multi-device deployment is now,” concluded Lambourne. 3.B67
CAM latest SMiT By Ian McMurray The SMiT CI+ VOD CAM enables operators to provide user-friendly interactive VoD services on CI+ compliant iDTVs. With this product, viewers can choose their favourites videos – for example, HD programmes, films, sports and news – according to individual preference. Full protection of the operator’s content with CI+ technology and a more personalised digital life for the viewer are among the benef its claimed on behalf of the SMiT CI+ VoD CAM. The SMiT CI+ EPG CAM is also being highlighted. Described by the company as an innovative CAM with EPG functionality, it allows users to view a complete list of all available channels, or a partial list by categor y of selection. Customised services such as advertising and enhanced navigation are also available for operators. Other products being focused on at this year’s IBC include the SMiT PC Pay-TV dongle and the CI+ PVR CAM, the latter enabling viewers to download premium pay TV content on a storage device to watch at their convenience. 1.F86
68 theibcdaily
10.09.2011
Innovating a return to growth Hungry, innovative young companies in the test and measurement arena can steal market share and provide a much-needed spark of optimism, says Mike Hodson, president, OmniTek
Mike Hodson: Economic recession can be a mixed blessing
The past couple of years have been something of a rollercoaster ride for anybody involved with a commercial business. The global recession has impacted on every industrial sector in all countries, and the broadcast industry is certainly no exception. Most commercial TV broadcasters derive their income stream, directly or indirectly, from the sale of advertising time; so the revenue predictions from major advertising agencies are a fairly reliable predictor of the health of the broadcast industry. The good news is that TV ad spend was up over 10% year-on-year in Q1
Long-life battery pack Dazmo By Michael Burns The C-LiFePo4 Intelligent Battery Pack is out to catch the attention of rental houses and broadcasters attending IBC, according to Dazmo
Project Manager Nancy Mayrand. The company claims that the CLiFePo4 (the acronym stands for Lithium Iron Phosphate) can reduce operating costs by up to three times compared to Li-ion batteries. It does this by improving shelf life, with Dazmo claiming that its
2011; this is very welcome news for all of us, and this fact has certainly been reflected in increased sales for OmniTek and many of the companies for whom we perform bespoke design consultancy work. For small companies like ours, economic recessions can be something of a mixed blessing. Large, wellestablished corporations need to make dramatic cutbacks in order to cope with reduced income, whereas small fast-moving high technology companies can innovate themselves out of the recession. History shows us that this is exactly the time when b a t t e r i e s c a n d e l ive r 1 0 0 0 charge/recharge cycles, against 300 cycles and 3-hour recharge times for regular Li-ion batteries. The batteries offer a 45-minute recharge time and the ability to maintain strong power output to the end of the charge. The pack features a motion detector that automatically switches the battery on and will shut itself off after f ive minutes without motion. The battery also
hungry young companies step up to the plate, and steal market share from the slow-moving big names in the business. So what is the nature of this innovation, and how is it to be achieved in difficult market conditions? There are a couple of interesting technological developments achieving global market acceptance in a changing media environment. Firstly we have all experienced the huge growth in stereo 3D film and broadcast production, which is being spurred on by new developments in camera and display technology, plus the ability to present new and exciting material such as sporting and dramatic events with the added benefit of 3D viewing. Secondly there is the rise of the 3Gbps SDI video format, which is the primary ‘enabling technology’ to allow the spread of 1080p60 video in time for events such as the Olympics in 2012. For a test and measurement company, these new technological developments provide an excellent sports a fuel gauge that indicates actual charge time remaining. Equipped with RFID transmitter technology, the batteries can transfer information (such as the number of cycles, serial numbers and their complete database) wirelessly to a computer. 9.A34 The C-LiFePo4 battery pack features a ‘fuel gauge’ to indicate actual charge time remaining
Opinion opportunity to be first-to-market with the signal generation and analysis equipment needed by content producers in order to explore the boundaries of the new media. The new advances insulate the innovative companies from the vagaries of an uncertain market, and provide a much-needed spark of optimism and creativity to lift the industry out of a tough period. We are very optimistic about the future of the industry in general and our company in particular, secure in the knowledge that technological changes are always unavoidable and those companies who move quickest to embrace the changes are those which are likely to come out on top when the market returns to growth. 6.A18
theibcdaily 69
10.09.2011
Time for advertisers to get smart likes of Samsung, Sony and LG.” Research and consulting f irm Strategy Analytics estimates that there were over 400 million connected TV devices in use at the end of last year and 1.6 billion will be
Shirlene Chandrapal, vice president, connected TV at smartclip
smartclip By Anne Morris A revolution is taking place in our living rooms as consumers increasingly access the internet through their TV sets. That’s the view of Shirlene Chandrapal, vice president, connected TV at smartclip. “This revolution is now even easier with the rise in smart TVs (t e l ev i s i o ns that are inter net en a bl e d ) a nd other connected devices such as gaming consoles and internet enabled set-top boxes,” said Chandrapal. “In fact, connected TVs will outsell gaming consoles this year. Microsoft, Nintendo and Sony will sell 37 million consoles in 2011 and consumers will buy 52 million connected TVs from the
Security, flexibility for pat TV SMiT By Ian McMurray Chinese company SMiT (Shenzhen State Micro Technology Corporation) develops a wide range of security products for the pat TV industry. A significant market force, SMiT has obtained more than 20 CAS certifications. The company’s OTT terminal solutions enable both parallel and single execution of DVB and IP, thereby providing a flexible combination of features. For security, SMiT says that it uses the core advantage of conditional access, and is already collaborating with mainstream DRM vendors. For terminal functions, SMiT says that it maintains a competitive edge over local media playback, online, VoD, catch-up, browser, plug-in, Flash, games, internet connections and so on. According to the company, it especially values user exp e r i e n c e . Applying vari ous m a t u r e t e chnologies such as OpenGL, QT and Flash, SMiT develops new UIs to further enhance ease of use. 1.F86
installed worldwide by 2014, noted Chandrapal. With such a vast potential market, industry experts believe connected TV will provide the next wave of advertising innovation, she
added: “Building a single platform capable of supporting video, social networking, music, gaming and o t h e r m e d i a i s n o m e a n f e a t. Enabling that experience for multiple devices, such as the tablet, smartphone and PC, creates yet another challenge.” Once providers master this, the potential for cross-platform social
TV is enormous. “It represents an oppor tunity to unite video-ondemand, web video and communities such as Twitter and Facebook – with radical implications for the business of television. As such, connected TV offers advertisers a revolutionary new way to introduce consumers to their products and brand identity,” said Chandrapal. 13.412
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Scimitar expands mobile terminal range Sematron By Ian McMurray The Scimitar 100 is the latest addition to the mobile terminal range of products designed and manufactured by Holkirk, which is a Sematron company. E m p l oy i n g the experienc e gained from building portable terminals for the commercial and defence markets, the Scimitar is both small and powerful enough to provide high traffic throughput – 20Mbps from a 1.0m antenna. The Scimitar is claimed to be unique in the field of mobile satellite communications. Not only does the system feature a built-in IP modem, it is the first terminal of its kind to incor porate the MPAD (Manual Pointing Assist Device) pointing assist system and the VEP (Virtual Elevation Pivot).
The MPAD situated on the rear of the base unit facilitates selection of a desired satellite and then, using an integrated GPS and inclinometer, guides the operator to point at the satellite by instructing azimuth and elevation movements. There will be a DVB receiver for accurate satellite identification. Stability is an important issue for any mobile Micro-VSAT system, according to Sematron, but in addition to the tripod mount a self-balancing mechanism maintains the centre of gravity of the terminal. The company says that the VEP allows the Scimitar to be one the most stable compact high performance VSAT terminals on the market today. This feature permits the use of a traditional parabolic reflector so the user can take advantage of its superior gain and G/T while achieving data throughputs far greater than using a flat panel antenna. 1.A62
Tektronix By Michael Burns
Scimitar is said to be small yet powerful
Arqiva chooses ‘seamless’ switch and gateway T-VIPS By Ian McMurray The TNS541 seamless TS monitoring switch and CP560 DVB-T2 gateway from Norwegian company T-VIPS has been installed to provide seamless switching within the Arqiva DVB-T2/SFN digital terrestrial network. The phased roll-out began in April 2011 and is scheduled to be completed ahead of the
London 2012 Olympics. In order to preserve SFN operation and avoid DVB-T2 modulators losing synchronisation, the solution involves the use of two independent CP560 DVB-T2 Gateways and a TNS541 Seamless TS Monitoring Switch. This prevents service outages caused by DVB-T2 modulator resynchronisation – a process that typically takes time to complete. “I am delighted that we have been able to help Arqiva enhance the
3D display options
robustness and reliability of the delivery of Freeview HD in the UK,” said Johnny Dolvik, CEO, T-VIPS. “Given the importance of this type of service, it s crucial that every technology deployment runs as smoothly as possible. I’m pleased to say that TVIPS has been involved with Arqiva right from the start and it’s great news that our intelligent seamlessly switched 1+1 redundancy solution is now enhancing Arqiva’s managed Freeview HD network.” 1.B71
Four new monitoring displays for 3D production teams who are tasked with determining the differences between the left-eye and right-eye images have been introduced by Tektronix, entitled Anaglyph display, Checkerboard display, Disparity Grid and Disparity Cursor. The new 3D video monitoring capabilities will come as standard w ith a ll n ew W F M 8 3 0 0 a n d WVR8300 instruments, and will also be available on the WFM8200 and the WVR8200 instruments with the purchase of Option 3D. E x is tin g W F M 8 3 0 0 a n d WVR8300 instruments as well as WFM8200 and WVR8200 instruments with Option 3D can also be upgraded with the latest features free of charge through the new firmware upgrade available on the Tektronix website. 8.C75
HD streaming for live events Viewcast By Anne Morris Johnny Dolvik, CEO of T-VIPS, is “delighted” by Arqiva deployment
The Niagara 4100 from Viewcast is designed to stream HD content, including live adaptive streaming to Apple iPhone and iPad. With the ability to ingest high def inition video, the Niagara 4100 is ideal for live sports and newsgathering operations and webcasting. The rugged, portable unit can ingest standard or high definition SDI video, and accommodates a variety of audio types, including embedded SDI, AES/EBU and balanced and unbalanced stereo. With ViewCast’s SimulStream technology, the Niagara 4100 can simultaneously stream multiple resolutions at multiple data rates in multiple s tr e amin g f o r m a ts , in c lu d in g MPEG-4, Adobe Flash H.264, Windows Media (Silverlight compatible) and Apple iPhone. The Niagara 4100 comes as standard with front panel A, B & C buttons that can be pre-configured independently to activate different streaming profiles. Users can control key functions from the built-in front-panel LCD display, or browse the built-in web interface to take complete control of configuration options. Also included is the Niagara SCX SDK, which provides users with a suite of tools that facilitate control of all key features of the Niagara 4100. 13.119
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New matrix switch can be combined and cascaded Guntermann & Drunck By Ian McMurray
Emphasis on flexibility: G&D’s DVICenter DP64 matrix switch
With 64 dynamic ports, the new DVICenter DP64 matrix switch from KVM broadcast specialists Guntermann & Drunck is described as a completely flexible solution that’s ready to be tailored to individual needs. As with all G&D KVM systems, the DP64 can be combined and cascaded, allowi n g i t t o f i t a n d ex p a n d i n t h e future to any sized installation through an infinite number of versatile modules.
Content management for internet Cisco By Anne Morris The popularity of internet video services is growing rapidly, and several exhibitors at this year’s IBC are demonstrating ways to manage and deliver video content services in order to make the most of this opportunity. Tim Sheppard, head of video infrastructure solutions, Europe, at Cisco believes that the key challenge
is not just to deliver video services to end-users, but to deliver them in such a way as to ensure a quality viewing experience for all. “Operators that can deliver the large content libraries and highly personalised services that subscribers demand will cement their position in the dynamic market for entertainment services and develop longer-lasting, more profitable relationships with their customers,” said Sheppard. “However, in the rush to
be the f irst to provide new video services, and create successful new revenue streams, it’s easy to lose sight of the true differentiator: the user experience.” According to Cisco’s Visual Networking Index 2011, internet video accounted for 40% of consumer internet traff ic in 2010 and will reach 50% by the end of 2012. “Identifying and prioritising what the user truly values is the first step to achieving the ends,” said
The result of this capability, s ay s t h e c o m p a ny, i s t h a t t h e switch is the ideal choice for any studio that’s looking to grow without having to constantly reinvest in new systems. The DVICenter DP64 uses integrated Dynamic Port technology to provide complete flexibility in connecting either a computer or a user console to each port. This allows multiple computers and platforms to be controlled by teams of users simultaneously. Also provided is the ability to choose how many workstations and computers can be deployed within
the 64 ports rather than a preset allocation. The number of computer ports as well as the number of user ports can also be assigned in any order. The ports may then be reconf igured at any later time to suit changes within the IT structure, thereby providing flexibility for future growth. Designed for the broadcasting industry, the DP64 supports specialist input devices such as special key b o a r d s , g r a p h i c p e n s a n d tablets. With resolutions of up to 1920x 1200@60Hz, the DP64 is said to provide crystal clear images within transmission distances of up to 560m using Cat cables and up to 10km with fibre optics. 4.B74
Sheppard. “For users, the definition of successful video consumption is smooth, error-free viewing on the device of their choice; a seemingly simple request in their eyes. “From a service provider perspective this means building a stable yet flexible, intelligent, media-aware network and a distribution platform that is able to support scalable delivery to a range of devices. “Fortunately, while this may be a big ask, it is not an impossible one,” said Sheppard. “For service providers and content owners, the message is obvious: where there’s demand, there’s opportunity.” 13.197
Tim Sheppard, head of video infrastructure solutions, Europe, Cisco
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Second screen experiences Compact approach to audio metering
VillaSquare allows viewers to interact with VRT show Villa Vanthilt
VRT-medialab By Adrian Pennington The R&D wing of Belgian public broadcaster VRT, VRT-medialab has been putting its resources into connected TV applications. At this year’s IBC, it is showing three demos of its innovations – all new to visitors at this event. The first is a web app for second screen experiences developed in HTML5 in which content is automatically updated in realtime. Designed to enable viewers of VRT talk show Villa Vanthilt to post questions live and interact with the programme-makers, it has also been enhanced with social media functionality. A corresponding Customer Relationship Management tool could provide for better targeting of advertising or content.
Secondly, MediaLoep is a search and retrieval project which gathers all the metadata created during the production process and automatically enriches this alongside semantic web and linked open data to aid in future productions and consumer/archive searches. “The project aims to increase the volume of qualitative metadata by capturing and structuring the available data during the production process,” said VRT-medialab’s Robbie de Sutter. “MediaLoep will also explore how the search in audio-visual collections can be improved. This leads to more and accurate search results, increasing the efficiency and productivity of the programme staff.” Finally, CHAMP is VRT-medialab’s attempt at a flexible production platform which enables programme makers to tell multi-platform stories using collaborative cloud-based tools. “Cloud applications allow programme makers to collaborate over the network, irrespective [of] the location, by using consumer devices such as laptops, tablets and smart phones,” said De Sutter. “Story-centric media and metadata are stored reliably in the cloud. CHAMP will be a continuously improving platform that paves the way for more creative and efficient storycentric transmedia workflows.”8.G39
DK-Technologies By Paul Watson The new Compact Audio Loudness Meter (CALM) from DK-Technologies, DK Meter, is said to provide a high quality solution to loudness metering requirements. No larger than a smart phone, the device is designed for stereo and 5.1 metering, including loudness. Two versions of the DK Meter are available: the DK1, which is suited to anyone working in stereo, and the DK2, which is specifically aimed at the 5.1 surround sound market. The meter is compliant with ATSC, EBU R128 and ITU
BS1770/1771, and is supplied with all known loudness measurement recommendations, as well as the standard DK-Technologies’ meter scales. “In light of the recent legislation on audio loudness, broadcasters have been crying out for cost-effective and easy to use metering technology that helps them keep within the guidelines,” said Richard Kelley, director of sales and marketing, DKTechnologies. “This latest addition to our range f its the bill perfectly. It addresses all of the issues broadcasters currently have with measuring loudness,” Kelley continued. 8.E60
Fusion3G enhancements Cobalt By Michael Burns Cobalt has introduced enhancements to its Fusion3G and Compass series of multi-functional, multi-featured cards. As well as extensive audio tasks, the cards handle colour correction, fibre transmit and receive, and up/down/cross conversion duties.
Fusion3G and Compass support openGear, an architecture platform that handles 3G/HD/SD video and audio processing cards from multiple manufacturers in the same frame. Cobalt’s new keying option for the Fusion3G range uses independent SDI inputs for key and fill signals. The chromakey region can be defined using manual controls or an autodetect function. Meanwhile, a sepa-
Keep calm: 5.1 metering is to hand
rate preview SDI output is provided for observing key results before applying to programme video output. A new option allows symmetrical left-right wings’ insertion to be integrated into the programme video output, with wings video being accommodated using a separate SDI input. The user interface displays timing relative to the card output video, allowing wings timing offset to be adjusted and correctly framed. The wings left/right insertion width can be manually configured, or can be set to automatically track. 8.A94
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Alchemist turns tapeless into gold DSO ups frequency Snell Radio Frequency Systems
By Michael Burns
By Michael Burns The Alchemist Ph.C HD standards converter from Snell now offers greater integration into tapeless workflows. Alchemist features the The Snell Alchemist standards converter can produce Blu-ray and DVD deliverables ability to convert between all commonly used 1080p, HD and option provides higher performance cally. The converter utilises Snell’s SD broadcast standards and formats, for film-rate conversions. The con- CleanCut technology, ensuring that and has been designed to accommo- verter also now boasts additional video cuts at the input appear as date new standards as they emerge. modes for low-frame-rate conver- identical cuts at the output. A new file I/O is supported via In addition, noise reduction further sions, making it possible to produce assists in applications where com- Blu-ray Disc and DVD deliverables. optional hardware with a conversion Accurate cut detection and pro- application. The Alchemist Ph.C pression pre-processing is needed. Snell’s system is capable of cessing is an important factor in HD platform also brings optional cross-conversion, up-conversion and maintaining quality control of con- capability for handling timecode down-conversion of the same and verted video, and with Alchemist using VITC and LTC. different frame rates. A FilmTools3 Ph.C HD this is done automati- 8.B68
Testing and measuring the market The development of new technology has allowed customers to benefit from a choice of solutions rather than one mainstream supplier, says Paul Nicholls, head of sales and marketing, Phabrix Phabrix is a leading supplier of test and measurement instruments for both broadcasters and broadcast manufacturers. We appear in all parts of the broadcast chain from ingest to distribution and have equipment in broadcast studios, machine rooms, OB vans, Telecoms and R&D departments. This gives us a unique view of what is happening in the industry both now and looking into the future.
Presently the industry is buoyant. All the market research confirms that growth has returned and many countries in which we have representation are exceeding targets, particularly in Europe. South America is becoming a new and vibrant marketplace for Phabrix and with the US budget worries settled, sales are steady in this important market.
The opportunities for customers selecting test and measurement have broadened thanks to the advances being made in electronics. 3G was an exotic testing requirement less than two years ago whereas now it is considered standard. The ability to generate and analyse over 350 different formats in use today with our Sx products shows the level of complexity intro-
An insight into Digital Switchover (DSO) projects is being provided by Radio Frequency Systems (RFS) at this year’s IBC. As a wireless and broadcast infrastructure specialist, RFS supports DSO projects around the world and is showcasing various examples of its activities. Projects are currently under way in Argentina and with RAI in Italy, while one of the most important broadcasters in Poland is being supplied with complete antenna systems for eight stations. Me a n wh i l e , i n Ja p a n , R F S recently provided 5Ω-inch Heliflex cable and rigid lines to equip the duced into broadcasting since the simpler days of PAL and NTSC. It is sometimes hard to believe that technology today can pack so much into a handheld device. Our Sx handheld range has become a success internationally because it offers such a range of tools in one compact form that doesn’t break the CAPEX budget, all made possible by state of the art electronics. Key phrases we hear all the time are that products need to be ‘cost effective’ and ‘feature rich’ for the money invested. They certainly need to be easy to use. Gone are the days of engineers having the time and patience to wade through a complex menu structure. Customers have also become more discerning as to where their money is spent and as a quality brand,
RFS is delivering complete antenna systems for eight stations in Poland as part of a DSO project
new Sky Tree Tower in Tokyo, thereby enabling Japan’s path into the DSO era. 8.B34
Opinion
Paul Nicholls: Customers have become more discerning
Phabrix is benefiting now from the level of trust our products have gained since their introduction in 2008. Moving forward the technology drivers look to be optical as copper prices soar, combined video and audio T&M solutions, cost effective, feature rich solutions and of course, continued expansion and support of HD. Our new Rx technology at IBC is set to cater to all these needs both now and into the future across the broad spectrum of broadcast with its modular options and full optical support. MADI, a relatively old technology appears to have gained new interest particularly in the live events market and we have seen a huge uptake of our Dolby analysis and Dolby generation options for all our products. A competitive marketplace offers customers opportunities both in price and solutions and forces manufacturers to make the next technological leap to attract customers. IBC of course is the perfect place to witness the introduction of new products and solutions. For me personally it is one of the best shows to understand how the industry is developing. One thing you can say, you’ll never be bored – tired, maybe! 8.E25
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Mauritius broadcaster extends Trilogy installation The Trilogy Orator intercom can store four complete configurations within the matrix
Trilogy Communications By Melanie Dayasena-Lowe Mauritius Broadcasting Corporation – national provider of radio
and television in Mauritius – has selected Trilogy’s Orator Digital Matrix Intercom system as part of its expansion to new studios. The technology will also be used to satisfy the broadcaster’s current
and future intercom requirements. Supplied directly to Mauritius Broadcasting Corporation, new Orator – a fully-featured compact digit a l i n t e r c om w i t h a 3 6 - p o r t configuration – will be used in the corporation’s new central equipment room, master control rooms and two studios. The link between the matrices and control panels is easily established via CAT 5 cables with RJ45 connectors. With an Orator Digital Matrix Intercom already
Versatile archive, restoration scanner DFT Digital Film Technology By Carolyn Giardina With an eye towards growth in the film archive and restoration market, DFT Digital Film Technology is showcasing Scanity Archive. The system is aimed at post production facilities expanding into serving the archive and restoration m a r ke t , a s we l l a s t r a d i t i o n a l archive facilities. The specification includes continuous transport without pins and sprockets, as well as precision roller gate, LED illumination and optical perforation detection. Scan-
ity also has new features aimed at the film archive market, including variable scaling, f ilm shrinkage measurement, vertical over-sampling, individual light and density range control, and variable aperture correction. D F T s u g g e s t s t h a t S c a n i t y ’s advantage compared to an optical zoom is that the scanned f ile size increases as the image area (height and width) becomes larger. Consequently, the resolution (lines per inch / pixel pitch) is kept high, allowing users to maintain image sharpness throughout the post process, even after cropping and repositioning.
7.E21
installed in its current facility, the new and old systems are E1 networked together as well as to a master control room, allowing for seamless operation between users in the different studios. T h e O r a t o r I n t e r c om wa s selected for its ability to store four complete configurations within the matrix, which can be selected and run without the matrix being linked to a PC when the broadcaster has a short period of time to set-up and
Multiformat streaming Broadpeak By Heather McLean
Post facilities expanding into archiving will have their interest piqued by DFT’s Scanity Archive
prepare new configurations for different events. Barry Spencer, general manager – broadcast at Trilogy, comm e n t e d : “ H av i n g p r ev i o u s ly deployed Trilogy equipment, Mauritius Broadcasting Corporation wanted to utilise their previous investments but add additional capabilities and increase the scalability of their communications network across the new studios. [...] We look forward to continuing to work with them to meet all of their future studio and OB van requirements.” 10.A29
The latest content delivery and video network management solutions from Broadpeak are on display. The company says that the systems have been designed with the specific needs of operators and content providers in mind. The BkS300 is Broadpeak’s latest series of multiformat streaming servers. Suitable for multiplatform content delivery, this scalable ondemand video server delivers video on managed or open internet networks to multiple devices. It pro-
vides a unified solution for video streaming in most popular formats like Microsoft Silverlight smooth streaming for live and VoD content with digital rights management ( D R M ) , a n d A p p le HT T P live streaming for both live and on demand applications with scrambled or in the clear content. Dedicated to adaptive streaming, the BkS300 features an optimised architecture for enhanced performance and is said to deliver services with the best quality of experience. The BkS300 is fully integrated into the BkM100 CDN Mediator and provides fail-over and load balancing management options. 2.C40b
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Intelligent approach to monitoring Digital Nirvana By Melanie Dayasena-Lowe The PQASW from Tektronix scales key picture quality measurements to suit the host platform
Picture quality software Tektronix By Michael Burns The new picture quality analyser software (PQASW) from Tektronix is a software version of the PQA600 picture quality measurement instrument. The PQASW scales key picture quality measurements, scores and analysis to suit the speed and portability of the analysis platform on which it is being run. Fo r a d va n ced analysis, th e Advanced Option provides designers with a 10-bit measurement for evaluating emerging 10-bit encoding algorithms, as well as a colour PSNR measurement with a Vector Display. For evaluation and trials of transcoders with an IP interface,
PQASW also includes an embedded reference decoder and IP software interface (option IP), allowing the capture and playout of video streams on an IP interface. Tektronix has also released an update to its hardware-based PQA600 solution which includes the above capabilities plus simultaneous IP and SDI connectivity. This allows engineers to connect the PQA600 directly to an encoder with SDI input and IP output, or a decoder with IP input and SDI output. The new IP generation/capture and embedded reference decoder provides an efficient environment for reliable and convenient picture quality measurements for testing IP video, says the developer. 8.C75
Details of four new MonitorIQ products and a number of fresh features have been announced by Digit a l N i r va n a . T h e p r o mi n e n t broadcast solutions provider is exhibiting at IBC on its own stand for the first time. New this year is the MonitorIQ Broadcast Monitoring System for multi-channel signal monitoring, logging, compliance, archiving and content repurposing for television networks, cable MSOs, stations and
Eyeheight By Michael Burns A range of compliance products for broadcast video and post production is being debuted this year. For stereoscopic 3D use, Eyeheight is introducing a new LE-3D Video Legaliser, which provides identical legalisers working in parallel to a single control panel so the operator
Gaining control of business processes and data derived from them is a major benefit for visionary media organisations suggests Tony Taylor, chairman & CEO, TransMedia Dynamics with the need to monetise significantly more content, deliver to an ever increasing number of disparate platforms and create a compelling brand awareness to the changing demands of the consumer, the need to more efficiently manage the business operations that process the media becomes ever more strategic to an organisations success. It is against this backdrop that we go into IBC2011 knowing that the opportunities for our customers and prospects to exploit technology advances in file-based content preparation and management is
regulatory agencies. The second new product is the MonitorIQ Compliance Logging System, which records up to four
Video legalisers take the plug-in route
Reaping reward from control Nobody can deny that the last 2-3 years in the media technology industry have been pretty brutal. Of course you’ll always hear the salesman telling anyone that will listen ‘things are great’. But in reality all of us have had to tighten our belts and look at consolidations. None more so than those, including TMD, who provide solutions that have traditionally been high value capital expenditure. However, over the last nine months I have seen a significant upturn in enquiries along with RFP’s, RFI’s and ITT’s. As broadcasters, media organisations and archives get to grips
Digital Nirvana is exhibiting on its own stand for the first time at IBC
channels, with optional BS.1770 loudness monitoring. Multiple systems can be linked with a central management system. Built-in tuners automatically switch chann e ls b a s e d u p o n a recording schedule. Digital Nirvana is also showing MonitorIQ Producer and MonitorIQ Diagnostic/QC, as well as highlighting fresh features including the integration of ITU loudness monitoring and logging into one broadcast monitoring system. 10.A12
becoming a necessity rather than a ‘nice to have’. However, the technological advances we are delivering to our customers, and showing here at IBC, are only the enabling foundation for the bigger challenge. It is the business processes and the information that can be gained from the data collected that is of major benefit at all levels of innovative and visionary media organisations. Being in control by understanding the business metrics is arguably the only way forward. The word ‘control’ is one we are hearing from our customers and
knows that each level of 3D video capture is precisely in compliance. The company is also unveiling complianceSuiteFCLite, an Apple Final Cut Studio and Final Cut Express plug-in. This solution enables Final Cut users to generate true file-based workflows from concept to playout by verifying and conforming footage prior to submission to any file-based quality-assurance system. prospects on a daily basis. Traditionally they have had to go back to vendors to make changes to their systems as business workflow processes or reporting requirements have changed. As more IT systems are deployed however, then a change in mind-set is also required from the vendors delivering these systems. Broadcasters and media organisations now need the capability to modify workflows and create a whole plethora of business management reports in a timely manner. With this in mind broadcasters and media organisations should be using IBC to seek out those vendors, such as TMD, who can demonstrate real examples of technology enabled business solutions that can put them back in control of their businesses. We can all use the current favourite buzzwords and acronyms such as workflow, media asset management, file-based, SOA or BPM but speaking to organisations that
The new Lite version retains the core of complianceSuiteFC functionality at a lower price point. Also on display is Kar maudioAS, a new Avid plug-in that enables Avid Media Composer and Pro Tools to scale an entire programme file to match audio loudness targets. As a result, users can quickly meet broadcast requirements with regards to perceptual loudness and peak programme level. 8.D92
Opinion
Tony Taylor: understanding business metrics is the only way forward
have actually achieved real benefits for their customers is a different matter. In addition broadcasters and media organisations need to dig a little deeper than the ‘sexy’ user interface to seek out the more challenging business capabilities of the solutions they are considering implementing. As the saying goes, ‘beauty is only skin deep.’ The challenge for customers and prospects at IBC therefore is to look a little deeper into the heart and soul of the solutions on offer and to challenge the salesman who states ‘things are great’ when we all know the real situation. 2.C58
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Zooming into the future Thales Angenieux By David Fox T he n ew Opti m o 45-120 mm S35mm cinematography lens from Angenieux has a zoom ratio of 2.7x and a fast aperture of T2.8 (wide open). It weighs less than 2kg, making it suitable for handheld or Steadicam work. Other features include an optical design that avoids breathing, along with 320° focus rotation with more than 50° precise focus witness marks. “Along with the cinematographer’s vision, lenses offer a high degree of creative control during the film making process,” said Chris Beauparlant, VP, US sales and marketing, Thales Angenieux. The lens has similar specifica-
Malleable MADI move Optocore By David Davies In what is described as a world first, a new transceiver for Optocore’s DD2FR-FX optical MADI device accepts both multi-mode and singlemode fibre signals. The transceiver will be incorporated as a standard feature in every DD2FR-FX device. Optocore Suppor t Engineer Maciej Janiszewski commented: “This new MADI transceiver provides our customers with more flexibility, and means that they no longer need to order the DD2FR-FX with the appropriate MADI transceiver version to match their equipment. In other words, customers can now simply switch from multi-mode to single-mode MADI transmission without the need for expensive transceiver replacement.” 9.A47
Scan converter Analog Way By David Fox As Analog Way’s broadcast distributor, Bright Space Technologies is demonstrating the Broad Scan HD high-resolution video and HDTV scan converter. The Analog Way unit has genlock, embedded audio, digital DVI and analogue RGB inputs, and converts workstation, PC or M a c g r a p hic images up to 1600x1200@60Hz (1920x1200 RB) into NTSC or PAL and HDTV formats. Each computer input has its own monitor loop through for connecting a control display, while the genlock inputs also have loop through output for chaining devices. The Broad Scan HD stores up to 16 user presets, corresponding to 16 different input formats. 11.F35
tions to the 15-40mm and 28-76mm lightweight Optimo lenses it has been designed to complement, delivering fast apertures, good contrast and colour reproduction. The Optimo 45-120 will also be
available with the Angenieux Data System ADS/I module integrating the /I protocol and designed for all Angenieux lightweight lenses, including the Optimo DP 16-42 and DP 30-80. The ADS/I module enables monitoring and transfer of key lens data for many applications such as post production analysis, lens synchronisation for 3D, spe-
cial effects and virtual studios. The lens can also use Angenieux interchangeable mounts for APS-C format DSLR cameras, such as the Canon EOS 7D, EOS 1D MK IV, Nikon D3000/D3100, D300 and D7000. 11.F30
Optimo range extended: Angenieux’ new 45-120mm PL-mount zoom lens
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Flexible multi-screen 3G will drive innovation manufacturers have to engage with 3D, user interface software Allargues Tao Wang, president, global sales &
New software is ‘consumer face of multiscreen video’
SeaChange International By Ian McMurray Designed to enable video operators to provide consumers with a consistent look and feel as they navigate and manage linear and on-demand content across mobile, PC, tablet and TV screens is the recentlyannounced Nitro multi-screen user interface software from SeaChange International. The company says
that a major multiple system operator (MSO) is the f irst Nitro customer with an initial deployment planned for later this year. SeaChange Nitro is described as the consumer face of multi-screen video, leveraging HTML5 to give users intuitive features and functionality for controlling video content on any screen they choose. Key Nitro features include support for linear and on-demand video viewing, multi-room DVR, virtual channels, TV listings, bookmarking, search and recommendation, and handheld-as-a-remote capability, the latter transforming enabled m o b i l e d ev i c e s i n t o i n - h o m e remote controls. The combination of Nitro with SeaChange’s Adrenalin multi-screen video back off ice is said to give operators a complete platform that encompasses every aspect of multiscreen services – from the end-user experience to content delivery, management and monetisation. Upcoming versions of Nitro will open up to third-party back-off ices, giving operators the flexibility to add the Nitro experience to any existing delivery infrastructure. 1.C27
Opinion
marketing, Sumavision Technologies In keeping ahead of ever-changing broadcast technologies, Sumavision will showcase the world’s leading third generation (3G) Digital TV solutions at IBC2011. DTV vendors are faced with great challenges and opportunities and it is a great revolution to seamlessly integrate all DTV head-end system functions within one platform. As China’s most powerful digital TV software and system provider, Sumavision has made remarkable achievements after decades of development in the industry. Our areas of operation cover digital TV and video communications (from contribution to distribution) and include middleware-based unified set-top box software platforms, interactive HD and transcoding and a decoding scheme, CAS/DRM/BNSAS security authentication solution and all IP broadcast/backup platforms. Our 3G products have been quickly recognised by the entire industry. The first generation is a programme or a TS stream, with a single function – for example, one route encoder, one route scrambler, one fre-
quency point modulator, and so on. The fundamental basis of our electronics industry is the increased chip integration, for instance, more and more functions can be achieved in one U-box. So the second generation can implement multiple programme or multi-TS streams, which are integrated with multiple functions. The third generation products currently introduced by Sumavision can support more programmes and more TS streams, and can also support all digital TV functions in a standard platform. This is a great leap for our 3G products, which can achieve combination of arbitrary functions in a single platform. One of our products has six slots. There have been 70 kinds of function inserting cards, which can be applied so far. There is also one newly-added function inserting card every one or two months. Therefore, the 3G platform has caused a great shock in the industry. A lot of customers have a great interest in this product. Sumavision is the only institution that has adopted 3G design concept to develop the actual digital TV product so far at this stage.
Tao Wang: The 3G platform has caused a great shock in the industry
As the industry’s understanding of DTV has involved, broadcasters have seen that scalability and flexibility are key to the long-term value of their ROI. At this point, the market is very keen to find out about smart solutions such as 3G DTV to meet their immediate needs. 3G DTV is a trend and the competitive advantage of Sumavision roots is in the accumulation of competitive technology. We believe that with the development of DTV services and networking flexibility, 3G DTV will lead a great technical revolution in the industry. 1.C11
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Enterprising approach to video streaming VBrick says it is easing the adoption of enterprise IP video with VEMS Mystro
VBrick By Anne Morris IP video streaming company VBrick is showcasing a new version of its
enterprise media management system, VEMS Mystro. The company says that VEMS Mystro eliminates multiple barriers to the adoption of enterprise IP video by making video accessible, personal and scalable.
New range of challenges Autocue has moved well beyond its traditional home into new sectors and even new markets, says CTO Neil Hutchins
Opinion Although the Autocue brand is still firmly associated with prompting, the fact is that we have been providing scripting and newsroom systems for
over 20 years, automation and media management software for over ten years and server/storage solutions for almost five years. We have always understood that requirements vary dramatically from customer to customer and we’ve always been willing to make changes to our software to accommodate particular workflows. Our script mark-up tool, for instance, exists because CNN
Corporate, education, healthcare and government customers are looking to adopt an integrated I P v i d e o st r a t eg y a c r o ss t h e i r organisations, and VEMS Mystro aims to fulfill these requirements. VBrick claims that existing solutions have not met customer needs because they focus on only a few IP video use cases and fail to create a compelling, intuitive user environment. The company says that VEMS Mystro fully bridges these solution gaps, while supporting a user-def inable application experience, a unified administrative interface and common video distribution infrastructure. As a new modular media management system, VEMS Mystro powers collaborative broadcasts by weaving together video broadcasting, video conferencing, collabora-
tion tools and social media. It is built around a unique widget-based streaming design that enables users to personalise and embed IP video into any communications environment, such as learning management, mobile worker and Unified Communications. “The adoption of enter prise video has continued at a rapid pace as enterprises capitalise on video’s proven ability to drive more powerful and effective internal and external communications,” said Ira M Weinstein, senior analy s t a n d p a r t n e r, Wa i n h o u s e Research. “As the volume of centrally created and user-generated content increases, so does the need for a system like VEMS Mystro to manage, control and make the rich media content accessible throughout the enter prise,” continued Weinstein. 13.403
wanted to retain the ability for their directors and operators to work from annotated scripts while reducing the cost and environmental impact of the continuous printing and copying associated with paper. So we are very comfortable with the idea of customising or extending our software for specific projects and we have very experienced staff who enable us to react quickly to new requests. But, even with that background, we have still been amazed by the huge variety of different applications that customers have been suggesting for our new range of video servers – which reinforces both how reliant the broadcast industry is on the underlying technology and how quickly the requirement to handle video is percolating across into other sectors.
Our initial server/storage solution was provided as part of an integrated workflow system and our experience from that suggested that there was an opportunity to offer a new Linuxbased server, with a custom GUI incorporating video monitoring, providing multiple ports and storage nodes to allow flexible configurations and supporting a wide range of video formats. We have already had a great response from conventional broadcasters on the basis of that approach, but some of the most interesting requests have come from customers on the edge of, or even well outside, the traditional market. For instance, we’ve been approached by a physiotherapy unit to provide a system to record and playback different camera angles in
Immersive 3D 2020 3D Media By Adrian Pennington European consortium 2020 3D Media is researching and developing technologies for the capture, production, distribution and display of stereoscopic and immersive AV content. Highlights on display in the Future Zone include a prototype for a trifocal rig to capture – together with the standard colour information – the depth information of a scene for HD broadcast. There is also a demonstration of a realtime stereo image processor taking place, and an omnidirectional video production and interactive playback system including an omnidirectional multicamera rig, a non-parametric image stitcher and a multi-megapixel video navigator. 8.G35
Neil Hutchins: Support teams can deliver in unconventional environments
order to assist with recovery from limb injuries. We’ve been talking to a motion-capture company that needs to deliver trimmed high- and low-resolution video segments to their own customers, under the control of a custom clip management system, and we’ve discussed providing a version of the server for an audio-only environment. We are due to provide systems to two UK universities this summer, one that requires caption functionality to be built into the server and another that needs vision mixer, audio mixer, still store, camera input handling, virtual server channels and individual port preview functionality all to be available within a single box. And we are currently delivering a 12channel server solution and a custom workflow control application to provide match recording and playback, including slow motion, for a new football stadium. The range of applications that customers are suggesting for our servers has come as a surprise, even to us. But we relish a challenge and have already proved that our development and support teams can deliver unusual systems in unconventional environments. We look forward to hearing what we might be working on next. 11.E51
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Now long takes are nothing but a pleasure: much lower energy consumption in standby, even less backlash for more natural shots, lots of space for your thumb, and an especially comfortable grip. On top of which, these ergonomically designed grips offer the usual easy operation and less zoom noise. Fujinon. To see more is to know more.
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10.09.2011 Prime time: Cooke Optics’ new 135mm lens joins its 5/i series of lenses
The X6R-FX-Intercom is an intercom interface for the Optocore distribution networks
Distributing 1,024 channels of audio Clear-Com By Melanie Dayasena-Lowe The Optocore digital fibre and Synchronous Audio Network plus Ethernet (SANE) Cat5 networks for realtime audio, intercom, data and video signal distribution are now being offered by Clear-Com. These products are said to be a
direct result of a strategic joint development partnership with Optocore, a manufacturer in fibre-optic based distribution. The first ClearCom-Optocore devices – V3R-FXIntercom and the X6R-FX-Intercom – are showing today. The devices are intercom interfaces for Optocore distribution networks based on Optocore and SANE technology platforms. The
Optocore dual redundant fibre-ringbased network can transport up to 1,024 channels of 48kHz digital audio, or can be reallocated to route data and video signals simultaneously with multi-directional audio. The Cat5 cabling carries up to 64 channels of very low latency digital audio and a redundant pair operating at 100Mbit Ethernet. 10.D29a
Max headroom from tight light mover Matthews Studio Equipment By David Fox Max – Matthews Studio Equipment’s already popular new light mover – is making its first appearance at IBC. With the ability to place a light fixture up, over and out to a maximum height of six metres and a horizontal extension of over
five metres, Max is claimed to be a ‘fast and safe way of solving those impossible lighting set-ups’. With no rear projections or arms, Max can be pushed right up against a wall or tucked neatly into a corner. At its full horizontal extension, Max can handle a 35kg f ixture and at 2/3-extension will accommodate more than 70kg. Max is not just for lighting, says
Patterns of continuity Peter Thomsen, deputy MD Danmon Systems Group, says old media technologies should never be disregarded Some years ago, a retired business manager was invited onto a European television show to explain the methods he had used to run his company. Off camera, he remarked to the production crew they should be looking for alternative careers. Traditional broadcasting, he claimed, would be soon be overwhelmed by the web. Today this same ex-manager hosts a popular and now quite long-running programme — not on the web but on the same ‘traditional broadcasting’ medium which he had previously denigrated.
The lesson here is: don’t write off an established multimedia category simply because another has recently sprouted from the same tree. New branches are developing all the time — podcasting, tablet-TV, 3D, 4K and so on. Each arrives and establishes itself, rarely to the detriment of the established structure. Enabling technologies change but the end product does not, hence the continued survival of print publishing, cinema and radio... and trade exhibitions. Attending NAB and IBC annually
135mm lenses make debut Cooke Optics By David Fox
the manufacturer – because it is a versatile production tool that has already held cameras, props, lighting control devices and other key elements in out-of-the-way or tight spaces in major studio and location productions throughout the world. MSE is also showing other support products, including car-mounts, K-Stackers and stands. 11.G71
Scheduled for delivery early next year, Cooke Optics has unveiled a pair of 135mm lenses for its 5/i Prime and Panchro lens sets. The 135mm for the 5/i has T1.4 speed and the 5/i’s signature focus ring that illuminates when required, eliminating the need for external lights that might affect the shot. The Panchro 135mm, which is being shown as a prototype, will join Cooke’s smaller, lighter weight
over many years reveals a pattern of continuity that might not otherwise be evident. The communications business moves forward one step at a time, the people behind each incremental progression trying to achieve sufficient profit enough to fund the next. A perfect example was the development of television displays, from relatively crude early cathoderay-tube technology to the latest-generation of monitoring-quality flat-panel displays. Each category of communications technology develops at its own pace, influenced largely by the extent to which it can draw investment from wider markets such as consumerentertainment and what is now termed ‘enterprise’ computing. The entertainment market funded the development of cost-efficient video formats such as Sony’s Betacam (from Betamax) and Panasonic’s DVCPRO (from DVC). I hardly need mention the impact per-
sonal computers have had on video post production. Key technology drivers at this year’s show include: • Latest-generation compact robotic camera systems allowing remote studio operation under IP control. • Increasingly cost-efficient solid state storage media for file-based video/audio capture and enterpriseclass disk servers for online archiving. • Energy-efficient solid-state lighting with precise control of colour temperature. • New advances in MAM including automated file assessment during ingest. • New-generation 4K and 8K systems, ostensibly for digital cinema applications but with interesting potential as bridge formats between 1920x1080 HDTV and NHK’s proposed 7680 x 4320 format. As a broadcast systems integrator, Danmon Systems Group attends IBC
lens family at T2.8. It is said to add value to the lower-cost lens range, which is often used for second unit film shoots, TV dramas and documentaries. B o t h m o d e l s a r e c o l o u rmatched and calibrated to all existing Cooke lenses. They also feature built-in /i Technology, which provides cinematographers, camera operators and post teams with such metadata as lens setting, focusing distance, aperture and depth-offield, hyperfocal distance and focal length in both metric and imperial measurements. 11.D10
Opinion
Peter Thomsen: Identifying the most efficient technology
primarily to promote its broad range of technical services. The show also gives us the opportunity to discuss with potential suppliers vital issues such as hardware and software compatibility and the anticipated commercial life of a product or the platform on which it runs. The experience Danmon has gained over nearly 20 years of systems integration is based on identifying the most efficient technology and then closely partnering with manufacturers to ensure reliable and effective implementation. Broadcasting being primarily a live ongoing service, round-the-clock dependability is essential. We take great pride in not just getting our clients on air but keeping them there. 8.B51
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Launch for compact audio monitoring units Murraypro By Melanie Dayasena-Lowe Two new Audio Monitoring Units are being showcased on the Murraypro stand. These AMUs offer meter or histogram presentation. Offered in 1/2 rack width format, the units also ship with sleeve covers for desktop use. HD/SD autoswitching with de-embedding of any group is standard on both units. The C om p a c t L CD is switchable between a 4/16Ch histogram and TV monitor mode, while the Compact Quad offers digital and analogue audio metering on four miniature PPMs, together with Ch1/2 + Ch3/4
Q-Ball can now store up to 18 presets
Ball is now instantly in all courts Camera Corps By Melanie Dayasena-Lowe A new addition to the feature-set of the Q-Ball compact remote pan/tilt zoom HD/SD camera has been an n o u n c e d by Cam era Cor ps. Housed in a robust and fully weatherproof 115mm diameter aluminium sphere, Q-Ball is a frequent choice for reality shows, sports broadcasting and televised stage events. “The hugely popular Q-Ball has now been improved to include the one thing many customers have been requesting,” commented Jim Daniels, technical director of Camera Corps. “It can now store up to 18 preset pan, tilt, zoom and focus positions when used with our large PTZF switcher and joystick control unit. This enables an operator to store and recall camera shots and to switch rapidly from one to another. “The advantages in terms of production efficiency and creative versatility are enormous. Settings are stored in non-volatile RAM within the head so are retained even after a system is powered down between sessions,” Daniels added. 10.C49
audio phase and peak error alarms. Self-contained units of the same format incorporate a pair of 8+8W stereo loudspeakers. A particularly neat feature, explained CEO Tony Drummond-Murray, is “the acoustic
reflectors. which angle to direct sound towards the listener and fold flat for transport and storage, which can eliminate the requirement for separate speakers”. Each unit offers fully buffered
HD/SD SDI loop through with balanced analogue XLR outputs of both the selected group and the main volume control. 10.F23
The Murraypro Compact LCD
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Enhanced control for restoration Snell By Michael Burns A newly-enhanced f ilm/video restoration product is being show-
cased at this year’s IBC. Snell’s Archangel Ph.C-HD is an advanced SD and HD restoration system with realtime dirt, dust, grain, noise, scratch, instability and flicker removal.
Version 3 introduces third-party control panel support to Archangel’s timecode-based, scene-by-scene restoration capability. There is also support for the Tangent Wave and JL Cooper Eclipse CX hard control
Snell’s Archangel Ph.C-HD Version 3 adds support for third-party controllers
panels – both on display today – so
that users can assign controls to panel buttons, sliders and trackballs, thereby allowing them to work faster in a more precise and intuitive fashion, says the manufacturer. 8.B68
New Phabrix rasterisers offer 1920 x 1080 screen output via HDMI or SDI
Rasterisers in rackmount make debut Phabrix By Michael Burns A new production version of the Rx 2000 rackmount test and measurement system and a range of new rasterisers are being displayed by Phabrix. The Rx 2000 is a d u a l- s c r e e n 2 U p la tf o r m , capable of accepting up to four modules providing eight simultaneous inputs. The different modules can support analysis, eye and jitter analysis, test pattern generation, Dolby, M A D I a n d A S I o p tio n s . Pa u l Nicholls, head of sales and marketing at Phabrix, said this ability of the new platform would provide broadcast engineers with a costeffective, centralised solution for broadcast T&M. The new rasterisers on display offer features including optical support and full 1920 x 1080 screen output via HDMI or SDI – a world first on this form factor, according to Nicholls. The Rx1000 is a new 1U 4-module bay rasteriser in 19inch format. The Rx500 1U half rack rasteriser accepts two modules, suitable for OB and studio use where space is at a premium. Both rasterisers have been designed to accept the same modules supporting the Rx 2000. Phabrix’s eye and jitter technology – used on its Sx hand held range since 2009 – is available for the Rx1000 and the Rx500, while both support enhanced audio capabilities including AES, Dolby E, D and D+. 8.E25
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Storm alert!
Ethernet interface demo
Weather Central
Xilinx
By Heather McLean
By Melanie Dayasena-Lowe
An integrated 3D creation software package that allows broadcasters to put their own unique stamp on their weather presentations is being showcased by Weather Central. The software, Fusion Studio, offers a complete package of tools for telling weather stories. The package is said to eliminate the time and resource consumption associated with high-end 3D graphics. It enables the on-air meteorolog i s t t o d i r e ctly interact w ith on-screen 3D elements, including multiple light sources, texture and data mapping to 3D objects in realtime to create a dynamic delivery. Weather Central is also showing a variety of new data products, including: iFactor, an exclusive lifestyle-based weather rating system that interprets a comprehensive set of weather variables; and VividCast, a one kilometre downscaled data high resolution model. The company offers a full suite of solutions for mobile web, WAP, iPhone, iPad and Android platformsm and the new Forecast Tailor is an easy-to-use web app that ensures broadcasters have the same forecast on every screen. 3.B61
Visitors to the Xilinx stand can catch five product demonstrations, highlighting the strength and scope of the company’s programmable solutions for the broadcast market. Products on display include the SMPTE2022-5/6 LogiCore. Using Xilinx Field Programmable Gate Arrays (FPGAs), broadcast equipment makers can build systems capable of delivering video over IP networks without degradation in picture quality, in turn keeping consumers happy, says the developer. According to Xilinx,
FPGAs – rather than ASICs or ASSPs – are the viable solution for enabling many broadcast applications to meet consumer expectations for high-quality video on all their devices. The SMPTE2022-5/6 LogiCore is designed to enable the adoption of lower-cost Ethernet networks for transporting uncompressed video, support for up to six HD SDI or three 3G-SDI video interfaces with ‘excellent’ jitter performance, and support for SMPTE2022-5/6 Video over IP designs. Xilinx is showcasing Virtex-6 support for SDI as well as its FMC/Targeted Design Platform (TDP) concept. Also on demonstration, the
Xilinx is showcasing Virtex-6 support for SDI
VCXO Removal for SDI reference clocks is said to bring a significant bill of materials reduction (up to $20 per video channel), low jitter performance and uses no extra power.
Making the Bluetooth connection JK Audio By David Fox Using Bluetooth to connect microphones and headphones gives a wireless connection at low cost. JK Audio was an early adopter of Bluetooth and is showing its latest devices on the Vortex stand. The BluePack Beltpack for mobile reporting connects a profes-
sional handheld microphone and headphones with a mobile phone for completely wireless links. Where more connections are needed, the RemoteMix-4 has four inputs and four headphone outputs with Bluetooth, plus a direct PSTN line interface and handset connectivity for wired connections or direct audio connections for an audio codec. For permanent installations, JK has new low-cost digital hybrids
with echo cancellation for clean four-wire audio. They include mic and line level inputs, level controls, line and headphone outputs. The Broadcast Host connects to PSTN while the InnKeeper-PBX connects via a handset connection to any phone system, including digital PABXs and IP phones. Where there is no cabled connection, the BlueKeeper connects via Bluetooth to a mobile phone. It means that Outside
Other products on show include the SDI on Kintex-7 FPGA, Real Time Vid e o E n g in e T D P a n d H.264/AVC-I & AVC-Ultra Video Codec. 10.D25 Broadcasts can have talkback and cue via a mobile in a convenient desktop enclosure with professional audio connectivity. A ls o n ew, B lu e S e t a n d BlueDriver are simple Bluetooth audio interfaces for wireless connections to mixers or intercom systems. They pair with each other, with mobile phones, Bluetooth headsets and more. The latest S-Series equips them with CSR’s aptX low-latency highquality audio codec for Bluetooth A2DP, offering 10Hz-22kHz frequency response. 11.G11
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Nova73 HD — just what a router must be. Continuous operation, futureproof design and outstanding performance — when you choose the Nova73 HD, you’ve chosen cutting-edge technology. In addition to its superb reliability, the Nova73 HD excels with its intelligent architecture and outstanding serviceability. For example, not only can the hot-pluggable components be exchanged while the unit is running, system additions may also be installed at any time during operation — even while the Saturday night live show is on-air! No surprise then that the Nova73 HD is convincing an ever-increasing number of the most demanding broadcasters, and has become a worldwide reference for high-performance audio routers. Lawo AG, Germany | www.lawo.de
Visit Lawo at the IBC 2011 Amsterdam, September 9 –13, Hall 8, Booth C71
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Topaz+XT Adopting true IT workflows Process Management that automates and integrates MAM for Business processes, should be adopted in digital broadcast environments, Israeli TV suggests Rafael Dubois, sales & marketing director, Tedial Masstech By Paul Watson Channel 2 in Neve Llan in Israel is using Masstech’s Topaz+XT MAM v7.5 and XT-Ingest systems to digitally preserve news content. Hitherto stored on ageing videotapes, the content is being automatically ingested and archive-managed with the Masstech systems. The Topaz and XT-Ingest solution is now preserving all the media content recorded on tapes, providing better efficiency and saving on costs. “ We c h ose to work with Masstech to save our archives. We have Betacam SP tapes that are 17 years old and we want to save the m e d i a c o ntent fro m be ing destroyed,” says Daniel Dagan, project manager and acting CTO for Channel 2. “Selecting Masstech for this project was the most cost-effective choice, and we have a broadcast system that will integrate with any tapeless workflow we install in the future.” 8.B73
Many broadcasters are implementing file-based systems in their facilities and yet many continue to organise working practices according to the inherent limitations associated with old tape-based technology. Going tapeless is not the ultimate goal but rather the key that opens the possibilities of significantly improving productivity by organising the way that people work in a logical and efficient manner. By storing assets in the digital realm broadcasters have greater security; can automate workflows; reduce costs; increase productivity; improve working practices; and increase ROI. A key element of the new digital broadcast environment adopted from IT practices is Business Process Management (BPM), an over arching platform that automates and integrates business processes enabling broadcasters to simplify and redesign workflows according to business requirements rather than technical processes. Efficiency and savings are achieved by automating as many tasks as possible while
reducing the number of man-hours required and thereby the incidence of operational errors. Any workflow involving media assets can be defined, executed and monitored by the BPM. Each individual step of the productive process is systematised and automated whenever possible, and the usage of available resources and workloads are optimised accordingly. Some MAM providers offer prefabricated workflows that can be customised within limited parameters or by writing new code, whereas Tedial’s Ficus BPM provides the tools to implement dozens or hundreds of workflows, each and every one designed from scratch around the customer’s unique requirements. The BPM system ensures that operators interact in a coordinated way by producing work orders based on the user’s profile, specific responsibilities and by taking into account the global priorities, resources available and deadlines of the entire production chain. The powerful combination of Tedial’s Ficus BPM system and its
Media Process Manager (MPM) system perform all of the third-party integrations, media moving and file processing required by each of the workflow’s different steps. In other words Tedial ensures that all processes that can be automated are automated. This in turn allows operators to focus on the creative process that they excel in rather than wasting time carrying out mechanical and repetitive tasks. The system is designed to be tightly integrated with traffic in a bidirectional way. Traffic systems can drive Ficus so that most workflows and their associated work orders are launched and executed automatically. It operates with a global database, which queries and updates all thirdparty databases involved in the workflows ensuring that the information and metadata is consistent throughout the entire system. From the onset Ficus has been conceived to tackle the specific challenges of broadcast environments and the management of very large video files. It features special func-
Opinion
Rafael Dubois: Going tapeless is not the ultimate goal
tionality such as integrated multimedia player for versioning, creating segments and validating subtitles and generates specific reports covering ingest and QC tasks. The system is designed to integrate using the best possible methods offered by the facility’s third-party systems and their databases. The BPM is not a concept. It’s available now and has revolutionised business processes for a number of broadcasters including Oman TV, Chello Multicanal and RTVE. 8.B41
CUT. SHAPE. FOCUS. TUNE. ARRI introduces the ďŹ rst LED-based lights to truly match the versatility and homogeneity of conventional tungsten Fresnels: a new generation of focusable, tuneable lights that offers complete control, combining breakthrough performance with incredible efficiency.
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Broadcast graphic solutions wTVision By Heather McLean Realtime Broadcast Graphics solutions and playout automation systems from wTVision are being showcased throughout IBC. The companyâ&#x20AC;&#x2122;s exhibit focuses on its iPad integration as a Human Interaction Technology and User Interface (HITUI) to remotely control broadcast graphics, a 3D stereoscopic show reel, and sports turnkey products.
The wTVision booth features several product display stations. For example, the elections station gives visitors an insight into a host of electoral applications, while the sports station features a stereoscopic 3D broadcast graphics presentation and SportStats CG software. Among other developments, the company is also highlighting the full range of functionalities available with ChannelMaker, a flexible automation and playout system designed to manage 24/7 TV channels. 3.C61
MediorNet Compact 50G Riedel By Paul Watson Riedel is showing its MediorNet Compact 50G multimedia stagebox with integrated WDM for the first time in Europe. The company says it is the cost-effective and easy-to-use entry point into the Riedel MediorNet world of integrated media signal distribution and processing. The stagebox provides the flexibility of a true realtime media network, including integrated signal
processing, at the cost of simple multiplexing point-to-point products. MediorNet Compact has a bandwidth of 50 Gbps, providing enough capacity for bi-directional transport of 12 HD-SDI signals, dozens of MADI streams or GbitEthernet signals, and hundreds of audio channels or intercom ports. The manufacturer is also presenting its new Video Transport Solution, as well as a new intercom product that is said to redefine the way wired communications is realised. 10.A31
Embedded audio processing move Utah Scientific By Heather McLean IBC2011 f inds Utah Scientif ic showcasing new embedded audio signal processing for its Utah-400 series digital routing switchers. The capability comes courtesy of a new line of I/O boards that rely on advanced field-programmable gate array (FPGA) technology to perform signal processing. The exhibitor argues that in the past five years, embedded audio has become the norm in media operations of any significant size. It supports a more streamlined system overall, but its inflexibility can make it difficult to shuffle audio channels as needed in larger integrated facilities where quick changes to live feeds are common. Now, Utah Scientif ic has built advanced signal processing into the routerâ&#x20AC;&#x2122;s I/O board, meaning it can deserialise and decode a signal into its component data streams without compromi si n g t h e r o u t e r â&#x20AC;&#x2122;s ove r a l l operational reliability. As a result, audio channels are shuffled auto-
New graphics cards demo AMD
Utah Scientific is showing embedded audio processing for the Utah-400 series
matically without an outboard device or manual intervention. The enhanced Utah-400 routing systems also incorporate a virtual control panel to provide an easy-toread display of the video signals and their associated audio positions. The GUI design enables control of digital signal processing functions and other signal configuration information. Utah Scientif icâ&#x20AC;&#x2122;s Utah-400 routers and Uyah-100/XFD fibre distribution frames are now avail-
able for delivery with the Flex I/O signal module. â&#x20AC;&#x153;Our commitment to the European broadcast market continues to increase with our addition of a new training and suppor t centre in Milan,â&#x20AC;? said Tom Harmon, president and CEO of Utah Scientific. â&#x20AC;&#x153;We have also formed new partnerships with EMEA resellers and systems integrators, and we continue to offer our engineering expertise to address our customersâ&#x20AC;&#x2122; product requirements worldwide.â&#x20AC;? 2.B20
Low-latency VoIP codec Comrex By David Fox
By Carolyn Giardina
A new multimedia stagebox has joined Riedelâ&#x20AC;&#x2122;s MediorNet range
â&#x20AC;&#x2DC;Work horseâ&#x20AC;&#x2122; at World Cup AEQ By Paul Watson AEQ provided an MPAC-02 for this summerâ&#x20AC;&#x2122;s FIFA U-17 World Cup in Mexico after host broadcaster Televisa SA de CV approached the manufacturer to propose a solution for the eventâ&#x20AC;&#x2122;s telecoms structure. The MPAC-02 has been in production for 12 years, but AEQ
observed that this â&#x20AC;&#x2DC;work horseâ&#x20AC;&#x2122; product had just the right features and services for the job in hand. It can accommodate up to three commentators, and features an auxiliary mic/line input which provides an additional local source and various transmission possibilities. AEQ was also able to provide the simultaneous independent program and co-ordination circuits with return paths that were requested by Televisa SA de CV. 8.C55
A f irst look at the capabilities of AMD FirePro V7900 and V5900 is being offered by AMD. The companyâ&#x20AC;&#x2122;s new workstation-class professional graphics cards are being featured in a series of demonstrations. AMD suggests that the cards could reduce the cost and complexity of immersive visualisation applications such as stereo 3D. Partner demonstrations on the AMD stand include technology from Vizrt, Eyeon and Ventuz. The new graphics cards expand AMDâ&#x20AC;&#x2122;s professional graphics family, which uses AMD Eyefinity technology to support multiple simultaneous displays from a single card, and accelerate 3D models at resolutions of up to 2560x1600 pixels. 7.H35
One of the broadcast industryâ&#x20AC;&#x2122;s most enduring names and producer of the Access-IP audio codec, Comrex returns to video with LiveShot. This new low-latency Video-over-IP codec is optimised for challenging IP networks like 3G, 4G and satellite links. Comrex is appearing at IBC2011 on the stand of distributor Vortex Communications. It builds on techniques perfected with Access, using Broadcast-Reliable-Internet-Codec technology to overcome internet glitches. It goes up to 1080p and uses intelligent forward error correction and dynamic decoder jitter buffer management to reduce delay â&#x20AC;&#x201C; encoding and decoding a live stream with less than 200ms delay. It also does store and forward. â&#x20AC;&#x153;This is quite a big development for Comrex â&#x20AC;&#x201C; their first video prod-
BRIC built: LiveShot in use (between the camera and battery) showing 4G dongles
uct since the early days â&#x20AC;&#x201C; but one that has come out of their experience with IP Audio Codecs and getting low-delay high-quality audio over contended connections such as the public internet with simple connectivity for users,â&#x20AC;? explained Ian Prowse, director of Vortex Communications (Comrex distributor). â&#x20AC;&#x153;The LiveShot is pretty exciting. There is nothing as far as we know that can do this sort of thing and that has been specifically designed for 3G/4G/satellite type connections,â&#x20AC;? he added. 11.G11
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HD recorder offers removable storage Datavideo By Carolyn Giardina Currently being previewed on the Datavideo stand, the HDR-500 is a new H D / S D broadcast g rade recorder with encode function and HDD storage. The new product is expected to be made available in December.
Guy Elliott, MD of EMEA Gateway
Unlocking EMEA’s potential EMEA Gateway By Carolyn Giardina A provider of sales and marketing channels across Europe, Middle East and Africa, EMEA Gateway is at IBC one year after its launch to feature products from some of its business par tners. These include technologies from Cache-A, Archion and Tightrope Media Systems. “Outsourcing any part of a business is no longer just a commercial tactic used by publicly quoted companies,” said Guy Elliott, managing director of EMEA Gateway. “Our business partners now have the opportunity to embrace an alternative business model without the need for setting up an entire European sales operation.” By par tnering with EMEA Gateway clients can extend their reach, achieve the desired sales momentum quickly and cost-efficiently, and generate new revenue streams from new markets across this region. This has enabled many partner companies to grow their business in EMEA, even during these challenging economic times. At IBC, the company is showcasing products from some of its business partners, including: CacheA’s Pro-Cache5, a network-attached LTO-5 appliance; Archion’s Synergy XTR RAID-based shared storage system; and Tightrope Zeplay 2.0 HD instant replay server. Tightrope is also featuring the latest in its systems. 7.E06
The HDR-500 recorder has a removable HDD storage system, which is said to be also suitable for SSD drives. The inputs include HD/SD-SDI and YUV as well as timecode. In addition to SDI and
YUV output, it offers an HDMI output. The recorder supports embedded audio and balanced audio. The new device records MXF OP1A in 4:2:2 HD at 120 Mbps in Iframe. Featuring a 1U 19-inch rack-
Up to scratch: Datavideo’s new HDR-500 broadcast grade recorder
mountable design, the recorder may be integrated with equipment such
as Datavideo’s Mobile Video Studio range. 7.D39
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Triton agreement promises efficiency Fraunhofer IIS By Paul Watson Audio and multimedia specialist Fraunhofer IIS is highlighting a licensing agreement with Triton
Digital’s streaming division. The new arrangement will enable Triton customers to benefit from efficient surround audio algorithms for the delivery of their internet radio programmes. Triton Digital encoders will
incorporate Fraunhofer’s gold standard MPEG Surround and HE-AAC audio codecs. The agreement also includes SX Pro, Fraunhofer’s upmix tool, that allows broadcasters to create surround audio from stereo content before encoding.
“Internet radio has to compete with various HD media offerings. The audience now expects the highest audio quality, similar to HDTV or DVD, especially when using high-end speakers,” commented Fraunhofer’s Harald Popp. “This expectation often includes surround sound, and our eff icient codecs enable broadcasters to deliver this
immersive experience to their listene r s a t a ff o r d a ble a n d r e lia ble bitrates.” Triton Digital’s streaming division offers a suite of streaming and advertising tools including media management tools, measurement, ad insertion, management, and player creation. 8.B80
Chello DMC: More channels under IBMS
Well run DMC expands IBMS Pilat Media By Heather McLean Business management software supp lie r P ila t M e d ia G lo b a l h a s announced that Chellomedia’s Chello Digital Media Centre (DMC) will significantly expand its installation of Pilat Media’s Integrated Broadcast Management System (IBMS) to support 17 Chello DMC channels in Central and Eastern Europe (CEE). IBMS unites the 10 countries in the region under a single scheduling and media management platform for greater efficiencies, reduced costs and increased revenue. “Chello DMC has enjoyed a long term relationship with Pilat, and IBMS has proved itself as a core and critical component in our operation. In fact, IBMS has been the leading system in our traffic and scheduling departments for 10 years, and it has withstood the test of time,” said Robin Kroes, VP of commercial, operations, and corporate development at Chello DMC. “We look forward to working with Pilat Media to bring even further efficiencies to our Amsterdam-based operations and bring the same highly efficient playout and content delivery services to our facility in the dynamic Central and Eastern European market.” The Chello DMC is one of Europe’s main providers of multichannel playout, post production, TV distribution and content delivery services. With the addition of CCE, IBMS will support 66 Chello DMC channel feeds covering 19 territories in 16 audio languages and 26 subtitled languages. The system will also provide complete integration with the Chello DMC’s automation, media asset management and other systems for seamless scheduling and management of media assets throughout the broadcast life cycle. 3.B14
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Every Cloud should have a purple lining been aware of it probably for a decade or more. It seems that only recently has the idea caught on in a big way in media and broadcast. According to a reputable article Cloud computing is defined as ‘virtualisation plus storage, software and infrastructure as services’. The virtualisation bit means that the user doesn’t actually know the physical location of any of the data or where it is processed. The user observes a virtual representation of a file structure at best. The system deals with moving the data around, processing and making it available to the user as necessary. For some, storage as a service is a good business model, not just because it makes economic sense but because it gives them the flexibility to expand and contract the amount of storage required by the business and therefore enhances their responsive-
ness to the market. For storing full resolution content by the PetaByte it does not necessarily provide the best model. A combination of self-owned storage and cloud storage can present the best model for content where only browse or low-resolution copies are held in the cloud. Software as a service is gaining ground with several providers gaining market share. However none have yet truly addressed the issues associated with streaming video reliably to the desktop over a public network. Security of content is a significant problem and truly agnostic web streaming engines have not yet made it to market but are probably on their way. Infrastructure advances continue apace making it relatively commonplace to have bandwidth in the region of 4 to 10Mbs – more than enough to make Cloud computing a viable option.
It is all these things that make Suitcase TV a good place to go for people considering Cloud-based
media solutions. We began with the concept of virtualised storage systems eight years ago when we first designed MediaStor – both a storage device and a virtualised file system. MediaStor has the ability to be both inside a private and secure broadcast LAN and part of the Cloud using MediaStor edge-servers. Automated processing and workflow tools enable remote users to manage the high-res content by working with streaming browse from the MediaStor browse server without ever caching a copy of the content locally – thereby addressing a major security issue with your high value assets. Web-enabled editing and other functionality is available at the desktop using the Aqua suite of products or, alternatively, integrated with professional editing suites, such as Avid, using AquaDuct. These days there’s no reason not to build your own Cloud or hop on to someone else’s with Suitcase TV. I2.C10
Powerful media probe
sis and each VB330 probe having two 10GB interfaces, the system can deliver 60GB monitoring capability. Designed for extremely highdensity applications at points of maximum data throughput in 10GB core networks, the VB330 provides a monitoring solution for telcos, network operators and digital media organisations. Also on show is the VB12-RF monitoring/measurement appli-
ance. Developed for use by engineers on the road, the VB12-RF is said to pack every required broadcast and IP interface into a ruggedised chassis with a form factor smaller than a laptop computer. The specification includes: built-in interfaces for RF, ASI, and IP; full TR 101 290 alarming and analysis; and support for all media transportation codecs. 1.A30
VB12-RF is a monitoring/measurement appliance for engineers out on the road
Virtualised storage systems are core to Cloud production, and it’s been around for years, says David Atkins, technical director, Suitcase TV Cloud computing has been around a long time. I seem to remember right back in the 1980s the phrase ‘distributed processing’ describing one, if not the first, evolutionary step towards the concept of the Cloud. I am not sure when it acquired the nomenclature Cloud but most people in IT have
Bridge Technologies By Ian McMurray As well as launching a number of new products, Bridge Technologies is taking the opportunity to demonstrate a number of its current prod-
ucts. These include the VB330, which the company claims is the industry’s most powerful media monitoring probe. The new product is the first to be based on Bridge Technologies’ new 10GB architecture. With three blades fitting in a single 1-RU chas-
Opinion
David Atkins: Security of content is a significant problem
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New platform for live video transmission mbcast.com By Heather McLean Start-up firm mbcast.com is demonstrating a new live video delivery
platform at this year’s IBC. The platform is specially designed for newscasters and ENG crews as an easy way of transferring footage from location to the studio. Show visitors can get a glimpse
of the system in action, as an outside broadcasting unit in Austria has joined the mbcast.com hosts live at IBC, using only a standard notebook and two 3G modems to bridge the distance of more than 1,000km.
They are showing the system in field use, delivering image quality comparable to SNG (satellite interlink) transmissions, but at a fraction of the cost, says the developer. Mbcast.com is an integrated
video conversion and transmission suite, capable of delivering live video if suff icient bandwidth is available. Even if this is not the case and the transmission is delayed, efficient H.264 encoding means that the footage is sustained at its peak quality and can be downloaded in an editable format (MXF, Quicktime) to an editing environment. The server transcodes the video during transfer, hence the user gets low data volume during upload. The key advantage the company cites for the mbcast.com software solution, is that it can be downloaded for free and installed on consumer-type notebooks. 3.B21
VBrick: highlighting Microsoft partnership
Microsoft in recognition of US streaming video specialist VBrick By Anne Morris Microsoft’s recognition of partners that support its technology is an important vindication, so VBrick is showcasing its role as the 2011 Microsoft US Public Sector Partner of the Year during this year’s IBC. Organisations across the public sector are set to benef it from the Microsoft/VBrick partnership, says the exhibitor. Several government agencies have leveraged the integration of Microsoft’s OCS and Lync products with VBrick’s enterprise IP video-streaming solutions for a variety of applications, including executive broadcasts and the delivery of TV broadcasts to desktops. Cost savings at one installation have been estimated at $500,000 a year since deployment of the joint solution. “Our partners play an essential role in helping customers leverage Microsoft technology to increase efficiency, improve service delivery, and reduce operational costs,” said Greg Myers, Microsoft vice president of Federal. “The work that VBrick has delivered over the past year is an example of what can be accomplished when great technology is combined with deep market expertise.” The Microsoft Partner Program has been designed for all partners who develop and market solutions based on Microsoft platforms, provide consulting or technical services on Microsoft systems, or recommend Microsoft technology purchases. 13.403
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. UĂ&#x160; Ă&#x201C;䣣Ă&#x160; Ă?Â&#x2026;Â&#x2C6;LÂ&#x2C6;Ă&#x152;Â&#x153;Ă&#x20AC;Ă&#x160; Â&#x2C6;Ă&#x192;Ă&#x152;Ă&#x160;Â&#x2C6;Â&#x2DC;VÂ?Ă&#x2022;`Â&#x2C6;Â&#x2DC;}Ă&#x160;VÂ&#x153;Â&#x201C;ÂŤ>Â&#x2DC;Ă&#x17E;Ă&#x160;`iĂ&#x152;>Â&#x2C6;Â?Ă&#x192;Ă&#x160;>Â&#x2DC;` Ă&#x192;Ă&#x152;>Â&#x2DC;`Ă&#x160;Â?Â&#x153;V>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;Â&#x153;Â&#x2DC;Ă&#x160;Â&#x2C6;Â&#x2DC;Ă&#x152;iĂ&#x20AC;>VĂ&#x152;Â&#x2C6;Ă&#x203A;iĂ&#x160;Â&#x201C;>ÂŤ U iÂ&#x201C;>Â&#x2C6;Â?Ă&#x160;>Â&#x2DC;Ă&#x160;iĂ?Â&#x2026;Â&#x2C6;LÂ&#x2C6;Ă&#x152;Â&#x153;Ă&#x20AC;Ă&#x160;`Â&#x2C6;Ă&#x20AC;iVĂ&#x152;Â?Ă&#x17E;Ă&#x160;Ă&#x152;Â&#x153;Ă&#x160;Ă&#x20AC;iÂľĂ&#x2022;iĂ&#x192;Ă&#x152;Ă&#x160;>Ă&#x160;Â&#x201C;iiĂ&#x152;Â&#x2C6;Â&#x2DC;}Ă&#x160;Â&#x153;Ă&#x20AC;Ă&#x160;Â&#x201C;>Â&#x17D;i >Â&#x2DC;Ă&#x160;iÂ&#x2DC;ÂľĂ&#x2022;Â&#x2C6;Ă&#x20AC;Ă&#x17E; UĂ&#x160; Â&#x2C6;Â&#x2DC;Ă&#x152;iĂ&#x20AC;>VĂ&#x152;Â&#x2C6;Ă&#x203A;iĂ&#x160;Â&#x201C;>ÂŤĂ&#x160;Â&#x153;vĂ&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;Ă&#x152;Â&#x2026;Â&#x2C6;Ă&#x20AC;Ă&#x152;iiÂ&#x2DC;Ă&#x160;Â&#x2026;>Â?Â?Ă&#x192;Ă&#x160;Ă&#x152;Â&#x2026;Ă&#x20AC;Â&#x153;Ă&#x2022;}Â&#x2026;Â&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;, UĂ&#x160; wÂ&#x2DC;`Ă&#x160;Â&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;>LÂ&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160; Ă&#x160; Ă&#x153;>Ă&#x20AC;`Ă&#x192;]Ă&#x160; Ă&#x2022;Ă&#x152;Ă&#x2022;Ă&#x20AC;iĂ&#x160;<Â&#x153;Â&#x2DC;iĂ&#x160;>Â&#x2DC;`Ă&#x160;Ă&#x152;Â&#x2026;i Ă&#x160; Â&#x2C6;}Ă&#x160;-VĂ&#x20AC;iiÂ&#x2DC; UĂ&#x160; Â&#x2C6;Â&#x2DC;vÂ&#x153;Ă&#x20AC;Â&#x201C;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;Â&#x153;Â&#x2DC;Ă&#x160;*Ă&#x20AC;Â&#x153;`Ă&#x2022;VĂ&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;6Â&#x2C6;Â?Â?>}i]Ă&#x160; Â&#x2DC;Ă&#x192;Â&#x2C6;`iĂ&#x160; Â&#x2DC;Â&#x153;Ă&#x153;Â?i`}i]Ă&#x160; Â&#x153;Â&#x2DC;Â&#x2DC;iVĂ&#x152;i` 7Â&#x153;Ă&#x20AC;Â?` iÂ&#x201C;Â&#x153;Â&#x2DC;Ă&#x192;Ă&#x152;Ă&#x20AC;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC; Ă&#x20AC;i> >Â&#x2DC;` Ă?Â&#x2026;Â&#x2C6;LÂ&#x2C6;Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC; Ă&#x2022;Ă&#x192;Â&#x2C6;Â&#x2DC;iĂ&#x192;Ă&#x192; Ă&#x20AC;Â&#x2C6;iwÂ&#x2DC;}Ă&#x192;
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News contribution in the internet era It is now possible to combine satellite and internet for Electronic News Gathering applications, according to the Prodys Video Team It is well known that so far, the only general and reliable way to transmit live video for broadcast applications – that is for live inputs to news magazines – is via satellite. Yes, it is also possible to use dedicated managed network access, but this is an infrastructure that is not available everywhere, very dependant on urban areas, or at least has to be ordered to a telco operator beforehand. This is contrary to the philosophy of the ENG, where communications availability has to be immediate and ubiquitous. For certain ENG applications, specifically non-live contributions and file transfers, the internet has been used already for some time, via portable laptops that can record and transfer files to the station offline. But improvements in internet performance in the last years now make it possible to think about internet as a media to contribute news to broadcast stations
in live situations as well – opening a clear alternative to satellite. When you are trying to send video over internet, there are four very relevant network parameters: bandwidth, latency, packet loss and jitter. Uplink bandwidth is probably the
Internet average upload speed in different regions in the world, period January 2009 to July 2011. Source: www.netindex.com
most critical parameter, as it fixes the overall quality for the transmission. This feature has been dramatically improved in recent times, coming from around 250-500Kbps just a few years ago to around 3Mbps – as you can see in the graphic above. Being a ‘best
Analyser gets codec boost Tektronix By Michael Burns A number of codec enhancements have been made to the MTS4EA elementary stream analyser, a PCbased software package from Tektronix for the deferred time analysis of encoded audio and video elementary streams. The enhancements include an update to the H.264/AVC JM refer-
ence codec, support for the AVC Intra profiles and Scalable Video Coding (SVC). The MTS4EA supports the SVC baseline, high and high intra profiles, as well as high10, high422, high444 and CALVC intra profiles. The AVC intra profiles provide a means for H.264/AVC to be used for production quality, HD video applications such as editing, archiving and contribution. 8.C75
Android opens up boxes Vestel By Anne Morris The Android operating system is coming to set-top boxes in Europe, as Vestel joints the line-up of companies showcasing the open source STBs at this year’s IBC. Vestel says that it is ready to launch the Smart Box STB with Android 2.2 in the
effort’ network, this average bandwidth obviously cannot be guaranteed at every moment. Nevertheless it has been proved to be enough to perform transmissions in the range of 600kbps to 1Mbps with quality close to that of satellite, and in certain conditions in
European market. The box supports WiFi 902.11 and Flash, and allows the end-user to surf the internet with the use of a remote control. This year also sees Vestel highlighting its new HD+ product with embedded Nagra and CI+ CAM. The HD DVB-S2 box supports all connectivity features such as HbbTV, DLNA and wireless. 13.131
the range of 1Mbps to 2Mbps with quality clearly competitive with that of satellite. End to end transmission latency is a very relevant parameter in live contributions when interactivity between both sides is necessary, and this hap-
Opinion pens permanently on ENG operations. Compared with satellite, internet contribution have similar or lower delays – depending on the network infrastructure – in the range of 400-500mS end to end, from which 250-350mS corresponds to the encoder-decoder delay and 100-200mS to the media transmission. In the case of internet, for transmissions within the same country, network delay used to be well below 70mS, being as low as 30mS in some cases. Packet loss in a video transmission means occasional image blocking or blurring. Also in this terrain internet has improved very much in recent years. Tests performed by the Prodys team at NAB 2011, in a permanent video transmission from New Jersey to the Prodys booth, showed negligible packet losses in day-long periods. Finally jitter, which is also considered one of the weakest points of internet (especially on long haul transmission) has also improved, and can
additionally be compensated increasing the buffer on the reception side without affecting the overall latency too much. Of course satellite transmission will continue for a long time to be the reference for live broadcast contributions, due to the fact that it is the most reliable and ubiquitous. But satellite drawbacks, like the need for booking in advance, the price for the booking and the expensive equipment used, has opened the door to alternative internet transmissions, closer in quality and cheaper. The Prodys proposal to broadcasters, to take advantage of both satellite and internet worlds, is Ikusnet. Ikusnet brings two alternative transmission methods: satellite and internet, and also incorporates a full set of functionalities normally found only in a complete news gathering suite – battery pack, monitoring, input switching, file store and forward, talkback, independent video/audio management, complete control over transmission, and the best image video and audio quality available in the market, achieved through 15 years of experience in development of compression and IP transmission. 1.B24
S3D death reports ‘greatly exaggerated’ 3ality Digital By Michael Burns Steve Schklair, founder and CEO of 3ality Digital, is to address the future of S3D in a presentation on Monday. The session, entitled ‘The reports of S3D’s death have been greatly exaggerated’, will begin at 13.30 in the RAI Big Screen Auditorium. He will consider the future of
S3D as a genre that exceeds traditional use in big action films and will take up permanent residence in homes around the globe. Schklair’s keynote presentation will focus on integ rating S3D automation as a way to significantly lower production costs and enhance production quality. Highlights are set to include a live demonstration of new technologies to advance and change the look of S3D production. 9.B40
Steve Schklair will deliver keynote
MX allows secure content transfer Signiant By Anne Morris Signiant is showcasing Media Exchange (MX). This is described as a ‘highly secure’ browser-based application that enables IT and nonIT managers and staff to send content that is too large to email.
U se r s wo r k i n g f r om th e ir off ices, production sites or even their homes can exchange content with other employees, customers, systems and applications regardless of location and size of digital assets. Signiant has enhanced Media Exchange so that media and project files can be moved across WAN, DSL or cable, and has added new notifica-
tion features that allow users to track workflow benchmarks, confirmations and alerts for other departments such as accounting and finance. Additionally, a greater range of custom workflow options is now available through enhanced integration with Signiant’s full system via the Media Gateway. 13.341
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Hochstrasser returns to the fray Studer By Paul Watson
TV delivery is undergoing a massive transformation, says Envivio
Software TV encoder V3.0 Envivio By Ian McMurray Video delivery company Envivio is highlighting its software version of the 4Caster C4 Gen III V3.0 multiprof ile encoder. The company is also publicising the second generation of distributed content packaging and delivery solution Halo 2.0 Network Media Processor (NMP) According to Envivio, TV is now about delivering video not just to the traditional television set through a broadcaster s network, but through a variety of networks. The company also believes that consumers want to
receive TV on a growing variety of devices, such as smar tphones, tablets, connected TVs and PCs. Envivio says that its technology strategy was developed from the g round-up to complement this ‘new TV’ environment. Accordi n g ly, i t p u r s u e s a c o nve rg e d approach built on software and based on an architecture that places the processing in the right place inside the network. Envivio claims that its approach improves TTM, provides support for the latest devices and the broadest range of video formats, and delivers the highest video QoE. 1.D73
It’s all about service We must maintain and build on the levels of customer services for which we have become renowned, says Brian Larter, worldwide managing director, Autoscript And, most importantly, manufacturers need to provide quality of service right the way through the sales cycle and beyond. On a recent visit to Australia, the one thing that came up again and again in conversation with customers was their requirement for, and satisfaction with, our levels of service – something I was very happy to hear. Brian Larter: Good after-sales care is imperative
As the broadcast world evolves and develops, more than ever manufacturers need to see beyond our specific piece of broadcast equipment; we need to know how our products, whether hardware or software, will fit into a broader workflow and how everything will work together. We need to design our products with current practices in mind, while also considering how workflows and formats might evolve in the future.
Br u n o H o c h st r a sse r h a s b e e n appointed general manager of Harman’s Studer. A renowned audio industry figure, Hochstrasser has had a long association with Studer, joining the company in 1971. He was instrumental in Studer’s domination of the high-end studio tape machine market and was product manager for the launch of the iconic A800 model back in 1978. In 1990, he became president, and led the company to become the digital console brand it is today. Less than two years ago, he opted for semi-retirement, yet
remained connected with the company as a brand ambassador. “Bruno is today’s Mr Studer,” said Andy Trott, vice president and general manager, mixing, microphones and headphones. “He is liked and respected by our staff, distributors and customers alike, and I can’t think of anyone better to do the job.” “The broadcast market is such an exciting place to be at the moment,” said Hochstrasser. “We have some challenges ahead, but with our renewed investment in bright new people and some amazing new technology developments underway, I truly believe we are at the start of a new beginning.” 8.D60
Bruno Hochstrasser has returned to a central role with Studer
New CAM for faster service deployment The C4 CMTS 24U Cable Access Module (CAM) from Arris doubles the C4 CMTS’ previous upstream density, according to the developer. The new launch is said to allow cable service providers to deploy faster services, including DOCSIS 3.0 upstream channel bonding, with reduced capital expense.
The new CAM supports from 542, to 5-65 and 5-85MHz for upstream services, which allows operators to use more spectrum for future services, extending upstream HFC capability. The 24U CAM is fully supported using today’s highperformance C4 control complex and other chassis components, offering investment protection for all C4 CMTS customers. Coupled with the recently introduced XD CAM double density downstream module, the company
Live productions, whether news, sport or LE, cannot afford downtime to install new equipment. Whether a brand new green-field installation, a swap-out of a single element or a transition from a legacy system to a new workflow, manufacturers must be able to go in, understand the way in which the customer works (and wants to work) and collaborate with them to install new hardware and/or software in the most seamless and unobtrusive way possible. Training plays a key role in customer satisfaction; at Autoscript we provide training not just to prompting operators but also to technicians, engineers and systems staff. They may not work with our prompting equipment every day, but they need to know how it works within the broader workflow and to be able to make minor fixes or adjustments on site.
We live in an imperfect world, and even with the best laid plans sometimes things go wrong. Good aftersales care and support is also imperative, from immediate and 24 hour phone support to fast turnaround on-site repairs and spares services. Fast reaction times – and keeping our promises – are crucial. Because let’s not kid ourselves – people talk! From the small production company to the international broadcaster, from the runner to the head of technology, if a system has failed or a delivery is delayed, chances are that someone will be discussing it with their peers in the pub or at the networking conference. But if the problem has been dealt with quickly, efficiently and politely, any damage is limited and can even be deflected by the satisfaction with your service.
ARRIS By Ian McMurray
says that the C4 CMTS now delivers true high-availability with density equal to or greater than any competitive CMTS offering available, as well as TCO equal to or lower than other competitive solutions. “The new 24U CAM allows operators to double their upstream bandwidth without the need for a chassis replacement, thus continuing the Arris commitment to customer investment protection,” said Arris VP Product Management Todd Kessler. 1.D41
Opinion And this can work in a good manufacturer’s favour as good word of mouth spreads between internal departments, national and international divisions and between organisations as people move around. At Autoscript my main mantra to my staff is that we must always maintain and build on the levels of services for which we have become renowned. We have great products and a fantastic reputation for innovation, but it is our service excellence that most regularly brings us recommendations and commendations. 11.D61a
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Digitising for the future The lack of viable means of achieving large-scale digitisation has restricted many media organisations from starting their archival project, says Michel Merten, CEO, Memnon Archiving Services Today, organisations with large audiovisual archives and content are facing the challenge of digitising their collection, or risk missing out on business opportunities or even losing their archives forever. Digital television, smart phones, tablet computers, netbooks, web radio â&#x20AC;&#x201C; there are now so many ways in which people access audiovisual material that in recent years the demand for content has grown exponentially. Until
recently, the lack of viable means of achieving large-scale digitisation projects has been a brake for many organisations and has restricted them from starting their project. The emergence of new media migration technologies and trustable digitisation service providers has offered a workable solution to digitise large amounts of video, film and audio. Memnon Archiving Services, involved in digitising over 700,000
hours of audiovisual archives, is a key partner in Europe and abroad for any institutions wishing to launch a large scale digitisation project. We can handle all audiovisual formats and media contained at the broadcasters or media players for a very competitive price and in a short period of time. As Memnonâ&#x20AC;&#x2122;s CEO, Iâ&#x20AC;&#x2122;m very proud to work with leading broadcasters as Sonuma (RTBF), Radio Television Suisse, Danish Radio and Sveriges Television and I hope to persuade (Iâ&#x20AC;&#x2122;m sure ...) other broadcasters in Europe and abroad to trust Memnon for digitising their archives. IBC is one of our strategic events of the year. We are at the cross point of our market, meeting our clients or prospects and our suppliers. It is also a crucial moment to listening to the market and drawing the strategic options for the future. Memnon has built up a network in all institutions and broadcasters in Europe and IBC helps us to meet our
In the round for interactive playout Softel By Ian McMurray IBC visitors have the opportunity to f ind out more about MediaSphere, an interactive television
playout platform that is said to enable efficient testing and rapid deployment of interactive applications. The result, says the company, is that broadcasters are able to i n c r e a s e r eve n u e a n d l oy a l t y quickly.
MediaSphere supports HbbTV and is said to provide efficient management of over-air delivery of DVB-SSU data. The platform supports all DTT, DSAT and cableinteractive standards, including E B I F, M H EG , O p e nTV a n d
clients/prospects in a neutral but exciting atmosphere moreover all our experts are on the booth giving the opportunity to our customers to discuss in details about their projects (e.g IT and metadata issues).
Memnon is also launching at IBC 2011 the new version of the IPI manager. Memnonâ&#x20AC;&#x2122;s IPI pre-indexing and cataloging tool streamlines cataloging and indexing through functions including audio segmentation; automatic speechto-text transcription; speaker identification, detection and tracking; video scene detection and logo detection. By aggregating and automating these functions, the system reduces the time required to add audio, video and related metadata to digital libraries and allows archivists to focus more attention on content analysis and processing. The metadata collected through segmentation and precise description of media enables fast, powerful searches of stored content. Iâ&#x20AC;&#x2122;m positive for 2012. We will see some breakthroughs in new markets next year and I hope to reach the 1m hours digitised mark. Not bad for a company that started hits first large scale digitisation projects in 2005. 8.C85
tru2way. Softel says that its unique ability to support parallel multiformat playout from a single 1-RU server provides a flexible and scalable solution, decreasing time to market and reliably playing out high volumes of interactive content. Also on show is vFlex, described by Softel as the latest evolution in a long line of ancillary data processing hardware from the company.
vFlex is said to offer a unique single-unit, multi-function solution that provides everything from ancillary data encoding, opt cue/ad insertion, encode/decode and widescreen signalling, to graphic insertion for all HD and SD environments. T h e la te s t g e n e r a tio n o f Microsoft Windows-based Cyclone Teletext systems is also on display. 1.A27
Opinion
Michel Merten: Automatic speech-to-text transcription
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Making broadcast a more social place Eyeheight By Michael Burns TVtweetCaster is being introduced by Eyeheight to the European mar-
ket as a solution for integrating social media into broadcast. The new launch includes a complete software and SD-SDI/HD-SDI hardware package for accessing, filtering and inserting Twitter content
into a live broadcast. The system uses industry standards in combination with application domain expertise to deliver an integrated solution that encompasses CG hardware, data inter-
Eyeheight’s TVtweetCaster enables broadcast integration of social media
faces, user interaction and application-specific automation. TVtweetCaster adds realtime twitter data to graphical page layouts, overlaying this onto SD and HD SDI systems. Each channel is capable of three fields of single line text in a user-defined font, one right to left text crawler with flexible fonts for displaying tweets, and two bitmap image layers for supporting graphics such as backgrounds, crawler straps and channel idents. There are also date and clock fields, updatable by timecode or video frames. Each channel can hold up to 64 pre-defined layouts, where the text can be dynamically inserted. 8.D92
Removable drives for recorders Datavideo By Carolyn Giardina The latest additions to Datavideo’s range of recorders include the Datavideo HDR-45 and HDR-55, hard drive-based video recorders and players with a removable hard drive enclosure. Both are being previewed here at IBC and are expected to ship next month. The new products record from standard and high definition video equipment via SDI, with a loop through for live monitoring. They feature HD-SDI and SD-SDI inputs as well as both HDMI and HD/SDSDI outputs. The HDR-45 and HDR-55 offer users a choice of recording formats in MPEG-II, including 1080i, 720p, 576i and 480i, with a choice in IBP or i-frame. The hard drive carrier connects to a PC or Mac-based nonlinear editing system via USB-2. N o ex tr a p owe r s u p p ly is required as USB-2 provides power. The technology is designed so that users can work directly from the removable drive or copy video files to the nonlinear editing system’s video drives. The HDR-45 is a compact 2U design that can be integrated with other equipment or can be used as a standalone recorder/player in the studio or on location. The HDR-55 is a 1U 19-inch rack-mountable design and can be integrated with other equipment such as Datavideo’s Mobile Video Studio range. 7.D39
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Two remote-control HD PTZ cameras Canon By David Fox B ui l d i n g on the success of its remote-control HD pan-tilt camera systems, Canon has introduced two new models equipped to serve a wide range of broadcast and professional users. The 17kg BU-46H for outdoor use and 11kg BU-51H indoor model include a new 2x digital extender for the cameraâ&#x20AC;&#x2122;s 20x HD zoom lens (4.5mm-90mm).
increase camera sensitivity. T h e BU - 5 1 H h a s a b u i l t - i n microphone with adjustable settings. Designed for environments where quiet operation is essential â&#x20AC;&#x201C; recital halls, lecture rooms or auditoria â&#x20AC;&#x201C; its
maximum noise level is NC30. It also outputs pan-tilt-zoom and focus position information for integration with virtual studio systems. The BU-46Hâ&#x20AC;&#x2122;s weatherproof housing meets IP-45 specifications
for dust and waterproofing. It also has a remote-control neutral density filter and a windscreen wiper-type blade to keep the lens port clear. It can pan through Âą340° and tilt +30°-50° in â&#x20AC;&#x2DC;precise, smooth movementsâ&#x20AC;&#x2122;, and is designed for exterior PoV applications such as sports stadia, horse-racing or skycams. Both devices offer a non-propri-
RAI, Amsterdam Conference: 8 - 13 September : Exhibition: 9 - 13 September
Supporters Pan-tilt-zoom: Canonâ&#x20AC;&#x2122;s new BU-51H camera for indoor applications
Both models feature three 1/3inch (1.67 million-pixel) CCD sensors (1440x1080), advanced Canon auto focus and a sophisticated image stabiliser. They also offer a newly designed night mode, which slows the shutter speed to a minimum of 1/4 (60i, 30F) or 1/3 (50i, 25F, 24F) and uses frame accumulation to
DTV channel combiners filter based Rymsa By Paul Watson A new product line of UHF channel combiners for DTV applications from Rymsa is based on coaxial filters which are tuneable to any resonant frequency with either 6, 7 or 8MHz channel bandwidth. The Cadena Multiplexora range includes a portfolio of models catering for medium to extremely high power requirements. Based on the cascade connection of Constant Impedance Band pass (CIB) cells which use elliptical TEM coaxial filters, these combiners display either six or eight poles and the inter-cavity crossed-couplings required for all needs (adjacent channels included). As a result, they can be tuned to any resonant frequency and can cope with DTV standard (ATSC, DVB-T and ISDB-T), says the manufacturer. This electrical versatility is furt h e r e n h a nced by a co m pact mechanical design of each CIB cell, which is designed to save room in the transmitting facilities. 8.D16
TM
etary control option for linking with a wide range of control systems. Other features include: genlock input; HD-SDI output with embedded audio for HD and simultaneous analogue composite output for monitoring; RS-422; and optional thirdparty electrical-to-optical converter for fibre optic connections. 11.E50
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Strength in achievement The pattern of progress in AV and telecommunications over the past 20 years has been entirely logical contends Ole Clausen, CEO, Dan Technologies A reporter covering the April 2011 NAB Convention in the June edition of TVBEurope likened the challenge of predicting development trends in broadcasting to the task of weather forecasting. His argument was that long-term developments are much easier to predict than short-term. The pattern of progress in video, audio and telecommunications over the past 20 years has been entirely logical and looks set to remain so. The shift from standard definition tel-
evision to 1080 line (2 megapixel) HDTV will undoubtedly be followed by incremental progression through 4 megapixel, 8 megapixel and 16 megapixel display resolutions, perhaps (though less certainly) culminating in worldwide adoption of NHKâ&#x20AC;&#x2122;s 32 megapixel Ultra High Definition standard. Camera and display manufacturers are already gearing for these new standards. Similarly, the transition from 2D to 3D television is not a question of if
but when. A substantial fraction of the human population for one reason or another lack the 3D vision which the rest of us take for granted. But the main consideration holding 3D back is the need to equip every member of the audience with polarising filters. High-quality direct-view 3D screens are a vital prerequisite and they are still out in the long grass of research and development. Equally predictable is the progress being made in content delivery. Directto-home transmission via satellite opened up broadcasting from a predominantly state monopoly into the wider commercial arena. A more recently development, IPTV, enables practically any company or any individual to establish an online television channel either for altruistic reasons or as the basis of a business. These developments leave mainstream broadcasters in a stronger position than ever. Broadcasting is about scale and commitment, origi-
Encoder with H.264 and full HD video Haivision By Anne Morris Among the products being showcased by Haivision is the Makito encoder. The solution is designed to allow HD video to be distributed, captured and re-broadcast in an efficient and affordable way.
HD encoders get a makeover
The Makito is said to combine the eff iciencies of H.264 video compression and the image quality
of full HD video within a ver y small form factor at a competitive price point.
nality and visibility. Notwithstanding internet phenomena such as YouTube, national TV and radio channels are as vital to the wellbeing of their communities today as they were when broadcasting began in the early 20th century. IBC visitors can take pride in the socially cohesive impact of their collective achievements in a world which has seen more than its fair share of political turmoil during recent years. Most visitors to IBC2011 of course focus primarily on the equipment investments most likely to carry them forward in the short term. There are some remarkable new developments to be seen, not least in terms of ultrahigh-speed cameras for slow-motion sports applications; highly compact solid-state storage devices; powerful IPTV streaming processors; and the ever-increasing capabilities of post production software running on enterprise-class computer platforms. 8.B51 Recently upgraded to revision 1.5, the Makito now supports constant bit-rate (CBR) encoding to assure transport and system-wide compatibilities and, optionally, realtime metadata capabilities. The metadata option allows users to incorporate KLV metadata into the compressed video stream with the data obtained from the serial port, from auxiliary data fields within the digital video stream, or from UDP network sources. The product pro-
Opinion
Ole Clausen: Broadcasting is about scale and commitment
vides H.264 encoding at up to 1080p60 with the lowest available end-to-end latencies. Also at IBC is the Makito Air, a ruggedised version engineered for airborne video and suitable for military, security and law enforcement applications. Features include added realtime metadata (KLV and CoT) support, operation with MIL-STD connectors, and compliance with DO-160 specifications. 13.451
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Generating multi-screen revenue PayWizard By Anne Morris Multi-screen is quite rightly being touted as a way for content owners and broadcasters to generate incremental revenues, but it’s easy to get caught up in the hype and end up saddled with a payment mechanism that won’t cut the mustard in the long-ter m. That’s according to Stephen Petheram of PayWizard, which is exhibiting at IBC this week. “A critical – and often overlooked – element in any multiscreen, multi-platform payment mechanism is its ability to provide content owners/broadcasters with sophisticated customer data,” said Petheram. “Without this data, the payment mechanism is simply a payment processing system that does nothing to improve the customer experience and, importantly, does not help to drive additional revenues.” As multi-screen, multi-platform viewing takes hold, it is imperative for broadcasters and content owners to help consumers to select premium content that is pertinent to them from the plethora of content that is available. Petheram says that o n ly by c a p t u r i n g a n d u s i n g ‘actionable’ consumer data to create flexible and relevant marketing offers, promotions, recommendations and discounts is a consumer going to part with his or her hardearned cash. “Any old system can be forced to yield information, often in a useless and irrelevant form. It is meaningful, actionable data that is the content owner’s/broadcaster’s equivalent of black gold,” he commented. “Get the multi-platfor m experience wro n g a n d other content owners/broadcasters will soon be eating your lunch.” 13.185
Stephen Petheram: “Any old system can be forced to yield information”
Latest version LogServer Mediaproxy By Carolyn Giardina Version 7.9 of Mediaprox y ’s LogServer and LogServer ASI sys-
tem is on the Bluefish 4:4:4 stand at IBC. MediaProxy’s compliance logging system is used around the world by companies such as Technicolor, TV Japan, RTV Rijnmond, Foxtel and CTV.
Mediaproxy’s LogServer platform provides 24/7 SD and HD multichannel recording and live monitoring of video, audio and realtime data sources. Contents may be reviewed and managed after the event for legal and commercial compliance requirements and competitive analysis. Version 7.9 includes new ASI monitoring features, extended
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transcoding and export functions, and a redesigned multichannel review. “Our new ASI monitoring features and extended transcoding and export functionalities provide even more efficiencies and opportunities for broadcasters,” commented Erik Otto, CEO of Mediaproxy. 7.J07
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FleXible approach to studio control Broadcast Electronics By Paul Watson Broadcast Electronics (BE) is unveiling some of its AudioVault
FleX studio control system’s more powerful features. BE has moved the voicetracker to the user interface screen and combined it with a segue editor to make it easier to lay down a voicetrack or insert a voice-
track placeholder, and edit in multiple transition or segue points as required. Th i s f a c i l i t y, say s BE, i s designed to give broadcasters more f r e e d om t o m a ke o n - t h e - sp o t
changes and comments while on air. The company is also demonstrating advanced concepts including audio over IP automation and talent collaboration across a network, as well as showcasing its AM and FM transmitter range, including the feature-loaded STX LP low-power line. 8.C91
BE is showcasing its AudioVault FleX studio control system
Broadcast features at budget price: The Sachtler Ace uses patented drag
Ace tripod is light but delivers on accuracy Sachtler By David Fox A completely new fluid head has been developed by Sachtler for its new Ace tripod system, which is designed for use with compact camcorders and DSLRs weighing up to 4kg. The compact, lightweight head sports a new, patented drag, entitled Synchronised Actuated Drag. The SA-drag – which is said to facilitate ‘a genuine broadcast feel for every videographer’ – offers three vertical and three horizontal grades of drag (+0) to enable fine adjustment for precise panning and tilting. It also has a five-step counterbalance that is designed to make fast counterbalancing of the camera set-up very simple, from 0kg to 4kg, and offers a tilt range of +90° to -75°. Use of a glass fibre-reinforced composite material makes the new 75mm fluid head much lighter (1.7kg), with a comfortable and non-slip surface, says the manufacturer. Also included are regular Sachtler features such as a practical parking position for spare camera screws and the long 104mm sliding range of the camera plate. 11.D61
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Encoder for live video streams Teracue By Anne Morris A n ew l i g h t we i g h t p o r t a bl e encoder for live streaming applications is being exhibited by Teracue. The ENC-300 is designed for live streaming applications where single TV channels, camera signals or monitoring feeds are distributed or published on a network or the internet. The new launch is a compact, l ow - c o s t H . 2 6 4 S D / H D v i d e o encoding and live streaming blade.
It’s the first European appearance for Tr-uPod SIS LIVE By Ian McMurray Unveiled at NAB, Tr-uPod is making its first appearance in Europe on the SIS LIVE stand. Tr-uPod is a flexible, compact satellite uplink system featuring an advanced composite antenna design, tool-less assembly, and fully automated or simple manual operation. The multi-band antenna is available in 0.75, 1.0, 1.2 and 1.5 metre versions, and packs into two IATAcompliant carry cases, which can be flown as standard airline baggage and easily carried over rough terrain, says the exhibitor. Tr-uPod can also be used with SIS LIVE’s control software and interface. The company says that the automated operation offers absolute simplicity with maximum operability, which allows unskilled operators to use and transmit to multiple satellites. All antenna sizes are capable of X, Ku, DBS and Ka band, with the 1.5 metre also available in C band. Also on show is the RouteCase 4-channel HD/SDI production unit. Now available with an optional multi-channel SDI audio embedder/de-embedder, RouteCase is said to incorporate the latest in-vision mixer technology with industry-standard audio mixing facilities. The unit can handle asynchronous sources in many formats with comprehensive picture monitoring via the built-in 15-inch HD LCD monitor. Plug and play operation is said to make RouteCase ideally suited to live operations such as satellite newsgathering, outside broadcasts, sporting events and live streaming content creation. 1.C55
The ENC-300-HDSDI encoder processes input streams from CIF up to Full-HD resolution for professional MPEG-4 AVC H.264 SD/HD streaming to any kind of device.
T h e E N C s e r i e s p r ov i d e s reatime compression of video and audio inputs. The devices create and transmit video streams through L A N, W L A N a n d U M T S n e t works. Users can input video/audio
signals on an ENC encoder and view these streams on PCs, TVs or mobile devices. 13.423
Camera, action! Teracue’s portable encoder in use
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Wireless HD link at broadcast quality Wireless HD cameras are a must in any production, says Eran Igler, CEO, ABonAir The broadcast industry has become more competitive than ever before.
News is reported live right from the scene. Sport events show the player’s
perspective and reality shows require realtime monitoring and transmission. Flexibility is the keyword and wireless is the solution. In today’s competitive environment, production teams need to be
the first on-the-air and must have the flexibility of a mobile camera to increase viewer ratings. The main problem with camera setup is the wires. Connecting a camera to a news van takes time and limits the cameraman’s mobility and flexibility. And in some cases, cables are not even an option – because of the distance or simply because the camera is moving
Opinion
Eran Igler: The main problem with camera set-up is the wires
fast (driver’s view in a race car). ABonAir’s AB310HD Wireless HD system enables the cameraman to be positioned anywhere within a radius of 2km from the broadcasting van and transmit directly from the scene to the air. Production teams (ENG, sporting events, reality shows) equipped with wireless video links will have a real advantage over the competition. The main enabler of wireless video applications is unlicensed frequency allocation worldwide. The frequencies released for wireless computer networks such as Wi-Fi have opened the air for various applications that are not Wi-Fi, but utilise the same unlicensed frequencies. Until now, only big networks could afford wireless systems and could buy frequencies to use them. Now it is time for a change! As the prices of wireless systems drop, and unlicensed frequencies are available worldwide, production teams can benefit from the advantages of wireless and compete for business and ratings. ABonAir’s third generation AB307HD is the ideal solution offering a wireless video link based on unlicensed frequencies. Why not simply connect the camera to a Wi-Fi router and stream the video? The Wi-Fi standard was designed for wireless computer networks, like internet, which are not sensitive to parameters such as packet order, time of arrival, bit rate, etc. All these parameters are critical for video transmission. Wi-Fi is an inconsistent burst standard that can transfer 20Mbps in one second and 0.5Mbps in the next. This is unacceptable for video streaming where the order of packets, the time they arrive, and the consistency of the bit rates are critical for stability. A good example would be the way YouTube plays on a home computer. It sometimes gets stuck while buffering, then starts again, and then freezes, again... ABonAir’s unique OFDM radio, combined with a proprietary air protocol, was designed to stream HD video at highest quality with consistent bitrates to meet broadcast standards. ABonAir’s wireless link solution has been successfully embraced by market leaders and broadcasters because of our unique algorithms specifically designed to merge video and wireless technologies and deliver unmatched picture quality in robust wireless video streaming systems. ABonAir offers a diverse product line of Wireless HD Links to match all requirements and budget. 3.A15m
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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10.09.2011 Is the Cloud going to be the game-changer it’s hyped to be?
The Apprentice faces tapeless task Conference Analysis By Ann-Marie Corvin A line producer on the UK version of TV show The Apprentice has warned of the huge logistical challenges involved in moving, logging, tracking, managing and storing data. In the session ‘Cloud Computing and Going Tapeless – Case Studies from the Coalface’, Ruby Evans spoke of her experience of switching from Digibeta to XDCAM for series 6 of the long-running TV show. “We opted for XD cam because we shoot hundreds of hours of
footage and the alternative would have been to spend £10,000 a day on memory cards. So really we are only part of the way to being tapeless because we still use an optical disk,” said Evans. Because there are multiple crews out filming on the TV show at any one time, Evans calculated that it could require up to 20 new members of staff – data wranglers – to keep tabs on the footage. “That is what we are looking at next – DITS. But would I then have to lose some of my talented runners, PDs or APs? At the moment everyone has a set role on the production
and knows what they and everyone else is doing. The process completely changes once you start reassigning roles.” Chair Richard Thomson, MD of UK production company Wall to Wall, told The IBC Daily that the uptake of the Cloud by the production community would face similar t e e t h i n g p r o bl e m s b e c a u s e , although users have potentially unlimited storage, they are still at the mercy of upload and download speeds. He also added that production companies needed to be given assurance that their precious footage was going to be safe. “At
Five finalists named for IABM Design and Innovation awards The IABM By Michael Burns The shortlist of f ive f inalists for
the 2011 IABM Awards for Design a n d I n n ova t i o n h a s b e e n announced, subject to judging during IBC. One of the five products will receive the prestigious IABM
T2 Lite for mobile and portable environment DVB By George Jarrett One of the best new technologies at the show is DVB-T2 Lite, a subset of the parent format that offers huge scope for the delivery of broadcast content to smart phones and tablets. Published in July, it will be available in future as implementable in full T2 chip sets, or available for Lite applications only at signif icantly lower cost. “With the 1.3 release of T2, which includes Lite, we point out the relevant features that you should use for part of a mobile solution based on T2,” said DVB Executive Director Peter Siebert. “Lite combines all the elements necessary for a mobile and portable environment, and it also puts a certain restriction on the bit-rate. “The consequences are that the chip set to implement T2 Lite can be significantly smaller, 50% typically,” he added. “We also have a solution that handles the power consumption of mobile batteries very well.” Cost and longer battery life are just two advantages. “On top of this, it is very easy to integrate Lite into existing broadcast networks,” said Siebert. “These advantages are already implemented in T2, but together with the down selection and restriction of T2 Lite it makes it very easy and cost-eff icient to build a mobile network based on existing infrastructure.”
Spectrum efficiency is another big attraction of both T2 and T2 Lite. “It would be very difficult to become any better than what we are doing. With the same amount of spectrum you can deliver content to many people,” said Siebert. “We have the best solution available to fulfil the needs and requirements of the upcoming delivery of video content to portable devices – a very clear trend.” The one change to Lite is the introduction of two new code rates to resolve issues with forward error correction. “This can have a different strength, which is defined by codes rates,” said Siebert. “So we had to define two new rates for T2 Lite. It is very easy to implement this in the chip sets.” 1.D81
Peter Wayne Award in recognition of this year’s outstanding contribution to broadcasting technology. The five finalists are as follows: Photon Beard for PhotonSpot Nova
“At the moment everyone has a set role on the production,” said Producer Ruby Evans
the moment it feels safer to put it on tape. We are still examining whether Cloud is going to be the
game changer it’s hyped up to be or a promise without a practical application.”
270, a new concept in low-heat, energy-efficient location lighting; Quantel for QTube, a global media workflow that allows users to work w i t h c o n t e n t a ny wh e r e i n t h e world; Snell for Archangel Ph.CHD, a realtime restoration system for film- and video-originated content; Sony for the BVM-E250, a 25-inch OLED reference monitor for ultimate picture precision and
stability; and Vision Research, for Phantom v641, a digital high-speed c a m e r a t h a t o ff e r s u l t r a - s l ow motion playback. An international panel of judges is evaluating shortlisted products in action on the show floor. The results will be announced at the IABM Awards Reception at 18.00 tonight in the Onyx Lounge. 8.F52
Precision lens pair for cinematography
The Delta 4K S3D Meduza Lens is designed specifically for motorised control
Meduza Systems By Michael Burns The Delta 4K S3D Meduza lens set – a built-for-purpose, matched pair of 3D lenses designed by Kenji Suematsu – has been launched at IBC. Chris Cary, CEO of 3D Visual Enterprises, the parent company of 3D lens and 3D camera developer Meduza Systems, introduced the lens pair to the market.
Cary said that the Delta 4K S3D Meduza lens set had been designed and built to deliver super-high precision, not only in the glass, but also in the motorised focus and iris controls. The lenses of the series are optically matched and sold in pairs, with each lens constructed to fit into a compact 38mm wide mechanical barrel to allow for the very close inter-axial positioning that is critical to S3D. “Each lens pair is designed to minimise the amount of optical
change and, at the same time, build a lens suited to the world of S3D, which is different from the world of 2D,” said Cary. The 16-piece optical set has been designed specifically to accommodate motorised focus and iris controls. The forthcoming Preston 3D controller will support the iris and focus rings, which float on a set of 50 micro ball bearings. The lens set is suitable for use with 2/3-inch or smaller sensor cameras such as Silicon Imaging, Iconix and Flare. Kenji Suematsu’s new Meduza Mount is designed to deliver precise optical positioning in relation to the sensor. “We found the C mount and other f ittings just weren’t able to work within the tolerances we set,” explained Cary. “The standards required for 4K and S3D are far more demanding so we built for tomorrow rather than settle for today.” 9.A40
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In brief Demonstrating 2D to 3D conversion At a time when increasing numbers of VFX and post facilities are being asked by clients about stereoscopic 3D, Autodesk is talking about its latest 3D finishing options in Flame Premium 2012 extension 1 and Smoke 2012 Subscription Advantage Pack. A number of demos are taking place throughout IBC. Approaches being showcased include a 2D-to-3D conversion process that uses Flame Premium and Flare 2012 Extension releases and the Maya 2012 Subscription Advantage Pack. This pipeline combines animated character rigs from Maya as FBX data with 2D foreground elements rotoscoped and projected onto 3D geometry in Flare. “Scenes aren’t baked. Set-ups and metadata from any previous step of the process can be accessed and adjusted,” said Marc Hamaker, Autodesk senior marketing manager, creative finishing. “This increasingly seamless pipeline workflow lets artists access and manipulate live metadata throughout the pipeline from creation to finish. And this workflow is what our customers have told us they need: efficiency and proven-creative tools.” 7.D25
10.09.2011 TV ‘spoilers’ on social media driving viewers back to linear TV
Audience apathy is the enemy Conference Analysis By Kate Bulkley “The worst enemy of TV is not piracy, but apathy,” declared Claire Tavernier, senior executive vice president at FremantleMedia, the format developer behind the X Factor and the Idol franchise. She championed social media like Twitter and Facebook as good ways to get viewers who might be watching less TV- particularly the young – to tune back in and engage with TV brands. “Eighty per cent of the under-24year-olds watch TV with another screen in their hands,” Tavernier told the audience of the panel called ‘Extending the Value of Content Through Social Media and Online Engagement’. She quoted a recent TV Guide survey that found that TV “spoilers” on social media are driving viewers back to watching linear
Claire Tavernier: “80% of the under-24-year-olds watch TV with another screen in their hands”
TV shows. “People are still watching TV because it gives them something to talk about beyond how many times a day they go down to Starbucks to get a coffee. So social media needs TV and TV needs social media.”
New cine lenses begin shipping Band Pro By David Fox
CrowdControl for networks The CrowdControl and DJ Wall interactive tools from Broadcast Electronics (BE) will provide a central point of control for social media interaction and listener sourcing, says the manufacturer. In using CrowdControl’s tools, broadcasters can set parameters on listener-sourced programming in a variety of contexts. According to the developer, it is also possible to aggregate listener feedback from various social networks and communicate with today’s texting, Tweeting and Facebooking listener through a DJ Wall. CrowdControl and DJ Wall make it simple to interact with listeners online or on mobile devices for contests and giveaways, says BE. In addition, listener-polled data can be turned into ‘programming now and research later’ for use by the automation system to fine-tune song rotations. 8.C91
Cel-Scope3D gets upgrade Version 1.4 of the Cel-Scope3D stereoscopic signal analyser is being introduced at IBC. Designed by Cel-Soft for use in 3D grading, quality control, post production and 3D camera set-up, Cel-Scope3D stereoscopic signal analysers provide operators with a choice of display configurations. The new version, 1.4, incorporates a depth spectrogram that plots depth activity and excursions against time. “Even better than a depth chart, the new depth spectrogram enables an operator to see if the 3D is approaching acceptable limits or is jumping around too much for comfort,” said Robin Palmer, managing director of Cel-Soft. Cel-Scope3D 1.4 also features an enhanced logging option that provides a complete reporting function. CelSoft’s products can be supplied as software-only or as complete turnkey systems running on PCs, or laptops for field use. 7.K01f
Jurian Van Der Meer, managing director of games for Endemol, told the session that adding social media to live game shows is creating a “new relationship with the audience”. The Million Pound Drop game show in the UK has 12% of the audience
playing along live on the web or on an app while the show is on TV. “We are intent on building communities and then cross-selling products,” he said. “Building these apps was not something we traditionally did but now – for example with Big Brother on Channel Five in the UK – it is part of the business.” Endemol plans to move voting for Big Brother in the UK to Facebook this week, away from mobile phones. “It gives us more opportunity for the audience to be engaged,” he said. Twitter and Facebook are also a big part of celebrity chef Jamie Oliver’s business, said Danny McCubbin, website editor for Jamie Oliver Ltd. The website has 3.5 million unique visitors and there are 13 businesses that “want Jamie to re-tweet” what they are doing to his 1.4 million Twitter followers, or mention it to his 700,000 Facebook followers. McCubbin’s job is to balance the commercial opportunities with Jamie’s campaigning on food issues. Social media and the website are used both for campaigning causes like improving school food programmes as well as promoting his TV shows.
Logitek Euro debut: The Logitek ROC audio control console is being introduced to European audiences by distributor Preco, writes Paul Watson. Available in six to 24-fader configurations, in multiples of six, the ROC console is housed in a desktop or tabletop enclosure for easy integration into permanent or temporary studios. The console features 100mm long-throw Penny & Giles faders, OLED source indicators and meters, and a number of controls to maximise the power generated by Logitek’s JetStream audio-over-IP Platform. Its fader modules include user-definable 16-character source labels on wide-angle displays, which support Unicode characters including Chinese and Kanji. It has three aux sends per fader, and each fader has a change and cue button, along with a softkey button that can be used for talkback or intercom. The console also has an inbuilt cue speaker and front-rail headphone monitor jacks. ROC’s monitor control module has a central selector for accessing sources, compression settings and EQ. Three assignable knobs are available for use with the included vScreen PC application for VGA meter bridges.
8.E49
The new Leica Summilux-C lenses, distributed exclusively by Band Pro, are the first cine lenses produced by Leica Camera. They have identical external dimensions – with focus and iris rings in exactly the same place – for ease of swapping. The lenses also boast ultra high resolution and optimisation for new digital sensors, which reveal more lens imperfections than traditional film. The first lenses shipped recently from Leica’s new factory in Germany, with Otto Nemenz International in Hollywood taking several sets of the eight lenses initially available. “The lenses are already out working on productions,” said Nemenz. “Everyone that has used the lenses likes them and the demand for the Leicas is very high.”
Advanced Karrera replaces Kayak switcher Grass Valley By David Fox The new Karrera live production switcher from Grass Valley will be the long-term replacement for its popular Kayak, and includes highend features from its Kayenne switcher. Expected to ship by the end of the year, Karrera has already won two orders from DutchView for use in a pair of new OB trucks. The Karrera will come in 4RU or 8RU frames with 1M/E to 4.5M/Es. Either can be combined with a choice of 2- or 3M/E control panels as well as a 1M/E soft-panel GUI. The switcher’s Kayenne features
include source rules, RGB buttons, key chaining, bus linking, DoubleTake and FlexiKey. “We’re bringing high-end functionality to a mid-range price point,” said Scott Murray, Grass Valley senior VP, live production solutions. Multicolour buttons allow users to assign cameras, replay or VTR sources different colours for ease of use. Meanwhile, source rules permit a remote camera, for example, to be linked to a key signal, and both come up at once. “This idea of multiple events together in one button push has been only available on Kayenne so far,” said Murray. With pressure to reduce costs, especially in the mid-market,
Karrera will give companies greater operational eff iciency, Mur ray claimed. For example, with multilanguage production, the Karrera allows users to accomplish two versions with one truck, as DoubleTake allows the M/E channels to be split. Mid-market mixer: Grass Valley’s new Karrera switcher
The Leica look: The T1.4 Summilux-C lenses will range from 16mm to 100mm
Band Pro President and CEO Amnon Band summed up: “These are in every way the lenses that we’ve been waiting for. When Leica first approached us with this project they had some very high design and performance ambitions for these lenses. All I can say is they’ve delivered.” 11.F40 It can also be integrated with other Grass Valley equipment, be used to control aspects of its LDK cameras, or work with K2 servers for multiple Clip Store channels. Karrera applications include OB, studio and flyaway. “It’s for anybody who needs an excellent switcher at a great price,” concluded Murray. OE301/1.D11/1.E02
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In brief
Platforms not keen to create walled gardens separate from the internet
Sound across IPTV
Conference Analysis
DTS is showcasing its high performance audio technology across IPTV broadcast services. The company is highlighting recent developments with DTS partners including Ateme, Ericsson, Free, Intel and ST Microelectronics. “As the broadcast landscape evolves, DTS continues to expand its footprint in the growing connected ecosystem by offering consumers the best audio experience possible, regardless of delivery platform,” said Ted Laverty, business development director at DTS. “Audiences expect that high definition picture will be accompanied by high definition sound, and DTS forged strategic industry partnerships to deliver exciting and satisfying sound quality to the market across four screens’ television, computer, car and mobile device.” The company cites many high-profile credits, including IPTV service operators such as FTO and Free relying on DTS digital surround processing. Ateme products like Kryion encoder/transcoder will integrate DTS 5.1 and Neural Surround Sound technologies, while Ericsson’s network distribution hardware boasts DTS 5.1 integration. 2.B50
New Ghielmetti router A new multimedia router, the GKVE 8x24, has been introduced by Ghielmetti. Bi-stable two-pole relays ensure that a fully transparent connection is achieved, says the manufacturer. Any input signal can be switched to several outputs. The bandwidth is 13MHz and allows transmission of all types of signals. It also allows the switching of control and data signals as well as analogue and digital audio and video signals. The router can be controlled via its integrated keyboard located on the front panel or through an external control panel via RS485. Its open remote protocol allows the router to be easily integrated into a complete system, Ghielmetti states. Input and output lines are connected through D-Sub 25-pole connectors. 8.C77
US 150 server playout project Broadcast automation systems developer HMS is celebrating its 15th anniversary year with a massive project for The Country Network (TCN) that will establish a network of over 150 playout servers throughout the US. The national broadcast television network’s cooperation with HMS has already put 41 stations on air. Each server will broadcast a localised playlist and will only be connected to the larger system via the internet. There will also be support for such services as EAS and Closed Captions. For scheduling and traffic management, HMS has interfaces with multiple CMS systems such as the US’s largest provider, Harris OSI Traffic, as well as other systems including Germany’s Step2e. Playlist files and video assets are dropped onto the HMS server, where they are checked for consistency and sent out to the headends. If the headend loses internet connection, it is able to work independently until the connection is reestablished. The integrated character generator enables the playout to directly communicate with EAS decoders. 8.C25
STB could be a ‘game changer’ By Kate Bulkley Liberty Global’s President and CEO, Mike Fries, says the cable operator’s new Horizon media gateway is a “game changer” for the company, even in markets as hard to crack for pay TV as Germany. Fries sees the new platform – call it a ‘set-top box’ at your peril – as both a retention tool and a new source of revenue from subscribers. “It’s a very powerful platform and an amazing user experience,” said Fries at the onstage demo of the new product at IBC. Importantly, the new Horizon platform, which will be rolled out starting in the Netherlands and then in Switzerland and Germany, will not cost consumers a fortune. “There will be a modest cost like an installation fee for the box, and access to the iPad app will be free to our digital cable customers.”
Andrew Barron: Best new product
Liberty’s multimillion dollar bet on Horizon is an important step for the cable company to address
the three things that Fries admitted cable does not do so well: not allowing its subscribers to share content; not integ rating other, non-cable content, and the overall user experience. Andrew Barron, COO of Virgin Media, said that the UK cable operator’s TiVo box is also designed to bring both IP content and TV content together into one box, adding that since the introduction of the TiVo box the cabler has received accolades as the best new product launch in the UK in the last year. Both Fries and Barron said that they are keen not to create a walled garden of content that is separated from the internet. Asked if Liberty would add over-the-top services like Netflix to its Horizon offer, Fries said: “I’m open-minded. The main goal is to keep consumers connected to our networks and our environment. But I don’t think we can pretend people aren’t going to
want an over-the-top movie service.” However, it is clear that Fries hopes that Liberty won’t have to integrate services like Netflix into the Horizon environment. Virgin Media’s Barron went a step further, saying that his company already integrates the BBC iPlayer into its TiVo service to great success has added internet music service Spotify, and is “in talks with Netflix”. Barron said: “We are on a path to embrace and incorporate as much that third parties will provide as the platform develops. There are issues like child protection so you can’t throw the doors of the internet wide open and put that on people’s TV sets overnight, but you can philosophically say this is not about the walled garden.” Fries said that Horizon is about “stabilising” Liberty’s average revenue per subscriber (ARPU) and “growing a little bit”. The point is that Liberty in Europe has 16 million cable homes but only 7 million are digital, and average ARPU is 15 a month. “This is about driving customer ARPU, not unit cable customer numbers,” said Fries. “We won’t be charging much more than we charge our digital subscribers now so why wouldn’t you go for it?”
version World’s fifth-largest ENPS newsroom New streaming solution
Auckland Park, Johannesburg, headquarters of the South African Broadcasting Corporation
ATG Broadcast Michael Burns ATG Broadcast is designing and installing a networked ENPS newsroom for South African Broadcasting Corporation (SABC). With 1,100 user licences, the new system will be the fifth largest of its kind in the world.
Its primary role will be to prepare content for all SABC television and radio news operations, including regional stations and international bureaux. The core installation will be located in SABC’s headquarters at Auckland Park, Johannesburg. “The project commenced in July and is scheduled to take nine months to complete,” said ATG Broadcast
Home networking goes high-speed Entropic By Heather McLean European designer and manufacturer of technology solutions Technetix is to bring the first in-wall Ethernet-toCoax Network Adapter to major European service providers. Trials involing the TECB-01 adapter will take place from October 2011. The Technetix TECB-01 is a single port Ethernet-to-coax
adapter, powered by Multimedia over Coax (MoCA) silicon from IBC exhibitor Entropic. The device is said to be unique in that it facilitates a straightforward plug-andplay installation into the existing home coaxial wall socket to create a high-speed, whole-home entertainment backbone. “The European market is in high demand for technology solutions that can improve the performance and ease the installation of in-home
Managing Director Graham Day. “The system will also include a Quantel sQ server and editing infrastructure for ingest, post production and playout. Ingest and playout will be controlled using a Miranda Omnibus Columbus. SABC’s entire news operation will migrate to ENPS from an outgoing Dynatech Newstar system.” Day said that training would obviously be a key element of the transition. “We will be arranging ENPS super-user instruction in Johannesburg for about 1,500 operators using dedicated demonstration terminals attached to the core,” he explained. P r o j e c t s M a n a g e r D av e Whitaker is supervising and directing the installation from ATG Broadcast’s Letchworth headquarters in conjunction with UK-based and SA-based colleagues. The work is being done in co-operation with ATG Broadcast’s regional agent, Questek, which is itself based in Johannesburg. 8.B51
entertainment networks,” said Jan Ariesen, vice president, development engineering, Technetix. “Our TECB-01, based on Entropic’s MoCA silicon, leverages global successes as seen from US service providers and demonstrates the highest quality capabilities required to deliver the most robust and dependable in-home video and content distribution system.” In the US MoCA is currently being deployed by service providers representing nearly 70% of the 100 million pay-TV homes. 3.A41
Dveo By Heather McLean The broadcast division of Computer Modules, Dveo, is introducing the latest version of its realtime adaptive bitrate streaming transcoder, streamer and integrated RF receiver. Now shipping, the multi-tasking MPEG Gearbox MF is an MPEG-2 to H.264, or H.264 to MPEG-2 transcoder, or transcaler. The Intel 6 core processor-based system features multiprotocol, multiresolution, and multiwrapper output, including RTMP, RTSP and HTTP5. It receives simultaneous satellite, IP, SDI, HD-SDI and terrestrial RF signals, transcodes them to H.264, and streams them to any number of IP devices, including standard IP-capable set-top boxes, streaming video, TVs, smartphones, iPads, or software clients such as VLC or MPlayer. The newest version of the MPEG Gearbox MF features a wide variety of IP output protocols. Dveo has also added SDI and HD-SDI output, plus five new input formats. Other new features include support for M3u8 playlist f iles, qHD and H.264up resolution, and high-quality Ogg Vorbis audio. The MPEG Gearbox MF can output to HD-SDI, SDI, IP and/or ASI at the same time. The inputs can be simultaneous choices. Typical dedicated transcodes are up to three 1080i HD streams, four to six 720p HD streams, or 10 to 15 SD streams from MPEG-2 to H.264 (CPU dependent), or vice versa. The system can also mix and match MPEG-2 and H.264 streams. 2.A48
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IBC
Hall 11 E50
For more information visit cpn.canon-europe.com or canon-europe.com
118 theibcdaily
In brief
10.09.2011
Hungry mobiles consume spectrum New motion ‘Increasingly people do not have a TV or watch a TV’
Flexible audio over IP FlexSource is a new audio over IP receiver from 2wcom Systems that offers flexibility in the selection of additional sources for redundancy. The receiver allows users to select freely among the following input sources: Tuner Transport Stream, ASI, IP, 100Base-T, audio over IP, and audio files uploaded to the internal storage. It is also possible to change the main source from IP to Satellite Transport Stream or to ASI input and use the other for redundancy. For each main source, up to three back-up sources can be defined in case of input failure. 8.E78
To Infinity... and beyond The Adder Infinity range now includes the AdderLink Infinity dual, providing dual link DVI that allows the technology to support screens such as the Apple Cinema Display, or dual monitor setups. Infinity and Infinity dual interfaces can share the same network. Infinity was developed to allow an operator to use a remotely sited computer without loss in capabilities, reduction in video resolution, quality or USB latency. “There is a great appetite in broadcast applications for the Infinity platform,” said John Halksworth, senior product manager at Adder. “Users really appreciate the flexibility of being able to work on the same material on the same computer from any location, or to hand a screen layout from the newsroom to the studio, or simply keep the computer’s fan noise away from quiet areas.” 7.B33
Open sesame, OpenMedia The latest enhancements to advanced newsroom system OpenMedia are being presented by Annova Systems. New features in OpenMedia 3.8 include the ability to view different rundowns side-by-side with a single click, and a new Show Profile that gives users an overview of forthcoming shows. Modules for the OpenMedia system include Shot Planning – which allows a continuous planning workflow for productions – and the Journalist Editorial Portal, where all news production information can be made available on one dashboard. 3.A31
Multiplex your way to Hall 2 The DLC156 is a new six-channel time division multiplexer (TDM) from Artel Video Systems. The backhaul/ contribution application solutions provider is also showcasing the DLC103, a 3G multirate digital video optical transmitter, receiver, transceiver and repeater. The DLC156 facilitates the transportation of uncompressed and compressed video over dark fibre. The module allows up to six HD-SDI or three 3G-SDI digital video services to be transported over a single optical wavelength, saving fibre costs and simplifying network design, says the developer. Users can mix and match SD-SDI, ASI, HD-SDI or 3G-SDI services into a single 10Gbps optical transport stream. 2.A20
Gary Shapiro: “Having the spectrum for wireless broadband is very important”
Business Briefing By George Jarrett Gary Shapiro, whose mantra is that “g rowth only comes from innovation,” stated at IBC that the biggest issue facing the industry is spectrum management.
The President and CEO of the 2,000-member Consumer Electronics Association, Shapiro said: “The smart phone, which did not exist f ive years ago, uses 25 times the data stream as the old mobile phone. The tablet typically uses 125 times as much, so the biggest issue without question now for people who have internet access and wireless broadband capability is the availability of spectrum. “There is a little bit of a disagreement with some of the broadcasting world, but increasingly in the United States fewer people are using antennas,” he added. “Under 10% of American homes now rely on an antenna. They get their information through cable, satellite or fibre, or they are using a broadband connection. “Increasingly people do not have a TV or watch a TV. And increasingly there is a generation of kids who are not buying TV sets,” he continued. “They use wireless broadband to get all their information, and they are not buying newspapers.” Shapiro sees one concern arising from the rush to a wireless content jam.
“I think that the use of such broad swathes of spectrum for an increasingly small number of people, in every country, will come under question,” he said. Commenting on his presence at IBC, and desire to spot any new trends, Shapiro said: “Trends are always very important. The determination of success versus not succeeding is; did they see the trends coming? “Nothing ever happens as quickly as you think it will happen, but it always follows the trend, unless it shifts,” he added. “The trend is shifting away from people watching linear TV over the air in the home. That is a clear fact that has been going on for 30 years – cable, satellite, the VCR, the DVD, the internet, computers, tablets, and now wireless broadband. “Our strategy at the CES is that we want to see competition in broadband. Nobody should have one provider. Many providers will bring down prices for consumers, and there will be a very robust market for devices and for content. The people who may lose out in that competition, in ter ms of getting the squeeze, are those that are providing the pipelines.”
Let’s talk about dialogue Fraunhofer IIS By David Davies A new dialogue enhancement technology that allows radio or TV listeners to adapt the volume of different audio elements within a single broadcast programme is among the innovations being showcased by Fraunhofer IIS. The leading audio research group is also publicising a new licensing agreement with Nullsoft. Tested by the BBC during the corporation’s coverage of the recent Wimbledon tennis championships, Fraunhofer’s dialogue enhancement technology allows for highly efficient transportation of individual audio objects – for example, a commentator’s voice or stadium atmosphere – in a compatible mono or
stereo downmix. The audio encoder receives these objects and produces a single mix, as well as a stream of parametric side information. The transmission of the mix, plus side information, is very bit-rate efficient as each audio object only slightly increases the overall bit-rate, says the developer. The mix can be produced automatically or by a sound engineer. On the receiving side, the user is then able to adjust the volume of each object individually to improve the intelligibility of the sports commentator. In a separate development, Fraunhofer IIS has announced a licensing agreement with Nullsoft that will enable the inclusion of Fraunhofer MPEG audio codec software in Nullsoft software products such as Winamp and Shoutcast. The Fraunhofer-provided
Fraunhofer is showing new dialogue enhancement technology
codec suite includes HE-AAC v2 and HD-AAC. Harald Popp, head of the Multimedia Realtime Systems department at Fraunhofer IIS, commented: “The Winamp media player, wellknown among consumers, has always been on the forefront of innovation. With the inclusion of our codecs, consumers will have access to the best quality and the latest codecs that professionals value for use in media production and distribution via Shoutcast.” 8.B80
Support for camera professionals Vocas Systems By David Fox Hilversum-based company Vocas Systems is showing a new Pro rail support at this year’s IBC. The new offer allows 15mm rods to be mounted under various brands and types of cameras, for example the Sony NEX-FS100, so that users can attach a variety of accessories. One possible accessory is the new E to PL-mount adapter, which allows
Sony’s PMW-F3 fitted with a 15mm rail support kit from Vocas
the use of PL-mount lenses on an Emount body, such as the FS100. Another possibility is its new
shoulder support that works with 15mm rails, and can easily be fitted to an existing set-up. Users can quickly attach or remove the shoulder support anywhere on the rails without the need to disassemble the system. Vocas Systems also has a new flexible gear ring that can be attached to the lens for coupling with a follow focus. It is claimed to be cheaper than current rings, while offering the same quality. 11.B43
graphics platform Avid By Carolyn Giardina
IBC2011 has seen the preview of a next-generation graphics platform with a new realtime 2D/3D graphics rendering engine. Avid has also debuted its ISIS 7000 v2.4 shared storage solution, among many other developments. The new graphics platform, Avid Motion Graphics, has been developed to allow media enterprises including broadcasters, sports teams and post companies to create graphics that journalists and others can integrate into their stories. The new platform incorporates a bridge to the Deko product family, which the company suggests could make it easy for existing users to migrate their assets to the new platform and transition at their own pace. “In today’s highly competitive, image-dominated media industry, producers need to stand out by creating the kind of gripping visual experiences that deliver exceptional brand impact,” said Dana Ruzicka, VP of marketing strategy and planning, media enterprises at Avid. “At the same time, our customers have told us they need to streamline operations and maximise workflow effectiveness. In particular, live events require greater production value while post production facilities must maintain consistent integration across multiple platforms. With Avid Motion Graphics, Avid is meeting those needs, and investing significant resources and creativity to develop one of the industry’s most advanced graphics toolset.” As part of the development, Avid aims to streamline workflow by providing Avid Motion Graphics integration with Avid NewsCutter and other Avid and third-party tools, industry standards, and plug-ins. Availability in Q2 2012 is planned. For current Deko users the new hardware platform and rendering engine is expected to be available by the end of the year, using existing Deko software. Meanwhile, the new ISIS 7000 v2.4 expands Avid’s shared storage system size to 20 ISIS engines. This represents a 40% jump in capacity and aggregate bandwidth to 640TB raw (or 576TB RAID 6-protected) capacity, and aggregate bandwidth to 8Gbps. Video Server (AirSpeed Multi Stream), Playout Automation (iNEWS Command), NRCS (iNEWS Newsroom Computer System) and Asset Management (Interplay Production) add-on kits for the local/regional broadcaster-oriented NewsVision f ile-based HD news system are also being showcased. 7.J20
Whatever your journey. Sony Interactive Seminars Saturday 10th 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.
Saturday 10th September 2011 11:00 - 11:45
Sony F65 & open file-based workflow
12:00 - 12:30
The Future of Sports Production
15:00 - 15:45
Sony F65 & open file-based workflow
16:15 - 16:45
XMPilot - Maximise and Revolutionise your Tapeless Production
THE EXPERIENCE THEATRE Hall 12, The Elicium No registration required. Come and get involved in our Experience Theatre.
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