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£3.80 I Volume 31 I Issue 3 I May/June 2013 See Professional Video and Audio Monitoring Solutions from Decimator Design on page 7


Threat or Opportunity?

Jason Eng from Hong Kong

Buyers Guide: Signal Processing Kit

Broadcast Asia Reflects Challenges, Rewards


Start Your Training!

EDITORIAL Editor Mark Hallinger Tel: 1 301 467 1695 Email: Executive Editor Marguerite Clark Editorial Director Paul McLane Tech Editor Craig Norris Contributing Editor James Careless Contributors Ann-Marie Corvin, Kevin Hilton, Phil Reed

or the third year in a row, the IBC2IBC charity endurance bike ride will leave the IBC offices in London for a roughly 300 mile journey to Amsterdam’s RAI Exhibition hall. This year the


ride will take place over three days rather than the

President and CEO Steve Palm Chief Financial Officer Paul Mastronardi Controller Jack Liedke Group Circulation Director Denise Robbins Vice President of Web Development Joe Ferrick

two it took last year, and the slightly crazy attempt at doing it in 24 hours for the inaugural ride back in 2011.


It’s hoped the very manageable 300 miles over

Steve Connolly Tel: +44 (0) 20 7354 6000 Email:

three days will increase the number of riders. As one of just two riders who did both the 2011 and 2012 rides,


I can opine that riding across the flat parts of Europe is much

Sales Executive Sharifa Marshall Tel: +44 (0) 20 7354 6000 Email:

easier than riding in hills. If you can do a hilly century ride, you can do three flat 100 mile rides back-to-back-to-back. In truth, the ride from London to Dover isn’t

European Sales Director Graham Kirk Tel: +44 (0)1223 911224 Email:

totally flat, but it’s day one and it isn’t that hilly … The three day ride will take place from Friday, Sept. 6 through Sunday, Sept. 8, with a bus

U.S. Midwest, New England & Canada Vytas Urbonas Email:

ride back to UK on 9 September. There is the possibility that a few of us who did the

U.S. West Pete Sembler Email:

original non-stop insanity may make another attempt at the 24 hour mark … we missed by just a bit in 2011 and some logistical fine tuning may help us crack the 1-day mark.

U.S. Southeast and Mid-Atlantic, US Classifieds & Product Showcase Michele Inderrieden Email:

There are a few long group training rides set for the next few months (in UK). Riders will be raising money for a chosen charity (mine will be VICTA and The Vision Charity). Details

Hong Kong, China, Asia/Pacific Wengong Wang Email:

of the ride can be found at

Italy Raffaella Calabrese Email:

Mark Hallinger, Editor

Latin America Susana Saibene Email:

Cover Image courtesy of Screen Systems , showing the company’s new

TV Technology Europe (ISSN: 0887-1701) is published seven times annually by Intent Media. ©2013 by Intent Media. All rights reserved. Suncourt House, 18-26 Essex Road, London, N18LN, England Free subscriptions are available to professional broadcasting and audio visual equipment users. Unsolicited manuscripts are welcome for review – send to Mark Hallinger at the feedback address.

OTT subtitling solution, see


Craig Norris says OTT is good news for broadcast


PRODUCTION Production Director Davis White Design & Production Manager Adam Butler Email: Production Executive Jason Dowie Designer Jat Garcha

TECH NEWS: OVER-THE-TOP EXHIBITIONS: BROADCAST ASIA Mark Hallinger with a birds-eye of the Singapore show & conference

10-16 EXHIBITIONS: BROADCAST ASIA Product news and some input from show attendees, vendors, dealers and conference presenters


BUYERS GUIDE: SIGNAL PROCESSING Two user reports, and product news


SHARPSHOOTER Jason Eng from Hong Kong

May/June 2013 I TV Technology Asia-Pacific

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Broadcasters & the OTT Bandwagon /// Craig Norris says OTT is clearly a big win for consumers, but what about broadcasters? op the cork off the champagne bottle! Crack open the barrel of sake! Roast a turkey for the whole family! Pray to express gratitude to The Almighty One! Within the guidelines of your own culture, do whatever is socially acceptable and traditionally appropriate when some kind of big win needs to be celebrated. What big win is there to celebrate? We should celebrate the fact that the long-standing oligopoly that controlled retail distribution of television entertainment has officially ended. That’s a very good thing indeed and entirely worthy of celebration, because the oligopoly has NEVER satisfied our desire for a wider choice of content. That isn’t to say that the oligopoly harboured some kind of malicious intent to frustrate us. Their failure to satisfy our needs stems mostly from the limitations of the technology that they had available to them. Radio frequency spectrum is a very finite resource, under an ever increasing demand. Our technical achievements in improving the efficiency of spectrum utilization have been admirable. But in reality, the demand for a greater diversity of relevant TV content has grown at a rate far beyond the ability of the oligopoly to even comprehend, let alone fulfill. TV broadcasting via radio frequency modulation, whether on terrestrial, cable or satellite networks, does not have the capacity to deliver a wide enough variety of content to match the complex multitude of interests that exist in the TV viewing population. But now, thanks to OTT services, consumers of television entertainment finally have the freedom and ability to explore and find a seemingly infinite amount of content that //////////////// 4

Screen Systems has developed a method to encode, store and display high-quality subtitles with served video playback. is of interest and relevance to them. Traditional broadcast television providers of both the free-to-air and pay variety now have to join the queue for our attention and patronage. The free-to-air and pay TV broadcasters are no longer the exclusive gatekeepers controlling our access to quality TV content. What a change! In engineering terms, the empowered television content consumer in this new era can enjoy an order of magnitude improvement in “signal to noise” ratio. I don’t refer to electrical noise or electronic signal in that statement. I use the term in a simpler sense. To me, ‘improved signal to noise ratio’ means simply that we get more of what we want, and less of what we don’t want. What evidence can I cite in support of the above proclamation? How about some samples of recent headlines in the television industry news? Here are just a few:

TV Technology Asia-Pacific I May/June 2013

TV broadcasters are getting on to the OTT bandwagon. They must. How? “Netflix Unveils Plan to Replace Broadcast Television.” Netflix is an OTT service provider. They are doing what broadcast television could do if they had the will, but so far haven’t, which is to make the content library available online so we can all browse it and watch what we want, when we want, from where we want. “Netflix Has More Subscribers Than HBO.” That’s a remarkable example of how a relative newcomer can become a significant competitor to a well-established pay TV broadcaster. It proves that things can happen fast. “Disney's ABC to start first streaming of live broadcast shows.” Disney's ABC network will become the first U.S. broadcast network to stream its

shows live online through an ongoing service called WATCH ABC, reported Reuters as this story went to press. Viewers will be able to watch live ABC programs online or on mobile devices by downloading the WATCH ABC app. “Over Half of Adults Watch Video on Non-TV Devices Weekly.” So says Leichtman Research Group in a report about a survey of US adults. It means that a lot of people are finding content over the Internet and watching it on their PC, Mac, smartphone, games console or tablet device on a regular basis. “Streaming Media Players to Top List of Internet Connected Entertainment Devices.” That means Apple TV, Roku Box, and the plethora of cheap Linux media player boxes are surpassing the number of BluRay players that are connected to the web. I suppose that we should also include all the so-called “smart TV” LCD/plasma receivers in that list of streaming media players. I >

TECH NEWS /// hope we agree soon on a generic name for a TV with a built-in browser and Internet connection, because “SmartTV is a Samsung trademark. My vote is for a name like “connected TV” – but if past trends continue, the popularly adopted name is likely to come from the computer industry and the term “TV” is likely to disappear from the vernacular when we start recognizing that any new flat screen TV set with voice and gesture control and a built-in browser and an Internet connection and “apps” is in fact nothing more than an “übertablet”. So there it is – I might as well just register that trademark right now. Personally, I consume most of my television content via the Internet. Only a minority of the TV content I consume is via live broadcast over RF or cable. Dare I say it - I’m a fan of OTT video services, and I’m not alone in my enthusiasm for the concept. The proof of that statement lies in this next headline: “Broadcasters Predict OTT Will Boost Their Revenue by 50 Percent.” Thank goodness the broadcasters are waking up! I was awoken to the merit of OTT services about 5 years ago, before the term OTT had been invented. It was a small company based in Melbourne, Australia who woke me up. They were demonstrating full screen OTT video streaming on their booth at CommunicAsia in Singapore. Their name is Vividas. They are still around. I wrote about them in an article in this magazine at that time. I even presented a paper at the following year’s BroadcastAsia conference. Then I presented a paper about them at the SMPTE conference in Sydney. I introduced Vividas to several broadcasters in the region. And nothing happened. (There goes my credibility.) Broadcasters are like big ships. They need a lot of time and a lot of space in which to make a turn. If I had been the decision maker in a TV station at that time I would have run with that Vividas technology and today my station would be leading the world in OTT services. But I dream. I do have clients who are decision makers in TV stations, and sometimes they hire me to work on hypothetical scenarios for consideration by the Board of Directors. And strangely enough, ////////////////6

they expect me to know everything about anything. The successful consultant doesn’t have to know everything. He or she only needs to know a lot about the current hot topic. And OTT is the hottest of all the hot topics right now. So I’ve been watching, and taking notes. Google is pretty clever. They saw it coming. That’s why they bought YouTube in the early days before the rest of us woke up to the billion dollar possibilities of OTT. Google also subsequently bought Widevine to get their http streaming technology. But YouTube is not without its competitors. Discerning video content owners and producers often prefer to use Vimeo as their OTT publishing platform. Vimeo provides a much higher video image quality in comparison to YouTube. Vimeo is for connoisseurs. The discerning video publisher and the discerning video consumer will often be found hanging out in Vimeo rather than YouTube.

I might as well register the trademark on “über-tablet” now. But at the end of the day, somebody has to pay for all these services and high quality platforms. And the publishers of the video content need to generate revenue. Hence, Vimeo’s new “On Demand” pay per view platform which follows a similar business model to stock photo agencies which are set up in a way that allows the content producer to keep the larger share of the revenue. Vimeo is a place you can go on the web to watch great content any time you like. A lot of it is free, put there by artists who just want to share their work. Other content you can pay for, and at USD5.99 is very good value for money. I just checked the Vimeo web site in case there was something else I should mention in this article, and I spotted the On Demand availability of a documentary titled “Trashed” which stars Jeremy Irons and has a musical score by Vangelis. Now I’m rushing to finish this article so I can watch that documentary. As a consumer, there is such a great sense of freedom in knowing that the programme I

TV Technology Asia-Pacific I May/June 2013

want to see will be there waiting for me when I am ready to watch it. I don’t have to enter into a subscription contract. I don’t need a set top box. I don’t have to set up a timed recording. I don’t even need a TV set. I don’t need to be at home. That’s freedom! Thank you, Vimeo. Thank you to you too, YouTube. BROADCASTERS & OTT: HOW? TV broadcasters are getting on to the OTT bandwagon. They must. But the big question that I suppose my editor wants me to address is: How? Okay, so we own some content which is streaming on the airwaves synchronously all day every day, and we have a back catalogue of older content that we’ve accumulated over decades of operation. Each will be handled separately and differently. The live broadcast content that is currently on-air via some kind of synchronous DVB or similar RF platform needs to be sniffed in its baseband form at the output of the playout server or master control switcher, and transcoded and packetized on the fly (in real time) to become an Internet Protocol data stream. That IP stream is then fed to a web server as a content source for a window in a web page that your viewers can visit. Talk to companies like Digital Rapids to get the details about on-the-fly encoding and streaming. For OTT, the real time IP streaming video isn’t omnipresent in the viewer’s geographical environment like RF airwaves emanating from a transmitter. The IP stream is treated as a file by the code in the web page that your viewer will visit. When a viewer visits your web page, an FTP transaction occurs in order to download the contents of the page to the viewer’s browser. Page content like photographic images and graphics will be downloaded as jpeg files or gif files and then assembled on the screen. Text will be freshly rendered in the required fonts and colours by the browser itself. The content in the streaming video window on the page will be opened as a file by the browser, but it will seem to be a kind of endless file. The streaming doesn’t stop until the viewer clicks the “stop” button or exits the web page.

That’s the very simplistic description, but in reality there are complexities. The complexities stem mostly from the need to overcome the vagaries of the telco’s network in order to maintain some degree of continuity in the Internet Traffic. It’s about managing the apparent Quality of Service so that the viewer’s enjoyment isn’t interrupted by frequent stopping and resuming of the video. Talk to companies like Elemental about the end-toend streaming platform. Elemental handled live streams from the London Olympics to Foxtel in Australia. Talk to companies like Pixelmetrix or Bridge Technologies about monitoring and troubleshooting the IP network. As for the back-catalogue, you could just encode your programmes in the library then upload them to YouTube or Vimeo. But to manage the total ‘product’ as a service with all the other business aspects of rights management, billing and customer relationship management and other ways of monetizing the service, it’s better to create your own web site for the purpose. For free content, the best example I know of is the online archives for the “Landline” programme (rural magazine style news content) in Australia. See archive.htm For a commercial online archive or paid VOD service, see the Vimeo On Demand example at For a broadcaster online archive example with payments required by the viewer, see A lot of this messy IP web stuff is sometimes outside the comfort zone of a TV station. So in some cases they outsource the service to expert subcontractors, or in other cases they partner with some very high profile experts who bring other added value to the product – like Nine Network in Australia with Microsoft ( and Seven Network with Yahoo! ( I think I’ve exceeded my word count again. But more importantly, I want to get back to Vimeo and watch that “Trashed” documentary. Bye for now, and see you at Broadcast Asia, perhaps. ///


Broadcast Asia

Reflects Challenges, Rewards /// Mark Hallinger on how OTT & other technologies at the Broadcast Asia show mean both change and opportunity for the industry roadcastAsia, held concurrently with CommunicAsia and EnterpriseIT at the Marina Bay Sands, returns to Singapore June 18-21. The show is more or less a midway point between the NAB Show in April and the IBC exhibition in September, and it features a world class conference program and an impressive group of more than 700 exhibitors. GROWTH MARKET In a world where Europe, the United States and Japan are all facing poor to mixed economic prospects, the Asia/Pacific region served by Broadcast Asia remains a good growth market for many manufacturers. “Asia/Pacific is an extremely strong region for us and we are extending our presence in the region with the recruitment of new personnel,” said Philippe Fort, CEO of French media asset management company NETIA. “BroadcastAsia offers us an ideal opportunity to introduce our new sales representative, Singapore-based Winston Seow, to our network of distributors and clients.” Another European company seeing growth in the region is Germany’s Riedel, known for comms kit and fibre-based realtime video, audio and data networks. BroadcastAsia comes at an exciting time for Riedel, said Joe Tan, GM, SE Asia for Riedel. “We’ve not only completed an expansion of our Singapore office, but also have extended both our area sales team and our rental stock.” OTT REAL This year there is one industry that may not be on manytrend that is well underway and very much real, OTT, and a few that may not be on many broadcasters’ near-term radar screens today but nonetheless garner respect, such as 4K //////////////// 8

technologies, UltraHDTV, using the cloud, DVB-T2, and perhaps integrating social media in broadcast. If the show floor at NAB is a precursor to what we’ll see in Singapore, the broadcast industry can put off 3D and all its complexity and ROI uncertainty for a few more years at least. Something called overthe-top television came along these last few years and it’s real and being used. As an industry we’ve started to refine this service, and few doubt that a sea-change in delivering content is well underway. (See Craig Norris’ story on page 4). OTT is by its nature crossover (I think we were using the term convergence not too long ago) and both the BroadcastAsia and CommunicAsia show floors and conference rooms will feature the topic, in far too many presentations and panels to discuss in full here. One thing that stands out after a quick look through the conference program: OTT seems to have a few viable business models. Fedor Ezhov, COO of SPB TV, is making a presentation on day one that will touch on the subject. Ezhov says many business analysts see a great value in the Asia Pacific market, with its extensive fixed broadband and mobile subscriber base. “We see a strong demand for mobile TV services in India, where video broadband networks are not so wellestablished yet, and online TV services were primarily delivered over mobile 3G and Edge connections,” said Ezhov. “Gaining popularity, they made way for OTT TV services available over any Internet network, including WiFi.” Ezhov says a good example of OTT TV implementation is NexGTv in India. This is a co-joint mobile TV project of SPB TV and

TV Technology Asia-Pacific I May/June 2013

Fedor Ezhov, COO of SPB TV

Director, Business Sales and Development, TV Software, for Ericsson is giving his own presentation entitled ‘Monetizing OTT: Content owners competing in a new game,’ and also participating in a ‘Power Panel’ on the subject. “We are certainly seeing that consumer demands are rapidly changing and evolving in

“We expect that Asia OTT TV services will benefit from monetization with targeted advertisements.”

Indian VAS provider DigiVive. Using SPB TV technology and having a strong collection of Indian live and on-demand TV channels, aggregated by DigiVive, NexGTv has already gathered over 5 million subscribers and has become the most popular mobile TV service in India, second only to YouTube. As for chasing the elusive dollar, or rupee, Ezhov says revenue generation will vary by region: “While paid subscriptions still work the best in North America and Europe, we expect that Asia OTT TV services will

Jon Sonsteby, Senior Director, Business Sales and Development, TV Software, Ericsson

benefit from monetization with targeted advertisements. This revenue stream has shown itself to be very efficient and has even become a main one in many regions including Russia, Eastern Europe, India and South America.” Jon Sonsteby, Senior

complexity throughout the Asian market. A recent study from ABI Research predicts that the Asian OTT market has experienced year-on- year growth of 50 percent, with the continued spread of connected CE and increasingly mobile devices and tablets, expected to push the market past $20 billion by 2015.” Sonsteby added that Ericsson’s 2012 ConsumerLab study showed growth in the percentage of consumers who said they were willing to pay for on-demand and time-shifted content. “This is in fact, the fastest growing trend in terms of a service the consumer is willing to pay for, up 8% points in a single year.”

“On-demand and timeshifted content … is the fastest growing service the consumer is willing to pay for.” Sonsteby said that content owners can enhance the consumer experience with new, more 'interactive' features including capping adaptive bit rates at lower rates for nonpremium subscribers; live channel expansion (more 'linear'

TV; managing content in the complex world of OTT licensing; the right content strategy for OTT TV; and when the market will reach maturity.

Vimond’s Helge Høibraaten

channels available for the premium user); cross-selling media (e.g. a song in a movie, game/app related to TV or movie) through effective aggregation from multiple metadata sources; geo-location advertising; more in-depth second screen apps for interaction with the content itself, and so on. Vimond’s Helge Høibraaten will also be on the Power Panel on Monetising OTT. Høibraaten said he expects he and his fellow panellists to address topics such as how to identify the different business models in the OTT space; how multichannel platforms are engaging with OTT delivery in terms of bundling OTT and pay

CASE STUDIES AND NUTS & BOLTS The conference has a good bit of content that focuses on real world OTT and multiscreen experiences, with case studies from within the region and abroad. In Singapore, for example, MediaCorp has partnered with OTT platform provider Tvinci to provide a multi-screen service through its mobile content paid service called Toggle. Delegates at the BroadcastAsia2013 International Conference can hear expert views on ‘Making OTT a Business Reality in Asia’, from Seow Yoke Kong, VP Technology Services of Mediacorp, and Ido WIesenberg, Co-founder and VP Business Development of Tvinci. Harrie Tholen, General Manager Asia, Civolution, will discuss some out-of-market platforms, namely the successful first steps that have

been undertaken such as FX on BSkyB and Sky Italia. Thierry Fautier, Senior Director, Convergence Solutions, Harmonic will provide a case study entitled “The World's First Commercial Deployment of MPEG-DASH OTT Multi-Screen Service.” As far as the kit to get a high quality OTT image to the end user, Danny Wilson, President and CEO of Singapore-based Pixelmetrix, will bring his broad knowledge of the market to the conference in a presentation on “Ensuring Effective Delivery of Content through OTT and Multi-Screen.”

Ensuring QOS is just one refinement taking place in the technology. Another is subtitling. “Although OTT has indeed been around for some time, we still see it as an emerging technology in need of refinement – certainly in terms of subtitling,” said Gary Glover of UK company Screen Systems. “There are several timed text offerings out there for the customer to choose from but they often suffer from limitations and errors: positioning of the text on the screen, aliasing issues and variable font widths for example.”

“Screen’s OTT subtitling capability has received an astonishing amount of interest in Asia.”

Gary Glover, Screen Services Sales and Marketing Director

Glover said that those accustomed to watching high quality subtitles can find this disturbing, so Screen has endeavoured to solve these

May/June 2013 I TV Technology Asia-Pacific


con. page 11

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EXHIBITIONS /// Attendee Outlook

Desmond Poon, PT First Media/PT LinkNet CTO, Jakarta Show focus: Our main focus area would be OTT. We’re looking at upgrading our current OTT service to support on-demand content and catchup TV, along with more sophisticated features such as social media, recommendations and ratings. Other than that, we’re sourcing for a replacement of the cable

VOD platform that would ideally integrate seamlessly with the OTT system for a seamless multi-screen experience. Recent or Planned Upgrades: We’ve just completed a major upgrade of our existing TV headend that included a new suite of fully-redundant encoders, multiplexers, and modulators supporting an initial capacity of 140 x SD and 40 x HD channels, but prewired for 240 channel. In addition, we also expanded our baseband systems adding automatic loudness control, play-out, ad-insertion, character generators, as well as A/V monitoring. The old headend equipment has also been redeployed to a Disaster Recovery Centre to provide an additional layer of redundancy. Favourite restaurant/food in Singapore: I’m a Singaporean living in Indonesia. I just miss the simple delicacies that can be found in many local kopitiams such as bak chor mee, laksa, hokkien mee, bak kut teh etc.

Conference Highlight

Ralph Bachofen, VP of Sales and Head of Marketing, Triveni Digital I’ll be delivering a presentation on “Strategies for Monetizing Hybrid Television Services” as part of the OTT conference track at 2:30 p.m., Wednesday, June 19. The world of television is

Vendor View

Jhonny Maroun, Director, Wohler APAC. Expected Tech Trends: We can expect to see a big move towards file based solutions. In addition to IPTV take-up and OTT services. In addition following the world trend the

dramatically changing. What was once a static, lean-back television experience has now transformed into a more personalized, interactive one with the introduction of hybrid TVs, requiring broadcasters to adjust their business models. The presentation will examine the current connected TV environment and identify strategies for integrating broadcast, OTT, and social networking content to engage hybrid TV viewers and monetize the connected TV platform. I’ll examine the value of partnerships between content providers and connected device manufacturers so that they can co-exist profitably. The presentation will also outline strategies to deploy new revenue-generating services, including targeted advertising and non-real time content.

move toward conceptual 4K could be expected at BA. Wohler will be showcasing IPTV monitoring solutions along with the RadiantGrid platform, offering a full OTT and filebased platform for transcoding, loudness, captioning and multiplatform delivery in an intelligent media automation platform. Recent Regional Business: We have been part of a number of file-based projects in the region, including projects in Malaysia and Hong Kong. In addition China continues to grow with Dolby and HD upgrades along with Korea and a number of new sites being deployed in the next few years. Favourite restaurant/food in Singapore: The majority of the food is great is Singapore.. My favourite would be the Mud Crab offered at a number of venues and the tradition street food.

ENCODING & TRANSCODING Media Excel will be highlighting its new contribution encoding platform during BroadcastAsia2013. The company will also present its multiscreen MPEG-4 AVC encoding and transcoding solutions. The entire product line addresses the need to deliver the highest picture quality over limited-bandwidth networks across all screens. The HERO product line can also encode for live and VoD adaptive delivery over HLS, Smooth, Flash, and MPEG-DASH to consumer devices.


TV Technology Asia-Pacific I May/June 2013

> continued from page 8

Neville Paterson, Regional Manager, Sales, Australasia, for Digital Rapids

issues and present a technology that allows high grade, accurate and consistent subtitles in OTT content. “Up until NAB in April this year, Screen’s OTT subtitling capability had been purely a working concept but even in its infancy we received an astonishing amount of interest across the world but particularly in Asia. “Discussions have been in view to offering a predictable and consistent subtitle provision for both hard-ofhearing and other language audiences in what is appearing to be a rapidly adopted broadcast route in Asia.” Digital Rapids is another company quite central to many multiscreen efforts. Neville Paterson, Regional Manager, Sales, Australasia, for Digital

Rapids, said the company would showcase an array of powerful enhancements for the recentlyreleased Digital Rapids Transcode Manager 2.0 automated, high-volume media processing software and its underlying Kayak dynamic workflow platform. New capabilities being previewed at the show include support for the HEVC (H.265) compression format; 4K Ultra HD encoding; Dolby E audio decoding and more. HEVC encoding----which can reduce bandwidth requirements and file sizes by as much as 50% relative to AVC---- is being previewed in Transcode Manager 2.0 with technology from Kayak ecosystem partner Vanguard Video. Vanguard's 'V.265' HEVC codec will be available as a modular component integrating directly into the Kayak Platform. 4K Ultra HD distribution is also being demonstrated in Transcode Manager 2.0. As much as 4K displays, super efficient encoding, and the rapid ubiquity of multiscreen OTT in many markets will be front-and-centre, plan old terrestrial transmission still plays an important role in many Asia/Pacific countries. But even

Chuck Kelly, Director of Sales, Nautel

this has taken on a modern twist, with some markets announcing plans to skip a generation of technology and go from analogue to DVB-T2 transmission. There’s a whole conference track dedicated to -T2, with local experiences and plans discussed along with basic discussions of the benefits of the technology. An infrastructure and transmission track will look at several ways technology will improve the industry, with topics such as HEVC, 5.1 audio and 4K dotting the programme. A CTO/CIO Panel will also be a part of this track, according to track chair Chuck Kelly of Nautel. Nautel is an established player in the international radio transmitter market who is now

offering television broadcast products in response to ongoing customer requests, and Kelly himself will give a presentation on “Examining the Design Philosophy and Practical Implementation of a New Digital Television Transmitter.” Kelly said that dramatically increasing costs for electricity is driving a focus on efficiency in transmitters and other equipment, and manufacturers are responding with higher efficiency designs. “Increasing ambient noise levels in the MW through UHF bands are causing broadcasters to re-think their transmitter power level, antenna type and transmitter location,” said Kelly. “This is as a result of higher man-made noise from fluorescent lamps, CPU-based consumer devices, light dimmers, etc. The result is that while coverage may in the past have been limited by co-channel or adjacent channel stations, or atmospheric noise, station coverage in now being limited by the manmade noise environment.” ///

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EXHIBITIONS /// Vendor View

Vanessa Ching, VP of Channel Marketing and Communications, Snell Expected Tech Trends: 1) What are the top two or three technical trends that you expect to see at the exhibition and conference, both related to what your company does and broader trends as well? 4K, virtualization, cloud, OTT, and ways to manage media assets and resources efficiently. With convergence, I would expect visitor’s crossing


over between BroadcastAsia and CommunicAsia. Recent Regional Business: 2) What’s been the biggest technical upgrade you’ve been a part of in the region? For TV Everywhere, Snell’s biggest customer in APME would be MediaHub, where Snell outfitted their facility with Snell’s ICE and Morpheus automation. MediaHub’s 170 channels are running on Snell’s Morpheus, out of which eight channels are also running on Snell’s ICE channel-in-a-box. It is a massive project which Snell committed personnel to and worked closely with MediaHub on the installation and rollout. We are pleased that the customer is happy with Snell’s service and reliability. Snell is also in talks with major broadcasters in this region about the virtualized playout solutions we recently announced at NAB that provide efficient resource management, rapid deployment, and scaling of services for broadcasters running channels in

TV Technology Asia-Pacific I May/June 2013

various markets. Another key installation in the region has been at Hong Kong Jockey Club, where they have been using Snell’s Kahuna 360 live production switcher, taking advantage of its ability to share resources across multiple panels, seamlessly switch SD and HD signals and allow individual user configuration files to be set-up, saved, and uploaded prior to live production. This is a perfect demonstration of how Snell has been heavily focused on helping broadcasters to affordably transition from SD to HD.  A trend we continue to progress by offering free 1080p and 4K on all relevant, capable products. Favourite restaurant/ food in Singapore: 3) What's your favourite restaurant in Singapore? IndoChine Waterfront is my favourite restaurant in Singapore. If you like dining outside on a beautiful Singapore evening, and a great view, I would recommend trying it.


Pixel Power will show Pixel OnDemand, which delivers Pixel Power’s core graphics engine with use-based pricing to suit IPTV, VOD, multiscreen and other content repackaging business practices. Pixel OnDemand puts the graphics engine into an easily deployed software package that runs on standard IT servers to meet the needs of nonlinear, store-andplay content delivery operations such as IPTV channels, VOD services, mobile content, news operations, and second screen viewing applications.

EXHIBITIONS /// Vendor View

Elson Soong, Director of Sales, Southeast Asia, Harmonic Expected Tech Trends: Multiplatform delivery is a hot topic for broadcasters and other operators. We’re also

seeing more HD services come online in Southeast Asia. Finally, to reduce costs and improve efficiency in delivering these services, broadcasters and other media companies are looking to function collapse — more robust functionality within single systems or solutions. Recent Regional Business: Free-to-air broadcasters need to turn on digital transmission by 2015 in Southeast Asia, and this requires the upgrade of analogue cable infrastructure to deliver digital services. As a worldwide leader in supplying video infrastructure, Harmonic has helped media facilities throughout the region make the transition to digital operations.

LIGHTWEIGHT HD MPEG-4 IP ENCODER Cobham will introduce a new HD MPEG-4 IP Encoder specifically engineered for broadcast applications. Able to operate in standard, low and ultra-low latency modes, the highly energy-efficient encoder also has balanced audio inputs and includes integral broadcast-standard IFB talkback. Cobham will also demonstrate MediaMesh. MediaMesh includes a broadcast quality transmission path for live two-ways; remote camera control; high quality file transfer; plus a high-capacity internet connection that provides access to base newsroom computers and cell phones. All of this can be transported in a single, easily carried case.

CABLES, CONNECTORS, ENHANCED TRIAX Argosy will debut, for the first time in Asia, its new range of IEClock mains cables, the new Fischer Triax HD Pro+ solution and a mini BNC connector from Amphenol. The Triax HD Pro+ solution, produced in conjunction with Draka, combines the best qualities of Fischer connectors and Draka cable, and increases transmission

distances by more than 30 percent. The integrated cable and connector solution is designed for indoor and outdoor application and maximises the performance of a broadcasters’ Triax equipment without the need for additional investment in fibre.

UPLINK SOLUTIONS LiveU will demonstrate its complete range of bonded 3G/4G uplink solutions for broadcast and online media. The portfolio includes the professional-grade LU70 backpack, with its proprietary internal and external antenna arrays for extra-strong resiliency and sub-second latency; the handheld, lightweight LU40-S device, weighing less than 1.5 pounds (700 grams), with its internal antenna and new live newsgathering features; and LU-Smart mobile app solutions, bringing bonded transmission to mobile phones and tablets (iPhone, iPad and Android devices), including its patent-pending Smart Grip device with its chargeable battery and MiFi channel; the LU-Lite software-only solution, enabling fast and reliable file transfer and live video over multiple platforms; and the LiveU integrated Xtender antenna for extra-strong resiliency in extreme scenarios such as vehicle- or tripod-mounting.

DVB-S2 MULTISTREAM At CommunicAsia2013, WORK Microwave will unveil a new DVB-S2 multistream feature for its demodulator product line. Other key highlights include advanced demonstrations of the company's DVB-S2 Modem SK-DV, DVB-S2 IP-Modem SK-IP, and Fifth-Generation Frequency Converter Series. The DVB-S2 multistream functionality will allow users to seamlessly deaggregate up to six transport streams and IP data ////////////////14

TV Technology Asia-Pacific I May/June 2013

from a single carrier, thereby optimizing efficiencies while reducing the amount of equipment required for uplink and downlink operations. Uses include local cable distribution and SNG applications.

Vendor View

Kelvin Ko, Sales Director, Asia-Pacific, Volicon Expected Tech Trends: We anticipate seeing a focus on 4K, 3D, OTT and multiscreen technologies. As broadcast and media companies shift toward higher resolutions, stereoscopic 3D content creation and delivery, and provision of content to multiple screens on multiple platforms, the Observer system offers the critical media logging, monitoring, measurement, and analysis tools necessary to ensure compliance with evolving

standards and regulations. Recent Regional Business: For broadcast compliance logging, many of our customers are upgrading to transport stream logging. In fact, we have just finished a few Observer TS (transport stream) installations in Hong Kong, Singapore, and Thailand. With this Observer system, users can log MPEG transport streams continuously, as well as monitor AV content including BS-1770-1/2/3 loudness and other correlations of data and video. Beyond engineering and other technical areas, the system supports the streaming and export of content to all stakeholders in the media enterprise. Because Observer TS logs the full transport stream, users can go back an hour, a day, a week, or a month to examine and/or export content. Low-bit-rate proxies and DVRlike frame-accurate controls allow for easy desktop review of live and recorded content, enabling engineering staff to monitor and maintain quality of experience and giving sales staff a tool for rapid ad verification.

Conference Highlight

Tony Taylor, Chairman and CEO, TMD

I shall be chairing the filebased workflow and Media Asset Management session on Thursday. I expect we will discuss issues such as how to monetise and distribute digital assets in a profitable way. Managing the cost of archiving and how the workflow evolution will impact your business are key issues faced. The broadcast industry is changing constantly and the number of delivery platforms and devices are increasing rapidly. As such it is becoming progressively more important for broadcasters to be flexible. This session is likely to discuss effective strategies and how we can improve workflows and media asset management systems in the ever changing market.

LIVE & LINEAR BROADCAST/ MULTISCREEN ENCODING The new StreamZ Live 8000EX integrated broadcast/ multiscreen live encoder from Digital Rapids combines the multi-format flexibility and output quality of the StreamZ Live family with robust features for the unique demands of broadcast, cable, telco and satellite television deployments. The 8000EX features simultaneous encoding for broadcast

television (H.264 or MPEG-2) and adaptive bit rate streaming for delivery to platforms including mobile phones, tablets, desktop computers, ‘smart TVs’, over-the-top (OTT) services and more.

May/June 2013 I TV Technology Asia-Pacific

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The Anycast Touch AWS-750 Live Content Producer is a content creation tool for live events, education, houses of worship and corporate use. No previous live production experience is required to operate Anycast Touch, and there is no need for the hardware typically required for professional live streaming, such as video switchers, streaming encoders, recorders, audio mixers, titlers and remote camera controllers. With an all-in-one style featuring a double touch-screen, Anycast Touch enables intuitive operation

and eliminates the cumbersome setup and signal adjustment process typically required when connecting various devices. Capable of 10 bit processing with an output of Full-HD (1920x1080), Anycast Touch offers clearer, more detailed pictures than similar products on the market, either in SD, HD or a mix of both. It also features a camera remote control capability – allowing operators to easily control one or more compatible pan/tilt/zoom cameras at remote locations Sony’s latest “A” Series of its TRIMASTER EL™ OLED professional monitors range feature significantly improved viewing angles, reducing colour shift by half** when compared with their predecessor models. In fact, the new “A” Series models offer industry-leading wide viewing angles in the whole professional flat panel market. This enables group monitoring by video engineers or colourists, which improves overall productivity and workflow efficiency.



Delta Meccanica has designed the largest motorized coaxial switch in its production line----this switch has four 4½-inch EIA male connectors . It is a DPDT, but it’s possible to use it in SPDT. The most common way to use this unit is as a connection from the main transmitter to the antenna , or to connect a stand-by transmitter to a dummy load. Changeover is controlled by means of a reversible electric motor, and the switching over time is less than 3-inch. In the event of a power supply failure, manual operation is possible. Isolation between the four inputs is not less than 55 dB in the whole broadcast range.

Screen Systems has developed a solution to overcome the challenge of providing consistency in subtitle quality and placement in OTT content. Most standard web-video players use a simple timed-text file for OTT subtitling, for example SRT for YouTube, DFXP for Flash and QuickTime and SMIL for Windows Media Player. These solutions rely on this timed-text file being interpreted by the video player. This more often than not results in the appearance of the subtitles differing between players and devices with positioning of the subtitles being particularly unpredictable. Subtitles are creatively fashioned by the trained author to complement the content being viewed but with the lack of consistency across players, the subtitle originator cannot always be sure how their subtitles will appear in font, style or position. Screen has developed a method to encode, store and display highquality subtitles with served video playback.

ROSS SINGAPORE: OPEN FOR BUSINESS, AND DEMOS This year, Ross Video will not be having a booth at the exhibition hall, according to Vivian Yu, Ross Video Marketing & Operations Manager, Asia Pacific. “We will have demo pods setup in our office, and we will be able to showcase some of our latest technology and solutions for our customers in a much cozier environment.” Product demos will include much of the growing Ross range of kit, including the Furio Robotics systems, Augmented Reality with Xpression and Unreel, ViewControl on Carbonite, the Carbonite eXtreme system for field production and live events, and the new Dashboard that allows a user to build a soft panel. Ross’ Inception Social Media Management tool will also be shown----this makes managing social media easier for broadcasters. Lunch will be provided and there is a one-way transport to Marina Bay Sands for those who would like to visit Broadcast Asia after. Contact Ross Video Asia Pacific at +65 9818 0589 and


TV Technology Asia-Pacific I May/June 2013

The new solution ensures that subtitles are always displayed in the style intended regardless of the player, while allowing the viewer to select from several language streams – or indeed turn them off – without the need to re-encode the video or host multiple copies. Screen’s new subtitle overlay layer solution for web video involves not only the engine to create the subtitles but also a means to display them in the player. It’s an image based approach to ensure consistent presentation of the subtitles on all players while also improving the visual quality of the subtitles on lowbandwidth connections as the subtitles are not subject to the same compression as the underlying video picture. Screen’s image based approach can also be applied to live webstreaming with minor modifications to allow for a real-time workflow (rather than file-based) and to ensure subtitles synchronise to video regardless of buffering etc.


Mini-Converters and Ultra 4 Racers /// By Dan Campbell Lloyd very February, the most formidable Ultra 4 Racing teams converge in Johnson Valley, California. They battle it out in front of 45,000 spectators for a chance to win The King of Hammers, the most challenging off-road race on the planet. The competition is broadcast live to 600,000 online fans and combines almost every off-road discipline that you can imagine – from desert racing to rock crawling. However, the event wasn’t always broadcast live. Two years ago, Hammerking Productions Executive Director Dave Cole, came to me and asked if I could help take the event live. While I knew it would be a huge challenge, especially from such a remote location like Johnson Valley, the freelance producer and former pro athlete in me was definitely up for the job. Our first live-broadcast in 2012 proved such a success, that we set out to do it again

this year. This time around, we wanted to take our production up a notch, which required a new, more robust workflow. To broadcast the event live on-site on Jumbotrons and online, we decided to shoot on a combination of eight Sony NEX700, NEX-VG20 and EX3 cameras. We used AJA’s Ki Pro Mini digital video recorder to record footage from the competition, and an AJA Io HD, MacBook Pro, Thunderbolt monitor and drive, and other technology, for playback. The project required a lot of video conversion. Using a combination of 30 AJA MiniConverters, we were able to feed signals from five satellite microwave dishes in the field, one on the side of an ATV and another in a helicopter, to our TriCaster 850EX multi-camera production system. The mini converters were the most important part of this process. We were able to easily run DMC cords from our microwave dish into the AJA Mini-Converters, so it took just

one step from the microwave dish and back to the TriCaster. I don’t really know how we ever did it without them. They saved us so much time, especially when compared to our setup without them last year, which proved to be a nightmare. On a production like this, the key thing is for all of the gear to work together without a hitch. If

TIMECODE BURN-IN INSERTER; FIBRE THROW-DOWN BRICKS Cobalt Digital now offers a dual-channel timecode burn-in inserter. The card, part of Cobalt’s COMPASS line, is ideal for control rooms, mobile production trucks, postproduction applications, and anywhere that needs to have visibility of video material timecode. The 9392 dual-channel timecode burn-in inserter allows individual RS-485 LTC inputs to be burned onto two respective, independent SDI video streams. The card can burn timecode and up to 16 characters of static text onto program video. An independent, per-channel failover/manual select function provides for a user-selectable flat-field to replace program video either as a manual selection or upon loss of input video. The generated flat field can be timed to input video, or to a frame reference signal. A single channel unit – the 9391 card – is also available. ////////////////18

TV Technology Asia-Pacific I May/June 2013

Also new is the addition of several fibre units to the company’s recently released Blue Box Group, a range of throw-down modular bricks. The units, pathologically compatible with OG fibre cards, allow for analogue audio embed and de-embed and provide 3G (1080p59.94/50) support for HDMI models. The compact, rugged, and portable converter boxes support SMPTE 425, 292M, and 259M as well as DVB, ASI, and MADI audio on two independent coax-to-fibre paths. Up to six modules can be installed in a single 1RU rack.

one piece of equipment fails, you’re in major trouble, because the whole live broadcast is in jeopardy. The AJA Mini-Converters were reliable, durable and never missed a beat. They never went down in the field once – even in the roughest conditions. You couldn't really ask for a tougher climate, but the converters just kept working, even when engulfed in dust and facing rain, snow and high winds. When broadcasting live from remote locations, having tools from AJA is awesome! I’d choose their technology over anything else, because I go with what I know works. They’re really leading the forefront of the technology that we need to do our job. ///

Dan Campbell Lloyd is a former pro athlete turned freelance producer who has collaborated with some of the biggest names in extreme sports production, including Red Bull Media House, Matchstick Productions and Freeride Entertainment. Contacts:

MARKETPLACE /// QUAD SDI-HDMI MULTIVIEWER/CONVERTER The DMON-4S Quad (3G/HD/SD)-SDI to HDMI multiviewer and converter from Decimator Design has a MSRP of US$695 and is set to ship in July. It includes four independent mini HDMI outputs that can each output any of the four (3G/HD/SD)SDI inputs or a Quad-Split of all them. The unit could be used to have four independent SDI to HDMI converters; three independent SDI to HDMI converters with a quad-split output; two independent SDI to 2 x HDMI converters with loop through; or a single SDI or QuadSplit to four x HDMI outputs. Inputs 2 and 4 can be individually changed to output active loop copies of inputs 1 and 2 respectively. Quad-Split mode allows selection of audio from any input.

HD-SDI SCAN CONVERTER Matrox Convert DVI Plus is a costeffective HD-SDI scan converter that lets broadcasters easily and economically incorporate content from computers,

iPads and iPhones into broadcast programs. It is ideal for creating broadcast-quality video from computer applications such as Skype, YouTube, Google Earth, and FaceTime. The regionof-interest feature lets the user define any region of any size from the computer display and output just that content at the required broadcast resolution. If the selected area doesn’t match the output resolution, Matrox Convert DVI Plus provides horizontal and vertical upscaling and downscaling. The unit can be genlocked to an SD analogue blackburst (bi-level) or HD tri-level genlock source. Proc amp controls on the output let the user adjust the hue, chroma, saturation, and brightness levels.

4K DISPLAY, SCALING AJA’s Hi5-4K MiniConverter provides a simple monitoring connection from professional 4K devices using four 3G-SDI outputs to new and upcoming consumer 4K displays equipped with 4K-capable 1.4a HDMI inputs. Compatible with HD workflows, the Hi5-4K is also a flexible Mini-Converter for HD workflows requiring 3G/HD-SDI to HDMI conversion. AJA’s ROI Mini-Converter allows high quality conversion and realtime scaling of

computer DVI-D and HDMI outputs to baseband video over SDI. With extensive audio functionality, image scaling, an elegant UI, as well as aspect and frame rate conversion, ROI seamlessly incorporates computer signals into video production.


The HLD100 is an SD-SDI uncompressed baseband video delay module from Axon which can store and delay up to six hours of SD and HD SDI video material depending on the size of the disk used, bitrates and ANC data. The HLD100 uses high-quality JPEG2000 compression to ensure visual lossless transparency. SD video can be stored and delayed as raw data. The use of SSD disks makes this module reliable and cost-effective. The HLD100 is 3Gbps SDI compatible and, compared to competitive server-based solutions, the dual slot device boasts a low power consumption of approximately 40W.

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MARKETPLACE /// QUAD OPTICAL CONVERTER Blackmagic Design has launched the ATEM Studio Converter 2, a new model of its ATEM Studio Converter product with enhanced talkback features, upgraded design and the addition of 6G-SDI support allowing support for Ultra HD video when 6G optical fibre modules become available.

PHANTOM POWER A low-cost, reliable replacement for batteries, Video Ghost from BHV Broadcast brings phantom power to digital video, providing 65 watts of power at 12V for camera head-ends and remote monitors using the existing serial digital video coaxial cable. At home with SD or HD signals, it also powers composite to SDI converters at the camera, avoiding longdistance signal degradation.

The unit is perfect for live production because it includes four optical fibre converters in 1RU, combined with built-in talkback features. ATEM Studio Converter is designed to operate with ATEM Camera Converters and allows the use of low cost optical fibre to connect cameras situated long distances away from the switcher. It supports both embedded SDI tally and also includes talkback features using the spare channels 15 and 16 in the SDI connections to the

camera. With many new features for camera talkback, ATEM Studio Converter 2 allows easy management when multiple cameras are used in a live production. The front panel of the new model includes a built in speaker and XLR microphone input. This allows directors to monitor talkback from the front panel without using headphones, as required on the older model. It also allows the use of general aviation style headsets for talkback.

DVI CONVERTER, SCALER & EXTENDER; JPEG 2000 OVER IP Opticomm-EMCORE has announced its new Optiva DVI converter, scaler and extender in one for HD video over fibre. The OTP1DVI2A1UKM was designed to quickly and easily convert, scale and send secure HD video over fibre. It converts DVI to VGA / RGB / RBGHV / YPbPr, and VGA / RGB / RBGHV / YPbPr to DVI, then instantly scales it to the native resolution of any display up to 1920×1200. The full Optiva line of video, audio and data insert cards includes video over fibre optics, CAT5/6 and coax, multiplexing/ demultiplexing, matrix switching, optical

add/drop, as well as remote system monitoring. Optiva insert cards can be installed in both 19-inch rackmount and compact tabletop or wall-mountable enclosures. Opticomm-EMCORE’s NVE-1-3G and NVD1-3G are professional grade encoder/ decoders that simplify the transmission of 3G HD, HD-SDI and SDI with embedded audio over IP. Utilizing JPEG 2000 compression technology, they can transmit high quality video with embedded audio over an IP network with extremely low latency.

EIGHT FRAME SYNCS ON ONE CARD; UPGRADED ROUTER CONTROL Miranda’s NVISION 8500 Hybrid Router Series Frame Sync Input Card was available for demonstrations at the NAB show. This new input card contains 8 input ports and allows easy synchronization of incoming wild feeds or signals moving between facilities. Traditional applications requiring eight frame synchronizers used eight processing cards. Now, the NVISION 8500 offers eight frame synchronizers on a single card—with 3Gbps, HD and SD all supported on the same module. The NV8500 router also now features the option of a new

DEM/EMB Output Card, a hybrid, 16-channel disembedding and embedding card that provides a high degree of flexibility with the ability to embed audio into any embedded audio channel while preserving the integrity of other embedded audio channels. From any standard input card, the DEM/EMB output card enables the router to easily shuffle original embedded audio as required for each channel. Miranda has also launched a significant upgrade to its NV9000 Router Control System which includes an all-new tieline management

architecture that is more efficient and scalable that ever, even when using hundreds of tielines. The release of “Dynamic Hybrid Pathfinding” (DHP), enables less expensive hybrid router configurations to have unparalleled access to internal processing functions. DHP is unique to Miranda

and is designed to allow any video input access the smaller hybrid disembedding and embedding resources of a router in such a way that the operator has no reason to care about how the router hardware is configured. This provides an affordable way to easily maximize the potential of a hybrid routing system.


The established 6800+ range of modular core processing from Harris has added the ////////////////20

TV Technology Asia-Pacific I May/June 2013

MDP6801+D, a metadata/data processing module that is designed to insert or extract different types of metadata/data into/from the VANC space of the SDI signal. Several types of metadata/data are supported by the MDP6801+ module, including GPI triggers (converted to data and stored in the VANC space), time code data, closed captioning data and SCTE-104 packets. Also new is an expansion of critical path processing features in the Selenio media

convergence platform and X50 frame synchronizer and converter. This includes intelligent frame sync and delay, proc amp, noise reduction, clipping and colour correction. The X50 adds a Rules Engine capability, which puts custom video and audio signal management into the user’s hands to eliminate manual uploads of specially modified code. Any video or audio input scenario can be detected with the user determining processing required for the output.


Calibre UK now offers a greatly enhanced version of its FoveaHD standards converter. In the new version, the motion estimation and motion compensation (MEMC) algorithms have been substantially refined through

frame-by-frame analysis of challenging test material; audio and timecode processing have been improved; and formatconversion quality has also been improved, especially for SD output modes which can be important for special interest and regional channels who may need to downconvert HD to SD with simultaneous frame rate conversion.

FULL STUDIO PROCESSING Nevion signal processing solutions are modular systems designed for the Flashlink 2RU frame. The Flashlink portfolio encompasses the full range of studio infrastructure requirements and includes up-, down- and crossconverters, frame synchronizers, audio embedders/de-embedders, sync-pulse generators/ replicators, video converters,



Ross Video, the company behind the openGear standard, launched openGear 3.0 at NAB 2013. The 3rd generation of the platform consists of a new powerful frame and companion control system -DashBoard 6 with panel builder. The new OG3-FR frame with 450 Watt

power supplies doubles the power budget of the previous generation, adding gigE Ethernet connections to every slot in the frame. A front mounted display makes identifying frame IP address and critical alarms easy, while an advanced cooling system provides variable fan speed that is controlled by frame loading that maintains airflow and frame temperature. Full backwards compatibility is maintained.

Evertz has introduced new modular products including new frame synchronizers, audio deembedders/embedders, and the new conversion 7814MMX series. Evertz says these products offer 3G performance

The CDH 1813 yellobrik from Lynx offers 3D format support, making this yellobrik an ideal tool for monitoring single link 3D SDI streams on a 3D HDMI monitor. This feature supports side-by-side, top and bottom,

at HD prices and more density. For example, the new “Gemini” series offers dual paths per module, providing a higher density and lower per path cost. The new modular products provide advanced features including IntelliGain (loudness control), IntelliTrak (lip sync analysis), audio up- and downmixing, and SFP based fibre interface.


3D SDI YELLOBRIK as well as frame packing 3D HDMI display modes. This yellobrik offers a variety of monitoring modes providing all the familiar monitoring features of the CDH 1811 including; clean feed of the SDI video signal, burn-in windows for timecode, bit depth, and video format, metadata presence indicators, AFD format codes, and 16-channel audio level meters on the HDMI video output.

audio converters and V-fade switches. They are controlled through onboard switches, web interfaces, SNMP or Nevion’s IP-based control panels, which allow these modules to be deployed for any application.

The GefenPRO 3GSDI Scaler for HDMI and DVI converts both HDMI and DVI to single-link or dual-link SDI / HD-SDI / 3GSDI formats. Resolutions can be scaled up to 1080p Full HD, 1920 x 1200, and 2K. Genlock frame synchronization and up

to eight channels of audio are supported. This unit provides high-performance scaling plus adaptive video interlacing with edge interpolation, advanced noise reduction, alpha blending, image enhancement, and a fully-integrated menu system. It also supports SDI, ED-SDI, HD-SDI, and 3G-SDI SMPTE formats. The built-in S/PDIF coaxial output can be used to send digital audio to a separate A/V receiver.



The DMON-10S from Decimator Design It is a low cost miniature (3G/HD/SD)-SDI 10 to 1 multiviewer or 10 to 1 input multiplexer. It features various multiviewer layouts; selectable output format in multiviewer mode; low latency buffering for

each input allowing nonsynchronous inputs; linked (3G/HD/SD)-SDI and HDMI outputs; and 10 x (3G/HD/SD)SDI inputs with auto detection. Each quadrant is independent of the others, allowing any 3G/HD/SD format of any frame rate to be displayed simultaneously. Variable aspect ratios per quadrant are possible as is a pass-through mode allowing any of the 10 inputs to be selected for output. The product won a TV Technology STAR Award at NAB 2013, as seen in the picture, and ships in September.

The Teranex 2D Processor from Blackmagic Design is a single processor model that offers all conversions in 4:2:2 quality in a single channel. The Teranex 3D Processor model features dual processors so it can easily handle dual channel conversions for full resolution 3D processing, as well as 4:4:4 quality. Both models are 1 rack unit in size with built in power supply, and feature 3 Gbps SDI, HDMI and analogue video in and out, with independent 8 channel AES/EBU and 4 channel analogue audio. Blackmagic also offers two models of Mini Converter

designed to ease the transition into 4K workflows. Mini Converter SDI to HDMI 4K is a Quad Link HD-SDI to HDMI 4K converter that also works with new Dual Link 3 Gbps SDI 4K connections. It allows monitoring using the new HDMI 4K devices starting to be released. The other model, Mini Converter SDI Multiplex, features four SDI inputs and four SDI outputs allowing conversion to and from Quad Link HD-SDI and Dual Link 3 Gbps SDI 4K signals. This model can also handle 4:4:4 Single Link/Dual Link conversions.

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Flexible Processing /// By Jin Seo Lee

he Korea Creative Content Agency (KOCCA) in Seoul, Republic of Korea, is an agency dedicated to the promotion of all areas of content. By combining the Korea Broadcasting Institute, the Korea Culture and Content Agency, the Korea Game Industry Agency, the Digital Content Business Group of Korea, and others, we are building a comprehensive support system to nurture the content industry in Korea. We provide facilities to small companies and freelance professionals who may not otherwise have the wherewithal to produce products for electronic distribution. Specifically, KOCCA has studios and numerous HD Editing suites, recently upgraded to 3Gbps capability. In addition, we have recently completed a 3D HD OB truck. We relied on Mr. Woo Seok Kang of Hae In Technology to specify and install the equipment. He has been in business for many years and has done several important installations.

All of our studios and editing rooms use the Ensemble Designs Avenue Signal Integration System. Each Avenue frame is populated with signal processing boards necessary for the particular installation. These include sync pulse generators, reclocking distribution amplifiers, up/down/cross converters, A to D/D to A converters for audio and video, HD/SD frame syncs, and embedders/disembedders. What works so well for us is having a common, generic frame into which we insert the appropriate processing boards. If additional processing is needed in a particular editing suite, we simply insert the module and connect the cables. This makes installations very flexible, and configuring each module is very simple with the well-designed user interface controls. Ensemble Designs made our conversion to 3Gbps HD very easy. We installed an Avenue 9400 sync pulse generator for tri-level sync, then we added Avenue 9110 and 9125 reclocking

distribution amplifiers, and 9550 video processing frame syncs. In order to adequately handle a variety of audio sources, we added an Avenue 9600 3Gbps embedder, disembedder and data inserter, along with Avenue 6010 and 6020 AES to/from analogue audio converters. From there we were up and running. Our most recent project is an OB van for 3D Movies, 3D Sports and special 3D programs. This van is equipped with a 3ality 3D camera mount system and Sony HDC-1400R cameras. Switching is accomplished with a Sony MVS-7000X switcher. All the signal processing is accomplished with Avenue 3Gbps modules. We chose the Ensemble Designs Avenue system because of its power, flexibility and reliability. Ensemble Designs’ customer service is exceptional and quick to respond to technical questions and service issues. The Avenue Signal Integration System is exactly what we needed for our signal processing needs. ///

Woo Seok Kang of Hae-In Tech, the integrator on the KOCCA project Mr Lee is a Technical Manager for KOCCA in Seoul, South Korea. He has been in broadcasting for 15 years. Contact:


Snell has announced a new series of format converters in its IQ Modular range, and has also launched the IQQSM range of 3Gbps/HD/SD-SDI quad split monitors. The new IQ video format converter modules ////////////////22

provide conversion of common SD, HD, and 3Gbps formats for broadcast systems and a host of other video, audio, and metadata functions. Based on Snell’s KudosPro motion adaptive format converter

TV Technology Asia-Pacific I May/June 2013

technology, the IQ converters are suitable for broadcast applications such as up- or down-conversion of incoming lines, providing multi-cast SD and HD transmissions, and integrating signals into SD or HD workflows. Snell’s new IQQSM quad split monitors enable local

monitoring of four 3G/HD/SDSDI input signals along with bar graph displays of eight channels of embedded audio. The monitors are capable of providing the four signals on a single HDMI or DVI output to enable integration with modern flat panel displays used extensively in local monitoring applications. The IQQSM module also features an SDI output that allows the signal to be routed to other areas in the facility such as remote monitoring applications or to server storage. IQQSM00 is the first module in the IQQSM range. It and provides an entrylevel, low-cost local monitoring solution for up to four 3G, HD, or SD-SDI inputs.


Production Positives

Name: Jason Eng

to Hong Kong in 2010. I'd like to return to the US, but hesitate given the economic slump.


Current assignments: Occupation: Videographer,


camera operator, editor

Family: James Eng (father), Lan Eng (mother), Ty Eng (brother), Jami Eng (sister), Jo Yung (wife)

Academic background: Colleges in the U.S. and France, studying film making and other subjects.

Star sign: Cancer (born in the Chinese year of the Ox)

Birthplace: Tachikawa US Air Force Base, Japan

Current location: Hong Kong

Why? I have pursued video editing and camera operation, which I had been doing in New York City for several years. I set out for an adventure in Asia: first Hong Kong, then Singapore, returning ////////////////24

people, I felt qualified to call myself a professional.

How did you become a cameraman? I used amateur movie cameras in the 80s. In 1999, a trek I took to Nepal was a good excuse to buy a Sony camcorder. As a cameraman by night, New York was a great place to volunteer shooting events, vanity pieces, and spoof ads. I even weathered the disdain of downtown commuters to get footage of the smouldering twin towers, climbing up on the scaffolding. When shooting for RacingThePlanet, where I worked with veteran camera

TV Technology Asia-Pacific I May/June 2013

My most recent shoot was at Tsim Sha Tsui, Hong Kong. We documented an economic conference for INET and used several Canon C300s, which I found to be a joy to work with. I also currently freelance for a global research firm. Videographers are essential partners for ethnographers because they need professional quality video, audio and editing. This month we did some ethnographical work in Shanghai, Suzhou, and Zhuhai.

per month now. But I keep free time in my schedule because it is easy to get trapped in an unhealthy, stressful workload.

First ever shooting job? I wanted to meet people in Hong Kong when I first arrived here, so I simply pursued my hobbies. Got my first real job here from a rock climber I met on a mountain. He needed a video manual for a product he was manufacturing, and knew exactly what he wanted. We shot it inside an office space where I met the founder of RacingThePlanet. That led to my second project!

Have you been busy?

Current equipment you use?

It's easy to give the impression of having been extremely busy, given the number of projects and the amount of travel involved (I've been to every SE Asian country except Burma for work). And I go to work in mainland China several times

Sony PMW EX1R, Canon EOS 60D – believe it or not, I chose the 60D over the 5D for the flip-out LCD screen -- GoPro and iPhone for sports or furtive filming required by research projects, Canon C300. Plus Velbon UT-60, which are super light tripod legs

that pack inside small luggage, Manfrotto 501HDV head, combined with a Manfrotto 438 ball leveler.

Other gear you have access to? 900-LED light panel, portable lights, Sennheiser lav mics, Zoom H4N, Rode Videomic, AT 814b Shotgun mic, and Sony PD-150.

Equipment "wish list"? What would you ideally like to have? I look forward to getting a full frame video camera such as the Sony FS700 or Canon C100/300. I also would love to have a better tripod (e.g. Sachtler).

What piece of gear do you wish someone might make? An adequately sturdy light stand that can fit into luggage. A US$100 rolling tripod bag that fits two light stands inside (for local shoots, not flying). A loupe that can be fitted on to a video camera LCD without damaging it or requiring adhesives. An affordable remote-controlled quadcopter or six prop copter that can hoist a Canon 5D with landing gear, with monitor goggles. Automated speech-totext subtitling software (I know, dream on). An iPad app that turns it into a wireless monitor for your video camera.

What's the biggest hassle in your current working life? I've struggled to learn Chinese for many years. Taking a class is easy to do if you aren't being called away all the time. Being unable to converse in Mandarin

while working in China pretty much makes you the dumbest guy in the room.

lighting up, so I spent an afternoon shooting in an elevator and the lobby.

Best thing about your job?

Hairiest/scariest assignments and why?

Production people seem to be the most positive people I've ever observed in the workplace. There is no place for negativity, and it's very helpful to other aspects of life.

Worst thing about your job? I usually work alone, so I don't often get to enjoy the best thing about my job.

Dullest assignments and why? After learning that I had bought my own video camera, my manager at my last office job (back in 2003 in Manhattan) asked me to do some video clips for a presentation. He wanted elevator buttons and signs

I spent a month filming all over Cambodia, and in Laos near the Ho Chi Minh Trail. It was a battle with heat prostration, shooting outdoors all the time in remote areas like Mondulkiri and in unsanitary locations like slums in Phnom Penh. In Laos I spent two days traveling by 4x4 in mud and over bridges supported only with flimsy wood planks, to the Vietnamese border. Rusting overturned trucks lined the roads, and in the villages rice barns are still constructed with American cluster bomb casings. I spent a week there filming recent flood devastation, > poached forest lands and the

May/June 2013 I TV Technology Asia-Pacific

25 ////////////////


incursion of plantations in protected areas. At our base camp in Pajujean village, contact with some of the vegetation caused an infection on my scalp and neck, making the work and journey out very uncomfortable. Fortunately medicine was available in Salavan, at the halfway point.

How much 16:9 do you shoot? In the past, clients who did not provide a spec on footage have been surprised to see 5:4 or 4:3 in the deliverables, so I only shoot in 16:9 now.

Deserts series for RacingThePlanet have provided the most memorable shooting locations. I'm hoping to shoot for them in Madagascar next year. Of the best locations I have been to (including Tashkurgan, the Atacama, Sahara) the most memorable was the Fish River Canyon in Namibia.

Which is your favourite place to shoot in?

Favourite food?

Deserts. I like adventure, so experiences like shooting the 4

Xinjiang Ban Mian (western Chinese noodles) but it's not

really popular or fancy. It's made of capiscum, garlic, onion, beef or mutton, and hand pulled/cut/shaved flour noodles. It's served in Muslim restaurants run by Hui or Uyghurs. If you travel in Western China it's the main staple. I have many fond memories of travel and work in that region, which motivates my craving for it.

Favourite drink? Pilsner Urquell. ///

Contact details: P: +852 6605 7282 E: W:

ADVERTISING INDEX /////////////////// Company








Delta Meccanica


AJA Video


Digital Rapids


Aldena Telecomm


Elber srl






Broadcast Asia




Cobalt Digital


LupoLux srl


DB Elettronica


Screen Subtitling



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Advertising Sales Representatives /////////////////// Publisher

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Latin America

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TV Technology Asia-Pacific I May/June 2013

TVT Asia Issue MayJune  

TV Technology magazine serves the Broadcast, Cable, Production, Post Production Business and New Media Markets. Each bi-weekly issue provide...

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