IBC2014 Daily D3 Sunday 14 September

theibcdaily www.ibc.org

Sunday 14.09.14

IABM celebrates talent IABM winner: Lionel Bringuier, product manager for Elemental’s delivery line

By George Jarrett A keenly anticipated IBC highlight, the IABM Design and Innovation Awards for 2014, have recognised an astonishing array of new technologies across nine categories. Operating to a revised structure this year, the awards celebrate those solutions

that offer significant benefits or new opportunities to the broadcast and media industry.

The winner of the acquisition and production category was Trimaran for GEORACING. In the post production category Quantel won for its Genetic Engineering 2 developments.

NTT Electronics took the

content and communications infrastructure award for its Robust IP Transmission with NA8000. The audio award went to Sennheiser for Esfera. In the competitive area of storage, the category winner was Ardis Technologies for its DDP superior shared storage solution.

The system automation and control category saw Vidigo score with its studio automation system. Elemental Technologies won the playout and delivery system section with its video delivery platform.

Cube-Tec and its MXFLegalizer took the test, QC and monitoring category prize, and in the services category it was Cambridge Imaging Systems that triumphed with IMAGEN. Celebrating a night when R&D came to the fore, IABM chief executive Peter White told the

BT links up for 4K Megahertz

By David Fox The first 4K Ultra HD truck in the UK, and probably Europe, has been built for BT TVOB by Megahertz. The truck, on show at IBC, has been used to cover numerous HD productions including Premier League football, rugby and cricket, as well as running 4K UHD trials.

It will take part in the upcoming Sky Sports 4K trials at the Ryder Cup in Scotland,

where it will deliver the output direct to Sky in West London and to BT Tower for BT’s internal monitoring.

Besides UHD and 4K, it can also deliver HD and SD, “so it’s a very, very capable truck. It can do two satellite uplinks in HD simultaneously, while outputting UHD via fibre,” said Neil Huggins, head of Occasional Use Services, BT Media and Broadcast.

“We wanted to make the truck future proof. We want our infrastructure to be at the cutting edge. Our truck can do it, and

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Huggins and Burgess with BT TVOB’s latest hybrid links truck for 4K and UHD

our fibre network can do it,” he added.

It is fitted with NTT 4K encoders and decoders, as well as a Sony 4K monitor, 4K Evertz multiviewer and Phabrix test and measurement equipment. “Apart from that, the main difference

audience: “The competition was really strong this year and we would like to congratulate all of the winners on their success.

“The awards had additional categories this year to reflect the changes the industry is going through, and we were delighted to receive such an exceptionally high standard of entries, signifying the amazing level of talent and creativity in our industry today,” he added.

The winning entries were judged and awarded by a panel of 22 independent specialists chaired by John Ive, IABM director of business development and technology.

All the winners will be put forward for the IABM’s Peter Wayne Award to be announced at the IABM Annual International Business Conference in December.

between it and the [four] other hybrid trucks is mostly configuration, because the UHD signal is comprised of four 3G HD signals, and the way this truck is done it is in quadrants,” one for each quarter of the picture, explained Megahertz CTO Steve Burgess.

The 96-port Snell router is configured so that groups of four sources and destinations are locked together. “Keeping them together and timed is the key, so you don’t see the joins when they are put back together,” he added. With all the equipment and a highly redundant infrastructure, the truck cost about £500,000.

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Inside

Television’s Expanding Universe Professor Brian Cox delivers today’s IBC keynote and gives his view on the future of TV Page 10

IBCTV streams ahead at the show The new-look IBCTV has moved to a streaming service Page 12

Ultra HDTV is getting close A panel produced by SMPTE asks whether we should adopt UHD-1 or wait for UHD-2?

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Exhibitor list and floor plan Plan your way around IBC2014 with the full exhibitor list and floor plans at your fingertips Page 47

Read our IBC news stories on the move…

Published on behalf of the IBC Partnership by

theibcdaily For the latest show news and updates follow #IBC2014

Pay-to-own BBC Worldwide Conference Analysis

By Chris Forrester BBC Worldwide CEO Tim Davie confirmed that the company would launch a pay-to-own VoD service in the UK in 2015.

Speaking at IBC’s keynote session ‘Realities of transformation: how BBC Worldwide is adapting to a new world’, chaired by media commentator and IBC Daily journalist Kate Bulkley, he admitted that the service would not be ready by the end of the year.

“We need to get it perfect, we want to deliver iPlayer functionality,” he indicated, adding that BBC Worldwide had no plans to launch a subscription-based service on the Netflix model. “You look at all the options and choose the right one,” he said.

Such a service could also be introduced in other markets, for instance in Asia. “It is a new frontier for a lot broadcasters but we are going to get in there, we are going to play,” he warned.

Asked whether AMC networks was about to buy a 50% stake in BBC America, as some press

reports have recently indicated, he admitted that one of the challenges faced by the channel was to remain independent in a market where consolidation was fast becoming the name of the game. “I won’t go into specifics, we have talked to numerous people and we are not in any

rush. AMC are absolutely the right sort of partners on co-production and a valid question is what type of partnership we are looking for.”

On the other hand, acquiring a stake in some particularly creative production company could be on the cards: “We are not here to create a multi million pound production company, but we will be more active in that area. In the past we have found that taking a minority but significant share is a good blend.

And distribution is also part of the game,” he admitted.

BBC Worldwide is also looking at expanding into Africa. “There are huge opportunities around mobile. The issue is monetisation, but it is exciting and we are looking towards the future and economic growth on that continent.”

This session is available to view on demand at www.ibc.org/vod.

Pushing sports boundaries Conference Analysis

By Catherine Wright Drones, biometrics, 4K cameras, multi-screen delivery… Key sporting events like the Winter Olympics in Sochi and the World Cup in Brazil have been driving technological innovation arguably more than any other content.

“We initially encourage the venue production team and the technical management team to be creative and not to talk about budgets”, said head of production at OBS, host broadcaster for the Olympic games Mark Wallace during ‘Major International sports events: producing for a global audience’, chaired

Finnish commercial TV channel Nelonen has chosen ChyronHego’s Channel Box 2 channel branding and promo system to incorporate branding elements into its Pro1 and Pro2 sports channel programming.

ChyronHego partner and

Nano tech: Ats shows off Stereotec’s compact, lightweight new Nano Rig

Codex/Stereotec

By David Fox German 3D stereo specialist manufacturer, Stereotec has incorporated the new Codex Action Cam and Camera Control Recorder into an ultra-compact mirror/beam-splitter Nano Rig. “It’s the smallest rig we have. It’s really light, just 3.5kg,” said Stereotec’s Lilian Ats. It has integrated motors and “it’s so compact you can use it in small rooms, handheld, on a Steadicam, or underwater. It’s perfect for closer shots.”

Stereotec has also developed a Side-By-Side Mini Rig using the Action Cam. 11.C71

Conference Highlights Today at IBC

by Ken Kerschbaumer, editorial director of Sports Video Group.

At Sochi that way of thinking led to flying drones above the Slope Style competition and installing up to 12 Alpine cable cameras to follow all the ski races. “The use of specialty cameras has dramatically increased since Vancouver,” confirmed Sotiris Salamouris, head of engineering and

technological operations at OBS. If the sky’s the limit for technological innovation, financial constraints remain an issue for the director of the TV division of FIFA, Niclas Ericson: “We cannot take football money and pour it into technology – it has to make sense.”

But that did not stop Joerg Sander, director of World Cup

host broadcaster HBS, and Sony head of live production Mark Grinyer from using 4K cameras to broadcast the event. “Football looks great with 4K, you get big expansive wide shots right into the home of the consumer,” said Grinyer.

The end result is, hopefully, that viewers, especially the younger ones, become more involved and engaged with what they are watching.

Channel Box 2 for Finnish broadcaster

By Carolyn Giardina

Nano Rig into Action

production house Tuotantotalo Werne will manage the installation, deployment and system playout for both channels.

“ChyronHego was an easy choice for Nelonen’s Pay-TV sport channels by providing a flexible, cost-effective, high-quality channel branding system,” said Juha Salmijärvi, development

manager at Nelonen. “Channel Box 2 allows us the freedom to work within our existing workflow, without any disruption, to bring engaging content into our live productions for a bold on-air presentation.”

ChyronHego Finland has delivered the Channel Box systems, and the first phase of

integration is currently in progress. Pro1 and Pro2 are expected to be on air with Channel Box 2 by October.

ChyronHego is also providing creative services to Nelonen by assisting their graphics department in the creation of fresh channel branding elements.

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Ultra high definition TV Latest technology developments 08:00, Emerald What caught my eye: Social Media & Multi Screen 08:30, E102 Keynote: Television’s Expanding Universe, 10:00, Forum TV Sport: From big screen to multiscreen harnessing the value of sport everywhere 12:00, Forum Movie-making in the matrix: Are you ready for a virtualised movie production?

12:00, E102 Interactive entertainment: You ain’t seen nothing yet 14:00, E102 New Money, Old Content: Creating Value from Archive, 16:00, Forum theibcdaily 03

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TV ad models under threat Conference Analysis

By Chris Forrester “The established ad-supported models continue to exist, but they are under threat,” said Bill Scott, COO, Easel TV. He told delegates to IBC’s ‘Who owns the audience now?’ session that while soap opera-type brandsupported broadcasting still had a part to play, the new variations were also extremely sophisticated in how they were gaining exposure and reaching consumers through video.

“These are real threats to the established broadcasting patterns. There’s no doubt that players like Netflix and Amazon,

D’Amato: Brand-owners have the leverage to make a real impact

although modest today, are now commissioning and acquiring content exclusively. It’s small scale today. Tiny, in fact. But will they grow from House of Cards

into a global broadcaster?

Might this change from ondemand availability to a more traditional ‘channel’-type of broadcasting business?”

Ella D’Amato, MD at awardwinning content agency Drum PHD, is one of these new disruptors, working with creatives and brand owners to win new audiences. “We make branded content. Many brandowners recognise that they are not reaching their target audiences via traditional TV. They are looking instead to create content of value to build relationships with new customers. Sometimes it means making TV or radio shows, online series, and while this sort of support has always had a

Alexa 3.2K suitable for Ultra HD ARRI

By David Fox ProRes 3.2K, a new recording format that allows easy upsampling in post to Ultra HD, will be available for the ARRI Alexa in a software update early next year. The Arriraw Open Gate format already allows this up sampling for 4K cinema.

Although ARRI believes that “widespread adoption of UHD/4K post workflows, as

ITV supports DPP Telestream

By Carolyn Giardina ITV has completed a content delivery modernisation) project with Telestream, which placed Telestream’s Vantage transcoding platform at the heart of the broadcaster’s file-based workflow, supporting the Digital Production Partnership programme.

The CMP project started in 2012, with a small Vantage-based transcode farm for production of Coronation Street and Emmerdale when they moved to HD, and as part of that process transitioned from tape to file-based production and post.

The Vantage systems were supplied through Telestream’s UK distributor, Boxer Systems.

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well as availability of UHD displays in consumer homes and 4K projection in movie theatres, is at least one to two years away – even in the most progressive markets,” it acknowledges that producers are already concerned about protecting their work for future developments. The possibilities of high dynamic range (HDR) displays, which it maintains “have an even greater effect on viewing experience than higher spatial resolution”, also have to be considered.

Pushing at Open Gate: Shipman-Müller with Alexa XT

“Alexa can easily accommodate productions that choose to follow a UHD or 4K workflow. The camera’s stellar overall image quality in

role in commercial broadcasting the scale is changing, as are their ambitions.

“Many of the major brandowners have the scale and the leverage to make a real impact and can become media owners in their own right,” said D’Amato.

“They also want to trim their spends in traditional media, and more accurately target their audiences. Perhaps the best examples of this are people like Red Bull and Pepsi. We are working with the likes of Sainsbury’s and to produce a 65-episode series that aired on Channel 4. We worked with comedian Michael McIntyre’s production company on a comedy series for Virgin Holidays which was online and combined input from Twitter and Facebook.”

This session can be viewed on demand at www.ibc.org/vod.

combination with ProRes 3.2K or Arriraw Open Gate allows for simple up sampling to UHD or 4K in a quality at least as good as other contenders,” said Alexa product manager Marc Shipman-Müller. “Because of their unequalled exposure latitude and highlight handling, Alexa images are already uniquely HDR-compatible.”

Both the Alexa XT and Alexa Classic (with XR Module upgrade) will offer ProRes 3.2K recording, at data rates far below uncompressed Arriraw.

Most lenses already fully cover the 3.2K image circle that results from the 16:9 ProRes 3.2K image.

11.F21

Smartpanel cracks comms Riedel

By Heather McLean Riedel Communications has announced the release of the new RSP-2318 Smartpanel, designed to serve as a powerful multifunctional user interface.

Riedel also announced the new STX-200 broadcast-grade professional interface, which brings any Skype user worldwide into the professional broadcast environment, and the Tango TNG-200, the company’s first fully networked platform based on the AES67 and AVB standards.

The RSP-2318 Smartpanel offers features and capabilities that will enrich the user experience and change the way broadcasters and AV professionals communicate, the company stated. The feature set of the Smartpanel includes three

high resolution, sunlightreadable, multitouch colour displays, premium quality stereo audio, a multilingual character set, and 18 keys in just 1 RU. Thomas Riedel, CEO of Riedel Communications, told The IBC Daily that the three platform releases marked the start of a new era for platform-based products at Riedel. He explained: “For us these platforms really are a paradigm shift. We are moving away from being a purely hardware driven product company, to becoming a software solutions player; this is the start of platforms for Riedel.

“We are, more or less, mirroring the mobile technology evolution. In the same way that smartphones have far surpassed traditional mobile phones in enriching the user experience, the Riedel RSP-2318 Smartpanel will bring broadcast workflows to a whole new level,” he added.

Sky upgrades Mistika suites Sky Production Services in the UK has upgraded its 4Kcapable SGO Mistika suites to boost its colour grading and finishing services. Sky now has additional capacity to host multiple client platforms from their Mistika systems which have their own localised storage for realtime 4K playback, but also integrate with their large near-line storage infrastructure, supported by several background render nodes. Said Sony’s Cara Cheeseman: “We have consolidated and upgraded our systems, which also include the addition of 4K grading monitors from Canon. Our Mistika systems serve as our client-focused colour grading and finishing suites.”

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theibcdaily EDITORIAL Editorial Director Fergal Ringrose Managing Editors Melanie DayasenaLowe, Adrian Pennington, Andy Stout Reporters Kate Bulkley, Michael Burns, Chris Forrester, David Fox, Carolyn Giardina, Monica Heck, George Jarrett, Heather McLean, Ian McMurray, Will Strauss, Catherine Wright Website/Social Media Writer Neal Romanek Photographers James Cumpsty, Sander Ruijg, Chris Taylor Web Videographer Tim Frost IBC Chief Executive Officer Michael Crimp SALES Publisher Steve Connolly Tel: +44 (0)20 7354 6000 Email: steve.connolly@intentmedia.co.uk Sales Manager Ben Ewles Tel: +44 (0)20 7354 6000 Email: ben.ewles@intentmedia.co.uk Sales Executive Richard Carr Tel: +44 (0)20 7354 6000 Email: richard.carr@intentmedia.co.uk US Sales Michael Mitchell Tel: +1 (631) 673 3199 Email: mjmitchell@broadcast-media.tv ART & PRODUCTION Head of Design & Production Adam Butler Editorial Production Manager Dawn Boultwood Senior Production Executive Alistair Taylor

Thomas Riedel says Smartpanel marks the beginning of a new era

Meanwhile, the Skype STX-200 meets broadcasters’ increasing need for a reliable single-box solution that enables them to engage both reporters and viewers in live programming. Collaborating with Microsoft, Riedel now has access to Skype TX which was developed by Microsoft specifically for the needs of the broadcast industry.

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Page Design Adam Butler Page Design at show Dawn Boultwood, Jat Garcha Managing Director Mark Burton Printed by Partnion +31 (0)6 1362 4321 Published on behalf of the IBC Partnership by Intent Media London, 1st Floor, Suncourt 18-26 Essex Road, London, N1 8LN, England © The International Broadcasting Convention 2014.

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

Published on behalf of the IBC Partnership by

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In Brief Adobe Premiere Pro CC panel launched Pronology is demonstrating its new Pronology Panel for Adobe Premiere Pro CC. The Pronology Panel integrates Pronology files and metadata for editing in Adobe Premiere Pro CC in order to simplify content creation and distribution.

“We are excited to showcase our new Pronology Panel to attendees at IBC, as it provides a pathway into the Adobe Premiere Pro CC workflow,” said Mike Shore, co-founder of Pronology.

“The Pronology Panel allows Adobe Premiere Pro CC users to access the Pronology management system content files instantly, enhancing production turnaround times. The Pronology Panel also aids the creative process; by streamlining stored file access, it enables a production team to focus more on content creation.”

Green is go for Formula E FAL Systems

By David Fox The first ever race in the new battery-powered Formula E took place in Beijing yesterday. As these are the greenest ever racing cars, the broadcast facilities also had to be lighter, leaner and use less power, which posed challenges for Leeds-based systems integrator FAL Systems, which was commissioned to build the system by Hayfisher Productions, with Formula E as host broadcaster, in collaboration with Aurora Media.

The seven pods designed for inter-modal transport had to be small and light – and because rail is very bad for highfrequency vibration, everything has had to be shock-mounted.

The systems centre around a customised Miranda (now Grass Valley) NV8280 hybrid router, which includes audio embedding/de-embedding and all video routing, “to save space,

All electric: FAL System’s Warden and Unsworth in the Outside Exhibit area

weight and cost,” explained Andy Unsworth, FAL technical director. It also chose Miranda multiviewers, “which integrated with the router and control system and gave us a really simple solution.”

It has 13 Grass Valley LDK-80 Flex cameras, run over SMPTE fibre, 18-input/3-output K2 Dyno servers, and a Karrera vision mixer, and the merger of Miranda and Grass Valley has meant that the Karrera could be integrated with the router control system, “to give a very powerful, but simple to operate, system.”

Belden, which owns Grass Valley, also supplied all of the fibre cable for the installation and cameras, which amounted to 70 300m drums.

“The support is very good as well,” added Chris Warden, MD. Grass Valley sent two technicians to support the event in Beijing, and to the two prerace simulations in the UK. There are also up to four incar cameras in each of the 20 cars, with 40 in place for the first race and 80 in use eventually, but just four feeds to the mixing desk. Vislink is supplying both in-car cameras and links, taking a single channel from each car, with data and telemetry information (with remote switching between the cameras), using a diversity fibrebased receive system.

There will also be four of the new Marshall miniature cameras used locked off, plus two RF (Panasonic P2) camcorders for pit reporters and ENG use, again using Vislink systems, which can have up to 12 receive points.

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10.A26 Mixed format routing: The Smart Videohub 40x40, the newest model in Blackmagic Design’s family of mixed format routers, includes the company’s visual routing user interface and 6G-SDI technology allowing SD, HD and Ultra HD routing all on the same router at the same time.

Blackmagic’s Western regional manager for North America, Kendall Eckman (pictured), noted that this new router is aimed at both broadcasters and filmmakers. It will be available in October for $2,995. The Smart Videohub family of SDI video routers are Ultra HD mixed format routers and include built-in five-inch high resolution video monitoring and spin knob router control. Grant Petty, CEO, Blackmagic Design said, “The new Smart Videohub 40x40 brings all of the great features of the Videohub family, plus adds redundant power and a much larger, bright high resolution screen is possible because of its larger two-rack unit design.”

BT Sport preps new CNG fleet BT Sport has created a fleet of cellular newsgathering (CNG) vehicles using mobile uplinking technology from LiveU. Working with Garland Partners, three Vauxhall Astra cars have been fitted with the LU500 backpack unit and Xtender remote antenna technology.

Each LU500 can be connected wirelessly, at distances of up to 300 metres, or via Ethernet, to the Xtender that sits on top of each vehicle. BT Sport chief engineer Andy Beale said: “We now have a fleetfooted and effective way of allowing sports journalists to get the story back to us.

We value the flexibility and speed of deployment of the LiveU solution.”

7.H20

Cracking 4K live over IP Sony

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By Adrian Pennington

Fotoweek: In front and behind the lens

Live production is the largest missing piece of the SDI to IP jigsaw but Sony has pieced together an end-to-end IP system demonstrated at IBC transmitting live 4K. “The future is that any product will have a network connection allowing the audio, video and metadata to be sent straight into a standard IP router and back to a studio facility for remote operation,” said Olivier Bovis, head of AV Media at Sony Professional Europe.

The demonstration consists of a 4K 50p live stream from the Luxembourg HQ of service provider Broadcasting Center

As well as highlighting photography exhibitions in Amsterdam and larger photography events such as the Unseen Photo Fair, Fotoweek is an opportunity to get active with the camera – behind or in front of the lens. Take part in photography workshops, show off your work or have your family portrait taken at one of the participating shops.

For more information, visit Iamsterdam.com.

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Europe, routed over 700km of fibre to the RAI with a two frame delay. The signal is taken out of a F55 camera into a SDI-IP converter board and piped to Level 3’s content delivery network. Signal quality is managed by a software layer called IP Live System Manager.

“IP gives a fundamental infrastructure cost benefit,” said Bovis. “An IP router is a tenth the cost of SDI and the cost of cabling is next to nothing in comparison. IP also offers incredible flexibility in production.”

While the conversion board will be needed to transition legacy equipment into IP, Sony is developing a Networked Media Interface for its products and those of third parties under licence.

Olivier Bovis: “IP gives a fundamental infrastructure cost benefit”

Sony products outfitted with the interface are due around Q2 2015. Ten companies have signed to support the effort to create compatible chipsets and modules including Cisco, Evertz, Juniper Networks, Imagine, Vizrt, Matrox and Rohde & Schwarz DVS. As part of this interface Sony is developing its own compression technology to support 4K 60p transmission over 10 Gbps Ethernet. The creation of a SMPTE Registered Disclosure Document for this codec technology is currently in process.

Hall 12

IBC honours FIFA with IHFE This year’s IBC International Honour for Excellence goes to FIFA TV, the broadcast operation within football’s global governing body. The award will be presented this evening to Niclas Ericson, director of FIFA TV. The FIFA World Cup is far and away the most popular single-sport event in the global calendar. Television audiences for its finals rivalled the Olympics in terms of international audiences.

Since 2009, television coverage of the World Cup, along with other FIFA competitions, has been in the hands of FIFA TV, ensuring that everyone in the world benefits from the highest quality coverage and innovations in services.

That coverage has been in HD since the 2006 World Cup in Germany. In 2010, games were shot in 3D and broadcast live by ESPN. In 2014 both 4K Ultra HD and 8k Super Hi-Vision were available at some matches, along with high frame rate capture and 360˚ immersive video.

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

Ericson said, “I am delighted to accept this award on behalf of FIFA TV. It pays a fitting tribute to the dedication of our industry-leading service providers who help us deliver the very best coverage of the World Cup to football fans all over the world.

“Together, we are able to make the World Cup a truly global experience for everyone. We look forward to continuing this pioneering work with the broadcast industry as we offer the unique platform of the FIFA World Cup to help drive technology forward.”

The IBC Awards Ceremony is tonight at 18:30 in the Auditorium. The show includes a lot of remarkable content, much of it never seen before, using the full resources of the IBC Big Screen. Tickets are free to all IBC attendees but be sure to get there early to secure your seat.

theibcdaily

Copyright reform overdue Spectrum debate: The bigger picture

By George Jarrett

European Commissioner Neelie Kroes on stage with The IBC Daily’s Chris Forrester

Conference Analysis

By Chris Forrester “Broadcasting needs a mindset that is open, borderless and competitive. Europe’s single market is our crown jewel – let’s preserve it and enhance it,” argued Neelie Kroes, Europe’s outgoing VP commissioner fot the Digital Agenda and Connected Europe. But she warned that change had to take place.

“The internet doesn’t know borders. Territorial restrictions just put barriers in the way. We already have a ‘country of origin’ rule for audiovisual and media services [which permits] broadcast anywhere in the EU. This is central to a single market, central to our digital future.”

Madam Kroes, who departs the Commission in the next few weeks, stressed that copyright reform is needed. “Today, broadcasters spend years clearing licenses so that they

can show material in other EU countries. That’s expensive enough for established players: new innovative players can’t afford it at all.

“I am asked ‘Why can’t I access my favourite TV show when I travel’ and ‘How do I watch the match of my soccer team from back home?’ It’s time for change. Today’s rules are obstructing tomorrow’s digital future.”

She explained that the European Commission’s president-elect J C Juncker is making the digital single market a priority. “We need to ensure open access to that content.

That starts with net neutrality, so viewers are free to access whatever they choose without their telco provider deciding for them.”

Kroes cautioned against moving too fast in terms of some regulation, but stressed that in areas such as copyright “reform is long overdue. Let’s take every opportunity to deregulate and adapt.”

Today in the Hub The IBC Content Everywhere Europe Hub, located in Hall 14 and sponsored by Hybris, is the venue for a series of free presentations, case studies and debates. With great interest in multi-platform delivery, ondemand viewing and new business models, these sessions are set to define the agenda.

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Each day there will be two, hourlong, editorially independent panel debates. Today, the 15:30 session looks at sporting content and how its benefits can be maximised across any device. With the Sochi Olympics and Brazil World Cup both delivering remarkable multiplatform content, there is much to discuss.

Right after IBC’s ‘Great Spectrum Debate’ decided to signal that the broadcast group had ‘beaten’ the mobile broadband community, the show was buzzing with the news that the EU, in light of the Pascal Lamy report on spectrum allocation, had decided that a further consultative period is required.

European Commission vice president Neelie Kroes wrote to members of the High Level Group to thank them for their efforts on behalf of Lamy, and referred to an extra public consultancy.

Reactions from the EBU came from director general Ingrid Deltenre and spectrum expert Darko Ratkaj.

Deltenre said: “This debate is not yet finished. After the Lamy report, I think they won’t give up.

There was a lot of work done for

Lamy – hundred of hours of meetings and expert group meetings. You come to a conclusion, there is a report, and you simply cannot start this whole process again.”

Sadly for the broadcast side of the spectrum battle, Lamy was advice without weight it now appears. “They were a group of hand-picked experts with no power to decide,” said Ratkaj. “At the same time there are two formal groups finalising reports on the use of the UHF band.

“The Radio Spectrum Policy Group (RSPG) is finalising a report for the end of the year, with a consultation period until February. The CEBT, the national spectrum regulators body, will publish in November,” he added.

“The big message is that Lamy is one thing in a bigger picture. What we did not know before the letter was that the Commission is planning a public

Ingrid Deltenre: “This debate is not yet finished”

consultation. The spectrum policy unit in Commission Services will probably run that.”

UHD camera is good sport: The new Hitachi SK-UHD4000 Ultra HD camera uses 2/3-inch sensors, and takes traditional B4-mount broadcast lenses which Paddy Roache (pictured), director and general manager, Hitachi UK, sees as “the most logical way forward, to allow production companies to make reasonable financial evaluations about moving into 4K. From a technical standpoint, it drops in [to existing infrastructure] beautifully. It’s a TV system camera, not a cinema camera.” It is expected to ship before March, although pre-production models are currently undergoing tests with various broadcasters. In one, the camera was used in a Sony-based OB truck, “and it slotted straight in. All of the tallies, intercom systems, returns, all plugged in and operated the same way, and because it is 2/3-inch, all the cameramen were able to operate it exactly like an HD camera,” said Richard Harvey, technical director. “It is particularly suitable for sport. It’s a totally workable solution for them,” added Roache. – David Fox 11.D39

The other panel debate starts at 13:00, and looks at the prospects for LTE Broadcast.

The added bandwidth available in new generation mobile data networks offers the prospect of unique services, including dedicated channels inside sporting venues. Systems are on trial, and their technical and commercial aspects will be discussed this afternoon.

The rest of the day’s programme is made up with

presentations by vendors and users who will reflect on what has already been achieved and what is on the near horizon.

The full programme can be seen online at: www.ibcCE.org/europehub, or in the Hub. All the sessions are free to any IBC attendee, and with many of the sessions likely to be extremely popular, it could be a good plan to get there early.

If you are registered for IBC Content Everywhere Europe and have a Touch & Connect device, you can collect exclusive content, along with white papers and other materials, from the Download Wall in the Hub and view all of the content in your personalised Touch & Connect Portal.

For more information and to view the full timetable, visit: www.ibcCE.org/europehub

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Television’s Expanding Universe Conference Today

By Chris Forrester The IBC guide describes multiple award-winning broadcaster Professor Brian Cox OBE as being known globally for his hit TV shows that help explain the story of life, the universe and everything! IBC is never wrong, but one suspects that Professor Cox is perhaps just a little more modest, although he certainly deserves all of the praise he has received for bringing quite challenging topics to a very wide television audience.

Inspired by Carl Sagan’s Cosmos TV series (1980) to follow a career in physics, the former keyboard player of D:Ream is taking that message further forward and inspiring a new generation of minds via TV, social media and the web to be amazed at what’s 'out there' and how science works.

‘The Prof’ is a quite brilliant thinker, a charismatic communicator, and with that key ability to explain hugely complex concepts for the humble viewer.

Sunday Keynote 10.00-11.00 Forum

The stars have aligned to bring the ‘rock star scientist’ to IBC2014 and a keynote in which Cox will explain how his unique storytelling style evolved, and the impact of television’s expansion since Cosmos first aired in 1980.

He is also supremely well qualified to deliver today’s IBC keynote, and says that his thoughts on the future of television will be hugely relevant for IBC’s delegates. By the way, his thesis (which everyone will want to read before attending his keynote) was snappily entitled 'Double Diffraction Dissociation at Large Momentum Transfer', which says it all.

His presence at IBC is really no surprise. He is a Kelvin prizewinner (2010) and was awarded the Michael Faraday Prize in 2012. His television appearances, whether as a guest on the Jonathan Ross TV show, or hosting the BBC’s multiple award-winning Wonders of the Solar System or its followups Wonders of the Universe and Wonders of Life, as well as Stargazing Live, with fellow science enthusiast Dara

O’Briain, gained him popular success and critical acclaim for his ability to convert complex topics into easily digestible TV fare.

Interviewed by journalist and media commentator Ray Snoddy, Professor Cox OBE is part of IBC’s examination of the future on today’s programme, where broadcasters, platform operators and others talk about their new services, changing the nature of their existing relationships with advertising, and offering more immersive multiplatform viewing experiences. New technologies are presenting fresh opportunities for monetisation, with tagged ads and realtime bidding systems for advertising slots opening up as broadcasters learn to use the power of the return path. But engaging with the viewer in an increasingly untethered and multiscreen world remains a challenge.

Today’s future-facing sessions will seek to guide delegates through the newly blended world, where TV becomes even more social and reality is augmented.

Coming to a screen near you The global update by the European Digital Cinema Forum is a popular annual event at IBC. This year it takes place this afternoon, at 16:00. It is part of the IBC Big Screen Experience, and is free to all IBC attendees.

This year’s panel brings together a huge range of experience, from manufacturers, researchers and technologists to exhibitors,

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trade bodies and film festivals.

They are coming together to talk about the real issues affecting the continued development of digital cinema delivery.

The digital transition gathered a huge momentum, and Hollywood studios are announcing their last ever celluloid releases. But is the digital transition complete, and

if not, why not? How far has electronic delivery progressed?

Working in an IT world, we have to face IT timescales.

What is the effect of old software on global operations?

Are there barriers to upgrade if we have to keep many cinemas on legacy software? SMPTE has standardised an advanced DCP: are we about to see it deployed?

Quadcopter backpack takes flight Porta-Brace

By David Fox A backpack designed to carry the DJI Phantom quadcopter has been introduced by PortaBrace. The BK-2SVN has a hollow-core rigid plastic frame to provide protection while remaining lightweight. The frame has a layer of foam padding and durable, abrasion-resistant Cordura material. The padded straps are lined with a soft nylon mesh to improve comfort and airflow, and there is a suedeleather handle for carrying the case by hand.

Also new is Porta-Brace’s Backpack Camera Case (BC2NRF), which can carry camera, tripod, accessories and up to 17-inch laptop. An exterior tripod sleeve and cinch keep a tripod securely in place, and there are two side pockets and a front pocket for accessories.

For quicker access, there is a new large HDSLR Messenger Bag designed to carry camera, multiple lenses, memory cards, and an iPad. There is also a fold out flap,

What are the next generation technologies? How, when and at what price will they be adopted? Will it need legislation to solve the loudness issue in cinemas? How can festivals cope with a plethora of commercial and home-grown delivery formats? How do we reliably measure and deliver consistency in screen brightness?

These are just a few of the

Phantom-powered: PortaBrace’s new BK-2SVN quadcopter backpack

lined with anti-skid material, to hold a monopod.

If a messenger bag isn't hip enough, there are several new hip-belt cases, including the HIP-3LENS offering quickaccess to spare lenses, and the HIP-2GP for GoPro cameras and accessories. The Cordura hip packs can be worn in front or back positions, have a semi-rigid, padded frame, and are lined with soft Veltex. There are extra pockets for cords and additional small accessories.

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issues facing an industry that has already gone through a revolution in less than a decade. Under the chairmanship of EDCF’s Dave Monk, a remarkable panel will consider all this and more. Your contributions are sought, too, so come to this free-to-attend EDCF Global D-Cinema Update and join in the debate, this afternoon at 16:00 in Room E102.

View the IBC Conference Programme online, at www.ibc.org/conferenceprogramme in print or on the mobile app, sponsored by Blackmagic Design

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Movie-making in the Matrix IBC Big Screen

By Chris Forrester

IBCTV streams ahead The new-look IBC TV has been running since Thursday, and has already built a big archive of content that can be seen online as well as on the big screens around the show.

This year IBC TV has moved to a streaming service. Hosted as ever by Rob Curling, there is a scheduled, streamed feed which includes all the keynote presentations from the IBC

Conference. Today’s keynote address by Professor Brian Cox OBE is on at 10:00 today, followed by a debate on the issues he raises.

As well as the big events in the IBC Conference, IBC TV is also covering sessions in the IBC Content Everywhere Workflow Solutions Theatre, IBC Content Everywhere Cloud Solutions Theatre and

IBC TV anchor Rob Curling in action

IBC Content Everywhere Hub Theatre. That is alongside its usual mix of technology and business stories, and practical information to help you get the best out of IBC. All key content can be viewed by Touch & Connect Club Members in their personalised online portal, and are also available as VoD at www.ibc.org/vod.

You ain’t seen nothing yet!

The world’s filmmakers are moving rapidly towards alldigital production, and today’s younger filmmakers have frequently cut their creative teeth on iPhones, inexpensive digital camera systems and Apple Macs.

This session questions the impact cloud computing and virtual production and post production tools are having on modern filmmaking processes.

Produced and moderated

by Kate Morrison-Lyons from Fluent Images, the session ‘Movie-making in the Matrix—are you ready for a virtualised movie production?’ asks whether moving away from traditional infrastructurebased production workflows can offer practical and

financial advantages? What are the implications for production/post facilities as we know them today? What does the future hold?

The session investigates how this technology spans movie production from Hollywood blockbuster to indie feature. The panel of experts, including Jon Gardner, director of operations, Eikon, Naomi Climer from Sony Media’s Cloud Services and Ben Roeder, CTO at Sohonet, will look at the architecture, systems and processes available now and explore the real world use of cloud.

“This is a session for anyone who is looking to make a movie that involves anything more advanced than an iPhone (and even those too),” hints MorrisonLyons.

Today 12.00-13.00 Room E102

The art of the possible includes VR headgear like this

Industry Insights

By Chris Forrester Ken Blakeslee, who has produced today’s panel with Terry Marsh, reminds delegates that the rules – such as they are – as far as interactive entertainment is concerned are changing, and fast.

“People are now carrying with them devices with capabilities that far exceed that of the so-called ‘Smart TV’ in the living room,” says Blakeslee.

“This session explores the 'art of the possible' in technology terms, what consumers are being offered and how they are using capabilities at their disposal to curate their own combinations.”

The panel will also provide a ‘best guess’ glimpse of how this might unfold over the next few years and the ecosystem falling into place that enables new business models for interactive content delivery. Of course, there are different views of how 12 theibcdaily

these new business models might evolve, not least the importance of second screens for enhanced material, data, background, fast-moving stats and so forth, leaving the giant screen for more general information.

The session will include discussion on social networks, augmented reality, gaming, virtual reality and wearable multi-sensory technologies, all of which are enabling new types of experiential entertainment to be enjoyed and shared.

Today 14.00-15.30 Room E102

This is also an interactive session with demos of relevant innovations, discussion/debate with a panel of cross industry experts and comments and questions from

delegates and ‘Digital Natives’ attending. An A3 glossy ‘Market Map' prepared specifically for the session will also be discussed and made available to delegates.

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Ultra HDTV is getting close Conference Today

By Chris Forrester Ultra-HDTV, or more formally UHD-1 in its 4K guise is again the hottest of hot topics at IBC2014. This session wraps a full day of focus on Ultra-HD with earlier presentations devoted to the technology aspects of UHD, a pair of Cutting Edge sessions on going 'Beyond HD' and another on ‘Future Content Creation & Display’. This panel is produced

by SMPTE, so will be up-to-date on their latest thinking.

They’ll be discussing whether to adopt UHD-1 now, or wait for UHD-2? The debate is timely.

While most of the headlines these past few months have focused on the FIFA World Cup experimental 4K transmissions out of Brazil, the fact is that there is growing support for UHD-1 technology, and while some brave pioneers are already transmitting ‘channels’ of UHD content, the reality is that most are high rotation programming

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blocks within existing channels.

But that is changing, and perhaps faster than attendees to IBC might appreciate.

Programming is now being made in 4K and not just by Hollywood and the sports community. Italian public broadcaster RAI has dipped its toe into the water with a magnificent 4K production of La Boheme, while pay TV rival Sky Italia has produced Treasures of the Vatican in 4K (and 3D), while the BBC has tested terrestrial distribution for 4K, and broadcasters as far afield as Russia, South Korea, Japan and Brazil are already geared up for transmission and capturing factual, drama and other key genre shows in UHD1/4K for future transmission.

The US, helped by House of Cards and Breaking Bad is also producing plenty of drama series in 4K and the likes of

Today 16.00-18.00 Emerald Room

Netflix is earning good money by streaming 4K material.

France Televisions, and its associates in the nation’s 4Ever consortium, are looking into streamlining workflow practices, while Orange in France is

UHD is passing from experimental to experiential

looking to tap into HEVC for its IP-based delivery of content.

NRJ, a music channel tested two weeks of 4K transmissions in July. The 4Ever consortium is already doing advanced work on UHD-phase 2, in high-frame rate, and looking at future developments.

This session will also look at some specific elements of the production and transmission chain, as well as looking closely at the two possible routes for ‘next generation’ broadcasting.

SMPTE promises the session will embrace controversy as well as being educational!

See us at IBC in Hall 4, Stand 4.B75

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theibcdaily Full metal jacket: The new HandeVision Ibelux 40/0.85 is first of a new range

Opinion

Over-The-Top television simplified Content delivery over IP is here but don't underestimate the challenges of deployment says Alper Turgut, CEO, Anvato The over-the-top (OTT) trend lines are there and perhaps have been for the better part of the past year. This is no longer a demonstration or trial.

Broadcasters, content creators and service providers of all shapes and sizes are no longer experimenting with IP delivery of their content. TV Everywhere is a reality.

However, I’ve observed a great deal of what I’ll call ‘reality distortion’ around TV Everywhere and how large the challenge of deployment can be. Whether through lack of information or invalid data, many organisations that have already deployed TV Everywhere architectures or those who are preparing such plans don’t seem aware of advances in the digital media space that have greatly improved and simplified the technology required to bring those plans to light.

Make no mistake -- the preparation, manipulation and delivery of live and on-demand video isn’t simple. However, we’ve advanced the state of the

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art in the industry to where real ‘server to screen’ can be achieved without having to reinvent the wheel. Speaking of that analogy, we’ve integrated many of the spokes (digital ad insertion, clipping and editing, signal acquisition, hybrid encoding) into the complete wheel of processing and preparation of digital media.

This is where so much of the confusion around these complex workflows is happening, in my opinion. Most organisations that decide to offer their content in an OTT/TV Everywhere-type deployment will need one or all of the components I mentioned above. But what many of them don’t realise is that all these components can be harnessed in one platform, providing a sizable return in scale, efficiency and cost.

Sure, you could piecemeal out a similar solution, but why introduce risk and uncertainty across disparate spokes in the wheel, where there are no guarantees that APIs for one requirement (and vendor) will

work with another? The choice here appears clear for a growing number of broadcasters, content creators and service providers.

So what makes this complete TV Everywhere platform approach so compelling? First, it is imperative to understand how important metadata has become to video delivery today.

When a signal begins its path to the viewer, all the associated information about the content must be associated with it at origin.

This means that closed captions, programme information, markers for ad replacement and user created metadata are merged in with the video and audio and travel with it all the way to the viewer.

This data becomes very valuable and relevant when ad replacement is introduced, too.

Given that each viewer maintains a unique connection to the cloud when the content is delivered, this data helps drive decisions about content personalisation and recommendations and enables

individualised ad replacement.

Additionally, pure-software platform approaches are able to leverage the best of multiple environments and provide decisioning for optimal throughput and efficiency. This is critical when HD-quality video is part of the workflow. In this case hybrid encoding is the best solution for solving the more complex computational elements of the workflow. It doesn’t make sense to push all stream renditions into the cloud alone, nor is it most effective to process all content on-premise and send to the cloud later.

This is truly the state of the art in today’s complex media processing world. The approach exists today and is actively processing hundreds of channels and millions of minutes of video every day for some of the largest media brands in the world. Just like TV Everywhere is no longer an experiment, neither is server-toscreen a mystery. It is happening today.

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World’s fastest lens launched IB/E Optics/Walser

By David Fox With a lens speed of f0.85, the new HandeVision Ibelux 40/0.85 is claimed to be the fastest lens for system cameras currently in series production, and ideal for low light situations. It comes in versions with mounts for Sony E, Fuji X, Canon EOS M and Micro 4/3 and costs €1,799.

It has 10 diaphragm blades, to give a pleasing bokeh or out-of-focus blur for shallow depth of field shots. Optically, it uses 10 multi-coated lenses in eight groups, for increased contrast and minimised reflections. Its lateral chromatic aberration is smaller than 6μm, which gives a resolution of about 4K. The lens has been developed by German lens manufacturer IB/E Optics and Shanghai Transvision Photographic Equipment (which makes Kipon branded adapters), and is distributed by Walser.

The 128mm long metal lens, which weighs 1,150 grams, is the first of a new range of HandeVision models, and further lenses for mirrorless full format cameras and DSLRs will be released, including: a wideangle Ibegon lens; a highspeed telephoto APO mirror lens, the Ibecat; a tilt-shift lens; and a compact fixed focal length lens.

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The EBU Loudness breakfast Conference Tomorrow

By Chris Forrester Loudness – and occasionally the lack of volume – is a persistent complaint from viewers who frequently write to the newspapers grumbling about the volume of ad-breaks, or intrusive inter-programme trails.

This past year saw record complaints made to the BBC over ‘inaudible’ audio during its Jamaica Inn production.

These problems don’t just upset viewers, they can lead to audiences switching channels.

Jamaica Inn ‘lost’ two million viewers between its first and last episode.

Hence this perfectly timed EBU session at IBC, and the producer's promise that this session will have full focus on facts, technology and standards – not on products.

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Monday 08.00-09.30 Emerald Room Chairman Florian Camerer, ORF/Ploud, Austria, says: “There is one major international standard for loudness measurement (ITU-R BS1770), which forms the basis of a few recommendations used in diverse parts of the world (EBU R 128 in Europe and South Africa, ATSC A/85 in the US and Canada, etc.). A few short case studies will illustrate the dissipation of these recommendations and the practical consequences. This session will be an update on the situation, the successes and failures of the Loudness Regulations in Broadcasting and other markets. Different regions and different use areas have very different stories to tell.”

The session will be rounded off by a worldview panel discussion and Q&A managed

by Camerer, and his expert panel includes the EBU’s Frans De Jong (senior engineer/Tech & Innovation).

Rugged good looks: Fischer’s high-performance FiberOptic Series connectors

Canford connects for fibre Fischer Connectors

By David Fox Canford (9.C01) has been chosen by Fischer Connectors as its sole UK broadcast distributor for the high-performance Fischer FiberOptic Series.

This rugged push-pull connector is suitable for both indoor and outdoor applications and comes precabled for maximum performance and time saving.

It offers IP68 protection when mated (tested at a depth of

2m for 24 hours) with an operating temperature range of -40°C to +85°C (depending on fibre-optic cable). Each connector can withstand up to 1,000 mating cycles and offers excellent optical performance through its premium butt-joint contact technology.

Cleaning dirty connectors is quick and simple, thanks to a removable mono-block mate adapter allowing easy access to the termini (for cleaning under water or in an ultrasound bath), and to the IP67 ability of even unmated connectors, which prevents

dirt penetration.

The pre-cabled connectors are available in a variety of panel receptacles and patch cords in lengths of 5m – 500m. Chassis connectors or panel connectors are supplied pre-terminated.

Acting as a breakout, they are supplied with tails terminated with either LC or SC connectors, or tails with bare ends for user-termination. The connectors are offered in either two-fibre (FO2) or fourfibre (FO4) versions, for pointto-point audio, data or camera-connection use.

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Opinion Getting a leg up: The Minivator II is stronger and taller than its predecessor

Building a future-proof media production workflow Dana Ruzicka, VP segment and product marketing, Avid and Mukul Krishna, senior global director Digital Media, Frost & Sullivan discuss the media value chain From Hollywood blockbusters to local news broadcasts, the process of creating media content is complex, disparate, and nonlinear. Multiple versions of a single piece of content might be created in 2D and 3D, produced in several languages, and delivered in formats optimised for multiple channels in numerous geographies.

Despite this content-creation and distribution reality, however, workflows have not yet caught up.

The hard truth is that media workflows are not traditionally optimised for multi-stream, multi-version content creation and distribution – instead, they have been siloed, with specific hand-off points between preproduction, production, post production and distribution.

In the gap between content creation and media workflows lives the need for technologydriven coordination that will

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deliver massive gains in efficiency, uncover new opportunities for monetisation, and deliver new ways for media organisations to connect more powerfully with their audiences on every screen, in every format.

Ultimately, consumers are driving the need for media companies to reassess the alignment between their content and their workflows. No longer married to a single device or even a broadcast or release schedule, for that matter, consumers want on-demand access to the movies, TV shows, newscasts, and video and audio content they love.

With the consumer in the driver’s seat, content needs to be pervasive, as do business models. Most media companies in the current environment are simply pushing content over the top without a clear business strategy.

What starts as a content and delivery problem quickly turns into an IT problem: many media organisations have either pieced together existing solutions available in the market or developed home-grown solutions. As a result, media companies often: Squander time and money on a patchwork of solutions that don’t work holistically Drain IT resources over time to maintain and upgrade these solutions Suffer from collaboration and portability issues due to lack of industry standards Entrench the business user/IT divide Integrating and streamlining the various point solutions into a seamless 'media value chain' is therefore vital. This imperative, in fact, is at the heart of Avid Everywhere, a vision for the future of the industry focused on the

Dana Ruzicka: With the consumer in the driver’s seat, content needs to be pervasive

opportunity for all media organisations to connect with their audiences more efficiently, powerfully, and profitably.

Avid Everywhere comes to life via the Avid MediaCentral Platform, a platform providing media services, connectivity, and orchestration to support the entire media value chain. The platform is open and flexible, integrating technology from Avid and other providers.

This platform solves the challenges media organisations and content creators are facing, by enabling them to produce, manage, deliver, and monetise media using a common technology framework and set of standards — regardless of the vendor and tools they choose to use at each step of the way.

Want to find out more? Visit Avid at IBC. 7.J20

Minivator II on the rise Matthews Studio Equipment

By David Fox MSE’s new Minivator II is a stronger, taller version of the industry standard Minivator lighting stand, first introduced more than 10 years ago.

“The idea of the new fast digital cameras needing less light or no lights at all is a misnomer,” said Robert Kulesh, VP sales and marketing for Matthews Studio Equipment. “The digital world gives the shooter a much more creative – and bigger pallet, often requiring more and bigger lights to cover the breadth of the shot.

“Minivator II is the perfect complement for these and other shots,” he added. Its payload has risen from 27kg to 36.4kg and MSE has extended its maximum height to 361cm (with a load height of 140cm) “without sacrificing strength, safety or stability.” It covers a footprint of 150cm.

MSE’s accessory package includes a Rocky Mountain leg and optional sturdy 10cm casters to make it a stronger, safer stand that should be ideal for location work.

The 21.8kg stand uses a double cable mechanism to keep both risers travelling at equal proportions with each turn of the handle (38 will take the fixture to full height), allowing for firm and steady movement of any lighting fixture attached. The addition of combo dualpurpose top castings allows for use of both Junior pin and Baby receiver fixtures.

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Bags framed for protection Q&A Orca

By David Fox A new bag and accessory company is making its debut at IBC. Orca, which is based in Tel Aviv, is aiming to provide premium bags “using the most advanced technologies and superior materials” that are claimed to be “the world’s first video and audio bags with a combination of an aluminium frame and honeycomb frame, for maximum protection of sensitive equipment.”

Band Pro Munich will carry the line after IBC, and its MD, Christopher Hantel, commented: “Having a durable, intelligently designed bag to protect your equipment is critical in our industry. Orca has done a marvellous job with these innovative designs. They’re

aluminium frames and multiple access points. There are three sizes of Orca Audio Bag, which use magnets instead of Velcro to reduce noise, have all-round access, even from the bottom, and can be used with a Power Harness that has an internal cable and battery pouch. There will be five sizes of Orca Shoulder Video Bag with wide top opening and internal LED lighting for easy access, an Orca Light Case (for a typical 1x1 light and accessories), and four sizes of Orca Backpack, which also have internal USB cabling and a battery pouch for powering phones or tablets. The Shoulder Video Bag and Light Case will work with the new heavy-duty Orca Trolley System. There are three sizes of transparent rain Powered up: Orca’s Power Harness has covers, with an inflatable Skelton a built-in battery pouch and cabling system for better support and really a pleasure to use.” use, and four sizes of LCD hood.

11.D21 The designs incorporate

Uncompressed ENG wireless transmission Pro-X

By David Fox

automatically switch to a connected battery.

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The XW-HDU04 can transmit up to 300m with just 1ms latency

JeromyYoung, chief executive officer, Atomos Has IBC come at a good time?

IBC2014 has come at the perfect time for those in pro video, perhaps marked down in history as the show where 4K moved into the mainstream for video shooters. Cameras such as Sony’s A7s and Panasonic’s GH4 have sped up interest in 4K, but only at IBC2014 will people start to see high quality, affordable 4K solutions realised. Atomos is proudly leading that charge!

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

The key development is the transition from HD to 4K. People will gravitate to 4K if they are exposed to high quality, low cost solutions but the threat comes from people experiencing the cheap, inferior sensors

developed outside of Japan. 4K has to be amazing and affordable for the masses to adopt it. We believe that means supporting the big four -Sony, Canon, Panasonic and Nikon – because they have the best images and do 4K justice. GH4 and A7S are the go-to cameras today.

Why should delegates visit your stand at IBC? IBC2014 sees Atomos introduce the first working version of our highly anticipated Shogun Monitor Recorder. People will be able to see first hand how Shogun will tame the complexities of 4K, from its high resolution monitor for accurate shot setup and direct ProRes recording to your choice of media through to the on the fly editing and playback to 4K screens.

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Two new wireless transmission systems that can transmit up to 500m with minimal latency have been launched by Pro-X. The XW-HDU04 system, which offers 300m transmission distance in open space, and the XWHDU06 (500m), both operate in the 5.1-5.9GHz band. They transmit uncompressed HDSDI video and audio from any standard ENG broadcast camera to field monitors with a latency of less than 1ms, so that the director, producer and other crew members can see exactly what the camera is shooting in realtime.

Both the TX and RX modules of the HDU04 have Tally indicator, and offer a simplex intercom, both features absent from the HDU06.

The systems can be powered by battery or by DC input via XLR-4p connector.

They also have a back-up power failure function. If the external power is disconnected, they theibcdaily 21

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Opinion

Satellite: next step to convergence direct2home technology enables operators to become fully convergent players, says Stefan Amon, director wholesale, Telekom Austria Group As a full service provider, Telekom Austria Group entered the business field of satellite TV last year. This new business field opens up a multitude of opportunities, with analysts expecting the DTH market in CEE to grow by 7%.

By 2020 the addressable market of households will reach 75 million. Via the direct2home B2B platform for satellite pay TV the solution initiates to uplink TV signals via Telekom Austria Group’s earth station in Aflenz/Styria to the EUTELSAT16A satellite at the 16° East position for broadcasting to Central and Eastern Europe as well as wider regions of Western Europe.

The Telekom Austria Group has a strong history and global expertise in providing satellite services, thus satellite TV is a clear next step to convergence.

The company has acted as a TV provider for IPTV as well as cable. To leverage further potential Telekom Austria Group has combined the available infrastructure and in-house know-how in the fields of satellite and TV content to bring this to a new business field.

With its eight markets across the CEE area, and a joint footprint with América Móvil, the direct2home satellite service covers all of Europe. Due to the digitalisation of TV signals, Central and Eastern Europe are identified as profitable

target areas. Western Europe has virtually completed analogue switch-off and more and more Central and Eastern European countries are in the process of transitioning into digital. This trend represents significant growth potential for the Group as a DTH provider.

DTH is the preferred route to digitalisation because the consumer transition can be implemented easily, quickly and cost-efficiently.

In response, the Telekom Austria Group has designed and implemented an open broadcasting solution combining one earth station, one encryption system and settop boxes from multiple suppliers. Its B2B direct2home solution is aimed at two target groups: broadcasting companies and telecommunications companies.

Via Telekom Austria Group’s DTH solution, broadcasting companies can extend their footprint in the CEE, taking advantage of the reach of EUTELSAT 16A. The solution consists of a connection via Aflenz as well as various pay TV programme packages and EPGs (Electronic Program Guides).

Secondly, the Telekom Austria Group is offering other telecommunication companies (IPTV, cable TV and network operators) a white label solution. Providers can offer their own content to customers with their own branding and use the technical service of Telekom Austria Group. The

Pinpointing content leaks in realtime Friend MTS

By Monica Heck A new streaming video security service by Hall 14 exhibitor Friend MTS is on show at IBC this year. Exposé Source can detect and stop the source of live content leaks in realtime to enable the

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secure streaming of live video.

The company is performing live demonstrations of Exposé Source on its stand to showcase how it can help content creators and broadcasters retain control of where and when their content is consumed.

Exposé Source is able to both detect misappropriated live streams on a multitude of

platforms and track them back to the source of the leak where they can be stopped.

“Exposé Source is not a single technology, rather several proprietary components that are combined to create an integrated service that meets the rigorous demands of live video stream security” said Friend MTS

co-founder and CTO, Jonathan Friend.

Exposé Source adds proprietary watermarking to Friend MTS’ existing suite of search, network forensics and video fingerprinting technologies, to complete the Exposé family of cloud video content protection and security services.

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advantage of this offer is that providers can rapidly extend their market peetration, use cross-selling potential and benefit from a wide range of channels and services without upfront investment. In addition, the Telekom Austria Group offers different kinds of set-topboxes.

By using Telekom Austria Group’s direct2home product portfolio, providers are not only able to reach areas where they have their own or leased fixed line infrastructure but they can also offer satellite TV across the market in one go. This is particularly valuable for rural areas. Being able to offer fully convergent product portfolio over the whole country is a huge strength.

Also of importance is that product bundles lead to a lower churn rate, meaning a lower rate of customers changing their provider. Using direct to home in areas beyond the cable infrastructure’s reach with other Telekom Austria Group technologies like Bitstream or LTE will make product bundles and upselling possibilities soon available.

Economies of scale become possible due to the larger, nationwide customer potential and lower costs for new customer acquisition. These facts provide additional synergy effects for the user of the white label solution.

For details on Telekom Austria Group Wholesale visit www.telekomaustria.com/en/w holesale or see the team at IBC. 14.C16

theibcdaily

Implementing HEVC in a DVB environment

By Ken McCann, DVB chair of Technical Module AVC and Tim Sheppard, DVB chair of Commercial Module - AVC Ever since MPEG-2 was introduced in the mid-1990s and transformed the industry, enabling an explosion of channels and VoD content, the industry has been continuously striving for more efficiency in video compression. H.264/AVC appeared in the mid-2000s, offering the same subjective quality at approximately half the bitrate and facilitating the launch of HDTV services.

Now a new standard, High Efficiency Video Coding (HEVC), has been developed that promises a further factor-of-two improvement in compression efficiency for the mid-2010s.

This is likely to act as a key enabler for new types of video services delivered via IP streaming, as well as new services at UHDTV and 1080p resolution using traditional cable, satellite and terrestrial broadcast networks.

The DVB organisation has evaluated the use cases and requirements of its members in order to specify how HEVC should be implemented when in a DVB environment. A DVB environment is where the transport of the underlying video is specified by the DVB. For the first phase of HEVC it covers MPEG Transport Stream (typically for broadcast applications) and also DASH (for adaptive bit-rate streaming over IP).

Some of the major applications targeted by DVB members include:

Figure 1: HEVC conformance points

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Tim Sheppard: A DVB environment is where the transport of the underlying video is specified by the DVB

Ken McCann: HEVC is likely to act as a key enabler for new types of video services

Digital terrestrial services, combined with DVB-T2 transmission to enable additional HDTV services. This is partly driven by the squeeze of available transmission frequencies (as more frequencies are assigned to mobile broadband) or in some countries the availability of additional frequencies as part of analogue switch-off.

IPTV, both to extend reach in the last mile and also to enable the introduction of HDTV services to more homes.

Streaming of TV and VoD over the internet.

Introduction of UHDTV services. HEVC makes this practical over most broadcast and streaming networks.

The DVB standardisation specifies the capabilities of the decoder (called the IRD) and sets the minimum capabilities required for an IRD. For HEVC the DVB has defined five types of IRD: 1080p50 HD, 8-bit; 1080p60 HD, 8-bit; 1080p50 HD, 10-bit (including also 8-bit); 1080p60 HD, 10-bit (including

also 8-bit); and UHD-1 phase 1, 10-bit (including also 8-bit). The diagram in Figure 1 shows a mapping of these IRD types onto the MPEG profiles and levels.

Technical overview Following the development of the HEVC standard, a key question was to determine if it had achieved the design goal of requiring only half the bit-rate for the same subjective quality as H.264/AVC. The easiest form of comparison is to make a simple objective measurement, such as Peak Signal to Noise Ratio (PSNR).

However, a formal subjective evaluation is required to determine the actual quality that would be perceived by viewers.

This issue was addressed here at the IBC Conference yesterday (Saturday), when the results of a formal verification test performed by JCT-VC were presented. These indicate that the subjective performance of HEVC is actually better than expected, as illustrated in the

chart (see Figure 2).

For the sequences tested, the average bit rate required by HEVC for the same subjective quality as H.264/AVC was 41%, with the higher resolution sequences giving the greater savings.

The suite of DVB standards was extended this year to allow DVB services delivered by IP, cable, satellite or terrestrial broadcasting to benefit from the improved efficiency of HEVC coding. A new specification defines the delivery of DVB services using Dynamic Adaptive Streaming over HTTP. This includes DVB profiles of the MPEG-DASH standard that enable both on-demand and live content to be compressed using HEVC and delivered by IP streaming.

The DVB standard for the use of Video and Audio Coding in Broadcasting Applications based on the Transport Stream, TS 101 154, is used for cable, satellite and terrestrial broadcasting as well as many IPTV systems. This specification

Figure 2: AVC HEVC comparison chart

has been revised to include HEVC compression, with receiver conformance points defined for UHD-1 (2160 x 3840 pixels) and 1080p HD (1080 x 1920 pixels).

A UHD receiver is required to support all of the defined video resolutions, bit depths and frame rates, while the four different variants of HD receiver are required to support only specific sub-sets of these.

Frame rates up to 50 and 60 frames per second are supported in UHD-1 Phase 1, which also includes hooks for forward compatibility with UHD1 Phase 2 signals that may be up to 100 and 120 frames per second.

What next?

Now that there is an internationally recognised standard both for broadcast and streaming applications it is expected that services based on HEVC will rollout shortly. Many operators are, understandably, keeping detailed plans confidential. It’s already clear that new set-top boxes and IDTVs capable of supporting DVB compliant HEVC will be deployed from early 2015, with OTT streaming services possibly starting earlier than that.

The DVB is continuing to work on future enhancements to its broadcast and streaming standards with future additions expected in the areas of next generation audio, next generation subtitles and further phases of UHDTV (potentially including higher frame rates, High Dynamic Range and other enhancements) as well as the application of HEVC to other applications such as video contribution.

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Opinion JPEG 2000: solution for light compression The release of TR-01 transport standard for JPEG 2000 interoperability completes the journey argues Richard Dellacanonica, president, Artel Video Systems Since its release JPEG 2000 has been acknowledged as a superior compression format to MPEG and AVC for lightly compressed applications. Its ultra-low latency, frame-byframe compression, superior tolerance to less than ideal networks, and exceptional image quality make it the perfect solution for many applications, but JPEG 2000 is most beneficial for light compression of contribution video prior to transport across IP networks.

In these applications, compression is typically less than 20 to 1 and in many cases less than 10 to 1. The result of light compression using JPEG 2000 is a visually lossless video

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signal capable of multiple encode/decode cycles while still maintaining exceptional fidelity.

Except for high visibility sporting events and other critical contribution applications, JPEG 2000 has not been viewed by the general market as a viable option. The concern in deploying JPEG 2000 solutions was a lack of transport standards and interoperability between vendors. Also, many of the available solutions were expensive, complicated to configure, and typically offered as part of an integrated media transport platform.

With the recent release of numerous low-cost, simple to

configure and deploy solutions based on a new recommendation, TR-01 'Transport of JPEG 2000 Broadcast Profile Video in MPEG-2 TS over IP' these concerns have been resolved.

TR-01 defines a standardised way of encapsulating JPEG 2000 compressed video along with audio and ancillary data into a standard MPEG2-TS for transport across an IP network.

The development of TR-01 was considered significant enough by the Emmy committee that the Video Services Forum (VSF), who defined the standard, along with Artel and other hardware vendors who developed products based on TR-01 were

awarded an Emmy Award for Technology and Engineering for their contributions in developing and offering products based on TR-01.

It is generally accepted that for compression when video quality, latency, and reliability

are important JPEG 2000 is the best solution. Now with a transport standard available and price competitive options from vendors worldwide, JPEG 2000 has become the right solution for light compression.

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theibcdaily For the latest show news and updates follow #IBC2014

Stabilo spreader-less tripod Cartoni

By David Fox

Cartoni has also added an extension for Bazooka owners. The crank-able unit mounts to the existing Bazooka column, adding an

Lightweight support: The Stabilo tripod with a Focus HD fluid head and soft bag

extra 20cm elevation. It has a precision worm gear to easily adjust for cameras, sliders, etc.

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The latest addition to Cartoni’s tripod line-up, Stabilo, is a very compact, lightweight (3kg) three-stage, carbon fibre tripod that folds to a short 63.5cm, which is useful for carry-on or backpack use.

Its legs extend to a maximum height of 182.5cm with a low range of 22.5cm.

Leg extension is secured by three rotating easy grips that can be set to three different angles, clearly indicated on each side of the leg attachment, with no need for a spreader to maintain position.

It can take a maximum load of 40kg.

Stabilo comes with a standard 100mm bowl, but can be down-stepped to 75mm via a reduction ring. It can be matched with the Cartoni’s Focus HD fluid head to create a lightweight (5kg) combination for news reporters and wildlife operators.

Also new is Smart Stop, a patented ENG tripod with an innovative two-stage rapid extension that can be operated by a single lever. It features a 100 mm bowl and weighs only 2.9kg, making it ideal for newsgathering.

ViaSat authorises C-COM system ViaSat has given authorisation to C-COM’s iNetVu FLY-75V antenna system for use on its Exede Enterprise Service. According to C-COM, this is a significant achievement for the company as the FLY-75V is the first auto-deploying flyaway product to be authorised for use on ViaSat’s Exede Entreprise service in the USA. ViaSat’s Ka-band, high-capacity satellite delivers broadband services for the accelerating demand by the government, military, broadcasting, oil and gas and emergency response markets.

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The networked studio: here to stay

Networked media is the logical next step to realise more flexibility. This means having a unified infrastructure for live operations

In this ever-changing technology environment, broadcasters need to keep on their toes and embrace IP-based live production says Félix Poulin, EBU What I am about to tell you is not new. You know the story.

You see it every day when you watch the news, look on your tablet and use your smartphone at the same time.

If we try to imagine the world in 2020, we would see the multiplication of consuming platforms – web, smartphones, tablets, phablets, glasses, watches and more! At the same time, new higher quality formats like UHD, HRD and HFR are moving at a faster pace than ever before.

The result: consumers are promised (and I would argue, expect) to have sophisticated data enriched content like second screens, hybrid TV and radio and augmented reality applications.

In contrast, broadcast revenues are under pressure.

With new players sharing the advertisement ‘pie’ and the funding of public service media under scrutiny (if not severely cut down in many countries), the landscape has changed.

This quick evolution raises many challenges for broadcasters. We now have to produce more with less. As someone once told me, “change is the only thing constant in this world.” And therefore, the capacity to change and to adapt to new ways of thinking becomes a necessity.

This calls for innovation and agility – something that is often associated with new internet media companies, and not always associated with the conventional broadcasting industry.

Information technology as the enabler for networked media So how do we do this? The first and foremost step in my mind is flexibility. In order to change the perception of conventional broadcasting and to hold our place in the playing field, we need to be more flexible ourselves. On top of this, we need to take steps to ensure that our workflows are flexible enough to enable the creation of new media products, taking

advantage of remote, distributed and collaborative possibilities.

Information technology (IT) seems to be the natural candidate to achieve this level of flexibility. With its layered architecture, software applications sit on top of commodity hardware. Not to mention, with the development of virtualisation (or the Cloud), the scalability and re-usability of computing resources are brought to their full potential.

Finally, having a standardised service oriented architecture means that the interoperability between software components (services) is possible.

This is why broadcasters have already been using IT for a number of years. Just think of nonlinear editors, newsroom systems, playout servers, traffic schedulers, file transcoders, and so forth. This previous transition from tapes to file-based workflows was justified by the flexibility it provided.

But what about the live production domain? Here we continue to see a kingdom of speciality equipment and interfaces. The production gallery, the OB van with its SDI and AES cables and crosspoint routers – are all examples that use types of equipment and interfaces that are specific to our industry.

Therefore, networked media is the logical next step to realise more flexibility. This means having a unified infrastructure for live operations, in addition, to already IT-native file-based workflows. Furthermore, by replacing speciality equipment and interfaces with commodity technology, the economies of scale achieved by leveraging the expansive IT market, comparted to the broadcasters’ relatively niche market, can be massive.

We are not alone! Other highly demanding sectors have made a similar transition to IT before us. Think of financial transactions, hi-speed trading, and physics computing at CERN, for example. Of course, live production has its own particularities, like the combination of needs for low

Links: EBU Strategic Programme on Future Networked Systems tech.ebu.ch/FNS EBU Network Technology Seminar tech.ebu.ch/NTS2014 [1] JT-NM Gap Analysis report tech.ebu.ch/JTNM [2] Report of the SMPTE Study Group on Media Production System Network Architecture www.smpte.org/standards/reports

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Live production has its own particularities, like the combination of needs for low latency, high capacity and high reliability latency, high capacity and high reliability. However we can learn from other industries on how to use the IT technology at its best.

No need to reinvent the wheel! A number of technologies already exist that also address different required media functionalities like payload encapsulation and clock distribution for timing and synchronisation.

To name a few: SDI over IP (SMPTE 2022-6); Flows and Grains wrapping (experimental at BBC R&D); Multichannel audio over IP (AES67); Audio Contribution over IP and Intercoms (EBU Tech 3326 and 3347); Precision Time Protocol Broadcast Profile (upcoming SMPTE 2059-2); Ethernet Time Sensitive Networks (or AVB, IEEE 802.1x); and, of course, the whole IP stack (IP, TCP, UDP, RTP, IGMP, etc. from IETF).

A more complete list of candidate technologies can be found in the Gap Analysis Report of the Joint Task Force on Networked Media [1] and also in the report of the SMPTE Study Group on Media Production System Network Architecture [2].

Although we don’t need to reinvent the wheel in terms of technologies available, it is less clear from the previous

examples how to build a system that is made of products from different vendors.

One of the most important aspects to the success of this transition is interoperability.

Interoperability provides the possibility for users to build systems that are made of a mix of components provided by different vendors with the option to change those components when their needs change.

Interoperability is usually provided by the standardisation of the interfaces between the components. Interoperability can also be achieved by ‘de facto’ standards, when a proprietary interface becomes adopted by a large part of the market.

Since last year, many products have appeared on the market. However, it is not obvious how those different products can be integrated into a system. The risk of not achieving interoperability is broadcasters being locked to a specific vendor or an islands solution that cannot be interconnected easily. This unwanted result would prevent attaining the required flexibility that is the goal of this transition.

The role of the EBU in this technology transition The immediate need of broadcasters in this domain is to be able to quickly learn and share their knowledge and experience of this new technology with others. For this, the Strategic Programme on Future Networked Systems organises the Network Technology Seminar, facilitates workshops and provides practical and strategic briefings.

We look after both the technology issues and the

impact on production workflows.

EBU is also very active on the international scene by cochairing the EBU/SMPTE/VSF Task Force on Networked Media. This industry-wide effort is now developing a reference architecture that will address the missing link to providing a system view of the networked media production environment of tomorrow. It will define the key components and their interfaces and is an important step to achieve the interoperability requirement.

Networked media has a strong focus this year at the EBU booth (Stand 10.F20). The BBC R&D will demonstrate a fully featured production gallery, all based on IP technology. In addition, there are short 30minute presentations in the presentation theatre to showcase live coverage of the Commonwealth Games in Glasgow, which was done in UHD format using the BBC R&D IP Studio technology.

In conclusion, one of the main drivers for broadcasters to embrace networked media in the coming years is the need for flexibility in order to adapt the fast changing business landscape. IT infrastructure is a natural step when it comes to agility and scalability. Many components already exist. The next step is to define reference architecture in order to achieve interoperable systems.

Félix Poulin is senior project manager, Networks and Storage, at the Technology & Innovation department of the European Broadcasting Union

theibcdaily For the latest show news and updates follow #IBC2014

Opinion

Keeping the virtual real Software still has to perform as if it worked to dedicated hardware says Ian Prowse, director, Vortex Communications Looking back, virtually the whole of our year has been spent in the virtual world of hardware emulation and this IBC our stand is packed with virtual products; FLX Virtual Clocks and Timers which use low-cost HDMI screens for display, iPPM which uses TFT screens that look like – and behave like – conventional level meters and MIDAS (Multi-Instance ACCESS Software) codecs from Comrex which are being used as part of the BBC Virtual Local Radio project (ViLoR), behaving just like the hardware equivalents they are replacing.

Compared with a software application, dedicated hardware has big advantages – dedicated hardware for a start – and designed for a specific purpose, hardware devices generally do

what they do and do it well. On the other hand, software has big advantages, flexibility being perhaps the highest on the list.

But by being able to easily offer so many choices in software, what should be a straightforward simulated device can become cluttered with distracting features that only serve to confuse. Take for example the smartphone – good at everything – except making a call. I rest my case.

And herein lies the key; by making all this virtual stuff behave just like the 'real thing' – constraining it to the hardware version in effect – with luck and good management, it will still be straightforward to use. The flexibility provided by software of course has its

Robo Eye makes its position clear Telemetrics

By David Fox The new Robo Eye integrated HD pan/tilt/zoom camera from Telemetrics has a Sony Exmor 2.18-megapixel CMOS image sensor and 30x zoom lens, and boasts a signal-to-noise ratio of 50dB and sensitivity of F8 at 2000 lux.

It offers native 1920x1080 HD-SDI and HDMI outputs, plus SD composite video signals in NTSC and PAL. Gain set-up is automatic with a manual override, and up to 1,000 presets can be stored. It has servo motors for

advantages but there can be so much realtime data available that meaningful interpretation becomes difficult.

A hardware box may have a light showing 'OK' but in software, there are likely to be many degrees of 'OK' and whilst becoming better informed, you are quite likely to end-up none-thewiser. Just like the weather forecast, we don’t need to know every minute of every day, just whether to take a coat – or not.

We took this thought with us with our MCC Multi-Codec Control 'Glass Cockpit' which provides the user interface for both hardware and MIDAS software ACCESS codecs. Simple Dial buttons produce the address book whilst realtime graphs show how a connection may be deteriorating and virtual 'traffic lights' show connection status at-a-glance – three degrees of 'OK' if you like.

With FLX, our virtual clock and timer system, users can choose combinations of timers and clocks of any type, in any colour, in any size and on any display, making it extremely flexible. However, it is still intuitive and easy-to-use. And in the spirit of emulating hardware, we

have gone to a great deal of trouble to produce graphical images that match our conventional digital and analogue clock ranges. So many choices…

Our iPPM looks just like a conventional audio monitoring unit but uses TFT screens to emulate conventional 22AF PPMs (or VU meters, or Bargraphs, or Loudness Meters or LED meters), selectable in combinations and they look and behave just like the real thing. So many choices – at the touch of a button.

It all seems so simple but while from above we seem like swans gliding along, we are actually paddling like hell underneath.

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Integrated robotics: Telemetrics’ new Robo Eye HD PTZ camera

positioning, with stop accuracy of 0.005° and feedback accuracy of 0.000375°, and offers a pan/tilt velocity of 0.01 - 90° per second.

The unit is IP65 rated for indoor and outdoor use, and can be remotely controlled via its built-in web-server from a web-enabled device, via Ethernet or RS-232C/422. A USB port is also included.

“Robo Eye allows camera robotics systems to be designed and expanded with a high performance HD imaging solution that is specifically designed for professional camera robotics system applications,” said Telemetrics’ president, Anthony Cuomo.

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Planning and designing the IP broadcast facility

By Gary Olson The transition to computerbased technologies and filebased workflows is one of the most significant changes the broadcast and production industry has seen and came about more quickly and completely than any of the other recent changes. It is a transition that is dependent on People, Process and Technology.

Of all the books and papers discussing storage mapping, packet transport, and compression algorithms, none puts all the pieces together and explains where these fit into the whole environment.

‘Planning and Designing the IP Broadcast Facility’ is the first to provide a comprehensive understanding of the complete technology architecture, changes to the physical facility, new roles and responsibilities for engineering and operations – and – most importantly the introduction of new media management workflows and business processes.

Production moved from analogue linear to digital (SD/HD-SDI), from standard definition to high definition and then on to IP and file-based.

Content delivery went from a single format of distribution to many different platforms. Media

is produced for multiple delivery platforms: Over the Air, Over the Top, large screen displays, cable, satellite, web, game consoles, digital signage, tablets, and smartphones.

These new platforms each have different production values and requirements that are specifically designed to provide a richer user experience.

Consumers are creating their own programme schedules on their personal video recorders and then watching their shows on demand and binge watching popular programmes. There are new programme distribution providers like NetFlix and Amazon that are offering original programmes only available through their services.

The way content is produced, handled, managed, and monetised has changed. All aspects of broadcast and production have changed. There are new skills and knowledge needed by broadcast engineers, the infrastructure has changed to applications, servers, storage and networks. The broadcast engineer needs new skills to maintain the quality of streams and files, and his/her new best friend is the IT engineer.

The lifecycle of media has evolved into distribution to different digital platforms with metadata, media asset

management, rights management and tighter technology integration between business units. There is a closer relationship between the Business and Technology groups.

Automation is more than just playout. In the file based architecture, file movement,

and distribution to end-users.

Every aspect of the broadcast facility is impacted and is changing. The core infrastructure of the broadcast facility is now based on the IP network and managing bandwidth is only one critical consideration.

This new media lifecycle has

The way content is produced, handled, managed, and monetised has changed. All aspects of broadcast and production have changed media management and handling are managed and controlled by automation processes. There are new transformative technologies like the Station in a Box, Studio in Box and cloud technologies that are changing the entire programme creation and delivery landscape.

There are many technologies and processes that make up the entire media lifecycle from the creative to production, management/archive and distribution in the IP and filebased architecture. In the IP and file-based world information management plays a critical role. These changes impact all aspects of creation, production, media management, technical operations, business processes,

also brought a new vocabulary and lexicon into broadcast and there is tighter integration between all departments and systems. Metadata is used to describe, control and manage the media (asset, essence, content). There are new rules and policies that govern the use and access of metadata; and the integration between departments.

In today’s cost conscious economy, building a facility has to consider the total cost of ownership, which is both the capital and operations costs.

This applies to the physical plant as well as the technology, power, environment even technical furniture. System integration means software and hardware and there are new

guidelines for cable and fibre management.

‘Planning and Designing the IP Broadcast Facility’ is a beginning-to-end perspective and provides some useful information and guidelines to the broadcast engineer, system designer, and technical management of the changes to the technology architecture and workflows within the IP and filebased architecture that impact the entire lifecycle and value chain of media.

There are a lot of facets to this and the book is organised in a way that will provide a comprehensive understanding of all the aspects that need consideration when designing an IP ecosystem and transitioning into IP. There have been significant milestones in the growth and evolution of broadcast and production technologies and processes.

This examines the profound and substantial changes that the transition to IP is creating.

The cohesive, big-picture viewpoint helps overcome some of the unique challenges of upgrading from a tape based SDI facility to an IP and filebased facility. There are case studies to serve as examples and recommendations, helping to weigh the pros and cons of various approaches.

Q&A Anthony Pidgeon, managing director, Symbiosis Has IBC come at a good time for the electronic media industry? Why? Yes – we have seen a gradual growth and confidence come back to the industry over the last year. However, with budgets still squeezed and a demand for quality at a premium, the timing is perfect for innovative

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products to meet that demand.

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

Specifically regarding our role as a distributor, we have proved that it is possible to be a global distributor from a

central European location.

Through improved logistics and communications, and maximising the benefits of the European time zones, we are now distributing to Europe, Middle East, Africa, North and South America from the UK. Why should delegates visit

your stand at IBC? Decimator Design continues to innovate and offer products that are renowned for their feature set, high build quality and competitive pricing. We would encourage anybody looking for conversion and monitoring solutions to visit us – they won’t be disappointed with

what they find!

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theibcdaily For the latest show news and updates follow #IBC2014

New version of MXF Analyzer Professional Institut füer Rundfunktechnik

By Heather McLean Institut füer Rundfunktechnik (IRT) is showcasing a new version of the MXF Analyzer Professional here at IBC. The MXF Analyzer Professional provides MXF file analysis with regard to standards compliance and conformity with specific

application parameters. The new version extends the function of configurable target value validation regarding specific

MXF profiles and supported essence types, maximising quality control.

Visitors to the show can also find out more about HbbTV and IRT’s Second Screen Framework, a manufacturer-

independent resolution for connecting second devices with the TV, on IRT’s stand. The professional playout system for HbbTV services, IRT’s BRAHMS, brings HbbTV applications easily and cost

efficiently to customers.

IRT is also be discussing its consulting services to assist in the planning, conceptual designing and acceptance tests of inhouse networks, production and storage networks, contribution and broadband networks.

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Xentaurix addresses ratings analysis artec

By Carolyn Giardina Different departments in broadcast stations have demand for stream recording and ratings analysis. At IBC, artec is highlighting its Xentaurix storage and database analysis system.

“This is a very cost effective way for nonbroadcast media corporations to enter the TV/video market,“ said artec CTO, Ingo Hoffmann.

“Broadcasters become even more cost efficient.”

Xentaurix can record and replay “an unlimited number“ of TV/radio/video streams and connected metadata, handle its database, analyse and deliver content to users.

“One user may want to clarify if the aired advert has been distorted in transmission, while a different user is researching on how their company is mentioned in last evening’s talk shows. One person wants to edit and re-sell the last late night show, while another user is comparing viewers ratings of the prime time transmission against that of competition’s TV channels,” said Klaus Graumann, international sales manager, artec. “In the past, all this has been supported by different recording systems, all specialised for their purpose. Xentaurix can display a complete, different and optimised GUI to any of those users in the system.

There is no more reason to record same things in different places.”

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Opinion

Your partner in the content lifecycle Developing successful OTT with high quality of service requires technical expertise, know-how and excellence says Ivan Dulguerian, chief marketing officer, Arkena This year marks Akena’s first IBC exhibition as a new entity.

The TDF Group created Arkena as a result of the merger of the activities from Cognacq-Jay Image, PSN, Qbrick and SmartJog. With the aggregation of all the expertise from these former entities, Arkena is able to offer global end-to-end solutions to address the new challenges of the media industry.

A digital revolution is taking place within the entertainment industry. Workflows, in both production and distribution, have changed in order to meet the demand of a globalised market. The video content lifecycle has changed dramatically and is reaching very high levels of complexity.

For more than 10 years, the Arkena companies have been assisting production and distribution companies with different aspects of their workflow. Through the Cloud4Media solution, Arkena proposes a fully managed service that provides secure, fast and reliable file transfer delivery, asset storage capability and cloud-based transcoding services to adapt

content for multiscreen delivery.

Cloud4Media is at the cente of the workflows of leading content producers and broadcasters achieving significant efficiency improvements for these businesses.

Through the emergence of OTT, the B2C distribution of content has also significantly changed over the last few years. The increase of bandwidth availability to end consumers and multiplication of connected devices has led to new ways of distributing content across many new devices. OTT is changing traditional viewing habits by giving the audience greater control over the way they consume video content.

All major broadcasters are developing on-demand services as a way to increase interaction and stickiness with their audience. OTT has created opportunity for niche thematic channels and large content distributors alike to offer easy-to-deploy services directly to their audience.

Developing a successful OTT service with high quality of service requires technical

expertise, know-how and excellence. Arkena has proven to be a trusted and reliable partner with strong skills to offer turnkey OTT solutions.

Arkena has a comprehensive knowledge of all the required components: from the backoffice system to the transcoding features, from head-end to CDN. We have assisted many leading companies to transform their offering to include OTT content providers such as HBO Nordics, broadcasters like beIN SPORTS and Canal+, new pure-players such as Tevolution, and many more.

OTT ‘broadcast-like’ services require the highest levels of quality, availability and reliability.

To ensure this, Arkena has developed its own panEuropean Content Delivery Network, including agreements with the main ISPs and regional PoPs. With this infrastructure, Arkena is able to provide an end-to-end OTT solution.

For the first time this year at IBC, Arkena presents its solutions for companies involved in content production and distribution.

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A new dawn: Korus BNC connectors for 3G or 6G systems

Korus harmonises connections for UHD Coax Connectors

By David Fox The new Korus range of BNCs from RF connector specialists Coax is designed for 6G connections for 4K or Ultra HD use, but is also claimed to give improved performance from existing 3G systems.

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Thanks to excellent low loss performance, the Korus range should also permit high data signal transmission without distortion.

Each connector in the range will offer true 75-ohm performance for both 3G and 6G, and the range will cover popular industry standard cables as well as PCB mount versions.

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Cloud-based channel builder Veset

By Michael Burns A new linear broadcast software-based system,

optimised from the ground up to take full advantage of cloud-based resources, is being unveiled at IBC. Veset Nimbus Cloud Playout is a platform-agnostic, professional broadcast grade

playout solution that takes full advantage of the efficiency and flexibility of cloud solutions.

It aims to provide everything needed to create a linear channel, from content ingest

to delivery of a UDP feed to headend, cable or CDN. The use of cloud technology ensures that data is automatically backed-up and safeguarded against loss due to hardware failure. Individual playout requirements are fulfilled in a virtual cluster, and are further protected from planned — or unplanned —

downtime.

Nimbus can be deployed on a broad range of public and private clouds, ranging from Amazon Web Services’ Amazon Elastic Compute Cloud (Amazon EC2), the hugely scalable and resilient web service for cloud-based products and applications, to locally installed servers.

Veset said core components of the system can be easily integrated with existing systems and processes if desired. These include Nimbus Ingest, a webbased content ingest agent where relevant metadata is added, quality control is automatically applied and content uploaded to the MAM module quickly and securely.

The Nimbus MAM component allows all mezzanine content to be managed in the Amazon S3 storage cloud. The MAM controls conversion and audio loudness normalisation compliant with relevant standards.Schedules and subschedules are planned and added, secondary playlist elements added, graphics edited and time-delays inserted by the Nimbus Schedule component.

Hosted in Amazon EC2 by default, Nimbus Playout can also be hosted in any other private/public cloud. Realtime video and audio filtering can be used, even for upscaling to HD. 8.A14

Uniting VGA and DVI KVM Guntermann & Drunck

By Ian McMurray Thanks to what the company says are their sophisticated design, Guntermann & Drunck (G&D) believes that its products are able to outlive generations of signals. With G&D’s newly developed Bridge function, customers can continue to use their VGA-based KVM systems.

The function figuratively bridges the gap between existing analogue and digital matrix systems. In addition to converting analogue signals into digital ones, the function includes a matching operating concept which means users don’t even realise any processes are taking place in the background: they simply use their analogue systems in their digital environment. Video signals are no longer important as every source is a click away.

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theibcdaily The sound of the crowd: HHB is exhibiting the latest loudness metering and correction technologies

Opinion

Highest quality content, on time, to consumers Central hub for sound shoppers HHB

By Michael Burns The entrance of Hall 8 is apparently the place to hear announcements of major new advancements in broadcast audio technology.

HHB and audio post subsidiary Scrub have been joined by co-exhibitors Dynaudio, Mogami, Roland and TC Electronic. The latter is launching several new additions to its production and broadcast product ranges.

The reseller advised that with the DPP's file-based delivery target of 1 October imminent, compliance with the EBU R128 loudness standard is an extremely relevant subject for IBC visitors. Accordingly HHB is exhibiting the latest loudness metering and correction technologies in hardware and software for acquisition, production and transmission, from manufacturers including TC Electronic, Wohler, Dolby and Nugen Audio.

Visitors are also invited to collect a free copy of the latest issue of the Pro Audio Report, a 36-page HHB publication packed with new technology and indepth features.

“With the perfect position at the entrance to Hall 8, the HHB Stand is not just a magnet to see the latest and greatest audio technology but also the perfect meeting point to catch-up with fellow professionals,” said HHB director of sales Martin O'Donnell. “Everyone is welcome and refreshing cold beverages await.”

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As the media and entertainment landscape continues to expand to mobile platforms the onus is on service providers to deliver says Sunil Jain, CEO, Interra Systems In this day and age we are surrounded by digital media content from the moment we wake up. However, the way in which we consume this content has changed drastically. In addition, the volume, variety and sources of the content that we consume has substantially increased. As the media and entertainment landscape continues to expand from television to mobile platforms and beyond, the onus is on service providers to deliver the highest quality content, on time, to consumers.

As content has shifted to filebased workflows, the content lifecycle has sped up with more transformations and more operations that can negatively impact content quality and readiness. File-based workflows and quality control have become a tightly coupled

business challenge for broadcasters, studios and distributors. As the content moves from supplier to consumer at each stage of the content lifecycle, there are many content transformations (eg, multi-language closed captions and dubbing, ad insertions etc) that can adversely impact the content quality and readiness.

Sometimes a programme source file could have hundreds of variants for different formats, languages and regulatory compliance. The quality control requirements in each phase of the content chain vary based on the respective formats, content changes and workflow details.

Hence there is a need for a reliable and scalable automated content verification and realtime monitoring solutions that support broad applicability and

are easy to integrate into a wide variety of complex workflows across the content creation and delivery chain. The resulting solution should enable a consistent and objective measure for quality control that spans the complex workflow.

At IBC2014, Interra Systems is proud to introduce its latest versions of Baton and Orion products. Interra’s solutions address content quality issues from content creation to content delivery. Baton is our Enterprise class automated content verification (quality control) solution for file-based SD, HD, and mixed workflows.

Supporting a full range of codecs and media containers, Baton ensures quality control of media content from creation to playout. This solution is highly flexible and can be quickly scaled for large facilities or a

high volume of content. As a hardware and O/S independent solution, Baton can be easily integrated in a facilities’ existing infrastructure.

Orion, our Enterprise class monitoring solution, offers realtime content monitoring across all levels in a single environment. Orion monitors all aspects of transport streams: content structure, composition, programs, audio-video quality checks, and advanced functions such as digital program insertion (DPI). Orion accurately detects content quality issues and offers advanced analytics that make monitoring very efficient.

Today’s consumers increasingly expect content anytime, anywhere, and prefer entertainment to fit in their schedule. Service providers need to ensure the best possible quality for their content in order to gain a competitive edge. We are encouraged to see that many service providers are differentiating their offering with better content quality and experience.

We believe our content verification, monitoring and debugging solutions will enable providers to create and deliver high quality content in a high volume and velocity environment.

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Opinion

Hybrid: the Pay TV of the future We need to take advantage of the complementary nature of broadcast and connected technologies contends David Cutts, Strategy & Technology The delivery of TV is changing, and with it new networks and platforms have been developed to address this change. Despite the great attention paid to IP delivery, the vast majority of TV viewing takes place using linear broadcast TV. When fibre networks are prevalent in the delivery of content to homes, we may see most delivery and consumption over IP networks.

But until fully economic IP delivery becomes the norm, we need to take advantage of the complementary nature of the broadcast and connected technologies available to us to provide a rich selection of content for customers. To do that we need to ensure that the content, platform and network infrastructures can be paid for

and profitable.

S&T believes that paid-for content is pivotal in this respect. Sponsorship and advertising revenue are simply not sufficient given the everincreasing demands on advertising spending.

S&T has pursued this hybrid line of thinking for a few years.

Our team participated in the work that led to the ETSI standards for the MHEG interaction channel and the UK now has, after a few years of development and testing, a platform for hybrid TV that is an extension of the wellestablished MHEG standard which UK consumers use successfully every day.

With this we can deliver both linear and VoD content, both

free, and, with suitable systems in the background, pay TV. The number of connected receivers that conform to these standards is now in the millions and growing. Our offerings, including our VuTV pay service, are on show at IBC in Hall 1.

Our efforts do not begin and end with MHEG. Along with many others in the industry, we have been working on the development of standards that can extend and eventually replace what we do now and take advantage of the convergence of TV with internet standards and the increased power and versatility built into modern TV sets.

There are a few standards that have emerged as key to this next generation of

technology; HTML-5 with JavaScript for the UI, which brings web technology and authoring skills to the TV; and MPEG DASH for transmission and DRM systems for pay services. All of these come together in HbbTV 2.0, the next generation of Hybrid Broadcast Broadband TV, which we hope to see deployed in the UK through the Freeview Connected project – and which we believe is the right standard for very wide deployment in the next generation of platforms that fully accommodate hybrid broadcast and IP. In this field, we note that a very large number of websites are built using easy-to-use tool sets rather than laborious constructions of customised

applications. So will it be with Hybrid TV. With this in mind, we have recently acquired the business and technology of OnScreen Publishing to which we will add pay TV capability. In addition, the tools that we are continuing to develop and integrate with our established carousel products will enable easy deployment of TV applications in HbbTV and similar environments and are on show on our stand.

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Rising star goes wireless Lectrosonics

By Michael Burns Dutch singer Barbara Straathof, currently enjoying success after her exposure in TV show The Voice Of Holland, has chosen a Digital Hybrid Wireless microphone system for her rapidly building live schedule.

Her system was specified

by Bram van der Mooren of Dutch audio specialist Heuff Strum kind of singer: Barbara Straathof's career took off after winning a Dutch TV singing competition

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and consists of a Lectrosonics R400A UHF Digital Diversity rack-mount receiver with a HH/E01Digital Hybrid Wireless handheld transmitter and HHC cardioid condenser capsule.

“For my live work, I decided to do a test with three different microphones,” said Straathof.

“I couldn't believe the difference [with the Digital Hybrid Wireless]. It was crazy, every note I sang, a clear copy of that note came back to me.

Pure, clear, warm and so vivid.

I could not believe that the Lectrosonics HH was so different from the other systems. So I've ordered a new mic with receiver, and the

guys from Heuff have built me a super cool flight-case for the receiver and the in-ear transmitter. I couldn't be happier.”

Lectrosonics, currently showing its new L Series and DSW products on its IBC ehibition stand in Hall 8, said its Digital Hybrid Wireless combines digital audio with an analogue FM radio link to provide high audio quality and noise-free RF performance. It eliminates compandor artefacts and produces an audio frequency response flat to 20 kHz. 8.C73b

theibcdaily Space saver: Three into one will go with Miteq

nanoCDN leverages home equipment Broadpeak

Same performance, two thirds less space Miteq

By Ian McMurray Time and budget are always at a premium. So, increasingly, is space. Recognising the trend, Miteq has announced a solution that reduces rack space by two thirds — meaning that three times as many cards can be deployed in a 1RU height cage.

Designed to designed to compensate for long cable run loss and configurable to provide system redundancy in a 1RU package, the new offering, says the company, provides the same

quality, functionality, performance capability and options as the full size equivalents.

A 1RU cage can now host three block upconverters or block downconverters (L-, S-, C, X-, Ku-, or Ka-Bands); redundant switchover units and test translators for all bands; low noise gain adjustable amplifiers and amplitude/slope equalisers (also all bands); fibre optic transmitters and receivers (complete links with redundant switchover unit); and synthesisers for L- and KaBands for signal path testing.

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By Ian McMurray Leveraging equipment present in the home such as broadband gateways and set-top boxes, Broadpeak says that its nanoCDN technology enables operators to extend their CDN into the home network. nanoCDN now supports four applications, including multicast ABR live multiscreen delivery, making live OTT video delivery to any device truly scalable, the company says, by turning millions of broadband gateways or STBs into active components of an operator's content delivery infrastructure. Leveraging home networks, Broadpeak believes that operators can

cost-effectively manage the consumption peaks of live multiscreen services for millions of simultaneous viewers using only a few megabits per second from their network by implementing multicast support for most popular ABR formats.

The second application is video transparent caching, an application of nanoCDN that Broadpeak says allows operators to efficiently handle the growing volume of unmanaged video content on their backbones.

Through nanoCDN, the company claims that operators can reduce peering costs for ISPs while optimising their network resources and improving the QoE for end users. The application paves the way for new business models, according to Broadpeak,

enabling operators to monetise the caching capability with content owners, without the latter needing to modify their setup.

VoD pre-caching is the third application. Leveraging customer premises equipment and multicast technology, the VoD precaching application of nanoCDN optimises streaming capacity and end users' QoE for video-ondemand services.

Broadpeak's solution is installed in the equipment, enabling it to act like a cache server located near end users, since the CPE is inside the home network.

Multicast is used to send video content to the home gateway during off-peak hours, improving QoE for all customers, even those not eligible for Ultra HD, the company says.

The fourth application is multiscreen over satellite.

With Eutelsat's 'smart LNB', nanoCDN is said to enable cost-effective multiscreen video delivery over satellite.

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Richard Welsh: What will become of the technologies that are now nearly 200 years old?

D-Cinema: D for Disruptive Cinema’s transition from 35mm to digital is nearly complete, and as we move from the anologue celluloid age into the fully digital age it may be time to drop the D in D-Cinema

flexibility of manipulating the 3D depth in postproduction similar to the techniques available in 3D animation.

By Richard Welsh, SMPTE International governor and CEO at Sundog Media Toolkit

All areas of media 3D has waxed and waned in popularity over the 100 years it has been used in motion picture.

Many of the issues that have dogged 3D are due to the comfort of the viewing experience for the audience. As we understand more about the science of human vision, techniques such as tri-focal allow simplicity for production and also the ability to create 3D in a way that is pleasing and comfortable for the viewer.

Of course, technology only becomes a useful cinematic tool when applied to the art, and IBC2014 delegates are among the first to enjoy the short film Make Believe, shot in Berlin using the tri-focal system that was co-developed by Walt Disney Studios, Fraunhofer HHI and ARRI. Looking further forward, other topics such as cloud technology will start to become even more influential. Movie Making in the Matrix will look at how virtualisation of resources is affecting production and post in the film and television industry.

Productions from both the Hollywood and the independent end of the spectrum have made use of these technologies.

However, questions still remain

Digital has redefined the possibilities in advancing the movie-going experience and continuing the long tradition of cinema in providing a spectacle that is simply unmatched anywhere else. In this age where technology advances break new ground, and the business challenge is to keep up; are we now entering a disruptive phase of cinema history?

35mm film is not the only cinema technology in use today to have well surpassed its centennial. Arc lamps, its origins in the early 1800’s, are still the most common light source in projectors; while 3D can trace its roots to the 1830’s. Now, as was then, technology advances and the work of pioneers are pushing the boundaries of both image capture and reproduction in the cinema.

There is a strong focus on the disruption of cinema in the ‘Big Screen Experience’ stream here at IBC2014. Looking at the number of areas that will are covered, such as second screen, live events, cloud production and immersive audio, it is clear that the industry

is experiencing the biggest period of change in its history.

So what will become of the technologies that are now nearly 200 years old?

Projector light sources have long been an area of advancement in cinema. Early projectors using incandescent and limelight, were quickly superseded by the arc lamp.

While this technology has advanced from carbon rods to the xenon and high-pressure sodium lamps of today, the principle has not changed much – an electric arc producing a wide spectrum light source.

Arc lamps in cinema do have shortcomings such as energy efficiency that limits practical brightness and achievable colour reproduction and contrast ratio. Laser projection may be the answer to these issues, and this technology is now finding its way from the lab to the cinema.

With consumer focus on more pixels in the shape of 4K projection and Ultra High Definition Television (UHD-TV), the professional side of the industry has been pushing to complement this with ‘better’ pixels. The new breed of cinema laser projection delivers image improvements such as wider

colour gamut and increased dynamic range both of which compliment higher resolution.

Peter Ludé, founding chair of the Laser Illuminated Projector Association (LIPA) and Immediate Past President and Fellow of the Society of Motion Picture and Television Engineers (SMPTE), is helming the IBC2014 sessions looking at this topic. Ludé’s panels look at subjects such as the commercial rollout, safety and regulations and the finer technical details of colour reproduction, the human visual system and the laser specific challenge of ‘speckle.’ There’s a chance to see the very latest in laser projection technology with a demonstration of Christie’s 6 primary 4K-resolution laser projectors in the main auditorium in the RAI. Another SMPTE Fellow and also a SMPTE Standards director, Howard Lukk,is investigating another hot button in cinema at IBC2014, how to improve 3D. Lukk’s session covering Tri-focal Camera Systems looks at how this revolutionary new technique creates ‘hybrid’ 3D, allowing creatives to shoot action as they typically have for 2D movies -while allowing freedom and

about how elements such as security, bandwidth and choice of service might limit the current applications.

It is clear that internet technology is now becoming ubiquitous in application across all areas of media, and it is not only cinema being disrupted by these advances. In May of 2015, SMPTE will be holding its Forum in Berlin, produced in collaboration with FKTG. The conference will focus on how the convergence of connectivity, bandwidth, and media technology improvements will impact production and distribution of media across all platforms from cinema and broadcast, to mobile and interactive technologies. The Berlin event will look at the related opportunities and challenges from a European perspective, held over two days at Fraunhofer Institute for Open Communication Systems (FOKUS). Aiming to provide fresh perspectives to help engineers, creatives, and researchers understand the technical trends that drive the future of media over the internet.

See more at: http://sportsvideo.org/ main/blog/2014/07/smpteto-give-ibc-attendees-ataste-of-technologys-future /#sthash.JKfM7Ly3.sp P642to.dpuf

Opinion Pay TV can win multiscreen challenge Operators need a strategy to provide consumers with a one-stop entertainment shop while securing valuable ROI says Tom Jahr, EVP products and partner, Conax Conax continues to grow in Asia, EMEA and the Americas in securing content distribution and pay TV operations that are based on a wide variety of business models and services.

Our most important forum for showcasing the latest technology and business drivers, meeting key market players and experiencing the newest innovations, IBC plays a key role in meeting the global market.

Reflecting on opportunities, challenges and progress exhibited during the past year provides an interesting perspective as we settle into 38 theibcdaily

IBC2014. My first thought is that pay TV has probably changed more in the last few years than during the first decade of this century. TV is available on a range of different devices; tablets are used as companion devices; social media is increasingly influencing TV consumption; and vast video libraries have become available to the majority of TV viewers – just a few recent developments.

There has been a substantial amount of chatter about OTT over the last few years and we are now beginning to see some real solutions and real

deployments. Though there have been predictions of TV dying, television remains a core necessity (only now together with a variety of new multiscreen and mobile devices to take the home’s TV viewing experience to the next level). A wide variety of advanced technologies available to guide operators to the next level of TV content distribution is featured at IBC2014.

In the current market environment, pay TV operators are looking to get their feet wet, and determine how to best position for multiscreen/multinetworks content distribution,

besides offering the content that people want at a price they are willing to pay.

In order to draw a profit in the evolving multiscreen/multinetwork content distribution ecosystem, operators need to ensure content is secure. Here are a few tips on how pay TV can harness the opportunities provided by the expanding content distribution universe.

Operator’s services should reach the broadest range of devices to drive service uptake and customers satisfaction, and in a cost effective way. This translates to a multi-DRM capable platform, supporting both in-house and third party DRMs. The security solution must satisfy content security requirements from all content owners, across all devices.

Support a wide range of business models consistently on any device.

Offer a unified way to manage and operate the security solution, hiding complexity of the underlying security and DRM technologies.

Ensure the solution is ready to scale to new technologies, standards and devices.

IBC’s broad arena of current and forward-thinking forums, global players and extensive networking opportunities presents an invaluable setting for all of us to continue to learn about, contribute and gauge the momentum of this most exciting market.

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theibcdaily For the latest show news and updates follow #IBC2014

New content delivery platform Access

By Monica Heck A new software platform has been launched at the Access stand, enabling operators to bridge the gap between technology fragmentation and consumer demand for simplicity and universal content across all devices, while also meeting the security demands of the studio.

This new platform enables operators to have better control over content delivery to more devices within the home and to maintain content security across devices, even when using different content protection platforms.

The platform also enables multi-device PVR content viewing throughout the home and allows operators to track consumer content Access.

Using the platform, operators

can action targeted advertising in both the UI/UX and video inserts based on consumer behaviour. They can also use gateway devices to transcript high value live content for playback on the

widest number of devices.

It allows the aggregation of operator content into a single, searchable library to enable enhanced consumer discovery and enables secure out of home Access to

personal content, including recorded programming.

In addition, Access will also host use-case based demonstrations highlighting simplified CAS/DRM interoperability, support for standards such as CVP-2 and HbbTV. The company will also

showcase new developments in DLNA and its family of HTML5 TV-centric browsers, that enable operators to launch advanced TV services, across multiple devices, that attract new customers, reduce churn, increase revenues and cut costs.

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Showing Curzon Home Cinema Easel TV

By Monica Heck Multiscreen video software company Easel TV is giving live demonstrations of the new Curzon Home Cinema service at IBC2014. Curzon Cinemas launched its new home cinema service in May this year to create a VoD service giving viewers access to cinema at home or on the move.

The service delivers films into the living room at the same time as they are released in the cinema. The Curzon Home Cinema website and TV platform STB applications, were designed and developed using Easel’s Suggested TV platform: a cloudbased SaaS solution for multiscreen content delivery with a televisual user experience.

PayWizard is providing the payment fulfilment service and Microsoft Azure is providing content processing, hosting and delivery.

Curzon Home Cinema is available on Freesat Freetime, Samsung smart TVs, tablets, PCs and mobile devices and has announced a rollout plan to hit the major devices and broadcast platforms over the coming year.

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Opinion

Intercom products for interface technologies The broadcast industry requires more and more intelligent interfacing solutions says Juergen Malleck, international sales, DELEC Audio- und Videotechnik At our Eisenberg headquarters in Germany we design and manufacture high-quality digital intercom and announcement systems for use in radio and TV broadcasting and theatres.

DELEC products like the oratis intercom and oratis commentary systems ensure perfect communication between OB vans and camera operators, production manager and conductor, or stage manager and actors.

The company was established in 1988 in response to increased demand for digital announcement and intercom systems. Since 2002, DELEC Audio- und Videotechnik has become a global player as a member of the Salzbrenner Stagtec Mediagroup. DELEC customers include Germanbased broadcasters like the BR

and ZDF, and also well-known international broadcasters such as the BBC. DELEC has been attending the IBC as exhibitor since 2009 and we will continue to participate in the years to come. For our international clients and for us at DELEC, the IBC is the most important exhibition worldwide. The show has proven to be a perfect platform for us to reach out to both customers and press.

Last year DELEC’s newly launched oratis compact 1U intercom router was awarded with TVBEurope’s 'Best of IBC2013' award which boosted take up of the highly competitive product. Since IBC2013 we have sold nearly 60 systems which exceeded our expectations by far. With another 45 oratis compact

routers already ordered, we are looking forward to a bright future for DELEC. The broadcast industry – with its vast amount of system components provided by multiple vendors – requires more and more intelligent interfacing solutions as integrated designs become more common. Especially for intercom products integration with third party systems is of paramount importance, both for audio and control data.

DELEC understands this and offers unique solutions to help our customers build networked system solutions enabling them to fulfil their daily production requirements.

Having all the players on hand at one time not only helps potential DELEC customers to assess the market but also

gives us the opportunity to connect with suppliers and partner with key companies.

Clearly the demand for IPrelated solutions is driving the industry right now and we are certain these are bound to revolutionise the broadcast world still further. With our strong system integration background we are able to guide our clients through the design process, evaluating the bewildering variety of IP solutions on the market.

DELEC offers Ethernet-, IPand internet-capable products and we have the required expertise to pick the best approach for each application. We are a solid partner to our customers and ensure the choice of the most innovative – yet most reliable solution.

Despite the demand for IP, intercom products are required to offer a wide range of interface technologies. Hybrid solutions offering flexible IP interfaces as well as conventional MADI, AES/EBU and analogue 4-wire and 2-wire audio interfaces will continue to exist.

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Vyper customers offered DVB-S2X upgrade TeamCast

By Will Strauss Users of the Vvper satellite

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modulator from TeamCast can now make use of the newly ratified DVB-S2X standard via a software upgrade.

DVB-S2X, an optional extension of DVB-S2, is said

to improve efficiency by between 20 and 30%.

Gerard Faria, the chief technology officer at TeamCast, said: "Vyper is able to provide 64 APSK satellite

transmissions with just a software upgrade, a new way for our customers to increase their capacity - or decrease their costs. As promised, Vyper is an [evolving] platform

that is covering customers' current and future needs."

A Vyper and 64 APSK demo is being shown on the TeamCast stand.

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Codecs boost IP video transport Digigram

By Michael Burns A new codec, the Aqord *LINK/LE has been released, promising cost-effective transport of high-quality video over IP networks (fibre, xDSL, satellite). Digigram is also demonstrating the enhanced encoding capabilities of its Aqilim *SERV/FIT IP video codec, including the ability to encode multiple streams at multiple resolutions simultaneously.

Designed for video contribution in broadcast, live event, and live distribution applications,

Digigram said its new addition to the Aqord family allows users to begin streaming almost immediately. With both H.264 encoding or decoding capabilities, the Aqord *LINK/LE offers flexibility in system deployment. Housed in a 19-inch encoder/decoder rack, the unit features SDI raw video I/O and network I/O for IPbased live streaming.

The company said the minimal configuration required for the new codec makes it easy and affordable for users to get into IP-based video transport without compromising on video quality.

The Aqilim *SERV/FIT lets users publish content in multiple containers to multiple content delivery networks (CDNs) at once. In addition to increasing encoding density and reducing the cost per output stream, the Aqilim *SERV/FIT streamlines provisioning of content to all variety of display devices via OTT services.

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Dedicated Japanese anime service Saffron Digital

By Monica Heck Japanese mobile network KDDI and Saffron Digital have launched a dedicated anime service called Anime Pass.

The new specialist multiplatform video service offers unlimited anime content in response to the popularity of anime, a market thought to be worth approximately $1.7billion in Japan.

KDDI has seen huge demand for anime content on its existing Video Pass service, which Saffron Digital has been powering since its launch in 2012. Saffron Digital is using its MainStage OTT platform to power the new service, which is initially available on iPhone, iPad, Android phones and Android tablets.

Saffron Digital designed and developed the subscription service to enable KDDI’s mobile subscribers to enjoy anime film and TV content wherever they are. This latest entertainment

Pass out: The anime market has an estimated worth of approximately $1.7billion in Japan

offering from KDDI will give the mobile giant’s subscribers an even broader range of entertainment options.

Anime Pass is available via KDDI’s Smart Pass entertainment package (which has over 10 million subscribers).

For a monthly charge of ¥400

(US$3.90), the Anime Pass service offers unlimited access to approximately 7,000 episodes from 500 anime programmes, and enables subscribers to search for their favourite anime by criteria such as voice actor or genre.

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New sound and light kit Capable kit: The Rotolight Sound & Light Kit - including carry pouch and accessories

Rotolight

By David Fox A new Roto-Mic shotgun condenser microphone and Rotolight Sound & Light Kit have been introduced by Rotolight.

The ÂŁ60 microphone captures broadcast-quality audio and is suitable for DSLR, camcorder or audio recorder use via a 3.5mm audio jack. The compact, unidirectional shotgun microphone with 40Hz - 20kHz frequency response has a sturdy shockmount, three position level

control (-10dB / 0dB / +10dB) to adjust loud and soft sound sources, and a two-step high pass filter to eliminate rumble.

The ÂŁ150 (plus VAT) Sound & Light kit includes both the RotoMic and the Rotolight RL48-B LED Ringlight with stand mount and pouch. As used on Skyfall and Captain Phillips, the RL48-B provides soft, diffuse lighting with a classic ring-light effect and either slips over the RotoMic or mounts on the hot shoe.

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Like night and day: The difference the RoscoView variable ND filter can make

LitePad shines in tune Rosco

By David Fox The slim, soft Rosco LitePad LED light has been upgraded, and is now fully customisable and available in tuneable White and RGB configurations.

LitePad produces a flattering light output for lighting interviews, product shots and adding fill or accent light on set. It is available in two different models: LitePad Axiom, which comes in a protective metal housing that's easy to mount to standard grip hardware, and LitePad HO+, the raw LED light engine that is just 8mm thick and easy to hide and mount in broadcast sets.

Also on show is RoscoView, a variable Neutral Density filter in the window that allows users to instantly and easily compensate for changing lighting conditions outside without affecting the lighting setup inside the studio.The two-part system uses a wide width polarising panel installed in the window and a matching polarising filter for the camera, which work together to control the daylight exposure seen through the window.

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Realtime performer: InvisaPC enables smooth migration from physical desktops to virtual machines

Quality assurance for IP transmission

Plug and play: The NA8000 is designed to maintain IP footage quality throughout transmission

By Will Strauss

instability such as an increase of jitter.

Intended for sending high bitrate data like HD or Ultra HD content, the NA8000 works with ASI and Gigabit Ethernet and can cope with up to 160Mbps for each ASI interface. AVC, HEVC and MPEG-2 codecs are all supported.

According to NTT: “By

Black Box

By Michael Burns

NTT Electronics

Broadcasters wanting to use a level 2 or level 3 shared VPN rather than satellite to send IP streams are the target audience for NTT Electronics’ new NA8000.

Making use of the error correction algorithm LDGM, the contribution-grade ASI-IP converter is designed to maintain footage quality throughout a transmission and can recover packets that are lost due to network

IP extension expands KVM control

using NA8000 you can maintain the quality of your content and reduce the cost of transmission significantly.

For sending, all you have to do is pull off the BNC-cable from your transmitter, plug it into the ASI-input of NA8000 and connect a network cable to the Ethernet port.”

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InvisaPC, a KVM-over-IP system that works over a local area network (LAN) or the web, has been released.

InvisaPC extends and switches DVI-D video and USBHID signals with low latency to deliver realtime performance for video, keyboards and mice across IP networks. This enables hardware-based desktop extension of multiple physical CPUs or virtual machines.

The InvisaPC is a scalable solution; Black Box said users can start with a small point-topoint extension setup and

Derive Wikipedia topics from audio BBC R&D

By Adrian Pennington As part of its remit to deliver the future of public service media the BBC's estimable scientists can always be relied on to put theory into practice faster than nearly anybody. Collaboration is a key part of its success helping the researchers better understand the potential challenges and benefits of emerging and established technologies, and to drive open standardisation.

“This vital work enables R&D to advise the BBC on what is coming in the future; what it needs to be involved in and influence; what the likely winning and losing technologies are; and what the BBC needs to lead, follow or ignore,” explains Andy Bower, head of external relations, BBC R&D. Take a close look at its exhibit over in the IBC Future Zone and you will see COMMA. This is an intriguing project undertaken with partners Kite and Somethin' Else, funded by the UK's Technology Strategy Board and aimed at metadata extraction.

“High quality metadata is required to allow audiences to search, discover and personalise content. We are developing techniques to address the challenges of 44 theibcdaily

transition to an unmanaged, network-based matrix switching configuration.

The system provides integrated support for backracked PCs and virtual desktops. Desktop virtualisation is deployed through a PC or server that hosts multiple virtual desktops (Microsoft only).

However, the workstations are OS-independent when using an InvisaPC transmitter, InvisaPC transmitters and receivers don’t require any drivers or software to be installed on computer and are plug-and-play, directly connecting to the network interface right out of the box.

8.E20 creating this metadata, whether from today’s content or that taken from the vast wealth of content held in archives.”

Cloud Marketplace for Media Analysis (COMMA) is showing an automated metadata generation workflow and the 'Kiwi' topic extraction algorithm, which can derive Wikipedia topics from audio.

“We are aiming to show how we think that the production, distribution and delivery of content could change as networks and systems for production and distribution become increasing based on flexible IP networks, architectures and tools, and how this will bring massive benefits and opportunities for content producers and audiences alike,” he adds.

There are also demos through the RESTful API with an example interface to navigate within radio programmes using data generated through COMMA. “COMMA is a completely generic metadata extraction platform that can run in practically any environment, scale fluidly across public and private cloud infrastructure, and run nearly any Linuxcompatible algorithm code – usually without modification – against single files or petabytescale archives,” describes Bower. “The simple HTTPbased API allows trivial integration into existing ingest workflows and tool-chains, allowing metadata to be generated and delivered without any additional human intervention.”

Streaming of UHD content for interactive navigation on a tablet has only recently become possible, and the BBC is one of the first to show this working using HTML5 rather than via a native app at IBC2014.

8.F18

Reynolds: Hybrid approach “eases the transition to IP”

Forging a path to IP Imagine Communications

By Carolyn Giardina Imagine Communications is unveiling new technology aimed at enabling the media and entertainment industry to transition smoothly from traditional broadcast infrastructures to IP-enabled, software-defined and virtualised networks.

The company’s Software-Defined Networking (SDN) framework and Magellan SDN Orchestrator are created to integrate baseband infrastructure and IP networks. “As our customers migrate to IP, they want to ensure their considerable investments in baseband continue to be leveraged, while taking full advantage of the flexibility, scalability and efficiency that next-generation IP-based architectures can offer,” said Steve Reynolds, CTO, Imagine Communications. “The unique, hybrid approach of the Magellan SDN Orchestrator eases the transition to IP while dramatically improving the way

video is managed through broadcast facilities. Media companies can now leverage the high-quality video processing done in baseband while using an on-ramp and off-ramp to baseband over IP via a software control layer.”

Noting that broadcasters want to avoid having two networks with different interfaces, management systems, and technical staffs, Imagine reasons that the Magellan SDN framework can be the right fit. It explained: “By enabling the video bit flow to be software-mapped, transparent operation of the IP infrastructure is made possible, simplifying network architectures operating in hybrid networks of baseband and IP workflows. This eases the decision to build facilities for IP, providing scalable, geo-diverse and elastic networks that are customerconfigurable to each unique workflow and paving the way for migration to virtualised environments.”

7.G20

Leveraging new revenue opps Arctic Palm

By Ian McMurray CSNetSched is a new module for clients of Arctic Palm’s SpotCaster, providing networks with the ability to target national sponsor messages into affiliate stations to be added to the metadata displays based on the demographics of stations running the company’s Center Stage Live datacasting software. The automated process requires no intervention by the affiliate, says Arctic Palm, and provides nontraditional revenue opportunities for both the network and the affiliate.

Using the new CSNetSched module, the sponsor messages are

scheduled and uploaded to the network’s site. A special module running at the local station will automatically download and insert the message into the station’s datacasting system. When the message is posted to the datacasting service, it will be logged and, using the Inovonics 633 FM RDS/Decoder, the event will be verified as broadcast. At the end of the broadcast day, the “as run” will automatically be uploaded to the network site for affidavit processing.

Since uploads, downloads and message insertion are automatically processed by Arctic Palm’s software, the company says that there are no manual processes required at the local station.

5.B46

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OTT and smart TV on show at IBC Vestel

By Monica Heck An OTT series to support the latest IP technologies enabling

any business model on an OTT platform is on show at the Vestel stand.

Adaptive Streaming and DRM technologies are featured with HTML5 browser support. A fully functional SDK is provided to

system integrators to port their applications on custom configured HW. Powerful CPU and memory options are configurable depending on the application requirements.

Also on show is the new

Beenius Beesmart client device with Linux OS, which has a more powerful chipset than its predecessor and performs all Beesmart middleware operations smoothly.

Visitors can also see pure IP

or DVB-S2/T2/C enabled Android devices with CAS support. CA is totally isolated from Android OS to maintain security requirements. Android widgets and applications are configurable based on operator requirements.

14.A20

Preparing for 8K TV Net Insight

By Ian McMurray Visitors still grappling with the challenges of 4K may not be ready yet for 8K, but exhibitor Net Insight is. IBC2014 sees the company launch what it describes as a unique solution to enable 8K UHDTV signals to be transported over an IP infrastructure. The company claims that the solution, which enables 4K/8K linear workflows, offers market-leading visual quality, visually lossless compression and very low latency, making it perfectly suited to live production environments.

Net Insight is also demonstrating its Nimbra VA 200 series, which allows for the expansion of newsgathering operations using the internet, and, says the company, offers sports broadcasters and OTT providers the opportunity to create and cover more content in an easy, reliable and costeffective way. The company also believes that Nimbra VA 200 products can help generate new revenue streams, increase subscriber numbers, and lower operational costs.

The Nimbra VA 220 features a built-in encoder, allowing on-site personnel to quickly and cost-effectively connect to cameras for compression, conversion and transport of highquality live content across any type of network and in the absence of reliable bandwidth.

1.B40

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Exhibitor list and floor plan

Correct as of 28th July 2014

4

Halls 1,2,3,4,5 & 6 floor plan.......................................................Page 48 Exhibitor listing .......................................................................... Page 50 Hall 7 Floor plan ........................................................................ Page 51 Exhibitor listing ............................................................................Page 52 Exhibitor Listing...........................................................................Page 53 Hall 8 Floor Plan ..........................................................................Page 54 Halls 9,10 & 11 Floor Plan...........................................................Page 55 Halls 12 & 13 Floor Plan..............................................................Page 56 Hall 14 & Outside Exhibition Area floor plan..............................Page 57 Exhibitor Listing...........................................................................Page 58

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Halls 1, 2, 3, 4, 5 & 6

48 theibcdaily

theibcdaily For the latest show news and updates follow #IBC2014

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theibcdaily 10EaZy - SG Audio ..................8.D70 24i ............................................14.L05 25-Seven Systems ...................8.D47 27m Group................................1.A44 2WCOM Systems.....................8.E78 3D Storm...................................7.K21 42 Consulting............................3.A18 4EVER.......................................8.F12 4HM.........................................10.A30 4Mod Technology ...................14.F11 A AADYN Tech...........................11.G73 Aaton-Digital ...........................11.F31 ABC Products ........................11.G34 ABE Elettronica.........................8.D23 ABONAIR LTD ........................3.B20c ABOX42...................................14.J13 ABS ................................2.A30/MS23 Academy of Broadcasting Science of SARFT.....................8.F05 Accedo....................................14.E14 ACCESS .................................14.D14 Accusys ....................................6.C10 Ace Marketing Inc. ........3.B37/5.A41 ...........................6.A29/9.B10/11.B51 Acebil.......................................11.E69 Acetel Co. Ltd...........................2.C11 Acorde.......................................5.C49 Acousta Engineering GmbH ....8.A34 Actia Sodielec...........................4.C77 Active Circle ............................2.A36a Active Storage ..........................7.J31 ActiveVideo ...............................3.A27 Actus Digital ..............................7.F07 AD VALEM TECHNOLOGIE ..OE118 Adam Audio..............................8.D70 ADB Lighting Technologies....11.B10 Adder Technology ....................7.C30 Adobe Systems Inc..................7.G27 Adtec Digital .............................1.D01 Advanced Digital Broadcast SA............................5.B48 Advanced Media Workflow Association (AMWA)...............9.A40a Advantech.................................9.C22 Advantech Wireless..................1.A74 Advantek International, Inc......8.E92 AEQ...........................................8.C55 Agama Technologies................4.A75 AheadTek ..................................8.D02 AIC.............................................8.A24 Airbus Defence and Space .....2.C23 AirTies Wireless Networks .......5.B33 AJA Video Systems ..................7.F11 Ajimi ..........................................2.A36i Akamai Technologies ...............6.A15 AKFA Teknology........................8.E16 AKG Acoustics.........................8.D60 Aladdin.co.,ltd.........................11.E65 AlanDick Broadcast Ltd. ..........8.B99 Albiral Display Solutions/ Pixtron Broadcast...................10.A42 Albis Technologies ....14.C04/14.C15 Albrecht Elektronik..................10.A40 ALC NetworX GmbH ................8.F57 Alcatel-Lucent ...............MS40/MS41 Ali Corporation..........................4.C71 Allegro DVT ...............................1.F34 Alpermann+Velte GmbH........10.B48 Alpha Networks SA ..................3.C31 Alphatron Broadcast Electronics ..............................11.C36 AltaSens Inc. ..........................11.F41 Altech Multimedia.....................1.D40 Altera Europe LTD..........1.F13/MS39 Alticast Corp..............................1.F36 Amagi Media Labs ...................3.C35 Amazon Web Services ............3.B16 Ambient Recording GmbH ....8.C73a AMD ..........................................7.H35 AMIMON Ltd. .........................11.B71 Amino Communications.........14.J20 Amos - Spacecom ...................1.C65

50 theibcdaily

Ampegon ..................................8.D35 Amplidata..................................7.A15 Amptec .....................................8.D70 AnaCom, Inc.............................1.C97 Anevia .......................................4.B66 Anhui Sun Create Electronics Co. Ltd. ................5.A41e ANNOVA Systems GmbH........3.A33 ANT Group SRL .......................8.C64 Antik Technology....................14.C08 Anton Bauer............................11.E55 Anvato.....................................14.C02 ANYWARE VIDEO ..................8.B36c AO Technologies ......................5.C19 Apace Systems Corp. ..............7.K27 APANTAC ..................................8.E37 Appear TV.................................1.C61 Applicaster..............................3.B20k Aputure Imaging Industries Co. Ltd.....................9.D12 AQ Broadcast Limited...........9.B14ci AQS ...........................................2.A22 ArabSat .....................................1.B38 Arbor Media BV .......................7.H05 Arcadyan Technology Corporation...............................4.C88 Archimedia Technology............7.D14 Archiware GmbH......................7.G03 Archwave Technologies ...........8.A03 Arctic Palm Inc........................5.B46a AREPLUS...............................2.B39d ARET video and audio engineering ...................OE103 Argosy.....................................10.C51 Arion Technology Inc................4.A81 Ariston BTS SA.........................8.C19 arqiva.........................................1.B61 ARRI ........................................11.F21 ARRIS........................................1.D31 Arrow OCS & Artesyn ............14.G17 Artec Technologies AG ............7.C28 Artel Video Systems Inc. ..........2.A20 arvato Systems.........................3.B26 ASC Signal Corp ......................1.C51 Askey Computer Corp .............1.A40 ASPERA, an IBM company.....7.G30 Associated Press/AP ENPS.....7.D30 Astec Solutions.......................4.A61g Astro Strobel Kommunikationssysteme GmbH ...... ...................................................3.C41 ATCI...........................................4.C65 ATEME ......................................1.D71 ATG Danmon Ltd....................8.B51a Atlanta DTH, Inc......................10.F38 Atomos......................................9.D25 ATTO Technology Inc................7.F41 ATX Networks.........................14.G16 Audible Magic.........................14.K03 Audio Ltd ..................................8.C97 Audio Network..........................7.H09 Audio Wireless Ltd....................8.E98 Audio-Technica.........................8.D78 Audisi ........................................8.C94 Autocue Group LTD................11.F45 Autodesk...................................7.D25 Autoscript................................11.E55 Avanti Communications ...........1.A50 Avateq Corp. ..........................5.B46d Aveco ........................................3.B67 Avere Systems .........................7.G41 Avid ............................................7.J20 AVIION Media..........................14.J16 Avitech International Corporation .............................10.F26 Aviwest......................................2.A49 AVL Technologies .....................5.A49 AVT Audio Video Technologies GmbH.................8.E76 AWOX........................................2.A27 Axel Technology SRL ...............8.B81 Axia Audio.................................8.D47 Axinom....................................14.G04 Axle ...........................................7.D07

Axon...........................10.A21/10.B21 Ayecka Communication Systems Ltd..............................4.A74 Azden Corporation ...................8.A08 Azercosmos .............................5.B06 B B & H Photo, Video, Pro Audio ................................10.A01 BABO .....................................10.D10 Band Pro Munich GmbH .......11.D21 Barco Silex............................10.D31a Barnfind Technologies..............2.A42 Barrowa.....................................1.A32 Bazhou HongXingJieTu studio Lighting Equipment Co. Ltd...11.C61 BB Consulting ........................2.B39g BBC Academy ........................10.F35 BBC Research & Development .........................8.F18 BBright ....................................2.B39a BCE - Broadcasting Center Europe ..........................7.D12 Beamr .....................................3.B20b Beamshare............................8.B38dii Beenius ...................................14.E26 Beijing Cycle Century Digital Technology Co. Ltd. .................5.B10 Beijing Feiyashi Technology Development Co. Ltd...........11.B51d Beijing Fxlion Electronic Technology Co. Ltd. ...............11.A14 Beijing Hua Yuan Film Equipment Co. Ltd .................9.B10h Beijing KXWELL Technology Co. Ltd ..............11.B51c Beijing Liming Tianwei Opto-electronics co., Ltd.....11.B51a Beijing Novel-Super Digital TV Technology Co. Ltd ..................4.B51 Beijing Realmagic Technology Co. Ltd. .................2.C17 Beijing United Victory Co. Ltd .......................11.G87 Beijing Wan Jiaxiang and Technology Co. Ltd.........5.C16c BEiKS BiK Machulski Sp.J. ...11.D63 Beillen Battery - JIADE Energy Technology.................11.B52 Belco SRL.................................8.D65 Belden ......................................1.D11 Belgium Satellite Services s.a. .1.F61 Benchmark Broadcast Systems (S) Pte Ltd......................................7.C01 Benel BV / Falcon Eyes..........11.A64 Berlin Partner GMBH ...............8.D16 BES .........................................10.D57 Bexel........................................11.E55 BFE Studio und Medien Systeme GmbH...........3.A63 BHV Broadcast Ltd. ...............11.A12 BIRTV ........................................6.A04 Black Box Network Services ...8.E20 Blackcam Systems ................11.F41 Blackmagic Design ..................7.H20 BLANKOM ................................1.F45 BLT ............................................8.B94 Blue Lucy Media.......................7.A04 Bluebell Opticom Ltd..............10.F24 Bluefish444................................7.J07 Blueshape ...............................11.A20 BMS Broadcast Microwave Services Europe ....1.A10 Bon Electronics ......................10.D20 Booxmedia .............................14.G06 Boris FX ....................................7.G43 Boxx TV Ltd............................10.C49 Bradley Engineering................11.F41 Brainstorm Multimedia.............2.B59 Brexel Inc. .................................7.B01 Bridge Technologies.................1.A30 Brightcove.................................5.B20 Bristol Vfx................................11.D43 British Kinematograph Sound &

Television Society (BKSTS) .....6.B01 Broadcast Bionics ....................8.D71 Broadcast Electronics /Commotion..............................8.C91 Broadcast Manufactur GmbH .8.C60 Broadcast Partners ..................8.C81 Broadcast Pix ...........................7.B21 Broadcast RF............................9.A51 Broadcast Solutions GmbH............... ......................................8.A84/OE102 Broadcast Sports...................11.G72 Broadcast Traffic Systems.......2.C18 Broadcom Corporation............2.C25 Broadpeak ................................4.B72 BroadStream Solutions............8.B29 BroadView Software...............4.A65d Bryant Unlimited.....................10.D15 BTESA (Broad Telecom S.A)....8.B19 Burli Software Inc. ...................8.B01 BW Broadcast...........................8.E74 C Cache-A Corporation ...............7.F05 Calrec Audio .............................8.C58 Cambridge Imaging Systems ..........................6.C23/MS2 Camera Corps Ltd..................11.E55 Camerobot Systems GmbH ....8.A19 Camgear Inc. .........................11.D72 Canara Lighting Industries Pvt. Limited............11.A54 CANARE .................................11.A50 Canford .....................................9.C01 Canon Europe Ltd ..................11.E50 Capella Systems.......................8.E83 Carl Zeiss AG ..........................11.F50 Cartoni.....................................11.E30 castLabs GmbH .....................14.K02 CASTWIN (HoseoTelecom Co. Ltd)...........2.A29 Cataneo GmbH ........................3.B35 Cavena Image Products AB ....2.C32 CB Electronics ..........................7.F06 CCBN2015................................6.A03 CCI Paris Ile-de-France...................... .....2.A36/2.B39/8.B36/8.D82/11.E40 ....................................../MS40/MS41 C-Com Satellite Systems Inc ...4.C55 CCPIT Electronics & Information Industry Sub-Council ...............5.C16 Cedar Audio Ltd .......................8.C98 CEITON Workflow & Scheduling.............................3.A60 Celeno.....................................3.B20g Christie......................................9.D15 Christy Media Solutions - Broadcast Recruitment Specialists ...........6.C29 Chromatec Video Products .....3.B55 CHYRO ...................................2.A36c ChyronHego .............................7.D11 Cine 60 ...................................11.G41 Cinedeck {Cine Design Group LLC}.. ...................................................7.J07 Cinegy ............................7.A30/7.A41 Cinela ......................................8.C73a Cineroid ..................................11.G27 Cires21....................................14.K06 Cisco .........................................1.A71 Cisco - Connected Life ...........8.G11 Civolution ..................................2.B41 ClassX SRL ...............................8.A74 CLD Distribution .....................10.A08 Clear-Com ..............................10.D29 Clearleap ................................14.G10 Cmotion GmbH......................11.G42 COAX Connectors LTD ..........11.F73 Cobalt Digital Inc. ...................10.B44 Cobham.....................................1.F41 Codex Digital ..........................11.C71 Cogent Technologies .............6.C28a Collabora Limited ...................8.B38c Comigo .....................................3.B61 Communications Specialties Inc.........................10.F37

Compunicate Technologies Inc.1.F29 Computenext..........................14.K18 Comrex Corporation.................3.A48 Comtech EF Data .....................1.F80 COM-TECH Italia SpA .............8.C18 Comtech Telecommunications 1.F80 Comtech Xicom Technology....1.F80 Conax........................................1.D69 Concurrent Computer Corporation...............................2.B31 ContentWise ...........................14.K05 Convergent Design.................10.A24 Cooke Optics..........................11.D10 Coolech Technology Co. Ltd .5.A41d Coolux GmbH.........................11.F53 Copperlan .................................8.A03 Corning .....................................5.C45 Coship Electronics Co. Ltd. .....1.F50 Cosmolight .............................11.C30 Coveloz ...................................5.B40c CP Cases Ltd..........................10.A44 CPI International Inc.................1.B41 Craltech Electronica, S.L. ........9.C02 CreateCtrl Ag ..............................MS1 Creative Network Design..........7.F06 Crenova Multimedia Co. Ltd....4.C98 Cryptography Research Inc...14.C17 Cryptoguard AB .......................3.C61 Crystal Vision ............................2.B11 CSG Media, LLC ....................14.H01 CSTB Russia ............................6.B06 CTM Solutions..........................7.B11 CTP Systems............................8.A68 Cube-Tec International GmbH 5.C41 Cubiware...................................5.B30 Cuescript.................................11.A57 Custom Consoles Ltd ..............8.A20 CV Support Limited................11.D72 CW Sonderoptic ....................11.D21 Cymatic Audio ..........................8.A03 CYTAGlobal ..............................3.C44 D d'accord broadcasting solutions gmbh.........................8.C21 Dalet Digital Media Systems....8.B77 an Dugan Sound Design .......8.C95 Da Danmon Systems Group A/S ...............................8.B51c DataDirect Networks................6.C18 Datavideo Technologies Europe B.V. ...............................7.D39 Davicom..................................8.B38h DAVID Project............................8.F22 DAVID Systems GmbH ............3.A31 Dayang Technology Development Inc. .....................7.B35 dB Broadcast..........................10.A28 DB Elettronica Telecomunicazioni....................8.C74 DCC LABS ..............................14.L14 Decimator Design.....................7.B40 Dedo Weigert Film GmbH......11.E31 Dega Broadcast Systems Ltd .7.G07 Dejero......................................11.C21 DekTec ......................................2.B40 Delec Audio und Videotechnik GmbH...............10.D30 Delta Meccanica s.r.l.................8.E39 DELTACAST...............................7.J14 DELTACAST.TV .........................7.J14 Deltron Italia SRL ......................8.E17 DENZ ......................................11.C88 DeSisti - ILT Italy S.r.L. ...........11.B45 Deutsche Telekom - Business Development and Innovation 14.G15 DEV Systemtechnik GmbH & Co. KG.......................1.B31 DEVA Broadcast Ltd. ...............8.D79 devolo AG ...............................14.K17 Dexin Digital Technology (Chengdu) Co. Ltd..................3.B37e DGQoS SRL ...........................8.D37d DHD...........................................8.A50

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theibcdaily DigiCAP / SELFSAT..................5.C46 DiGiCo.......................................8.D70 DiGiDiA......................................8.E89 Digigram....................................8.C51 Digimetrics ................................7.A43 Digisoft.TV...............................14.E27 Digispot System GmbH...........8.D74 DigiTAG....................................10.F29 Digital Forecast .......................11.E65 Digital Nirvana .......................9.B14cii Digital TV Group .......................5.A09 Digital TV Labs Ltd ...................5.A01 Digital Vision..............................6.A14 Digital Zone Co., Ltd...............5.A05f Dimetis ......................................1.B30 DirectOut Technologies ............8.E85 Disk Archive Corporation........8.B38f DivX ....................5.C10/MS47/MS48 DJI .............................................9.C34 DK-Technologies ......................8.E60 DLNA .......................................14.L22 DLP - Digital Tech Co. Ltd .......9.B19 DMLite ....................................10.D20 Dolby Laboratories ...................2.A11 Dot Hill.......................................6.A16 Doteck Digital Technologies ....2.C49 DOTSCREEN..........................2.B39c Double D Electronics Ltd..........1.F58 Doughty Engineering Ltd .......11.A60 DPA Microphones ....................8.D70 Dracast ....................................11.F63 DSPECIALISTS GmbH.............8.E69 DTS ...........................................2.B50 DTVKIT ....................................4.A61c Dune HD .................................14.D20 DVB ...........................................1.D81 DVBControl - MediaControl.....3.B43 DVEO division of Computer Modules, Inc. ............................2.A34 DVLab .......................................5.C06 DVMR - Openheadend ..........14.H14 Dynamic Drive Pool..................7.H15 Dynaudio Professional ............8.D56 Dyvi Live ..................................10.F30 E Eagle Kingdom Technologies (EKT)...................5.C28 Earda Electronics Ltd...............4.C67 easyDCP GmbH ......................8.B80 Easy Media Suite......................9.A45 Easyrig.....................................11.A46 EBS Group Scrl ........................8.C74 EBS New Media Ltd...............14.C01 EBU (European Broadcasting Union)...............10.F20 ECHO ......................................10.F42 EchoStar....................................1.F76 Eddystone Broadcast ............8.B38b Edgeware................................14.B20 Editshare...................................7.G37 EDL-REC...................................7.A05 Egatel ........................................8.D40 Egripment BV..........................11.A21 Elber SRL................................8.D37a Elecard ......................................3.C19 Electrosys S.R.L ......................8.C41 Elemental Technologies ...........4.B75 Elements.tv | Syslink GmbH.....3.A23 ELETTRONIKA........................10.F41 Elite Antennas Ltd ...................4.A61f Elliptic Technologies...............5.B40a ELTI d.o.o..................................8.C25 EMC Isilon.................................7.H10 EMEA Gateway.....................9.B14cii Emerson Network Power.........8.C12 Emotion Systems ...................6.C28c EMS technical personnel Ltd...1.B09 ENCO ........................................8.B15 Encompass Digital Media ........4.B54 Enensys.....................................2.A31 Ensemble Designs, Inc.............8.B91 Entone .....................................14.L10 Entropic.....................................5.C28

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Envivio, Inc................................1.D73 Equinix ......................................3.B21 ERECA ......................................9.C47 Ericsson ....................................1.D61 ERLAB ....................................14.D02 ERSTREAM .............................14.J04 Es'hailSat ..................................4.B74 Espial.........................................5.A07 ETC - Electronic Theatre Controls .....................11.A62 Etere ..........................................8.B89 Etilux .....................................10.D31b ETL Systems.............................1.A33 ETRI ..........................................8.G08 Etribez .....................................14.D30 Euro Light System ..................11.E38 Euro Media Group .......8.D11/OE110 Eurotek S.R.L............................8.A59 Eutelsat SA ...............................1.D59 Evertz ........................................8.B40 EVS.................................8.A96/8.B90 Excitem.....................................8.E91 Exir Broadcasting AB ...............8.D28 Exterity ....................................14.H13 Extron Electronics ....................9.C30 Eyeheight Limited.....................8.B97 eyevis GmbH ............................9.B24 F F&V Europe B.V. .....................11.G50 F.A.Bernhardt GmbH, FAB .......2.A21 Fabrix Systems Ltd..................3.B20l Facilis Technology Inc. .............7.E08 Factum Electronics AB ..........8.D90d Fairlight .....................................7.H17 Fal Systems Ltd ......................OE117 farmerswife ...............................9.C25 Farseeing Co. Ltd...................11.D65 Fast Forward Video ................10.D20 Fiberfox...................................11.G59 FileCatalyst ...............................7.H40 Film and Digital Times ............11.F31 Fiilmgear ..................................11.A61 Filmlight .....................................7.F31 FIREFLY CINEMA.................11.E40b Fis Blue .....................................5.C23 Fischer Connectors ................11.F32 Flanders Scientific, Inc. ..........10.A12 Flanders/ Belgium...................10.F42 Floatcam ...................................9.B51 Flowcine..................................5.B22a FocalPoint Server ...................7.K01a FOR-A .......................................2.A51 Forbidden Technologies plc...8.B38e FORTIS......................................4.B82 Fortium Technologies LTD......14.J06 Fraunhofer Digital Cinema Alliance........................8.B80 Fraunhofer FOKUS...................8.B80 Fraunhofer Gesellschaft...........8.B80 Fraunhofer HHI .........................8.B80 Fraunhofer IDMT ......................8.B80 Fraunhofer IIS ...........................8.B80 Freefly Systems .......................9.B23 Freesun (Beijing) Technology Co.,Ltd. ................9.B10f Friend Mts...............................14.B30 Front Porch Digital....................7.D14 FTV project of MPEG................8.F45 Fujian Newland Communication Science technology Co.Ltd .....1.C91 FUJIFILM Europe - Recording Media .................11.C20 Fujifilm Europe GmbH............11.C20 Funke Digital TV .......................3.C60 Furukawa................................11.G25 G G. L Optics..............................11.A68 GatesAir ....................................8.B10 Gazprom Space Systems........4.B71 GB Labs ..................................7.J15b Gear Cam ...............................11.B65 Gearhouse Broadcast10.B39/10.E50

Gefen.........................................7.B30 Genelec.....................................8.D61 General Dynamics Mediaware.1.A06 General Dynamics SATCOM Technologies.............................1.A41 Genius Digital and GFK..........14.F37 Geolink Satellite Services / CETel......................2.A36b Geritel Giomar...........................8.E33 Ghielmetti AG ...........................8.C77 GIGABYTE Technology ..........14.J02 Gigatronix Ltd ...........................9.A06 GkWare e.k. ..............................2.C51 Glensound Electronics Ltd.......8.E72 Global Distribution ....................7.J31 Global VSAT Forum..................6.B05 Globecast..................................1.A29 Glookast Technology................7.D03 Gold Best Limited.....................4.C74 GoMax Electronics Inc.............2.C41 Good Mind Industries...............5.A20 GoPro........................................9.C40 Gorgy Timing ..........................8.D82c GOSPELL Digital Technology Co. Ltd. .................3.A61 Gotech International Technology Ltd.......................3.B37b Gracenote .................14.G13/14.H20 Grass Valley ...................1.D11/1.E02 GraVue Co., Ltd ........................8.A25 GREAT Britain Pavilion ..4.A61/8.B38 GreenPeak Technologies .........1.C90 GRUS........................................2.C29 Gsertel.......................................8.A11 GT - SAT International..............5.B18 Gulfsat Communications Company ..................................4.B70 Guntermann & Drunck GmbH .4.B60 Guramex .................................10.B31 H Hamlet.......................................9.D10 Harmonic Inc ............................1.B20 Harris Broadcast......................7.G20 HDMI Licensing, LLC...............5.C25 HEXAGLOBE ..........................14.L19 HGST ........................................7.G15 HHB Communications Ltd ......8.D56 Hi Tech Systems Ltd ................8.C92 Hibox Systems........................14.L12 HidashHi....................................3.A16 Highlands Technologies Solutions .................................10.B20 HighPoint Technologies, Inc. ...5.C11 HilKOM Digital GmbH...............1.F45 Hillrigs......................................11.A75 Hiltron GmbH............................4.B89 Hisilicon Technologies co. Ltd.2.C30 Hispasat ....................................1.A46 Hitachi Data Systems...............7.K31 Hitachi Kokusai Electric Europe GmbH ........................11.D39 Hitachi Kokusai Electric Turkey, Inc. ................................4.A71 Hive Streaming ..........................MS2 HK Sunrise Technology Development Co. Ltd...............9.B02 HMS GmbH..............................8.C21 Homecast Co., LTD ..................1.A27 Horizon Teleports......................5.B15 HP ................................14.H02/MS21 HTTV .........................................4.B77 Huawei Technologies Co. Ltd..5.B17 Huaxin Antenna........................1.C95 Hubee .....................................14.H17 Humax Co. Ltd .........................1.C27 HwaCom...................................4.C50 Hybrid TV..................................9.C33 Hybris Software - An SAP Company ................................................14.D10 I IABM ..................8.F51a/8.F52/8.F54 IB/E OPTICS Eckerl GmbH ...11.D21

IBAS - Italian Broadcasting Advanced Solutions .................8.D41 IBM............................................MS22 IdeasUnlimited.TV ....................8.A54 IDX Technology ......................11.C21 IEC Telecom.............................3.B29 IEEE Broadcast Technology Society ....................................8.F51b IET - The Institution of Engineering and Technology.......................8.F51c iFootage International (HK) Limited ............................9.B10c IGP b.v. .........................1.F58/OE107 IHSE GmbH...............................7.F33 Ikegami Electronics (Europe) GmbH..11.A31 Ilionx ..........................................3.A22 Image Engineering GmbH & co. KG......................11.E16 Image Matters ......................10.D31c Imagine Communications........7.G20 Imagine Products Inc ...............9.D14 Imagineer Systems...................7.K29 I-MOVIX...................................11.E43 INA - Institut National de l'Audiovisuel..............................6.A20 Indiecam GmbH .....................11.E75 IneoQuest .................................MS38 Inetsat........................................3.A24 Infivision ....................................6.B07 Infomir GmbH .........................14.L09 Inmarsat ....................................2.B19 Innowave Technologies..........14.K14 InstaDigital...............................14.E05 INSIDE Secure ...........................MS2 INSIDE Secure .........................MS25 Institut f端r Rundfunktechnik (IRT) ............10.F51 Integra PDU ............................8.B38g Integrated Design Tools Inc. ....9.A02 Intek Digital, Inc........................5.A05i Intel Corporation..........14.L20/MS42 Intellicore Services..................14.L16 INTELLIQUE............................2.A36h Intelsat Corporation..................1.C71 International Datacasting Corporation...............................1.C29 Interra Systems.........................7.B13 Interxion ...................14.GM7/14.H18 intoPIX SA.............................10.D31d Inventos ..................................14.D01 Inview......................................14.H08 IO Industries Inc. ....................11.D67 IPE Products .............................9.A31 IPV Limited................................8.A33 Irdeto .........................................1.D51 IRIS GATEWAY SATELLITE SERVICES LTD.........................3.C44 Irom Tech inc..........................5.A05d ISOVISION ..............................2.A36e Itelsis..........................................8.E19 ITS Electronics........................4.A65b Ittiam Systems ..........................1.F27 IWEDIA S.A...............................5.B01 J J&W TECHNOLOGY LTD......3.B37d JBL Professional......................8.D60 J.L. Fisher ...............................11.C40 Jampro Antennas, Inc. .............8.B96 Japan Radio............................OE116 JK Audio .................................11.G11 JLCooper Electronics ...............7.J43 JoeCo Limited...........................8.E97 Junger Audio ..........................10.A49 Jutel...........................................8.A26 JVC Professional Europe Ltd.11.G30 K K5600 Lighting........................11.E28 Kaltura ........................3.B20m/3.C67 Kantar Media - Audiences........1.F75 KAONMEDIA ............................1.B16 Karlsruhe Institute of Technology...............................1.D61

KATHREIN TechnoTrend GmbH .................1.A58 KATHREIN-Werke KG ..............8.C29 KenCast, Inc .............................2.C39 Kino Flo/Cirro Lite (Europe) Ltd.............................11.E33 Kintronic Laboratories, Inc. ......8.E41 Kizil Electronics ......................14.H07 KOBES.Co.Ltd........................11.E65 Konka Group Co. Ltd...............3.B39 KONOVA KOREA. Co. Ltd.....11.E65 Konvision ..................................9.B19 Korea Pavilion................4.B78/5.A05 Kratos Integral Systems Europe .......................1.A01 Krensel Industries UG ............8.D16a Kupo Grip Ltd.........................11.G69 Kvant-Efir...................................8.E75 KWS-Electronic GmbH............3.C41 L Lacie..........................................7.G17 L'AIGLE Stabilizers.................11.A40 Lambda Antenna Technologies.............................8.C81 Lanparte..................................11.A34 LAON Technology...................10.F22 Lasergraphics, Inc.....................7.F01 LATTO .....................................3.B20q LAWO AG .................................8.B50 LEADER INSTRUMENTS CORPORATION......................11.A38 Lectrosonics, Inc....................8.C73b Ledgo Co., LTD ......................11.C75 LEMO Connectors .................11.D42 Levels Beyond..........................MS44 Leyard Opto-Electronics Co. Ltd ......................................5.C09 LG Electronics...........................2.A41 LGZ Broadcasting Tech .......11.E40a Libec........................................11.A53 Liberty Global plc. ....................1.D39 Lightcraft Technology ...............7.J01 Lightequip GmbH + Co.KG....11.F71 Lightstar (Beijing) Electronic Co. ltd ....................11.E67 Limecraft .................................10.F42 Limelight Networks...................3.B15 Linear Acoustic.........................8.D47 LinkedTV ...................................8.F42 Litepanels................................11.E55 Lith Technology Co. LTD ..........9.A14 LiveU .............................3.B20j/3.B62 Livewire Digital Ltd ...................4.C83 LMP Lux Media Plan ..............10.F21 LockCircle...............................11.G35 Loft London Solutions .............8.B38i LogicKeyboard - BSP...............7.F49 Longway Broadcast Technology USA, INC...............2.A14 LS telcom ..................................8.E43 LSB Broadcast Technologies GmbH.................8.B35 LSI Projects Ltd ......................11.E35 LTO Program ............................9.B25 LUCI - Technica Del Arte BV....7.A33 Luma Tech ..............................11.B65 Lumantek ..................................3.B51 Lund Halsey (Console Systems) Ltd.............2.B30 Lupo Light SRL .......................11.F59 Lupo Lux SRL.........................11.A65 Luso Electronic Products Ltd. .5.C19 Lynx Technik AG.......................8.C70 M Magma ......................................7.F06 make.tv // SMT - Streaming Media Technologies GmbH.................3.B40 Mandozzi...................................8.A48 Mariner ....................................14.L02 Mark Roberts Motion Control Ltd ..............................11.F11 Marquis Broadcast Limited......2.A58

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Marquis Media Partners...........2.A58 Marquise Technologies ............7.H03 Marshall Electronics ...............11.D20 Mart, JSC..................................8.A01 Marvell.......................................5.C33 Masstech Group Inc................8.C30 Masterclock, Inc. ......................9.B12 Masterplay Digimedia...............8.A16 MathEmbedded......................14.A12 Matrox Electronic Systems......7.B29 Matthews Studio Equipment Inc ........................11.G71 Maxon Computer GmbH.........7.H39 MEDIAWEN..............................2.B39 Media Broadcast Technologies (MBT)................8.D82a MEDIA ENGINEERING .........8.B38h Media Excel ............................14.D27 Media IT Profy...........................9.A10 Media Links systems GmbH ...1.C31 Media Logic..............................7.H17 Media Utilities, a DNMS brand..........................8.A50 media.net berlinbrandenburg e.V. ............8.D16f Media-Alliance..........................8.B71 MediaGeniX NG .......................3.C59 MediaGuru ..............................10.A41 Mediamano ............................14.G05 Medianet Vlaanderen..............10.F42 MediaPower ..............................7.J42 Mediapro...................................8.A47 Mediaproxy Pty Ltd...................7.J07 MEDIATHAND.........................14.K04 Medienboard BerlinBrandenburg GmbH...............8.D16e Megahertz ...............................11.F20 Memnon Archiving Services....8.C85 Merging Technologies ..............8.E96 MeteoGroup .............................2.C48 Metrological ............................14.E25 METUS......................................7.A02 Microdolly Hollywood.............11.A28 Microsoft............................MS1/MS2 Microtech Gefell GmbH ...........8.D77 Mier Comunicaciones S.A........8.E36 Miller Fluid Heads (Europe) ltd..............................11.D30 Mindspeed Technologies.........8.C01 Minerva Networks ..................14.H10 miniCASTER速 c/o TV1 GmbH...........................1.A80/OE108 Minnetonka Audio Software.....7.J40 MIRAD Microwave AG.............5.C02 Mirada .......................................5.B08 MiraVid.....................................14.L04 Mirror Image..............................1.A03 Mistserver.org/DDVTECH ......14.K13 MISTV........................................2.A16 MITEQ Inc .................................1.A18 MIT-xperts GmbH.....................2.A44 Mobile Viewpoint ....................14.F21 Mode-AL .................................10.A38 Modeo......................................5.C01 MOG - Technologies ................7.K28 Mogami Cable For Life............8.D56 Mole - Richardson Company.11.F57 Monarch Innovative Technologies Pvt. Ltd......................................7.H37 Moso Power .............................8.B23 Motama GmbH ......................14.H19 Motion Plus MEDIA ................14.L13 MOVCAM ...............................11.D21 Movicom, LLC........................11.G63 MovieTech AG........................11.G34 MPP Global Solutions............14.K01 MSA Focus International Ltd ...3.B56 Mstar Semiconductor, Inc........2.C33 MTF Services LTD ..................11.B66 M-Three Satcom Srl...............8.D37c MTS - Media Technical System....................................11.G34 mufin GmbH...........................8.D16b MULTICAM SYSTEMS.........11.E40a

Multidyne Video & Fiber Optic Systems........................10.D46 Murraypro Electronics ............10.F23 Muxlab......................................8.E44 MW Video Systems Ltd ...........2.A32 MWA Nova GmbH....................7.E30 Mware Solutions ....................14.C30 N nablet GmbH............................7.G05 NAB Show................................6.A09 nac Image Technology Inc.....11.G75 NAGRA .....................................1.C81 Nagra Audio ..............................8.E96 nangu.TV .................................14.L18 Nanguang Photographic Equipment Co. Ltd. ................11.E10 Nanjing Dynacore Technology Co. Ltd ................11.D62 Nanuk By Plasticase ................9.A47 Narda Test Solutions ................8.E35 Nativ........................................7.K01b Nautel........................................8.C49 Nautilus Studio.........................7.G05 ncam..........................................7.F31 ND SatCom ..............................5.C31 NEC Corporation......................8.B37 Neotion......................................4.B53 NET INSIGHT............................1.B40 Net Mobile AG...........14.H09/14.H11 Netgear....................................14.F10 Netgem .....................................5.B45 NETIA .......................................1.A29 NETIA (Globecast Group) ......8.D82d Netrange .................................14.E13 Netris.........................................5.C21 Netsweeper ............................5.B46b NetUP ......................................14.J18 Network Innovations ................4.C83 Neutrik AG ................................8.C90 never.no.....................................7.A09 Nevion .......................................1.B71 New Japan Radio Co. Ltd .......4.C73 NewFace TV Ltd.....................5.B40b Newphoria ..............................14.J17 Newtec ......................................1.A49 NewTek .....................................7.K11 Nexeven..................................5.B22b Nexidia ......................................3.A54 Nexstreaming ...........................5.C03 NEXTO DI ...............................11.G37 NEXTO DI UK LTD .................11.G37 NHK ..........................................8.G21 Nikon Europe B.V....................11.A69 Nila LED Lighting ....................11.E38 Nimbus, Inc.............................11.E65 Nine Tiles ...............................8.B38di Ningbo Eimage Studio Equipment Co. Ltd.................11.C51 Ningbo Jie Yang Television Equipment Co. Ltd.................9.B10b NINSIGHT .................................7.B11 NKK Switches...........................8.A70 NOA Audio Solutions ...............8.D91 NOBLURWAY.........................2.B39h Nordija A/S ..............................14.L06 Norigin Media .........................14.H16 North Telecom ..........................4.B79 Norwia.......................................9.C19 Novella SatComs Ltd................1.F58 NovelSat...........................2.A10/MS3 Novotronik GmbH ....................1.A54 NPTV............................5.B19/14.G07 NSM Initiatives LLC..................3.A30 NTP Technology A/S..............8.B51b NTT Electronics Corporation ...3.C11 NTT Group................................2.C50 NTT Network Innovation Labs .8.F25 NUGEN Audio...........................8.A76 Numedia....................................3.B55 NVIDIA Ltd.................................7.J39 NyeTec Limited.........................2.C31

O Object Matrix Ltd ...................6.C28b Ocean Blue Software .............4.A61b Ocilion IPTV Technologies GmbH ................4.C61 OConnor..................................11.E55 OCTOPUS Newsroom Trading Limited.........................7.G11 Omnia Audio.............................8.D47 Omnitek.....................................6.A18 ONE CONNXT ...............1.F31/MS44 One For All................................1.C41 Onetastic SRL ..........................8.C20 Ontario, Canada..4.A65,5.B40,5.B46 OOYALA ..................................14.F32 Open Broadcast Systems Limited.....................4.A61h Opentech Inc............................5.C34 OpenTelly.................................10.F42 Opera Software.......................14.E20 OPERATORSKIE TECHNOLOGII .......................11.B69 Optical Cable Corporation .....10.E59 Optocore GmbH.......................8.C60 Optoway Technology Inc..........8.E25 Oracle........................................9.C17 Orad Hi-Tec Systems ...............7.B27 Orban Europe GmbH ...............8.D93 ORCA......................................11.D21 OSEE.......................................10.D59 Osprey by Vario Systems.........3.A26 Oticom.....................................11.E65 OVERLINE - Systems...............8.E94 Ovide Smart Assist.................11.A73 P P+S Technik ...........................11.G35 Pace plc ....................................1.B19 Packet Ship Technologies......4.A61e Pals Electronics Co. Ltd. ........OE101 Panaccess Systems.................3.C20 Panasonic Marketing Europe GmbH ...............9.C45/9.D40 Panodic Electric (Shenzhen) Limited...................3.A40 Panther GmbH........................11.E20 Paradigm Communications .....1.F33 PARALINX LLC.........................9.D18 PayWizard ..............................14.G14 PBI.............................................3.A52 PCCW Global.........................14.E07 Peak Communications Ltd. .....1.C33 Pebble Beach Systems............8.C71 Perceptiva - Labs ...................2.A36d Percon .....................................10.E51 Perfect Memory......................8.B36b Pesa ..........................................8.C03 Phabrix ......................................8.E40 Philips Home Control ...............1.A81 Philips uWand................5.B02/MS45 Phoenix7 Ltd ............................3.C21 Phonak Communications AG ..8.E95 Photon Beard Ltd...................11.D43 Piksel.........................................1.C30 Pixel Power LTD........................7.A31 Pixellot Ltd ...............................3.B20f Plaber S.r.l. - HPRC Cases ......9.B43 PLAYBOX Technology Ltd. (Sofia).................................8.C30 Plisch GMBH ............................8.E10 Plura ..........................................8.B73 Pluxbox .....................................8.A12 Polecam..................................10.C49 Pomfort GmbH .......................10.F39 Popyoular ...............................14.C01 Portabrace ..............................11.B65 Portaprompt Ltd .......................8.A90 Postium Korea Co. Ltd. .........10.D20 Prime Focus Technologies .......7.J16 Primestream .............................7.D21 Prism Sound .............................8.E34 Prismahub.................................8.B01 Prismcube.................................5.B09 ProConsultant Informatique.....2.B21

Prodys .......................................1.A39 Professional Sound Corp.........8.C96 PROFITT Ltd.............................7.A07 Progira Radio Communication 8.D44 PROJECTBUILDERS..............OE110 ProMAX...................................7.K01a Promise Technology.................6.C11 Pronology................................10.A26 ProSup/Casu ..........................11.E73 ProTelevision Technologies AS.......................8.C48 Providius Corp. .......................4.A65e Provys .......................................2.B49 PRO-X CO., Ltd ......................11.E42 Prysmian Group (Draka Comteq Germany)......11.C31 PSI Audio .................................8.E96 Portabrace ..............................11.B65 PTEK .........................................6.B04 Q Qbit GmbH................................8.E49 Q'ligent......................................8.D03 Qt by Digia..............................14.H05 Quadrille..................................2.B39b Quadrus Technology ................7.K25 Qualifyle.....................................8.E04 Quantel......................................7.A20 Quantenna Communications............. ........................................2.A08/MS36 Quantum 5X Systems Inc......5.B40d Quantum Corporation ..............7.B26 Qube Cinema............................7.F45 Quicklink ...................................3.B29 Quintech Electronics /DEV Systemtechnik ................1.B31 Qvest Media Dubai...................3.B40 Qvest Media Singapore ...........3.B40 R R.V.R Elettronica .......................8.E30 Rabbit Labs...............................3.A44 Radica Broadcast Systems Ltd............................8.B38h Radio Frequency Systems.......8.B28 Radioscape.............................8.D90a RAIDIX.......................................2.C27 RaLex Solutions .......................8.D73 RAMI .......................................8.B36a Rapid I&C...............................5.A05b Rascular Technology Limited ....................................8.B38a Red Digital Cinema.................10.A10 Reelway Gmbh .........................3.A28 RelayTV....................................14.J14 Remote Solution Co. Ltd.......5.A05h Research Concepts Inc............1.F58 RF-Design .................................1.F49 Riedel Communications GmbH & Co.KG......................10.A31 RIZ - Transmitters Co. ..............8.B02 RJS Electronics Ltd ...............6.C28d RME/Audio AG .........................8.E05 RO.VE.R Laboratories S.P.A ....8.B67 Rockwell Collins .......................1.A11 Rohde & Schwarz.....................7.E25 Roland Systems Group ............7.J38 Root6 Technology.....................7.E21 ROSCO...................................11.G21 Rosenberger - OSI GmbH + Co - OHG.............................11.E39 Ross Video Ltd...9.B08/9.C10/9.C23 Rotolight..................................11.D69 Rovi Europe Limited .................5.A31 RRsat Global Communications Network Ltd. .............................1.B24 RSG Media Systems...............6.C22 RT Software Ltd........................6.A21 RT-RK Computer Based Systems ........................5.B32 RTS .........................................10.D25 RTS (Royal Television Society)8.F51d RTW GmbH & Co. KG .............8.D92 Ruige China ............................11.D47

Russian Satellite Communications Company.....4.B84 Ruwido ......................................1.F68 RYMSA RF................................8.C65 S S&T (Strategy & Technology) ...1.B22 S3 Group...................................3.B18 S3 Satcom Ltd..........................1.B91 Sachtler ...................................11.E55 SAF Tehnika..............................9.B06 Saffron Digital .........................14.C11 Sagemcom ...............................1.D41 SALZBRENNER STAGETEC MEDIAGROUP .........................8.C80 Sam Woo Electronics Co. Ltd....................................11.G29 Samim Rayaneh Co. ................5.C15 Samjin......................................5.A05j Samsung...................................1.D35 SanDisk...................................11.C65 Sanken Microphone co. LTD ...8.C93 Sans Digital ...............................7.F04 SAPEC.......................................1.F90 Sat-Comm Broadcast LTD ................ ......................................1.A95/OE105 Satlink Communications ..........5.A17 Satmission....................1.A91/OE106 SatService GmbH.....................1.F47 Savas Live Subtitling..............14.H06 SCALITY....................................8.A98 ScheduALL ...............................1.D30 Schill GmbH & Co. KG ...........11.E41 Schneider Kreuznach.............11.A41 Schoeps Mikrofone ..................8.E90 Schulze-Brakel Schaumstoffverarbeitungs GmbH .......................................8.D75 SCISYS Deutschland GmbH...8.B61 Scottish Development International ............................9.B14a Screen Subtitling Systems.......1.C49 SCTE .......................................8.F51e SDNsquare..............................10.F42 SeaChange................................1.F70 SED Systems............................1.A52 SELEVISION ...........................2.A36g Sematron...................................1.A78 Semtech Corporation .............10.F46 Sencore .....................................1.F56 Sennheiser Electronic GmbH & Co. KG.......................8.D50 Servicevision...........................11.C45 SES............................................1.B51 SGL..........................................7.J15a SGO...........................................6.A11 SGT ...........................................8.B22 Shaanxi Tianyi Antenna Co. Ltd .....................5.A41b SHANGYU HENGFENG OPTIC-ELECTRONIC INDUSTRY CO. LTD ..............5.C16b Shape ......................................11.F61 Shenzhen (China) C&D Electronics Co. Ltd...................1.C93 Shenzhen Anycon Electronics Tech. Co.LTD.......3.B37c Shenzhen Aoto Electronics Co. Ltd...................9.B29 Shenzhen BestView Electronic Co. Ltd...................9.B10d Shenzhen Createled Electronics Co. Ltd ...................9.A01 SHENZHEN DONGZHOUJUN TECHNOLOGY CO. LTD........6.A29e ShenZhen Geniatech INC,LTD...................................5.A41a Shenzhen Justek Technology Co. Ltd.................14.J01 Shenzhen Mele Digital Technology Ltd...........5.C16e Shenzhen New Glee Technology Co. Ltd. .................2.C45

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Halls 9,10 & 11

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& OUTSIDE EXHIBITION AREA

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theibcdaily Shenzhen Newme Digital Tech Co. Ltd .................5.A41f Shenzhen Nicent Electronics Co. Ltd .................6.A29c Shenzhen SDMC Technology co. Ltd.................14.C07 Shenzhen Seneasy Industrial Co. Ltd.......................1.F93 Shenzhen Skyworth Digital Techonlogy Co. Ltd. .................4.A77 Shively Labs..............................8.E81 Shotoku Broadcast Systems .11.F40 SHOTOVER Camera Systems ..................................11.B72 SI Media....................................8.B93 Sichuan Changhong Network Technologies Co. Ltd..............6.A29a Sichuan Jiuzhou Electric Group Co., Ltd..........................3.C56 Sichuan Video Electronic Co. Ltd...................3.B37a Sielco SRL ................................8.A58 Siemens ..................................14.A30 Sigma Designs .........................2.C35 Signiant....................................14.L08 Signum Bildtechnik GmbH ......7.D31 SILIGENCE...............................2.A36i Singycon pte ltd.......................8.B89 Single Malt Audio GmbH .........8.D74 SintecMedia..............................2.B32 SIRA-SISTEMI RADIO..............8.C31 SIS LIVE ....................................1.C55 Sisvel Technology.....................5.B37 SKB CASES ............................11.F65 Skeed & Newphoria................14.J17 Skylark Technology Inc ............8.A07 Skyline Communications .........1.A23 skypix ......................................11.E65 Skyware Global.........................4.A95 Skyware Technologies .............4.B90 Slik Corporation......................11.A30 Slomo.TV, Inc. ...........................8.A21 SmallHD.................................11.G64 SMARDTV.................................1.C81 SmartLabs...............................14.E30 SMiT ..........................................1.F86 SMK EUROPE..........................5.C40 SMPTE .....................................8.F51f SNELL .......................................8.B70 SNL KAGAN .............................4.C89 SoftAtHome ..............................4.A51 Softlab - NSK............................7.A08 SoftNI Corporation ...................1.B28 Softron Media Services ...........7.G12 SOFTVALLEE ...........................2.C21 Solectrix GmbH......................11.C80 Solid State Logic ......................8.D83 SOLIDANIM ..........................11.E40d Sommer Cable GmbH .............9.B32 Sondor Willy Hungerbuehler AG ...................7.H01 Sonifex Ltd................................8.E61 Sonnet Technologies................7.G02 sonoVTS gmbh (former sono studitechnik gmbh)...................8.B68 Sony ........................................12.A10 Sotal.........................................14.F19 Sound Devices, LLC ................8.B59 Sound Ideas............................5.B46e Soundminer Inc. .....................5.B46c Spacepath Communications Ltd ...............4.A61i SPB TV....................................14.E17 Spectra Logic ............................7.J30 SPI International/Filmbox .......14.J03 Spinner GmbH .........................8.C28 Square Box Systems (CatDV) 7.J15c STAGETEC Entwicklungsgesellschaft ........8.C80 Stanley Productions ...............10.A03 Stardom storage solutions ......7.G09 Starfish Technologies Ltd.........8.A45 Starline Computer GmbH........7.H05 Step2e Broadcast AG ..............2.B29

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Stereo Tool / Audisi ..................8.C94 STiNO eyevis GmbH ...............9.B24 Stirlitz Media ............................8.C91 STMicroelectronics ...................1.F40 Stoneroos..................................2.A46 StorageDNA..............................7.B42 STORDIS GmbH.......................7.E10 STP SA System Technology Partner ......................................8.C85 Stream Group..........................14.L15 Stream Labs .............................7.G47 Streambox, Inc. ........................7.D01 STRYME GmbH ........................7.J03 Studer by Harman....................8.D60 Studio Network Solutions.........7.J05 Studiotech.................................8.A28 Stypegrip ................................11.B68 Suitcase TV Ltd.............2.C10/2.C15 Suman Satellite Technology Company ................................5.A41c Sumavision Technologies Co. Ltd ...............1.B10 SumoLight ..............................11.A77 Surface Heating Systems.........1.F59 Suzhou Duozheng Electronics Co. Ltd.................5.C16a SVP Broadcast Microwave......2.C55 SVS Telekom端nikasyon Hizmetleri San. Ve Tic. Ltd........................5.C01 Sweden at IBC..........................5.B22 SWE-DISH by Rockwell Collins1.A11 Swedish Microwave AB ...........1.F71 swissaudec .............................10.F45 SWIT Electronics Co. Ltd.......11.A39 Switchcraft, Inc.........................9.C49 Synapse TV..............................1.B22 Synaptop .................................5.B46f System House Business Partners ..................14.C20 Systembase Ltd........................8.E93 T Tac Systems..............................7.F06 TAG V.S......................................1.F94 TAKTIK SA ............................10.D31e Talia Limited............................4.A61d Tandberg Data GmbH ..............9.A04 Tango Wave ..............................4.C87 Tata Communications...1.B20/MS24 Tata Elxsi Limited......................3.A32 Tatung Technology Inc ...........14.B24 TC Electronic ...........................8.D56 TDF............................................1.B79 Teamcast...................................2.B51 TECH4HOME ...........................3.C46 Techbid Auctions....................10.A05 Technicolor.........................MS5/MS7 Technocrane S.R.O ................11.D36 Techwave, Inc. ........................11.E65 Tecsys Video Networks Ltd. ..3.B20a Tedial .........................................8.B41 Tektronix Inc............................10.D41 TELECAST TECHNOLOGY CO., LTD .................................6.A29b Teleidea.....................................4.C80 Telekom Austria Group ..........14.C16 elemetrics Inc. ......................11.D35 Te Telenor Satellite Broadcasting .1.A59 TelergyHD & Mware solutions14.C30 Telesat.......................................1.C39 Telespazio .................................4.A70 Teleste .......................................4.B61 Telestream.................................7.C12 Television Research Institute ...5.C43 TELIKOU TECHNOLOGIES CO. LTD...................................11.A10 Telmaco S.A. .............................8.E47 Telos ..........................................8.D47 Telos Systems...........................8.D47 Telsat Srl .................................8.D37b Telstra......................................14.B01 TEM ...........................................8.E45 Teracue eyevis GmbH IPTV & IP Video Systems..........................9.B24

Teradek....................................11.E55 Terrasat Communications, Inc. 1.F81 Thales Angenieux ...................11.F34 The Good Life Co. Ltd..............9.B04 The Israel Export & International Cooperation Institute................3.B20 The Pixel Farm Ltd ...................6.C19 The Video Point........................3.B20i The Weather Company.............7.F39 The Wireless Works..................9.A51 TheLight ..................................11.A48 thePlatform .............................14.H15 ThinkAnalytics Ltd ....................1.D92 thinklogical..............................14.B36 Thomson Broadcast................8.C35 Thomson Video Networks .....14.A10 Thum+Mahr GmbH ..................8.A50 Thuraya Telecommunications Company ..................................2.C23 TIANCHANG LIMING ELECTRONICS CO. LTD. ......5.C16d Tieline The Codec Company ...8.E73 Tiffen International Limited ....10.C49 Tiffen MPTV Filters .................11.D21 Tiger Technology ......................7.C10 Tight Video................................4.C78 Tilta Technology Co., LTD ......11.A71 Timecode Systems Ltd..........9.B14b TiVo Inc....................................14.L03 TIXEL .........................................8.A97 TMD Ltd....................................2.C58 TMG.........................................14.F11 Toner Cable Equipment UK Ltd....................4.B91 ToolsOnAir Broadcast Engineering GmbH...................7.G45 Top Format ...............................8.C81 TQ - Systems GmbH................8.E11 TRACT.......................................8.D74 TRANSRADIO SenderSysteme Berlin AG...................................8.D35 Transvideo...............................11.F31 TRedess ....................................8.A11 Triada-TV...................................8.D32 Trilogy Communications Ltd..10.A29 Trimaran Georacing................14.G02 TriVis Weather Graphix .............3.A58 True Lens Services.................11.G65 Truen co. ltd ...........................5.A05g TSF.be SA...............................10.d31f TSL..........................................10.B41 TTI .............................................4.C69 Turbosight (TBS) Technology Co.Ltd ...................4.C81 TV Skyline GmbH...................11.C50 TVC (TELEVIZIJOS IR RYSIO SISTEMOS, UAB) ...................OE109 TVLogic Co. Ltd .....................10.D26 TVStorm ....................................4.A91 TVU Networks ..........................2.B28 TW Electronics (Newbury) Ltd .4.B63 Twist Cluster .........................10.D31h U Ubertweek GmbH ..................8.D16c Ultimatte Corporation...............7.C27 Ultra Electronics GigaSat.........1.C57 Uniclass Technology Co. Ltd. ..2.A24 Unidis co. ltd ..........................5.A05a Unified Streaming ...................14.F33 Unique Broadband Systems Ltd..............................8.A40 UNITRON ................................10.F42 Universal Electronics bv...........1.C41 UPnP Forum ...........................14.L17 Utah Scientific...........................2.B20 Utelisys ...................................14.E09 UXP Systems Inc....................4.A65a V VANGUARD VIDEO .........1.F90/MS4 Varavon...................................11.C11 VariZoom ................................11.G54 VBOX COMMUNICATIONS ..3.B20p

Vcodes ....................................3.B20e VdB Audio ................................8.C93 VDL..........................................8.D90c VDL Deutschland ...................8.D90b Vector 3.....................................7.C01 VECTRACOM.........................8.D82b Venera Technologies ................7.C03 Verimatrix ..................................4.A55 Verizon ....................................14.G08 Versatile ...................................11.F41 Veset..........................................8.A14 Vestel.......................................14.A20 VEYGO..................................11.E41b Viaccess ....................................1.A51 ViaLite Communications ..........1.A21 Vianeos....................................2.A36g Viblast ....................................14.G01 VidCheck...................................8.A30 Videlio - Preview.......................8.C61 Video Clarity..............................2.C57 VIDEO STITCH.....................11.E40c VIDEO-FLOW .........................3.B20d Videolicious.............................14.K16 Videomenthe............................2.A36f Videoplaza ..............................5.B22c VideoPropulsion........................6.A05 Videosolutions Group...............7.A06 Videssence .............................11.B12 VidiGo B.V. ................................7.H30 VidMind LTD. .............3.B20o/14.K20 Viewz ......................................5.A05e Vigiglobe.................................14.G03 Vigintos Elektronika ..................8.E27 Vimmi Communications Ltd. .3.B20h Vimond Media Solutions......................14.H04/MS34 Vimsoft ......................................9.A38 Vinten.......................................11.E55 Vinten Radamec .....................11.E55 Visio Light Inc. ........................11.G45 Vision Research......................11.B42 Vision247 ................................14.H12 Visiware...................................2.B39e VISLINK.....................................1.A69 Visual Research Inc..................7.D05 Visual Unity..............................14.F34 Vitec ..........................................7.G16 Vitec Videocom.......................11.E55 VIXS Systems Inc. ....................3.A12 Vizrt............................................7.A10 VJU iTV Development GmbH ..8.E83 Vocas.......................................11.E34 Vodience .................................3.B20n Voice Technology ...................8.C73a VoiceInteraction....................14.H06a Volicon ......................................7.G23 Vonetize ..................................14.C19 Vortex Communications Ltd..11.G11 VOWOS Ltd..............................3.C30 VRT ............................................8.F02 VSN (VIDEO STREAM NETWORKS, S.L.)....................7.C21 VT3 ...........................................2.B39f VTQ Videotronik GmbH............1.F11 VTX Technology Ltd...............11.G11 VuTV .........................................1.B22 W W.B. Walton Enterprises Inc.....1.A62 Walimex Pro ...........................11.G68 Wallonia Export-Investment Agency (AWEX).......................10.D31 WASP3D ...................................7.K30 Wave Science Technology.......8.A44 WeatherOne..............................7.D11 Well Buying Industrial Co. Ltd..8.A64 WellAV Technologies Ltd..........5.B47 Wellen+Noethen .......................3.B40 West Media Systems ...............2.C32 Wheatstone Corporation..........8.A86 Whisper Power........................OE115 Wide Orbit.................................8.D71 Wildmoka .................................2.B39i WINEGARD COMPANY...........4.A60

WINJAY S.R.L. ........................10.F41 Winmax Industry Co. Ltd.......9.B10g Winmedia................................8.B36d Wisi Communications GmbH & Co. KG.......................4.B50 Wisycom SRL...........................8.D89 Witbe.........................................4.B81 Wiztivi ......................................14.L01 WNM SA...............................10.D31g Wohler Technologies, Inc. ......10.B10 Wonderlamp Industries GmbH .....................................8.D16d Wooden Camera.....................11.E71 Work Microwave GmbH ..........4.C60 World DMB ...............................9.D30 WorldCast Systems..................8.B60 Wowza Media Systems............3.B17 WTS Broadcast Systems.......OE114 wTVision....................................7.A45 Wyberry Technologies............5.B22d Wyplay.......................................5.A11 X XCRYPT, INC. ........................5.A05c x - dream - media .....................8.E83 XenData ....................................7.H47 XeusMedia Technology............4.C59 Xiamen Came Photographic Equipment Co. Ltd. ................9.B10a Xiamen RGBlink Science & Technology Co. Ltd ..................7.K40 Xilinx Inc. ...................................6.A18 X-SQUARE TECHNOLOGY CO. LTD ..................................6.A29d Xstream ...................................14.F15 Xylostream Technology Ltd......2.A48 Xytech Systems........................6.C22 Y Yamaha Commercial Audio .....8.D15 Yangaroo.................................4.A65c Yegrin Liteworks.....................11.G77 Yellowtec ...................................8.A51 Yospace...................................14.E10 Yuan High-Tech Development Co. LTD ..............8.E15 YUYAO LISHUAI FILM & TELEVISION EQUIPMENT CO. LTD. ...............................11.B51e Yuyao Sinor International Trading Co. LTD. .......................9.A34 Z Zacuto.....................................11.G64 Zappware..................................1.A81 Zattoo TV Solutions ................14.J05 Zaxcom Inc.............................8.C73a ZebraOTT..................................5.C35 Zenterio.....................................4.C56 Zentrick....................................10.F42 Zeticon.....................................10.F42 ZHANGZHOU LILLIPUT ELECTRONIC TECHNOLOGY CO. LTD ................................11.B51b ZHANGZHOU SEETEC PHOTOELECTRIC TECHNOLOGY CO.LTD .......9.B10e Zhengzhou Generalink Lighting Equipment Co. Ltd. ................11.A66 Zhengzhou Taiying Video Equipment Co. Ltd ...................9.B49 Zhuhai Jili Development Co. Ltd. .....................................9.B41 Zixi...........................................14.C05 Zlense........................................8.E02 Zoo Digital PLC ......................9.B14d ZukunftsAgentur Brandenburg GmbH ..............8.D16g Zylight......................................11.E38

Correct as of 28th July 2014

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Easy-DC offers long-distance power BHV Broadcast

By David Fox The new Easy-DC rounds out BHV’s range of power equipment by providing a lowcost, long distance power system via coax for monitors, cameras and LED lights in situations when AC is difficult

or dangerous to access.

It can operate at distances of up to 300m, and has a rugged design for use on location.

There are two units: a transmitter, which takes 1019volt DC input and transmits it over coax cable; and a receiver, which outputs 12v DC. The Easy-DC joins the existing Video Ghost, the video equivalent of phantom power

for audio, which has been updated with various operational improvements and runs serial digital video plus DC power in one standard coaxial cable, supplying 65W of power at up to 150m. There is also a 1RU rack-mounted version, GhostRack offering four channels of power over coax with integral power supplies and front panel monitoring,

Rocket-inspired storage showcased HighPoint Technologies

By Ian McMurray The rocket has long been a symbol of man’s innovation and technological prowess, and it inspired the founders of HighPoint Technologies to name the company’s products

accordingly.

RocketStor Thunderbolt 2 SATA Adapters are the fastest, easiest way to integrate miniSAS and eSATA storage devices into today’s fastest Thunderbolt-capable Mac and Windows PC platforms. The 20Gbps Thunderbolt 2 transfer bandwidth and external miniSAS connectors are said to ensure optimal performance

for SATA hard drives and SSDs, and can support any industry standard mini-SAS and eSATA storage enclosure, including those with integrated RAID capability, or those hosting arrays created with Mac OS X’s disk utility.

HighPoint says that the RocketStor 6328L and 6324L storage docks allow customers to take full

which is suitable for OB vehicles needing to run power and video over standard

advantage of the performance and versatility of Thunderbolt 2 while using their existing SATA storage devices.

HighPoint’s Dual-Storage Modes are said to be fully compliant with the industry standard LTO Ultium drive, enabling single RAID adapters to support both LTO tape drives and tape libraries in addition to RAID storage configurations. HighPoint says that it understands that one size does not fit all; different workflows and storage applications require different

Power over coax: BHV’s Video Ghost system in use for camera power and video signals

coaxial cable for four camera and/or monitor channels.

11.A12

storage interfaces and port configurations. To address these requirements, it has integrated the Dual- Storage Modes Solution into the HighPoint Thunderbolt 2 Hardware RAID Adapter, SAS 6Gbps Hardware RAID, and 6Gbps SAS Value RAID PCIe Adapter Series, and notes that Dual-Storage Mode has been validated with HP LTFS and LTO Tape Applications such as Archiware P5, TOLIS Group’s BRU PR, and Imagine Product’s PreRoll Post.

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Improved ACR for second screen view Civolution

By Will Strauss Improved Automatic Content Recognition (ACR) for second screen interactivity and the latest advances in content protection are the focus for Civolution at IBC. For ACR, there is a demo of the company’s third generation Syncnow technology which now features faster detection time, enhanced robustness for in-shop interaction or live concerts and a reduction in CPU consumption.

A convergence technology called SNAP that enables the same watermark to be used for both second screen synchronisation and audience measurement is also on show.

At the same time Civolution is exhibiting enhancements to its NexGuard forensic watermarking technology.

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These include NexGuard for Pay TV, where an imperceptible identifier can be added to all video content, revealing the source of piracy when content is re-streamed, transcoded or uploaded to unauthorised media sharing services.

NexGuard for Pre-Release is also being showcased. This enables a content owner to track leaked content back to the source through the embedding of an invisible and unique serial number.

“The second screen has become an integral part of the TV viewing experience and more content than ever is shared over IP, driving a new era in content consumption,” said Civolution CEO Alex Terpstra. “Over the past 12 months we’ve been working hard to expand the capabilities of SyncNow and NexGuard to help create an ecosystem that is more interactive and secure.”

Civolution has also added support for 4K ProRes and realtime watermarking of IMF/JPEG2000 video, as well as cloud-based watermarking for eScreener videos.

2.B41

Anniversary Newsroom update Octopus

By Carolyn Giardina The 15th anniversary of Octopus Newsroom is being marked with a new software release that underscores what the company believes is the future direction of newsroom systems.

Octopus Newsroom was designed to help broadcasters manage, produce and deliver news programming. With version 7.2, customers have access to new tools for production management of user generated content. Idea Stream enables newsroom users to tag and categorise every document, file and image — and even specific URLs, YouTube videos or online images. Individual users can set up alerts to be notified when new content on specific topics has been tagged.

“With the advent of audiencegenerated content and crowdsourced clips, it is increasingly difficult for news editors to keep track of every relevant file. With this new production

Now we are 15: Octopus is launching version 7.2 of its Newsroom system

management tool, we now have a practical solution to this growing problem,” said sales director, Gabriel Janko.

Octopus Newsroom has also enhanced its Facebook toolset for social media management.

From the newsroom system itself, users can monitor ‘likes’ as well as publish, share and unpublish content. Instead of deleting posts outright, this feature keeps removed content in an archive, allowing

broadcasters to keep a record of its Facebook activity.

Another new feature is Vizrt Integration, which provides an instant preview of Vizrt graphics directly in the Octopus client. “In the newsroom, speed counts,” said Octopus technology partner manager, Milan Varga.

“With our Vizrt integration, valuable time is saved. In a live environment, this will make a big difference to news teams.”

7.G11

theibcdaily

STB to go AirTies

By Ian McMurray A portable wireless set-top box, small enough to fit into a handbag, is one of the centrepieces of AirTies’ IBC stand.

Measuring just 10 x 10cms, the miniature STB attaches wirelessly to the IP gateway and can easily be moved from room to room. It features RF remote control and home automation capabilities to enable remote programming and is portable enough to take anywhere.

The combination of the Air 7405’s Wi-Fi connectivity and the device’s miniature form factor makes it a ‘settop box to go’, says the company, allowing consumers to take their HD viewing experience with them to the next room or the next country.

The STB wirelessly connects to the home gateway and

works on any unmanaged internet connection, effectively unbundling the provision of the pay TV service from the broadband service offering and opening up new revenue stream opportunities, AirTies believes.

The Air 7405 is a small OTT/IPTV STB and now available in trial quantities. It uses the latest Broadcom 7250 system-on-a-chip (SOC) chipset with 5K DMIPS CPU, an HEVC decoder, and USB 3.0 plus AirTies’ wireless video connectivity. It comes complete with built-in 2x2 802.11ac wireless connectivity, operating at 2.4 or 5GHz frequencies, together with AirTies Mesh Technology, allowing consumer self-service installation and extending wireless coverage.

5.B33

Little black box: The new Air 7405 STB measures just 10 x 10cms

International SI success showcased Danmon Systems Group

By Michael Burns What do containerised turnkey radio broadcast stations, a high-profile production facility build in London for a Middle Eastbased news channel and the relocation of all television and radio production and transmission facilities for Greenland's KNR, have in common? They're all recent successful projects being showcased by Danmon Systems Group.

The group's full range of systems integration services is also on display, along with details of a green-field production and transmission complex for Lào Cai Radio & Television in Vietnam.

"The past year has proved one of the busiest we have experienced in over three decades of supplying broadcast-related

Exporting success: Complete containerised turnkey radio stations en route from DSG headquarters

consultancy, systems and services," said deputy managing director, Peter Thomsen. "A key reason was our strategy of becoming a globally active group.”

Thomsen said the first step in this expansion had been the acquisition of UK-based ATG in September 2006.

"More recently we have

formed divisions in Asia, the Middle East and Spain,” he continued. “We also have a close working relationship with our sister companies within the Dan Technologies group including the satcom systems specialist Hiltron in Germany and various Danmon partners across Scandinavia."

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Opinion

Doing what we do best The industry is in a state of permanent revolution, believes Pavel Potuzak, managing director, Aveco So here we have another war at the gates of the EU. The good thing is, that it is well timed; it did not destroy the good impression from the Olympic Games. Both main sources of the fuel of this industry, professional sports and news, have a lot of content.

Let’s not comment on our unlimited will to talk about defending the law and democracy, let’s look at the state of the industry from technological point of view.

The Olympics showed that 4K is a viable technology for which there exists a broad choice of equipment that is easy to use, that delivers results that are pleasure to watch and that hopefully finds its way through distribution networks to large enough family of viewers to prove the economic reasons for its existence.

As to war news, camera crews have no easy access,

thus broadcasters’ news departments depend mostly on mobile phone videos and information published on social media. In parallel, they think about how to turn viewers back to TV screens from those same online resources.

The whole industry is in the state of permanent revolution.

New products, new versions, even new standards are being thrown into the market just to see whether they are accepted, without much research background. The online world is a jungle with technologies and companies appearing and disappearing daily, and broadcasters are investing heavily into this world without working business models, but also without the option of not being there.

What are the main drivers that will affect our technology the most?

First is the massive amount

of acquisitions and consolidations going on among technology companies. These companies seem to change their focus from developing high performance “open” products to convincing customers to buy it all from their 'one-stop' shops.

Even competing product lines are now merging with promises of seamless integration and continued support. This is a big risk factor that you, the customer, has to consider.

A real threat is the ITU second digital dividend where the frequency band assigned to broadcast is to be handed over to mobile operators. This can hit broadcasting really hard.

Who will benefit from it?

Governments will earn money from the frequency auctions, mobile and internet operators will of course benefit, too. And who will pay for it? You, me and

all TV viewers.

How does Aveco serve its customers in this turbulent times?

We stick to our guns.

We provide our in the cloud, in the box, and in the rack solutions.

We provide our stability with more than 22 years of relationships with customers worldwide.

We provide our independence, gluing all brands into seamless workflows, without any overriding

corporate policies.

We provide our comprehensive product range — MCR automation, news production automation, plus more.

We stay at the cutting edge of technology with solutions from high end to news studio in a box, the only integrated studio automation package available on the market. This is not just an entertainment industry. We produce tools to rule the world.

3.B67

Object-based media trialled BBC R&D

By Adrian Pennington Object-based media is being seen by some as a core element of future media services. The DVB has included object-based audio in its ongoing Ultra HD format discussions and Dolby is bringing its object-based system Atmos into the home.

The BBC though has a focus on the audio and the visual element, testing both recently at

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the Commonwealth Games from Glasgow. Findings from these trials and revelations about its research roadmap are part of the its portfolio of innovations shown in the IBC Future Zone.

Steve Baily, general manager, BBC R&D, said: “We foresee content becoming more immersive. For example, video with more and better pixels as we look beyond HDTV, and object-based spatial audio.

Audiences will demand content with greater levels of personalisation, whether their

consumption is on big screens in the home, or mobile devices on the move. We believe objectbased media formats will be the solution for the creation of content and services that are easily personalised and consumable on a variety of devices, and are starting to explore the potential opportunities and challenges for object-based media in our research. Our demos at IBC will show some early results, including object-based audio.”

An example of the move to

personalised, immersive media in the future IP world is Venue Explorer, a web application that lets viewers explore a UHD panoramic video of a live event, allowing them to zoom into areas of interest, with audio being automatically re-mixed to

match the view. Graphical overlays can be switched on to provide data about what is being seen such as background information on sports events, and live data on what is happening.

8.F18

theibcdaily For the latest show news and updates follow #IBC2014

Build your own control room Custom Consoles

By Michael Burns A new television production gallery desk system and the recently developed EditOne and SystemTwo desk series are being showcased in Hall 8.

The Module-R product range offers a mix-and-match control room furniture system. The company said the range allows aesthetically attractive and longlife desks to be configured to meet specific shapes and dimensions from a selection of high-quality pods, base sections, 19-inch rack housings, worktops, end-panel modules and legs. Co-ordinated desk pods are available as single-bay sections with up 10U chassis capacity.

Developed for use in video

editing suites, broadcast graphics areas and audio studio control rooms, Custom Consoles EditOne desks use sculpted MDF support panels rather than metal legs. The

curved theme is carried through to the desktop and a raised monitor shelf. Integral equipment pods are provided.

An auxiliary equipment pedestal with an additional 11U of rack

space and an integral worktop is available. The company said the desk was designed for flat-pack delivery and can be assembled in less than an hour using the supplied Allen key and screwdriver.

SystemTwo is a multi-element furniture system designed to accommodate free-standing or

pod-mounted equipment such as graphics workstations and editing terminals.

The SystemTwo range includes the S2-01B desk and S2-02B shelf, both electrically adjustable in height from 660 to 1,250 millimetres.

8.A20

Get ahead in the Cloud CreateCtrl

By Adrian Pennington A focal point of German software developer CreateCtrl are solutions that allow media companies to produce content at different locations on different devices. As a Microsoft coexhibitor at IBC, CreateCtrl is demonstrating the interaction of VoD highlight planning and asset management with Microsoft’s professional Cloud solution, Microsoft Azure Media Services.

Content is stored and accessed through the Cloud making the investment in a company’s own IT hardware and the cost for their maintenance unnecessary.

In addition, CreateCtrl is presenting its media applications for metadata management and programme planning in the most recent of its version, number 7 at IBC. This includes the flexible content management system, ContentExplorer, as well as a Programmer and Planner. These products are already being used by content suppliers Discovery and N24.

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theibcdaily A matter of time: Vortex’s FLX virtual clock and timing system has also been upgraded

Audio codecs score in Brazil Systembase

TimeLord regenerated Vortex Communications

By Michael Burns

By David Fox C510ip audio codecs helped ITV Sport communicate during the 2014 World Cup football tournament, taking place at various stadiums in Brazil. The C510ip codecs provided realtime audio communications and talkback between the ITV studios in London and the International Broadcast Centre, located in Rio de Janeiro’s Riocentro, Latin America’s largest conference facility.

ITV Sport technical director, Roger Pearce, commented: "ITV Sport has had a long and successful relationship with Systembase. We have been very pleased with the performance of the apt-X audio codecs, as the audio quality and reliability are second to none.”

Pearce continued: “For the 2014 FIFA World Cup in Brazil, ITV Sport was using the C510ip codecs for streaming IP-based international communications and music circuits via fibre. We also configured the system to use the built in ISDN capability of the C510ip codecs to provide automatic fail-safe backup of the AOIP stream."

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The TimeLord range of Master Clocks has been regenerated with a completely new modular design. It also gains a TimeLordNet module, so that “it can sit on a computer network to act as a Network Time Protocol server,” said Vortex director, Ian Prowse.

Vortex had wanted to release the update at IBC2013, but there were so many new

features that it took longer than expected.

Users can now add dual inputs, “to reference GPS satellites and the MSF or DCF atomic reference clocks, so if one fails you have another as back up,” he explained. It can also be locked to EBU or IRIG Timecode signals, including via a fibre-optic interface.

It has v-Code output that is user configurable to provide 15zone 482 time-and-date code for V-400A digital displays (themselves updated with Power-over-Ethernet), or bi-

phase pulses from an intelligent impulse driver for analogue pulse clocks (with hands). A second v-Code module can be added and separately configured, as well as programmable mains-rated contact closure outputs and multi-serial outputs that complement the in-built serial time data interface, all of which can output different data streams using more than 80 time data formats.

FLX (from VTX-Tech) complements the new TimeLord and V-400NP displays by adding timer and stopwatch capability and provides costeffective virtual timing using HDMI TVs for display and tablet

computers as control surfaces.

Screens with Ethernet/HDMI interfaces take NTP time from the network and output the stored clock and timer configuration to the display.

As a simple clock, an FLX-i Interface can produce an analogue clock, with or without digital clocks and/or calendar, digital timers and additional signalling (On Air, Mic Live, Telephone or perhaps FIRE). It can also be used for Multi-Zone applications and any configuration can be sent to other interfaces and controlled from any tablet control surface.

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F&S recognises video encoding excellence Ateme

By Ian McMurray Frost & Sullivan has presented its 2014 Global Growth Excellence Leadership

Next-gen subscriber management

Award for Broadcast and DTT Video Encoders to broadcast video compression solutions company Ateme. Ateme is one of the few companies that has shown outstanding growth in both encoding and transcoding product lines, and was chosen on the strength of its innovative

PayWizard

By Monica Heck The focus is on subscriber management systems (SMS) at the PayWizard stand, where

architecture and algorithmic excellence.

“We couldn’t be more pleased to receive the 2014 Global Growth Excellence Leadership Award from Frost & Sullivan,” said Michel Artières, founder, president and CEO, Ateme.

“This recognition is a

the company is showcasing how this technology can help pay TV platforms, MSOs and VoD service providers develop advanced TV everywhere strategies.

Visitors can see how the company supports multiscreen

testament to the strength of our research and development, our commitment to excellent customer service and our ongoing strategy to build a brand name that is synonymous with encoding quality.”

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subscriber management and platform interoperability, as well an array of payment services, to enable operators to monetise the TV Everywhere experience.

It says that SMS are having a dramatic effect on the viability, competitiveness and profitability of pay TV service providers in an evolving market. It believes that many operators are currently evaluating how to align subscriber provisioning, billing and payment while creating compelling experiences for an increasingly diverse audience.

“A TV service that fails to deliver as advertised risks angry subscribers clicking on the dreaded unsubscribe or cancel subscription button,” said Jamie Mackinlay, commercial director at PayWizard. “To monetise the new TV landscape, operators need to deliver content across devices, allowing consumers to access and pay for the content they want, anytime and anywhere. Operators also need to support global payments and ensure their technology is futureproofed, to make sure they can continue to deliver their services when new devices and platforms arise.”

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Into Africa: Vonetize plans to expand the African reach of its SmartVoD platform throughout 2015

Multi-touch monitors return Toner Cable Equipment

First African VoD Hollywood premium service platform Vonetize

By Monica Heck Aflix by SmartVoD, dubbed the ‘first OTT Hollywood premium service in Africa’, is now available on smart TVs, smartphones and tablets in Nigeria, Kenya and Ghana.

The premium service, which runs on the Vonetize SmartVoD platform, offers over 2,000 hours of content, including new releases from major Hollywood studios, TV series, kids content, sports, lifestyle, nature and science, music, Bollywood, telenovelas and more.

Content includes movies from major Hollywood studios such as Disney, Warner Brothers,

MGM and top TV series such as Mad Man, Weeds or Anger Management. The service is fully operated by Vonetize and includes the complete SmartPay.tv in-app billing solution.

Vonetize says it plans to expand the reach of its SmartVoD platform to additional countries in Africa during 2015.

“Africa is on the verge of booming with new and exciting content offerings, based on a growing penetration of broadband and wireless connectivity,” said Noam Josephides, CEO of Vonetize.

“SmartVoD brings to Africa a top-notch content offering, reasonably priced and available on any device, anywhere” 14.C19

By Ian McMurray Having made their European debut at IBC2013, Toner Cable was sufficiently encouraged by visitor response to its two ToteVision multi-touch monitors that they are again the focus of its stand.

Available in 55-in and 70-in full HD diagonal screen sizes and with a built-in PC and QAM TV tuner, they are said to be Ideal for use in training and education environments, in broadcast production, or in any application that benefits from on-board computing that uses touchscreen functionality. They can be supplied with optional ATAstyle shipping cases for storage and transportation.

The monitor/TV is mounted in the case with a hydraulic lift system for ease of use, with the case becoming the stand

I have the touch: Monitors feature an inbuilt Intel Core i5-based PC

for the TV/monitor.

The screens — which are said to have a wide viewing angle — are LED backlight, and feature aluminosilicate (hardened) glass to prevent scratches and protect the display panel. Also included are a 3D adaptive comb filter; precise IR 4-point multi-

touchscreen with no latency; Ethernet (RJ-45) and Wi-Fi connectivity. A wall mount bracket is provided, as is an IR remote control. The inbuilt PC is configured with an Intel Core i5 processor with 4GB DDR3 memory and 500GB hard drive.

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Opinion

Colour-critical evaluation The broadcast monitor is now a key indicator for how workflows are changing argues Bram Desmet, general manager, Flanders Scientific More of us have greater access to professional tools than ever before. This is in itself not a new trend, but what has changed rapidly is the notion that affordability must mean significant compromise.

Cameras and monitors are just two of many areas where it has become increasingly clear that truly affordable first-rate professional equipment is now not only available, but has also become largely expected. This wide access to nocompromises professional equipment benefits content creators at all levels by allowing them to easily and more reliably

bring their vision to life.

On-set or near-set colourcritical evaluation has become an integral part of many workflows and post production grade monitoring for the production environment has become a crucial part of such workflows. Advances in display technology mean that a true reference grade post production monitor can now be made light enough, durable enough, and affordable enough to also be used in even the most dynamic production environments.

This often means that the same exact monitoring solution

used in the colour correction suite is now used in the field.

This trend in monitor technology has become one of the key ingredients in further narrowing the gap between production and post ensuring better and clearer collaboration.

As the reference monitor no longer lives in just the post environment, customer expectations for what a reference grade monitor is and should be have also evolved rapidly. Integrated monitoring toolsets like scopes and audio level meters have become almost ubiquitous throughout professional video displays, but

users continue to expect more and broadcast monitor manufacturers will continue to respond as professional video monitors evolve into largely allin-one solutions offering much more than just a picture.

At IBC we will rightfully see a continued focus on 4K technologies, but what I see as an even more significant undercurrent is the continued evolution of workflows. Inmonitor look management and other advanced in-monitor toolsets show us that customers want more control than ever early on in the process.

Monitors do more now because customers need them to do more. Just a picture is rarely good enough these days as DITs, camera operators, directors, and producers seek to eliminate much of the guesswork between production and post. The broadcast monitor, in the past often an afterthought for content creators, is now perhaps one of the single best indicators of how workflows are changing and IBC is a great showcase for evolving monitoring solutions.

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Meter tweaked to retro-check loudness DK-Technologies

By Michael Burns The DK T7 audio, loudness and logging meter from DKTechnologies has been boosted by adding loudness automation. Based on SMPTE timecode, this can instantly recalculate the integrated loudness value up to four hours back in time. The company said the enhancement, free of charge to existing and future DK T7 users, would save audio engineers from having to rerun programme material to hit

their loudness target value.

“Every engineer working with broadcast audio knows that hitting the loudness measure bullseye can be a very tedious and time consuming process,” said Uffe Kjems, DK-Technologies' product marketing director.

“Loudness automation adds a cool and practical feature to the DK T7 — at no additional cost.”

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. It offers 8 AES/EBU input/output channels, 2ch analogue input channels, headphone and HDMI monitor output.

Automated loudness: A free upgrade to the DK T7 aims to eliminate tedious loudness tasks

A number of other new improvements have also been incorporated into the DK T7, including headphone volume control and more screen setup functions. It has also added USB mouse operation, allowing for fast onscreen access or operation with an external HDMI monitor.

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Visual approach to radio Pluxbox

By Michael Burns

Celeb 400Q LED turns heads Kino Flo Lighting Systems

By David Fox The Celeb 400Q DMX softlight joins Kino Flo’s Celeb 400C and Celeb 200 DMX LED lighting range, which is claimed to offer “the only stable, colour-variable LED to ride the spectral sensitivity curves of digital cinema cameras.”

The LED lights have been designed to offer peak lumen output without sacrificing Kino Flo’s signature True Match colour and soft light aesthetic.

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Special thermal dynamics (no metal fins or fans) are claimed to ensure the colour temperature will remain stable for 50,000 hours and output won’t fade.

Like all Celebs, the 65x65cm DMX Celeb 400Q comes with on-board and remote control features. Users can dial in variable Kelvin temperature from 2700K to 5500K (saveable as five presets) without affecting the light output, while dimming (100-0%) won’t change the colour temperature settings.

The Celeb 400Q produces a soft, flattering key and fill source that matches the light output of a 1500 Watt tungsten softlight,

LED beauty light: Kino Flo’s latest Celeb 400Q DMX softlight

but uses only about 1 Amp of power. It comes with: gel frame, 90º honeycomb louver, yoke mount or pole operated yoke mount, and corner accessory mounts, plus 16 adjustable accessory mount points on the frame for securing barn doors, yoke mounts and rigging plate accessory.

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A full suite of multimedia applications for making, managing and broadcasting radio is being showcased at IBC. Pluxbox's Visual Radio range is fully integrated with websites, apps and other points of user access, which the company claims will help create multimedia radio experiences to grow and interact with audiences. These can be accessed on TV, via internet streaming, on RadioVIS, using DAB streams, on-demand and as slideshows.

Among the tools on display is pbRadiomanager which enables programme makers and presenters to create visual slideshows for digital radio

through DAB+ and RadioVIS. Controllable at the push of a button, these are effectively apps – for weather, amber alerts, traffic information, and so on – made with HTML5, CSS3 and Javascript. With the ability to contain dynamic data and be automatically generated in realtime, Pluxbox said they allow the presenter to develop a rich interactive relationship with the listeners.

It has also developed tools to help automate a complete radio workflow, schedule programmes and items, distribute audio and metadata over IP in a scalable fashion, and manage on-demand content.

Pluxbox looks after prominent Dutch radio clients such as 3FM and Radio 1 as well as a growing international client base.

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Simplifying multiscreen video delivery Clearleap

By Monica Heck Multiscreen video logistics provider Clearleap will be showing its multiscreen platform for broadcast and pay-TV. Clearleap’s solution aims to simplify the logistics relating to the service management, workflow and delivery of massive video libraries of highvalue content for any screen.

This enables its customers to expand from linear delivery models to TV everywhere multiscreen delivery.

The platform is made up of two components. The first is a processing and asset management platform called ClearFlow that handles the preparation, protection and quality preservation of high-

value video for multiple platforms. The second is a flexible framework called ClearPlay, within which customers can grow and adapt monetisation efforts and expand to additional devices.

As content owners and payTV providers seek new ways to monetise core video products by streaming premium TV programmes and movies over the internet to consumer devices, many companies are transitioning from early online digital short-form video distribution experiments to the

streaming of premium TV across screens.

Clearleap’s solution aims to address the technical and business needs linked to the delivery of linear or live TV, transactional or subscriptionbased VoD and of ad-supported video.

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Hot swappable transmission chassis unveiled Enensys

By Will Strauss To celebrate its tenth anniversary as a designer and manufacturer of digital TV transmission systems, Enensys is showing a new modular HDc chassis that increases technology density at transmission sites.

Capable of housing up to six modules in a 1RU space, the new chassis handles multiple Enensys products including ASIIPGuard, T2Edge, T2EdgeDTH and NetMod. Modules are hot swappable with the option to do the same with power sources.

The HDc platform allows for roll-out with T2 local adaptation or T2 modulation, with the option to add a DTH combination as a redundancy solution.

Another new product from Enensys at IBC is ASIIPGuard, the latest version of its ASIGuard switcher technology.

Housing up to six switchers in one unit, it is designed to be positioned at a transmitter site where it will analyse transport feed data to ensure the highest quality final output, selecting the best DVB-S/S2 source from either ASI, IP or satellite input.

ASIIPGuard is expected to be useful where there is a main and back-up feed, for example, if a Multiple Program Transport Stream (MPTS) is delivered over IP with a satellite stream as back-up.

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Opinion The power of portability Quality and price are the driving factors in the battery business says Neil Marflitt, sales manager, IDX Technology Europe Whilst many fears for the safety of Lithium Ion batteries are groundless, IDX acknowledge that it is a technology that requires experience and quality in design and manufacture.

With so much media attention on the safety issue, IDX is pleased to announce at IBC2014 that it is now shipping

the new CUE battery.

The CUE range has been designed in Tokyo at IDX headquarters against the most stringent product and electrical safety regulations, PSE Japan.

These regulations stipulate that the individual Li Ion cells should be insulated and the honeycomb structure used

Head of the class: The 306 Digital Remote Head is the core of Egripment’s new Remote Broadcast Solutions

within the CUE series can be seen on our IBC stand in a cut away model.

Quality and price are the driving factors to be successful in the battery industry. IDX continues to reflect this and we are celebrating 25 years of supplying power solutions to broadcasters on a worldwide basis.

IDX was also a pioneer in the development and introduction of low cost wireless video systems but inherent in the technology used were limitations that meant they could only be classed as monitoring units and were not for on air applications. On air was the preserve of wired systems or expensive

Star lite shines bright Litepanels

By David Fox

Heads up for remote broadcast Egripment

By David Fox The new Remote Broadcast Solutions product line from Egripment is based around its 306 Digital Remote Head, which can accommodate any type of broadcast or digital cine camera.

The Digital Head is claimed to be ‘exceptionally smooth and precise in movement, very fast in operation, and easy to set up and operate.’

It can be used as a standalone unit, or as part of a 68 theibcdaily

larger studio automation set up. A variety of teleprompter brackets are available and easy to install.

The total system is claimed to be comparable to, and even exceed the specification of, competitive systems costing many times more.

The Remote Broadcast products can also integrate with Egripment’s TDT Encoded Camera Crane System, Generic Track System or its Encoded StarCam Studio System, to create a multiple-axis virtual studio system.

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microwave links.

What customers wanted was a reliable wireless camera system over long range where the camera operator shares the same feedback from the production team as if they were on a wired link. Advancements in 802.11n technology are reflected in the new CW-F25 wireless system, where 4 x 4 MIMO channels are utilised with OFDM/64QAM modulation to achieve a maximum data rate of 300mbps.

This supports H264/25Mbps high profile video with four channels of embedded audio and time code data. Uniquely the product also supports a second video stream over the link from an IP camera or the

Litepanels’ new Astra 1x1 BiColor panel is up to four times as bright as its traditional 1x1 BiColor fixture and offers a high CRI. The daylight to tungsten tuneable colour light is the first in a new range.

Chris Marchitelli, Litepanels’s VP of marketing, called the Astra probably “the most versatile LED panel ever built. It’s both sturdy and lightweight, flexible and strong, and provides a higher output and better colour than has ever been seen before.”

The Astra panels use select premium quality surface-mount LEDs paired with custom-

designed TIR (total internal reflection) optics, to offer higher intensity, a longer throw, and a wider effective beam spread than the original 1x1 fixture.

As thermal management is key to the long life and colour accuracy of LED fixtures, the Astra 1x1 offers both passive cooling (for silent operation) and active cooling (using an ultraquiet fan module, for double light output). A microprocessor monitors the temperature, minimises fan speed, delivers smooth dimming from 100% to zero with no noticeable colour shift, and ensures flicker-free performance at any frame rate or shutter angle. An optional

Ellipse 300 family expanded Harmonic

By Ian McMurray A topic of discussion with IBC visitors on the Harmonic stand is the company’s recent announcement that it has expanded the Ellipse 3000 family of contribution encoders for digital satellite newsgathering and fixed contribution applications.

The new Ellipse 3102 and Ellipse 3202 contribution encoders offer a range of advanced capabilities, including 4:2:2 10-bit encoding

of 1080p60 content and dual power supplies. The Ellipse 3202 is claimed to be the industry’s first DSNG encoder with an integrated modulator that supports both the new DVB Carrier ID (DVB-CID) standard for reducing interference between satellite signals, and the new DVB-S2X specification for improving performance of DVB-S2 satellite digital broadcasting.

“In an ever-changing technology landscape, Harmonic understands the specific requirements of broadcasters. Our unique video-focused technology

G-Bit Ethernet connector on the receiver can be used to route the main feed into an IP server or network. The integration of video and IP related products is a driver across the broadcast industry and delivers end users cheaper and more flexible systems for delivering video content.

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communications module allows brightness, colour temperature and cooling mode to be controlled via DMX512.

The Astra series employs a modular design, including a field-replaceable fan module and the optional RJ45 DMX module with an LCD menu and function display. Additional wired and wireless communication modules are in development.

The panels use aluminium Ibeam core construction for maximum durability and improved thermal management, and have integrated aluminium accessory mounting points. It has a curved yoke design with a wide tilt range, and a combination yoke mounted power supply with a 3-pin XLR locking power connector and optional Gold Mount/V-Mount battery plates.

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portfolio reflects this by providing a complete solution, from contribution through distribution and delivery,” said Yaniv Sibony, senior product manager at Harmonic. “The newest members of our Ellipse contribution encoder family continue the tradition by providing excellent video quality, efficiency, flexibility, and reliability at a competitive price point, making them ideal for a variety of content contribution applications. As the industry’s first DSNG encoder to support the nextgeneration DVB-S2X and DVB-CID standards, the Ellipse 3202 encoder also ensures that broadcasters are ready for the future.”

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theibcdaily

Bringing tripods Making a Switch to a new level Telestream

By Carolyn Giardina

Zacuto

By David Fox Zacuto wants camera users to buy its electronic viewfinders, but to make best use of them requires a tripod that allows the EVFs to remain level with the user’s eye as the camera moves. Such tripods are usually expensive, until now, with Zacuto’s own entrance into the market.

Its Z12 and Z18 tripods are built to take an eyepiece

leveller (such as those from Arri), along with the highly adjustable Zacuto Axis arm to mount the EVF on, which makes it easy to switch from tripod to handheld use. There is also an optional front box mount (for holding tools, such as tape measures).

The two-stage carbon fibre tripods will be bundled with fluid heads with graded drag and counterbalance for frictionless operation with a smooth pan and tilt, as well as centre spreaders, rubber removable feet and a case.

The Z-18 can take a maximum payload of 20kg (and should cost about $3,500), while the Z-12 can carry up to 11.8kg. Zacuto is also planning to introduce a lower-cost two-stage aluminium tripod, the Z8, which will take a maximum payload of 6.3kg.

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Telestream is showing Switch, a new multiformat media player that’s built on the same technologies the company developed for its professional transcoding tools.

“In today’s digital environment, the number of different resolutions, compression algorithms, and formats has increased, and so has the need for tools to be able to open, play, inspect and correct the growing number of media files available,” Telestream observed. “Media professionals today resort to using a collection of tools including players, inspectors, analysers, and converters, to do their jobs.”

Switch was designed bring these tasks into a single software package.

“Telestream is in a unique position to leverage our decades of experience in

Switch hit: “Play it, check it and switch it”

developing media-centric products to design a powerful, and simple, tool,” said Barbara DeHart, VP of desktop business, Telestream. “Switch gives anyone dealing with the production, distribution, or packaging of content everything they need to play it, check it and switch it.“ Switch also enables packaging and distribution of content to media platforms, such as iTunes. “For professionals producing content for distribution to the

iTunes store, Switch will save them a huge amount of time, and largely automates what today is mostly a manual process.”

Playback and basic inspection is available for free in Switch Player. Switch Pro adds additional format support, and the ability to export or change file properties. Version 1.0 is available for Mac, with support for Windows coming later in the year.

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Delivering personalised OTT services Piksel

By Ian McMurray Content owners, aggregators and distributors looking to quickly launch OTT offerings to consumers will be interested

by Piksel Video Platform, which is being announced at IBC. Described as highly flexible and cost-effective, it is a SaaS-based multi-screen solution for the delivery of personalised OTT services.

Piksel’s SOA framework, the Piksel Palette, is the foundation of its new platform. Offering a modular approach, the SOA allows Piksel customers to select only the functionality they require rather than investing in an entire out-ofthe-box solution. Legacy infrastructures can simply be added to with new capabilities from the Piksel Video Platform, regardless of whether the content owner, distributor or aggregator needs ‘back-end’ services like content ingest and management or ‘front-end’

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user experience functionality.

“The Piksel Video Platform is a hugely exciting launch for us because it is a shining example of the way Piksel has listened to its customers, understood market trends, and evolved its product suite accordingly,” said Mark Christie, CTO, Piksel. “The Piksel Video Platform is highly configurable and enables our customers to take a pick-and-mix approach to creating their OTT offerings.

This type of adaptability is crucial for future-proofing systems at a time when the industry is moving so quickly.”

The user interface functionality of the Piksel Video Platform is said to be able to offer a consistent touch-andfeel across all devices, ensuring outstanding experiences for over the top viewers. The solution also includes second screen interactive features which enable the gathering of realtime data about viewers for use in targeted advertising and personalised content.

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Gaining insight from data Agama Technologies

By Ian McMurray If you’re going to have a birthday, what better place to celebrate it than at IBC? This month sees Agama Technologies’10th anniversary, and the company is celebrating it by demonstrating to visitors its offerings in QA for IP, cable and OTT video services in multiplatform and multiscreen environments.

A preview of the upcoming Version 4.7 of the Agama DTV Monitoring Solution, with all its latest developments and additions, is also on show.

The company is launching Operational Analytics for Devices. This is described as a new mission-focused analytics and visualisation application that allows for interactive and exploratory analysis of service quality and device behaviour, based on the vast amounts of data gathered through Agama’s

Embedded Monitoring Solution. With this app, says the company, customers can better understand where things go wrong and why.

Today’s sophisticated video delivery and service monitoring solutions, especially those covering the subscribers’ viewing devices — be it traditional TV sets or mobile devices — generate vast amounts of data, Agama notes, with millions of subscriber devices continuously and concurrently reporting a massive set of parameters 24/7.

This data can create many valuable insights that can provide significant bottom-line savings to TV operators, according to Agama, if used to support continuous service quality improvements, trend analyses and other processes reliant on discovering patterns based on complex, nonobvious relations. The key is to be able to extract the

Visual cues: Visualising data is key to simplifying it

actionable insights of weight from all the data, avoiding becoming stuck in the sheer mass of it. By applying domain-specific knowledge to the data, it is possible to drastically reduce the size and complexity of the data to levels that make it possible to grasp, visualise and understand the non-obvious; and, thereby being able to draw conclusions. Simply put, concludes Agama, shortening time to insight and enabling action.

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theibcdaily For the latest show news and updates follow #IBC2014

MioEverywhere For Media Management Nativ

By Carolyn Giardina The latest developments in MioEverywhere, Nativ’s media management, workflow and collaboration platform, include support for Amazon public cloud; integration with Adobe Premier, Prelude and Experience Manager; and a new advanced REST API that lets users integrate MioEverywhere through various web technologies.

“We have worked with content owners in the industry to evolve Mio Everywhere so that it can be easily deployed

whether you are working in the cloud or in studio based environments,” said company CEO, Jon Folland.

Over the past year, MioEverywhere has been deployed by large content

owners, including ITV Studios and Vubiquity. According to Nativ, ITV Studios is using MioEverywhere to “remove manual processes as far as possible allowing savings of money, time and effort to be

invested in the creative process while linking metadata with media in an end-to-end workflow and introducing automated filebased workflows.”

Vubiquity is using Nativ’s

media logistics platform “to remotely ingest and deliver content, to manage assets, to design and orchestrate workflows, to repurpose and distribute content and to package, deliver and syndicate to advanced VoD platforms.”

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Media collaboration made easy Tedial

By Michael Burns A new media management system being introduced at IBC will allow content producers, broadcasters, pay TV operators, service providers and Telcos to work collaboratively on media securely and efficiently.

With the introduction of its Media Exchange Platform system, Tedial claims it is helping diverse global media players work together in a new way. The system directly integrates multitenant media exchanges into its core media workflows, whether upstream during news, sports and coproduction or downstream during multi-platform packaging and distribution.

Tedial is also showcasing streamlined metadata acquisition from third-party production and traffic systems, and demonstrating how it can guarantee metadata preservation throughout the entire media lifecycle.

New functionality is also being highlighted for Tedial’s MPM media workflow, which directly manages the transcoding of content and metadata to streamline content packaging and delivery for multi-channel TV, catch-up services, VoD and OTT. Tedial’s live business reporting dashboards for multisite media workflows are also on display.

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Roberts chooses OTT, IPTV supplier Elemental Technologies

By Ian McMurray Roberts Communications Network, the world’s largest provider of simulcast horse and greyhound racing video services, has turned to Elemental Technologies for over-the-top TV, IPTV and desktop and mobile

streaming video services.

Roberts standardised on Elemental video processing following an intensive sixmonth competitive shootout.

“In the simulcast racing world, video quality and low latency are deal makers. We prefer to own and provision every aspect of our acquisition and delivery chain to assure we stand apart with scalable multiplatform video delivery

and outstanding customer service,” said Todd Roberts, president and CEO of Roberts Communications Network. “Video encoding is a significant long-term investment and needs to serve both current and future needs. We want to move forward with an industry leader at the forefront of internet-delivered video.

Elemental is that leader.”

Elemental systems will also support the Roberts’ launch later this year of the industry’s first comprehensive high definition streaming package for the simulcast racing industry.

4.B75 Get a grip on virtual reality: The Stype kit fitted to a Stanton Jimmy Jib

Exciting times for ReVue, fx3D Broadcast Pix

Realtime augmented reality graphics for OB

By Carolyn Giardina New standalone fX3D realtime 3D graphics and ReVue HD slow motion replay systems are on display at Broadcast Pix. The company will also demonstrate its ClearKey next generation chromakey, which is part of new version 3.0 software for Flint and version 4.0 software for Granite and Mica integrated production switchers, as well as spotlight its expanded family of Flint and VOX visual radio systems. “It’s an exciting time for us at Broadcast Pix. Business is growing and so is our product line,” said CEO Steve Ellis.

Developed in collaboration with strategic partner EditShare, ReVue plays back two or four channels of video in sync, allowing users to cut between cameras and find the best replay angle. Its compact controller includes a jog/shuttle wheel for reviewing footage, controls for manual and preset playback speeds, and buttons for marking in and out points for playback.

How slow can you go?: Broadcast Pix is growing its product line

ReVue is paired with Granite X in the IBC demo.

Both ReVue and fX3D can be integrated with Broadcast Pix systems or work independently in existing production environments. fX3D has three software modules, including a built-in 3D modeller and template-based rundown controller.

The new ClearKey chromakey is part of Broadcast Pix’s Fluent workflow software, which also provides tools including a builtin robotic camera control with preset or manual control and file-based macros.

All three Flint models – the entry-level LE, four-input LX and six-input LS – handle the production workflow from ingest to distribution, with a multiformat production switcher that allows operators to include cloud-based content from Skype, Twitter and other resources during live productions.

Broadcast Pix is also showing VOX Lite, a small-scale version of its VOX voice-automated visual radio system, which works with any Flint, Granite or Mica technology.

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StypeGrip

By David Fox Zagreb-based StypeGrip provides hardware and software for realtime augmented reality and virtual studio broadcasting, and has already been used for live sports OB productions, news and elections.

Its Stype kit hardware addon for Stanton’s Jimmy Jib turns it into an encoded camera crane, which tracks the pan/tilt/roll of the head, focus and zoom, and pan/tilt of the crane’s arm. If the crane is on a moving dolly it will also track this positional data. This data is sent in realtime to a render engine, such as Vizrt,

Orad or custom engines, to create accurate virtual studios and augmented reality sets.

The system includes an automatic aiming and focusing option, and operators can lock the target in the scene and move the camera crane while the camera stays focused on the target at all times.

The 11.5kg system offers: eight channels of encoder input; a max head speed of 90º per second; max head payload of 22.6kg; camera tilt and pan angles of 360º; exponential, averaging and acceleration limit ramping modes; auto aiming; and auto focusing. It is claimed to takes less than 30 minutes for the first setup, and five minutes for re-calibration.

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Floating on a scalable MediaPulse Cloud Xytech

By Carolyn Giardina MediaPulse Cloud has been created to deliver the functionality of Xytech’s MediaPulse platform in a managed, scalable cloud

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offering.

It supports resource, work order and asset management for television networks, movie studios, production companies, post facilities, rental firms and transmission operations. This includes cost tracking and financial reporting tools, and as well

as features that monitor and track all media management operations.

MediaPulse Cloud works with Windows PCs and tablets, Macs, iPads and Android tablets. Xytech’s Cloud App supports users working in environments with slow network connections, or

with limited CPU horsepower and memory.

Data on MediaPulse Cloud is backed up twice daily, and backups can be accessed from any location, with just an internet connection. N+1 redundancy architecture is used to deliver ‘five 9’ uptime, and its data centre is

connected to two separate power grids and supported by emergency generators.

Security measures are in place.

Subscribers pay a monthly fee for the service; there are no capital costs or maintenance expenses.

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theibcdaily Double hander: Providing for a true two user MõVI stabiliser set up

Opinion

Automation drives radio into the multiplatform era

MõVI Controller showcase Freefly Systems

Radio broadcasters have fewer resources than ever to support expanding – or even ongoing – broadcast operations says Philippe Fort, president, Netia Radio broadcasters face unique challenges in today’s rapidly evolving media landscape, complicated by the emergence of new distribution platforms.

Success is tied to the ability to offer fresh and up-to-theminute content on a growing number of channels. But radio broadcasters are facing fewer resources than ever to support expanding, or even ongoing, production and broadcast operations. It’s a classic case of 'do more with less' – requiring cost-effective tools that enable broadcasters to optimise workflows for multiplatform content creation and playout.

In the past, broadcasters have often been prevented from providing full coverage of the latest news and events because the field reporters have lacked the ability to collaborate with studio staff or access studio resources. As a result, radio broadcasters have had a limited ability to enhance the live broadcast product, as well as the content they offered on

mobile and web-based platforms.

Today, however, radio automation solutions equipped to provide mobile access to both content and production tools are enabling the more collaborative and efficient workflows critical to successful delivery of rich, relevant news and entertainment content.

Whatever the size of the broadcast operation, streamlined end-to-end multimedia production, broadcast, and publication workflows that link internal and external resources are proving essential in optimising the production and delivery of multiplatform content.

Netia is continually enhancing its radio automation solution to meet such challenges, dedicating more than 30 percent of its budget to R&D. As a result, this high-performing solution meets the needs of individual broadcasters and the market as a whole. The software suite addresses each

By Heather McLean

part of the production and broadcast workflow, allowing users to record, edit, or prepare a playlist. In addition to providing browse and publishing tools for full multimedia functionality, it also features tools for acquisition, archiving, audio editing, commercial and music production, newsroom systems, scheduling, broadcasting, and administration.

A recent upgrade, the iSnippet, makes the editing tools of the radio automation solution available for iOS devices including the iPhone and iPad. Sharing the same look and ergonomic principles as the desktop interface, the iSnippet makes it convenient for field reporters and other remote users to take advantage of the familiar audio editing capabilities.

A new mobile teleprompter function adds further value by enabling journalists to jump into the studio news broadcast,

reading their news pieces directly from tablets and other mobile devices running the Windows 8 operating system.

In addition, Netia has adapted its media asset management software for use on any mobile platform. This solution enables journalists to access, search, browse, retrieve, and play any content from anywhere with intuitive controls for displaying video segments and performing simple edits.

At the IBC2014 exhibition in Amsterdam, Netia is demonstrating these innovations and more, designed to give staff across radio broadcast operations convenient multiplatform access to a robust array of workflow automation, editing, and MAM tools. By supporting portable devices such as smartphones and tablets, Netia brings powerful functionality to users’ fingertips anytime and anywhere.

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VB288 provides objective video and audio monitoring Bridge Technologies

By Ian McMurray A new version of the company’s VB288 Objective QoE Content Extractor is being unveiled by Bridge Technologies at IBC2014. With integrated OTT capability, it allows operators to view and monitor OTT services and realtime streams side-byside in the same advanced graphical display environment.

The VB288 Objective QoE Content Extractor provides 74 theibcdaily

objective video and audio monitoring of MPEG-2, H.264/MPEG-4 and H.265/HEVC streams, and combines monitoring of realtime streams and OTT services within a browser-based remote videowall that delivers full viewanywhere visual status, alarms (including loudness compliance alarms) and analysis. Operators can inspect very large numbers of content services, with dependable metrics and alarming on verifiable, accurate and objective parameters that affect QoE.

Setting up the VB288 for OTT services is said to simply require entry of the URL for each stream to be monitored: the VB288 then provides the same status information as for a realtime broadcast video stream, including thumbnails, audio decoding, and an array of alarms together with specific alarms for OTT errors such as misalignment of different profiles within the stream. Deployment for a typical system is claimed to be achievable within only a few hours – a key benefit when rolling out these types of hard-

to-calibrate services.

“The VB288 is a mouldbreaking product that brings clarity and accuracy to QoE monitoring both for linear services and over the top in an incredibly agile and convenient way,” said Bridge Technologies’ chairman Simen Frostad. “Now, any engineer can easily monitor these services from any connected computer, and benefit from a sophisticated configurable virtual video-wall within a standard web browser.”

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The MõVI Controller from Freefly Systems is purposebuilt to provide for a true two user MõVI stabiliser set up by letting a second operator control pan, tilt, roll, focus, iris, and zoom of a MõVImounted camera, while the first operator holds the system. The MõVI Controller can be utilised on the MõVI M5, M10 and the soon to be released M15 stabilisers.

Freefly Systems’ engineers built the MõVI Controller with a slew of asked-for features.

An ergonomic joystick delivers tactile feedback, allowing smooth and accurate control. The new Controller provides access to MõVI configuration settings, and features assignable buttons and knobs offering the ability to customise the Controller to an individual operator’s working style.

In addition to sending control information to the MõVI stabiliser, the Controller receives and displays information from the stabiliser, such as whether it is locked into GPS control and also displays how many satellites to which the MõVI is locked.

The Controller is built with full carbon fibre construction for durability. In addition to its precision joystick, the controller has a high resolution focus knob, zoom control rocker and a Shutter/Record start-stop button.

It features a long-range wireless link (1,200 feet) and delivers realtime telemetry from the MõVI stabiliser. It is designed with hard points for mounting a monitor and accessories, and can be powered by V-Mount batteries or by Freefly Systems’ AC power adapter.

The Controller Includes a 5V USB power output, tripod mount and neck strap for mobile operation.

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theibcdaily For the latest show news and updates follow #IBC2014

Paris UHD trial underway TeamCast

By Will Strauss French modulator and demodulator firm TeamCast is using IBC to discuss its role in an experimental Ultra HD DTT transmission project currently taking place at the Eiffel Tower in Paris.

Working with French broadcaster TDF, 4K live and recorded content is being transmitted throughout Paris using HEVC encoding and DVBT2 modulation. The transmitter being used for the project is from Plisch, while the DVB-T2 modulator is from TeamCast.

The experiment started during the French International Tennis Tour in late May and will last until

January 2015.

TeamCast general manager and EVP Serge Mal said: "We have had a long partnership with Plisch in DTT and Digital Radio, and we are proud that such a

world first was made with our common technologies. With several thousands units already in regular operation worldwide, we can now measure the potential of these technologies

for the next generation of TV.” For this project TDF was able to offer live UHD coverage of the French Open 2014 tennis championship to viewers with compatible 4KTV sets.

Also showing at IBC is the DAB/DAB+/DMB Green4DAB modulator, a new offering that includes an adaptive pre-

correction algorithm designed to increase transmitter power efficiency. The RQX1, a monitoring receiver with DVBT2-Base and DVB-T2-Lite measurement capabilities, and the VYP, a compact OEM DVBS/S2/S2X and DVB-DSNG modulator, are also on show.

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DVB-S2X software upgrade Newtec

By Ian McMurray The new DVB-S2X transmission standard reaches efficiency gains over DVB-S2 of up to 51% for high speed professional applications and up to 20% for Direct-To-Home (DTH) applications, according to Newtec, and now it has announced that its professional 6000 series of broadcast satellite modulators, modems, OEM boards and hubs are software upgradeable to the new standard.

Newtec believes that DVB-S2X is much needed as the growing consumption of video and data, and the ever growing consumer demand for higher quality video such as HD and 4K UHDTV, continue to squeeze bandwidth. Satellite operators and broadcasters using Newtec's equipment can cut costs or deliver more and higher quality content within the same capacity.

“Next to continuous innovation, we understand that open standards are fundamental to our satellite industry,” said Serge Van Herck, CEO, Newtec. “That’s why we have been actively paving the way for the brand new DVB-S2X standard.”

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theibcdaily

Festival del film New applications for Observer Locarno goes Ci Volicon

By Carolyn Giardina

Sony

By Adrian Pennington With over 3,000 entries from 61 countries, the 67th Festival del film Locarno team took an innovative approach to organise film submissions, help programmers review films efficiently, and streamline some of their onsite production workflows.

Requiring a solution that could handle a wide range of films and formats as well as an easy-to-use environment for effective film critique, the Festival’s operations team used Sony Media Cloud Services’ Ci cloud-based video platform to test the upload of film submissions and establish a secure way for the Festival Committee to review films. Ci also assisted in the production

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workflow of the Festival's coverage with the intent to extend Ci’s capabilities throughout its operations in years to come.

“We are constantly looking to discover new ways to innovate our festival, both for our spectators and behind the scenes,” said Mario Timbal, chief operating officer, Festival del film Locarno. “With world premieres, shorts, and experimental cinema from all over the world, we wanted a forward-thinking solution that could support every professional format, our festival artistic direction, and our operations team. Ci’s collaborative platform delivered on all fronts.”

It is also worth noting that the festival's opening film this year was Luc Besson’s Lucy, shot on the Sony F65.

Hall 12

For the first time in Europe, Volicon is demonstrating five new applications within the company’s Observer Media Intelligence Platform.

The new Capture application allows broadcasters to capture media from any source at any time, ingesting media either according to a schedule, in realtime, and/or 24/7 recording. It also lets the user review content as it is captured; and it creates a lowresolution proxy along with the True HD recording.

The second new app, Share, was created to allow the broadcaster to repurpose existing content quickly and subsequently push it to digital platforms and social media sites. Share also makes use of existing closed captioning text to publish content that is compliant with government

Observant: Volicon’s new Capture application

regulations.

The new Review application was created to provide broadcasters, networks, and playout service providers with a fast way to review on-air content, validating ad placement and performing competitive analysis.

Volicon’s Comply application enables users to record, clip, and export their broadcasts to meet regulatory and licensing requirements, ranging from decency to

closed captioning to loudness.

Lastly, the new Monitor application allows users to monitor video quality, respond to fault reports, and use a full recording of the on-air broadcast for instant review of errors and their impact. It also provides an integrated multiviewer feature that enables Observer Media Intelligence Platform users to use their standard displays as multiviewers.

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theibcdaily Good vibe: The ViBE VS7000 multiscreen and HEVC encoder powers UHD playout

Flavours of video delivery Thomson Video Networks

By Monica Heck A UHD playout solution powered by HEVC compression is on display at the Thomson Video Networks stand.

The company says major global satellite providers have already deployed this playout system, powered by the ViBE VS7000 HEVC encoder and the Sapphire MPEG stream server, to provide UHDTV images at up to 60fps and in 10-bit colour. Also on display is premium HEVC UHD content protection using watermarking technology as mandated by the MovieLabs consortium.

The company’s DVB-T2 technology, which enables a comprehensive channel lineup even within bandwidthconstrained terrestrial

networks with support for HEVC, is also on show.

Thomson Video Networks is also showcasing a broadcast solution for multiplex generation, regionalisation and distribution, as well as the company’s newest terrestrial offering offering support for broadband services in hybrid HbbTV 1.5 headends.

A new cloud-friendly platform for clean transmissions over the internet as well as in ground-to-ground contribution can also be seen, as well as a demonstration of improved HEVC video quality in live operation with MPEGDash and HbbTV using the ViBE VS7000 video system.

At the show, the company is also unveiling its new strategy to deliver both premium and high-density multi-channel content in a single architecture combining cloud, virtual and in-house resources.

14.A10

Goldenear seeks out coverage gaps WorldCast Systems

By Michael Burns The Audemat FM MC5 test & measurement platform has had its European launch at IBC. The 5kg FM MC5 offers both mobile RF coverage measurement and extensive modulation analysis; WorldCast described it as essentially a complete laboratory-grade test platform in a highly portable box.

The FM MC5 was designed to measure the performance of RF broadcasts in the field or at the transmitter site, as well helping those developing, producing and testing products for the FM market. It offers RF scanning, mobile RF analysis and RDS Decoding, MPX/Audio analysis, signal generation (RF MPX and audio) and a multitude of

other test and analysis capabilities (frequency meter, distortion meter, spectrum analyser and oscilloscope).

With its dedicated antenna, the Audemat FM MC5 is suited to in-car use during drive tests to check FM station coverage and occupation of the FM band across a wide coverage area. Highly accurate RF and RDS measurements are linked to a GPS location and can be presented in a highly detailed display featuring map-based representations of signal strength as well as in-depth graphs and data.

WorldCast has announced at IBC that the FM MC5 can also be supplied with Goldenear software which enables in-

depth analysis of the FM signal quality reception gathered through a mobile measurement campaign.

Goldenear provides a detailed and graphical display of RF coverage data and combines this with accurate modulation analysis to provide a comprehensive map-based overview of reception quality.

The company said this data can reveal black spots or weaknesses in the coverage which were not forecast. It can also be used to provide an independent analysis of a station’s strength to impress existing or potential advertisers, or financial backers.

The unit’s configuration wizards and usability have also been upgraded.

8.B60 Quality reception: Goldenear boosts analysis in the newly launched Audemat FM MC5

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theibcdaily 3D: The Dimension Three audio mixing desk offers IP connectivity Power packed: WhisperPower’s W-GV 7i hybrid all-in-one power system

Audio connectivity with an extra TV dimension Wheatstone

By Michael Burns A large-format audio mixing desk/console, featuring IP networking in addition to TDM connectivity, is on show.

The new Dimension Three TV audio mixing desk offers I/O layering and profiling of channels into any configuration on the surface.

Mixing, I/O and processing all take place in a separate network rack unit, with any channel able to connect to any audio source, using any preferred audio format at any time, including HD/SDI, AES, MADI, AoIP, analogue or TDM. The Dimension Three is based on Wheatstone’s Gibraltar mixing engine, which is capable of 1,024 channels of simultaneous digital signal processing. It offers specialty features such as automatically crossfading between inputs as the switcher or automation

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system cuts or dissolves between video sources, as well as optimising levels of group microphones during a dialogue. In addition to AudioFollow-Video (AFV) switching, the Dimension Three includes audio processing on every input channel and on all major output busses, all with resource sharing through the network.

Wheatstone said such unrestricted routing means being able to have all faders available to dial up whatever mix users need, and there's no need to repurpose inputs because of physical chassis limitations. Dimension Three provides 16 dedicated mixminus busses and 16 stereo AUX sends plus a bus-minus (N-1) output for every input channel (up to 128 input channels on 64 physical faders). In addition it offers two stereo and two 5.1 surround master busses, with up- mixing and down-mixing between stereo and 5.1

sources.

The console offers layering of channels and mixes from a menu display or offline through a network connection, and features a USB interface on its meter bridge. The USB facility enables recording/playback of audio clips as well as saving and recalling configuration settings. It also allows freelancers to bring in their USB Flash drives for instant recall of console settings, configurations and layering preference, plus audio files for the built-in audio clip player.

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All-in-one power packs WhisperPower

By David Fox Three new All-in-One power packs of 4kWatt, 7kW and 10 kW output power have been introduced by WhisperPower. The Whisper Power Packs can easily be installed in a vehicle and include: a very quiet water cooled diesel generator; the cooling and exhaust system; an inverter/battery charger combination and/or UPS

system; and a battery pack (Lithium Ion or lead acid).

All components inside the cabinet are already connected and pre-wired, which means installation can be carried out quickly by a non-electrical engineer.

The new all-in-one 7kWatt Hybrid Power System includes an inverter/charger combination, with UPS, a diesel generator and a back-up battery. It is 60cm x 100cm x 62cm in size and weighs 200kg (using Lithium Ion batteries).

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theibcdaily

Opinion Management on the move Skyline Communications

Time to clean up the mess Streamlining the complexities of multi-platform distribution is imperative says Herve Obed, CEO/founder, ProConsultant Informatique

By Ian McMurray DataMiner Mobile Gateway offers operators a single professional mobile app for iPhone, iPad, Windows phone or Android devices, according to Skyline Communications, with full alarm management, performance management and realtime monitoring and control on any third party device connected to DataMiner.

With the DataMiner 8.5 release, these mobile apps have been further enhanced to enable users to tap also into the datasets of the DataMiner CPE Manager module. As a result, Skyline says that a single professional and easy-to-use mobile app now enables an operator to access any device from any vendor, across his entire operation, from signal reception down to the device at the home of his customers, including set top boxes and modems, for example.

The DataMiner Router Control panel is claimed by Skyline to be one of the most intuitive signal routing solutions available in the broadcast industry, enabling operators to manage signal flows transparently across any routing product from any vendor. In addition to a variety of smaller enhancements, including, for example, user-definable button icons, new slider and dial controls, the solution now features a full integration with the Microsoft Visiocompatible Visual Overview bubble-up and drill down UI and the DataMiner Automation engine. This is said to enable the design of solutions for a wide variety of applications such as new MCR control panels, studio mixing panels, virtual button panels and all the way up to seamless highly automated solutions to control studio configurations with a single button, and to prepare, deploy and migrate complex configurations.

1.A23

Media content today is ubiquitous. When consumers want it, they know where to find it, how to acquire it, and watch it whenever or wherever they want to. This kind of freedom has created new challenges for content owners and distributors trying to maximise the monetisation of the content they create or have rights to.

Precise management of media content is missioncritical. From acquisition through distribution, it must be expertly marketed, accessed, delivered and invoiced. Any disruption along that workflow costs the content owners money as media consumers have too many options to find it elsewhere and too little time to be bothered by any delivery impediments.

With advertising-supported content distribution, marketers are increasingly creative in the ways they weave commercial identification and messages into the production so consumers

can’t use the latest technology to zap or hop it. Also, media marketing is becoming less a mass-appeal form of advertising and more a targeted, engaged approach to consumers. Content ‘ownership’ is becoming more central to advertisers’ plans.

Compounding both subscriber and ad-supported content monetisation even further are the creative contractual intricacies of multiand cross-platform deals. As distribution methods become more specialised and targeted to narrower audiences, rights management becomes more and more complex to codify and execute. Without precise management, it is impossible to optimise content monetisation.

Before you expand your company’s media operations further, take a close look at a schematic that visualises the chain of supporting software applications enabling your operation’s activities and

workflow. How many separate boxes and arrows do you count? Are you comfortable with so many different stacks of databases or silos of applications that have built up over past decades? Can you manage precisely across such a complex chain that may have multiple weak links? Have you squarely addressed a more fully integrated solution?

You should be asking these kinds of questions as you consider future growth because, the more stacks and silos you add on top of what exists today, the more opportunities there are for significant erosion in content value in the complexities and inefficiencies that have compounded over the years.

Isn’t it time to clean up the mess? Shouldn’t you now look to streamline your infrastructure so it permits you to grow more efficiently while better managing the monetisation of your content assets?

Over the past 18 years

ProConsultant Informatique (PCI) has been helping our clients around the globe make better choices, by selecting an end-to-end Business Management Solution (BMS) as opposed to adding more complexities to their existing schematic. A BMS will futureproof their infrastructure, reduce risk by streamlining the schematic, and enable precise management of content monetisation across everexpanding operations.

PCI invites you to come by our IBC booth to further discuss what a cost-effective Business Media Solution (BMS) means to the business workflow management of your ubiquitous media assets, optimising their monetisation as you connect with consumers efficiently on an expanding array of engagement.

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Opinion

Going the wireless way Are wireless systems still a question mark in the minds of production teams?

Not any more says JP Delport, broadcast sales manager, Cobham Broadcast The deployment of wireless camera systems was once a questionable option for high profile, 'catch-it-or-miss-itforever', live events. Not any more.

When COFDM was introduced into mobile wireless applications over a decade ago, it revolutionised event coverage. It meant that digital wireless camera systems could transmit non-line-of-sight signals, which gave producers complete freedom to go live from locations that were previously out of the question.

Along with MPEG encoding, wireless was well on the way to success.

MPEG-2 was in my opinion the most successful compression with the introduction of wireless camera

systems. It performed well in SD but HD brought a whole new challenge.

H.264 encoding has recently been a breakthrough in HD and SD wireless applications. With approximately twice the compression, the user is afforded far better picture quality (MB/s) without any sacrifice in reliability.

An early reservation in H.264 encoding was latency, which was initially in excess of 500m/s. Our R&D team made some incredible advances on the algorithm, giving us the ability to offer a latency as low as 15m/s, which not only made H.264 encoding viable for wireless communication, but a preferred option.

Our wireless systems are now being used worldwide to

Smart Assist streams live Ovide

By David Fox The Ovide Smart Assist HD2 video assist can now do live streaming of video to iPads and iPhones using H.264, as well as independent playback.

“We encode live in H.264 and store the clips as well. You can receive up to two different feeds in each iPhone/iPad, and up to 16 different devices can receive the wireless video,” explained Sergi Maudet, Ovide’s technical director.

“Because we record this very same H.264 stream, you can do

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independent playback from all your devices. So in Smart Assist you can be either live or playing back and each of your iOS devices can be playing back or seeing playbacks of different clips for each unit.”

Smart Assist, which is currently being used on Mission Impossible 5, is based on QTake HD software in an easily portable system with an all-inone touchscreen, with HD-SDI I/O, independent headphone output, USB 3.0 connectors for external drives, SSD internal video drives and useful features such as a reading lamp It can record up to 50 hours of ProRes video, plus H.264 live

bring live events to viewers from angles and perspectives never before possible – many of which were patently impossible with wired systems. Cobham’s wireless technology is being used for everything from camel and dhow racing in the Middle East, to surfing, cricket and rugby in Australia, horse racing in the UK and baseball in the US – almost all from new perspectives that are delivering new levels of exciting and engaging content.

At IBC2014 we are demonstrating the virtues of Globecam’s Refcam, which enables viewers to see sports action from the viewpoint of those on the actual field of play, live and in high definition, using Cobham’s Nano HD TX, the world’s smallest HD digital

recording for later independent playback and live iPad/iPhone view, transmitted via Smart Assist’s built-in Wi-Fi hotspot.

The system offers compositing (green screen), editing, and metadata handling and has numerous features for 3D, all non-destructive and logged for later data export.

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Look Smart: The HD2 can now stream live to an iPad allowing independent playback on the device

video transmitter.

Images captured by a Refcam, worn by an on-field official, are transmitted by the camera-mounted Nano HD TX to Cobham’s receive system, which provides seamless integration with any broadcast production facility.

We are also demonstrating what UK-based company BroadcastRF has done with the Nano HD TX, mounting minicamera/transmitter systems right in the starting stalls of prestigious UK horse racing events such as the Epson Derby and Royal Ascot.

These systems are durable too, as evidenced by their use in the television coverage of the Abu Dhabi Yacht Club’s Ghanada Dhow Sailing Championship. To provide this

in a way that had never been done before, we had to ensure that all of our onboard transmitters were able to work inside specially designed splash-proof housings at an ambient temperature of at least 50C. We tested the systems rigorously beforehand and they all performed flawlessly during the event, which is a significant source of pride for us, and front-line proof of the technology’s robust and dependable nature.

So, are wireless systems still a question mark in the minds of production teams? Not if they talk to us or, even better, our customers.

1.F41

Wide adapter for Cabrio 19-90 zoom Schneider Optics

By David Fox The new Wide Angle Adapter from Schneider Optics for Fujinon’s 19-90mm T2.9 PLmount Cabrio zoom lens provides a 30% wider angle than the Cabrio’s 19mm limitation, offering users a minimum focal length of 14.5mm. With its 114mm diameter, it will also work with Fujinon’s 14-35mm T2.9 PL-mount Cabrio.

The non-zoom through adapter is designed for quick mounting and removal on the front of the Cabrio lens, using a quick-release lever, and is claimed to allow scenes shot with it to be intercut with no change in image quality compared to scenes shot without it.

11.A41

theibcdaily For the latest show news and updates follow #IBC2014

English football gets added fibre SIS Live

By Ian McMurray England’s early exit from this year’s World Cup may have disappointed many Brits, but the new season is under way, and fans are benefiting from the installation by SIS Live of enhanced fibre links to all

Premier League football grounds. These provide connectivity to the company’s rapidly expanding broadcast infrastructure, and the initiative is part of a SIS programme that will bring high bandwidth

dedicated fibre networks to key sports and leisure venues across the UK. “By recently securing a major contract for Premier League football coverage, we have been able to expedite our fibre rollout

programme,” said David Meynell, MD, SIS Live.

Key advantages of the new fibre services are said to include high-bandwidth internet connectivity, voice communications and reverse vision feeds, offering commercial benefits with enhanced capabilities.

Additional services offered include broadcast in 4K, and COFDM wireless camera links at some venues, which allow roving TV reporters to link instantly into the fibre network and deliver multiple live video streams for sport, sports news, and breaking news stories.

1.C55

Time for TEE Viaccess-Orca

By Ian McMurray A live demo of its Connected Sentinel DRM solution running on Trustonic’s Trusted Execution Environment (TEE) is a highlight of the Viaccess-Orca IBC stand.

The company says TEE provides operators with a protection platform for multiscreen that sources the best-quality content based on device capability. By supporting Trustonic’s TEE, Viaccess-Orca said that it puts content service providers in a position to securely deliver premium 1080p HD video content on Android-based smartphones and tablets.

Since acquiring the Connected Sentinel Player from Discretix, Viaccess-Orca has continued to strengthen its customer base by adding Digiturk, D-SMART, Telecom Italia, and TV4 Group as clients.

At IBC2014, Viaccess-Orca is demonstrating how Israeli satellite provider, yes, is using the Connected Sentinel Player to support its yes Go TV Everywhere service. Connected Sentinel Player is also being used by Swedish operator TV4 and Norwegian operator TV2 for its Sumo application.

The Connected Sentinel Player is available as a standalone product and as part of Viaccess-Orca’s Connected Sentinel solution for IP-enabled content services — a main component in Viaccess-Orca's TV Everywhere end-to-end solution for multiscreen services.

The downloadable, secure player and content protection application supports VoD and live TV delivery on Android and iOS devices.

Utilising Connected Sentinel Player’s implementation of Microsoft PlayReady content access technology, ViaccessOrca says that the solution allows service providers to deliver branded services to all types of connected mobile devices in a very short time to market.

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theibcdaily

Opinion

Who’s watching what, where and when?

Richard Asquith, global chief executive officer Kantar Media Audiences, shines a light on the world of multi-screen television measurement Watching fellow train passengers tuned into their own personal TV sets, whether on a smartphone or tablet, downloaded or streamed, noone can deny that the way people watch TV is undergoing a revolution. Separating fact from perception: although the world is undoubtedly changing, research (from Thinkbox) shows that most television programming is still viewed live and on traditional TV sets. Old habits die hard, it seems.

Beware business as usual: but, in an era where almost every consumer carries around a computer, and therefore a TV screen, in their pocket, it would be short-sighted of the TV industry to carry on as though nothing has changed. Steve

Jobs’ vision in launching the iPhone and iPad has created a generation free to watch video content wherever and whenever it wants. While still relatively small-scale in terms of numbers, this is highly significant, as it’s driving such a fundamental change in the way people behave.

It’s also creating huge challenges for audience measurement, and companies like Kantar Media are developing new ways to measure who’s watching what, where and when. But will this put an unreasonable burden on the traditional audience measurement panels? And while viewing on new devices is still proportionally small, it can be hard to reconcile the

additional costs of obtaining these figures.

A hybrid future: different, complementary ways of measuring viewing are emerging: panels provide detail about individual people, while large-scale census measurement from web players provides more granular data.

The next step is to bring these together to create a hybrid model of measurement.

In a number of countries, this is exactly what is being planned by the bodies that oversee TV audience measurement. And it raises some new and interesting challenges for the TV measurement industry.

Measurement companies will need to integrate multiple data sets without creating a

Testing the UHD 'wow' factor 4EVER

By Adrian Pennington A big debate in technology vendor and pay TV operator circles is not whether to move to UHD TV but whether to skip phase one, which is based on resolution alone, and wait for a fuller fat version in phase 2.

This version, recently advocated by the EBU, includes provision for High Dynamic Range for better contrasts, high frame rates for improved clarity of motion; and wide colour gamut for, naturally, better colours.

Consumers are more likely to buy new sets and subscribe to emergent 4K content services if they can better perceive the difference from HD. French collaborative research group 4EVER (Enhanced Video ExpeRience)

Flash dance: Testing HFR at 200 and 300fps on hip hop dancers

has conducted a number of experiments into UHD phase 2 and presents its findings here.

“All of the three demonstrations are new and shown from an objective point of view,” said Maryline ClareCharrier, project leader. “We do not sell cameras, we do not sell displays. Phase 2 is so new that no broadcast cameras are capable of acquiring such content in realtime. And hardly any TVs are capable of displaying it.”

4EVER says its subjective evaluations show that UHD

Move over LCD, DLP Leyard

By Ian McMurray LCD and DLP video wall are widely used in traditional broadcasting studios, but the 82 theibcdaily

company claims that these display technologies have inherent defects. These include unsatisfactory colour saturation, reproducibility and contrast ratio, as well as poor colour matching, low screen uniformity and high maintenance cost.

phase 1 by itself does allows a new improvement, but only up to 10 points on a scale of 100.

“So we want to see how other dimensions than spatial resolution can help the quality of experience,” she added.

These include no blur in motion, better contrast sensations to match reality (important in news or documentaries) and a wider gamut of colours “to reach what the human eye is capable of identifying.”

A further innovation from the group, which comprises France Télévisions, Globecast, Orange Labs and ATEME, is realtime decompression of HEVC HD at 100 frames per second and possibly up to 200fps. It can also lay claim to being the only, perhaps the first and only, booth at IBC gathering HDR, HFR and WCG demonstrations in one place.

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As LED technology develops, the company notes, LED screens with smaller pixel pitch LED displays have been launched, enabling broadcast studios to use LED screen as background walls.

Leyard’s LED TV series products are said to enjoy the advantage of high contrast ratios up to 5000:1, refresh rates

perception of ‘black box’ analytics. The prospect of integrating proprietary information from broadcasters will also need to be tackled with clear, rigorously policed rules of governance.

Although this is challenging for both broadcasters and measurement companies, extracting data from the growing TV ecosystem offers significant rewards. Return Path Data is being linked to consumer data sets such as credit card data and car buying information to create more insights that will allow broadcasters to better monetise their activities. We’re also looking at qualitative social TV data, while continuing to deliver the trusted trading

currency the media business relies on.

Content remains king: it’s important to acknowledge that, in the midst of all this change, the fundamentals of television viewing remain. People will always be drawn to the shared experience of watching TV together. And audiences will continue to demand great video content.

There is no denying that measuring how and where people get their television fix is increasingly challenging.

However, our industry’s ongoing innovation and development of new systems is beginning to illuminate this altered TV landscape.

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Buzz around social media Pixel Power

By Carolyn Giardina Buzz is a new software accessory for Pixel Power’s playout devices designed to allow users to scan, moderate and broadcast social media interactions.

“To be able to take what your audience is saying about you and put it on screen quickly and safely is a huge advantage. Buzz puts this at anyone’s fingertips,” said Pixel Power CEO, James Gilbert.

Buzz is designed to make it easy to select tweets and other comments by using an integration approach and a simple user interface.

Multiple social media feeds are consolidated, and users can accept, format

higher than 3000Hz, high colour saturation and reproducibility, and seamless matching along with Leyard’s exclusive screen correction technology that is said to offer a high degree of screen consistency over its lifetime.

It offers products for control room applications. Here, as well as the advantages the company

Gilbert: “It is so simple to use”

and publish messages.

Ahead of its IBC launch, Buzz was already being used by TV Guide Network during live coverage of the Big Brother house for Big Brother After Dark.

Added Gilbert: “[Users] can define a graphics template to match the look of their show, and quickly and simply pick the right messages out of the incoming feeds. Most important, it is so simple to use that it will be hard to put the wrong content to air.”

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claims for its broadcast offering, it says that its displays offer high grey-scale reproducibility in low luminance, together with low power consumption, low noise, low heat – the latter two being key characteristics in an environment in which screens are watched for extended periods of time.

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Hitchcock classic restored in 4K RRSat

By Ian McMurray

Radio module gains social media element WinMedia

By Michael Burns The new WinPublish module is able to streamline content publishing on RDS using the UECP protocol, as well as on social networks. Available now for WinMedia Radio, advanced scenarios offer a wide array of setup options, including live text display. An integrated workflow engine automates processes in the background to assist distribution.

WinPublish also adds a

new interactive dimension to radio programs by managing social media content and select users posts to be used on the station website.

The MAM-based WinMedia Radio covers the entire news and music production chain and offers fast content delivery to multiple devices.

The new WinSales platform from the company can also be fully integrated with WinMedia Radio, boosting business management and realtime online ad booking.

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The Alfred Hitchcock classic, Jamaica Inn, was recently brought back to its former glory for RRSat’s first 4K restoration project. RRSat was working on behalf of Cohen Films and Finishing Post Productions (FPP).

The restoration project marks the first time RRsat has undertaken this technique. With the help of FPP, the RRsat team in London was tasked with achieving the best possible restoration, at the highest suitable data rate, in order to create a high quality master.

The original nitrate negatives were sourced directly from the British Film Institute, and these elements were then scanned at 4K resolution, using an ArriScan to create a DPX file sequence.

The elements were suffering from shrinkage and warping, and because of this had to be scanned without pin registration.

Why the long face?: A frame from Jamaica Inn after RRSat’s restoration work

Once scanned, the 4K sequence required huge amounts of stabilisation to combat the shrinkage. The team at RRsat ensured that this was achieved, while also dealing with the effects of image warping, which needed to be electronically pinned in order to prevent images bouncing around the screen.

The nature of these issues required multiple software fixes on a frame-by-frame basis before the dirt and scratch removal could begin. The density within the image also

fluctuated, creating a pulsing effect, which again had to be mapped and removed digitally.

After the pre-fix, RRsat undertook more traditional restoration techniques, with multiple software packages such as PFClean, AfterFX and Dark Energy being used to treat the dirt and scratches. Grain treatment was also used to ensure the finished result was as close as possible to the original cinematic atmosphere. The same was done for the audio, which was in bad shape.

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Avoiding, identifying and correcting media damage Cube-Tec

By Ian McMurray Project DAVID — Digital AV

Information Damage — is all about research into new technologies for media organisations in the areas of damage avoidance, identification and correction.

Current processes and media workflows are analysed, and new software tools are created.

In the IBC Future Zone, CubeTec is presenting its MXF Legalizer in a client-specific

adaption for the large-scale repair of damaged MXF files for Austrian Public Broadcasting (ORF), as well as new methods to automate workflow process decisions. Project partners HS-

Art and Cube-Tec are responsible for implementing research results into new products. Cube-Tec already integrates the showcased methods into its Cube Workflow Framework. IT-Innovation brings its long-term experience in the fields of quality assurance and risk-assessment in file-based workflows. From these, cost/benefit models can be created, to find the best balance of risk of media loss, final content quality and total cost of ownership.

Project partner Joanneum Research is showing its specialised QC tool VidiCert.

VidiCert is designed for the semi-automatic assessment of errors that are detected directly by analysing the video content on a baseband level. New algorithms for optimised detection of Digital Betacam Drop-Out errors are being first shown at IBC. HS-Art is showcasing the newly created Advanced Field Correction module of the DIAMANT Film Restoration Suite, which enables Field Dominance errors to be detected directly from the baseband video stream.

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Speed up with the X-factor Evertz

By Michael Burns A new faster than realtime architecture for VoD, transcoding and playlist prerendering applications is a highlight in Hall 8. The Live-X architecture from Evertz pulls together key elements from Evertz’s Mediator-X, ORTRender-X and 3480TXE products areas to deliver high throughput and short turnaround VoD asset generation and delivery. The architecture makes use of highly automated workflows, hyperaccelerated rendering/transcoding technologies and Evertz SDVN 10GbE networks, to deliver increased operational efficiency and reduced time to market.

For linear channels, the LiveX architecture also provides an automated process for faster than realtime channel origination with automated QC, which Evertz said eliminated the need for costly and time consuming lookahead channels.

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2km uncompressed wireless transmission Pro-X

By David Fox The new XW-HDU060 from Pro-X can wirelessly transmit uncompressed 1080p HD signals up to 2km with less than 1millisecond latency using high bandwidth wireless data transmission technology.

It is claimed to be simple to set up. Just connect the camera to the XW-HDU060 transmitter with an HD/SD-SDI cable, then connect it via coax to the flat patch antenna, which focuses the signal on the receiver to maximise the line of sight transmission distance.

Both the XW-HDU060 and the antenna are attached to the included lightweight aluminium monopod (which can be mounted on a tripod for stability, and to increase its

height further).

The receiver has two SDI outputs, plus HDMI out. Both units are battery powered (12v DC 3A), and the system uses the 5.1-5.9GHz band.

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Distant echo: The XW-HDU060 transmitter and flat patch antenna

Sporting chance: The DISH Network has chosen Nagra’s persistent rights management solution

Security solution is approved Nagra

By Ian McMurray As more content gets delivered to more customers on more devices, security is inevitably a hot topic at IBC this year. In response, Nagra is highlighting its Nagra PRM digital rights management solution.

According to the company, Nagra PRM was approved by DECE for streaming of premium content to open devices.

Nagra’s DRM solution has also

been approved by DTLA for streaming premium content within the home network. Nagra says that these approvals mean it is the only pay TV-centric DRM with this level of approval.

Further evidence of Nagra PRM’s success can be seen, says the company, in the recent announcement by the DISH Network in the US that it had selected Nagra PRM to secure its multiscreen service.

“DISH Network and EchoStar are leading the way in providing consumers with cutting edge services that help win new

customers and retain existing ones,” said Pierre Roy, COO and executive president, Nagra.

“Content has to be secured throughout the entire ecosystem, whether on the settop box, personal computers, smartphones or tablets. With the Nagra Media Player and our studio-grade PRM, service providers can have the peace of mind that their premium content is secure on any device and gives them a rich set of features that will keep their subscribers coming back for more.”

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Opinion

Collaboration and consolidation B Scott Cassell, director, Solution Architecture, EMC² Isilon Storage Division takes us on a workflow transformation journey in the M&E sector The Media and Entertainment (M&E) industry advancements anticipated over the next 10 years will be nothing less than astonishing. As media organisations look to streamline current operations and enable new revenue, workflow efficiency will become a critical need and the M&E vendor community must lead the way in pioneering these efficiencies.

It is resoundingly clear that the M&E industry will continue doing many of the same activities it has done for over a decade; creating, processing and delivering great digital content. However, the consumer’s appetite for digital video choices and experience flexibility is changing dramatically. It is in satisfying

that appetite where the vendors need to help pave the way for the future not only for the consumer, but also for the content owners and others in the content handling ecosystem.

The M&E industry is not immune from the need to do more with the same or often more with less. In many cases, the objective is to move content to the finish line faster than ever before. This has become exponentially challenging due in part to increasing resolution as well as the sheer volume of content.

Finding ways to bypass unnecessary steps in the assembly line of content processing is one of the most efficient and cost-effective

ways to save time and reduce cost.

One of the most timeconsuming workflow congestions points is when media assets complete one stage and are moved so they can be processed by another stage. This moving and queuing methodology causes significant processing delays.

Clearly, the larger the asset or more numerous, the longer it takes to move the assets from one storage location to another and consequently, more time to final results.

Possessing technology that is flexible and versatile enough to complete multiple sequential and simultaneous transformative media processes without needing to

360º all-round stitch up

move the source or the resulting assets is essential.

Imagine being able to: Ingest mezzanine assets, edit, add special effects, colour correct, colour grade, composite, render, transcode, and playout or multi-platform content delivery all from the same storage platform without ever needing to move or copy anything Do any of those stages simultaneously Edit different segments of the same asset with multiple editors from multiple manufactures all at the same time It is easy to recognise that the old paradigm of waiting is wasteful and the effort put into the collaboration of

Its latest product is VideoStitch Live, a realtime version that promises to give users “a great new out-of-body VR experience.”

It combines six GoPro streams into a fully spherical video stream. This content is then rendered through a media server to be viewed using an Oculus Rift virtual reality headset or a tablet, and is claimed to be

as realistic as being there. The combined stream from the GoPros gives a 360º x 180º view, allowing users to see all around them, with no black hole in the video. The system can work with more professional cameras, but VideoStitch chose the GoPro as it meant the resulting package could be compact and inexpensive.

VideoStitch Live is claimed to

be “the fastest engine out there, capable of stitching 4K and above videos in realtime, thanks to its scalable GPU-based architecture,” using nVidia’s CUDA parallel computing platform and programming model, together with Windows or Mac software.

Suitable applications for the technology include sport (including immersive action from the competitor’s point of view), training videos, attending a concert from the best seat, or tourism videos that allow users

IP error corrector unveiled

It uses include video over IP and streaming live IP camera views.

"The FEC Box IP IP alleviates dropped or scrambled bits, and it fixes dropped pixels and lines when transmitting video over noisy IP connections," said Laszlo Zoltan, vice president of DVEO. "It enables our

customers to stream video or data with reliable delivery. It can also provide SMPTE 2022 based FEC compatibility to devices that don't support it."

When using FEC, extra data, called checksum packets, is added to the outgoing video stream so that errors can be corrected at the receiving end.

The Pro-MPEG Forum

The companies are illustrating the synergy between MPP's eSuite technology and deltatre’s advanced video platform, Diva, in the modern multiplatform sporting world.

Diva’s combination of data, video and social integration enables fans to connect and

engage with sports through a number of rights owners. The partnership with MPP delivers a number of benefits to deltatre, including enabling the company to connect with audiences on a number of platforms, generating a higher ROI and delivering brand differentiation through

VideoStitch

By David Fox VideoStitch is a Paris-based start up specialising in 360º video products and has developed post production software to stitch videos together from several GoPro cameras.

DVEO

By Will Strauss A new Forward Error Correction (FEC) device that catches and corrects bit errors in internet transmissions is being debuted at IBC by the broadcast division

of Computer Modules.

DVEO’s FEC Box IP IP has been devised to increase the reliability of UDP or RTP IP streams over lossy network transports, and alleviate jitter and packet loss introduced on Wi-Fi, satellite, microwave, cellular, internet and other networks sensitive to noise.

Monetising sports broadcasting MPP Global Solutions

By Monica Heck The result of a continued partnership between MPP 86 theibcdaily

and deltatre is on show at IBC, illustrating how rights holders can monetise their sports properties across a range of devices to deliver an immersive fan experience on every platform.

consolidated workflows leveraging an extensible scaleout storage platform is the way of the future.

The economics of the entire industry are changing. Saving costs through increased operational efficiency is the primary topic with our global partners and customer.

Consolidation of workflows into streamlined and collaborative environments allows for radical changes in cost structures and speed to market. The vendor community must take a hard look at workflows end-to-end to help the M&E industry generate and grow profitability, both in the near-term and as technology evolves.

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Parisian rift: The VideoStitch software is perfect for creating 360º panoramas for the Oculus Rift

to experience being in some of the most beautiful places of the world.

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has adopted open standards for implementing FEC when transporting video over IP networks.

Generally purchased in pairs — one at the transmitting end and one at the receiving end — the FEC Box IP IP measures 114 x 86 x 28 mm and supports IP UDP unicast and multicast, in or out, and both HD and SD H.264/MPEG-4 AVC or MPEG-2 encoded streams.

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the provision of a unique and superior experience.

Other benefits generated by the linking of eSuite and Diva include the integration in digital properties, longer and better engagement with customers and the ability to enable monetisation.

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MCS TV expands into SE Asia The evolution of video-centric networks Eutelsat

Ericsson

By Ian McMurray

By Ian McMurray

MCS TV (part of Altice Group) and Newslux have selected the EUTELSAT 70B satellite to support the expansion into Southeast Asia of two flagship channels, i24News and MCS International.

Both channels can now benefit from the EUTELSAT 70B satellite that gives direct access from Europe to the economically booming Southeast Asian market. They have joined a digital platform uplinked from Italy and are broadcast across Southeast Asia to operators of cable and ADSL networks plus homes equipped for direct reception.

Launched in 2013, i24News is an international 24-hour news and current affairs channel based in Tel Aviv and now available free-to-air via EUTELSAT 70B in French and English-language versions.

MCS International is an international sports channel

Highlighting how the company continues to expand and enhance its portfolio in response to the increasing dominance of video in networks, Ericsson is emphasising the corresponding need for efficiency, quality of consumer experience and new revenue opportunities.

Ericsson is showing how it

Spread your wings: EUTELSAT 70B gives direct access from Europe to the economically booming Southeast Asian market

available in over 50 countries, with a focus on football, handball, volleyball, fighting, tennis and extreme sports.

“We are delighted to accelerate the reach of MCS International into South-Asian markets with Eutelsat,” said Nicolas Rotkoff, CEO of MCS TV. “What we appreciate with the EUTELSAT 70B proposal is the ability from Europe to enter a new region with a highpower satellite delivering attractive coverage for a wider market penetration of our sports channel.”

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believes its Media Delivery Network solution, including Ericsson Multiservice Proxy, a multi-purpose, multi-technology network node, provides superiority in network efficiency, intelligence, optimisation, agility and monetisation opportunities.

Its solution enables network owners and service providers to enhance their position in the media value chain with profitable video delivery, enabling them to truly leverage their established consumer relationships, while at the same time, offering content owners cost-effective accessibility and guaranteed quality of experience across mobile and fixed networks.

It is also presenting a range of all-new LTE Broadcast demonstrations which show how the mobile broadband networks of today can provide new video delivery business opportunities and consumer experiences. Highlights include Anebygd: Mobile data traffic is predicted to grow 10-fold by 2019

LTE based hybrid set-top-box delivery including broadcast, a live unicast/broadcast switching demonstration to show the dynamic nature of LTE eMBMS (part of LTE Broadcast from Ericsson) and live daily LTE Broadcast transmissions from the Ericsson booth in partnership with KPN. “With mobile data traffic predicted to grow 10-fold by 2019, it’s paramount that all players in the new IP-centric video delivery value chain understand the challenges and opportunities created by the increased strain as consumers watch video any time and on a rapidly increasing range of mobile devices,” said Ove Anebygd, VP and head of media, Ericsson. “Our solutions are enabling operators to accelerate, drive efficiency and open new pathways for the TV industry as a whole in a number of ways. We’re looking forward to demonstrating our continued innovation in enabling the evolution of video-smart infrastructures for the future.”

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Opinion

Transition to all-compressed digital video Broadcasters are challenged to monetise opportunities using existing practices explains Garrick Simeon, managing director, General Dynamics Mediaware General Dynamics Mediaware has been working with compressed video since 1997 and early on, we recognised that with the advent of digital broadcasting and compressed signals there would create an opportunity to equip broadcasters with processing tools that maximise the benefits of compression, simplify operations and enhance the viewer experience.

As customer demand for content has increased, broadcasters are having to deal with expanded channel lineups, manage the delivery to multiple platforms, multiple devices and address increasingly segmented audiences in the face of increasing competition. This complex set of needs is challenging broadcasters to turnaround content quickly and monetise geo-specific advertising opportunities using existing practices and methodologies.

To minimise bandwidth usage and operational complexity, broadcasters want to encode content once and localise at, or near, the point of transmission. Inserting ads and localising content into a service after it has been compressed for playout is a costly and time-

consuming process. In addition to requiring a significant investment in hardware, the decoding and re-coding process also leads to generational loss in picture and sound quality.

With the entry of more channel operators and increasing competition from telecommunication providers, online content providers, cable and satellite TV, General Dynamics Mediaware believes the time has come for broadcasters to fully embrace an all-IP approach to broadcasting.

We understand the apprehension some of our customers hold about transitioning away from their familiar, legacy baseband systems to modern, allcompressed digital platforms and we are here to help. We work closely with our broadcast customers and help them the compelling benefits that operating in the compressed domain now offers -significantly reduced infrastructure costs and hardware dependencies, less manual intervention in the playout workflow and an increased ability to squeeze more content through existing bandwidths.

Today’s all-compressed

digital video solutions and splicing technologies enable operators to edit the television feeds received without introducing image artefacts or reducing the quality of the video. Enhancing the viewing experience by creating splice points that are indistinguishable from original content is now a reality. Modern splicing technologies no longer rely on GOP boundaries or i-frames and software solutions such as General Dynamics Mediaware’s InStream deploys different techniques to handle frame accuracy in a live environment, allowing broadcast operators to configure input streams and ad files on the fly.

We recognise that broadcasters are looking for revenue multipliers and products such as our InStream interfaces easily with traffic and automation systems removing the need for our customers to re-engineer existing broadcast workflows when switching to an all-compressed environment.

For cable companies and MSOs working with playlists or a variety of in-band triggers including SCTE-35, converting to an all MPEG workflow makes the switch a win-win for all concerned. All-IP, all-

compressed digital video solutions maintain the video quality throughout the processing chain and enable broadcasters to increase operational efficiencies, significantly lower operating costs and most importantly, enhance the television viewing experience for their unique and diverse audiences.

All-compressed digital solutions continue to add more

HbbTV partnership created Screen Systems

By Ian McMurray A partnership to provide complete end-to-end HbbTV solutions has been formed between Icareus in Finland and exhibitor Screen. Between the two companies, all the headend and key applications are said to be available to provide a compelling service for viewers.

Icareus and Screen claims they are well placed to offer guidance in terms of best practice and to provide connections with set-top box manufacturers.

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Screen notes, especially withfree-to-air broadcasters and operators, and so the need to evaluate the head-end, new set top boxes and relevant applications is paramount. Such trials need to be conducted cost effectively, says Screen.

With this in mind, it has developed the HbbTV Toolbox that integrates closely with the Icareus head-end platform, which allows a host of applications to be delivered such as high profile advertising and sponsorship features.

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operational benefits and greater flexibility at a lower cost to similar baseband environments while still maintaining exemplary standards of service delivery. The faster broadcasters can make the transition to the compressed domain, the better placed they will be to monetise channels and respond to competitive pressures in their markets.

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And they’re off: Screen’s HbbTV Toolbox integrates loosely with the Icareus head-end

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Newswift HD 240 is best on three axes Vislink

By Ian McMurray The Newswift HD 240 fully integrated antenna has been independently certified as the most robust vehicle-mounted system in its class, according to Vislink.

To meet independent certification requirements, Vislink says that it has enhanced the structural efficiency of its NewSwift product range. The NewSwift HD 240 antenna can now support an increased maximum operational wind speed of 75kph, and up to 180kph when collapsed.

Despite the improved outer shell, the Newswift is still smaller than previous iterations when stowed away, requiring just 70cm of headroom, and is capable of being mounted

onto a wider range of SNG vehicles than before.

The NewSwift HD 240 antenna is already the lightest system of its kind, Vislink claims, but the latest version benefits from better load distribution when mounted to ensure smooth motorised operation across all three axes.

The NewSwift is also said to be highly customisable and lightweight, made available as either a single or three piece carbon fibre reflector, and can be specified to include autoacquisition and auto-tracking capabilities to maintain a data link while on the move.

“The Newswift HD 240 antenna was initially developed to meet growing demand from the Africa, APAC and Americas regions for a larger vehiclemounted broadcast system,” said Ali Zarkesh, product development director at Vislink. “We have listened to our customers’ needs since the initial launch and enhanced the NewSwift range to create a more robust 2.4m antenna with better support for different SNG vehicles around the world.”

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Cable is an industry first Belden

By Ian McMurray In addition to showcasing the company’s latest solutions for broadcast applications, Belden is also introducing a number of new product innovations.

These include Belden Duobond Plus HD Digital Video cables, which are claimed to be a first in the broadcast industry: extending Belden’s range of coaxial digital video cables and connectors, the new Belden Duobond Plus DNH series with bonded foil over the dielectric are said to make the termination of Belden’s 1-Piece HD BNC very easy and much faster than the traditional 3-Piece BNCs. Belden set the standard for reliability to deliver the performance required for HD, 3G and 4K video transmissions, with guaranteed signal integrity over longer transmission distances, helping to save both installation time and costs.

Belden is also introducing a new high quality hybrid fibre

The cable guys: The SMPTE311 is a hybrid fibre HD camera assembly

SMPTE311 HD Camera Assembly that supports 720p, 1080i and 1080p. HD cameras provide digital transmission using SMPTE311 standard fibre optic cable for connecting to the camera control unit. The company says that HD cameras can transmit all digital bidirectional video and audio signals, one control line, power line, and prompter line over extremely long distances - up to 4000 meters - with Belden SMPTE311 HD Camera Assemblies.

“Belden has established a

strong position as the most trusted brand,” said Werner Eich, marketing manager for Broadcast Connectivity EMEA. “Our broadcast solutions comprise not only Belden cable and connectivity products but thanks to our Grass Valley brand they also span the full breadth of TV operations, including acquisition, production, and playout. At IBC, we look forward to demonstrating to our customers how Belden can make a difference for their business.”

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The latest FORK developments Primestream

By Carolyn Giardina

Flame burns with release of extension 2 Autodesk

By Carolyn Giardina After debuting an end-to-end 4K workflow for Flame and Flame Premium 2015 earlier this year, Autodesk continues to accelerate workflows for VFX and post production with an Extension 2 release for its creative finishing software.

Currently available to Flame and Flame Premium 2015 customers on Autodesk subscription, Extension 2 gains new features including a planar tracker aimed at allowing Flame, Flare and Flame Assist

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users to better track perspective changes.

As part of the extension, Flare and Flame Assist are now available on both Linux and Mac platforms.

Other Extension 2 enhancements to the Flame Premium family are a simplified shot distribution system, a timeline tab within the BFX editor and new Recursive Batch FX functionality for editing of BFX clip content in the Batch schematic.

It also includes Lustre Second Screen, a new communication and review tool for client-supervised grading sessions, and Reel Groups for Flame, which allows artists to organise their shots on reels into one or more groups to support their project workflows.

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FORK Production Suite v4.6 is the latest version of Primestream’s software platform for managing the automation of broadcast workflows.

Enhancements mean FORK supports H.264, H.265, and mXF formats as well as 64-bit and 4K workflows.

FORK v4.6 also includes twoway integrations with editors such as Adobe Premiere Pro, Avid Media Composer, and Apple Final Cut Pro X. The integrations support edit-whilecapture workflows with XDCAM, ProRes, and AVC-Intra.

Making its European premier at IBC is FORK Xchange Suite v3.0, which is claimed to give broadcasters “instant” web access to content on their FORK Production servers from any Windows, Mac, or tablet device.

Xchange v3.0 features a redesigned iPad interface optimised for Apple iOS 7. Also

Touchdown!: The FORK Xchange Suite v3.0

new, users can manage nonvideo files such as audio, image, document, and project files.

Direct integration with multiple transcode engines for proxy rending is also available in v3.0.

“In response to customer feedback, we have been hard at work further future-proofing the foundations of the FORK ecosystem. With a completely rebuilt foundation, FORK is ready for the UHD future and our customers have a roadmap to take their operations to the next

level,” said Primestream president and CEO, Claudio Lisman.

Also making its European premier is Primestream’s Archive Bridge v1.0, a new module for the FORK Production Suite that provides integration between archival systems and the FORK platform; and the latest FORK Logger, the metadata tagging module in the FORK Production Suite that now integrates with data feeds from STATS. 7.D21

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Via Connect brings new reliability to live web video VideoFlow

By Will Strauss Broadcasters looking to use unmanaged internet networks for digital newsgathering, syndication and other live contribution and distribution requirements are the target audience for Via Connect, a new cloud-based toolset from VideoFlow The Via Connect suite offers high availability features including hitless stream failover, path protection, facility protection and box redundancy for uninterrupted everyday services.

According to VideoFlow, using this infrastructure as a service or adapting an existing network using Via Connect toolset “makes it easy to connect and configure the workflow to the extent that all technical operations and maintenance can be carried from the NOC.” Included within the Via Connect is a new and patented technology called Controlled Adaptive Rate (CAR).

This can optimise video quality for each receiver individually in realtime or optimise video profile bit rates for a large-scale distribution network in realtime so that viewers receive higher bit rate and video quality.

CAR works together with other VideoFlow technologies including the Prioritised Protection Flow (PPF), reliable UDP, jitter elimination and realtime network and video monitoring.

The dynamic optimisation is based on collecting accurate network and video statistics from the receivers. This information is then used by the transmitter to make precise adjustments to the encoder's bit rate.

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Q&A Luo Xiaoxiao,

vice presietnt, Dayang Technology Development Has IBC come at a good time for the electronic media industry? Why? We’ve been attending IBC on a regular basis for more than a decade. With its growing influence in the broadcast industry, we are sure that it is a perfect place for delegates to explore new concepts and solutions. Also it is a big occasion for professionals to meet together and discuss future evolutions on both technology and workflow.

What do you think are the key developments in, or

threats to, your market sector at the current time?

As far as we can see, IP based workflow is becoming more and more popular. This new approach brings tremendous advantages to conventional broadcasters in their evolution to new media applications. However, it also poses challenges to existing infrastructure and business flow. As one of the most innovative companies in the industry, Dayang can provide different solutions for adapting to this trend.

Why should delegates visit your stand at IBC? At IBC, we are demonstrating a comprehensive MCR solution that perfectly integrates our iChannel2 Clustered Automation system with eVIAS media management system. Also we will showcase Fresco-high quality multi-viewer system which handles the monitoring of legacy audio visual signal as well as IP streams. Furthermore, the embedded video router function of multi-viewer will be released during the

DIY system finds, books best feeds ScheduALL

By Ian McMurray As well as demonstrating its system for connecting businesses and resources, ScheduALL Connector, the company is also showing ScheduALL Portal and

ScheduALL Media.

ScheduALL Portal is a webbased, realtime portal putting self-provisioned OU bookings right at customers’ fingertips, says the company, allowing them to book transmission feeds in realtime through a provider’s ScheduALL system.

Portal is said to provide a powerful, cost-effective

broadcast delivery system that makes it possible for smaller broadcasters to access the formerly cost-prohibitive world of live broadcast. What was once an error-prone, complicated process of booking bandwidth is now a simple DIY web portal that finds and books the best feeds for the transmission, using a

exhibition. Other products to see at our booth: On-Air Graphics, MAM, and Aaudio visual signal processing devices.

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wizard that determines the broadcast user’s needs.

ScheduALL Media is designed for organisations that create complex media projects and require a streamlined process to manage all of the moving parts. It allows operators to create templates that define not only the types of workflow required, but also the source content (files, tapes films, graphics, etc.), and the final deliverables.

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Opinion

Over-the-air opportunities IBC is an excellent place for the education needed to navigate rapid industry change says Rich Redmond, chief product officer, GatesAir Over-the-air broadcast remains the world’s dominant and most efficient means of delivering live radio and television. While countries worldwide are in various phases of the digital transition, the fact remains that the majority of TV and radio consumers globally still receive analogue broadcasts. There is still much work to be done, with plenty of opportunities for broadcasters and network operators who produce and deliver their content over the air.

Content consumption and delivery has grown and evolved over the past 30-35 years, and it’s easy to forget that terrestrial broadcasting, whether analogue or digital, remains the most efficient mechanism for delivery via its one-to-many wireless model. The transition to more spectrally-efficient digital broadcasts allows our customers to take even better advantage of their wireless spectrum, paving the way for

more channels, richer services and new revenue streams.

Rising operational costs, driven by skyrocketing energy bills and carbon taxes, are a global issue impacting broadcasters and network operators. New technology such as GatesAir’s PowerSmart 3D high-efficiency transmission designs enable reduced costs associated with monthly energy bills, cooling systems, rental space and ongoing maintenance.

Built-in software-definable technologies with flexible modulation schemes ensure that broadcasters can replace aging transmitters with fieldupgradeable models that operate in analogue today and offer a clear path to digital.

Along that path, these customers can immediately reap the benefits of greener transmission systems that reduce operating costs in both the short and long term.

Optimisation of the transport network is another key piece of the puzzle. People are looking for more out of contribution and distribution of on-air content than plugging in a series of point-to-point boxes, and instead demanding integrated solutions. Broadcasters are increasingly looking to IP networks to reliably move content between many sites, and transitioning from more expensive TDM networks.

Intelligent networking tools and standards-based interoperability are enabling broadcasters to establish redundant IP streams, support multiple algorithms and gain greater visibility into network performance. Leveraging these more efficient network-based transport architectures in the analogue domain also establishes a foundation for multipoint, IP-connected transport across large, national digital radio and TV networks.

Mobility has always been a cornerstone for radio consumers. For TV the transition to digital enables new multichannel mobile delivery.

The DVB-T2 broadcast standard, for example, affords an intriguing opportunity for interoperability of TV and LTE networks.

This mobile offload technology allows TV and LTE broadcast over the same spectrum and infrastructure to help solve network capacity challenges. Mobile service providers and broadcasters/network operators both benefit from lower delivery costs, and new revenue opportunities as consumers continue to demand a TV everywhere consumption model.

The industry is going through significant changes, and we believe IBC is an excellent place for the education needed to navigate these changes.

FITT findings looks at the evolution of devices

By Ian McMurray

FITT for purpose: “Unprecedented challenges ahead,” says Docherty

Not long after IBC2012, a collaborative industry project — the Future of Innovation in Television Technology (FITT) taskforce — was launched, and the findings have now been made available.

“The FITT report helps to clarify a number of important issues, opportunities and challenges facing the UK television industry,” said Ed Vaizey UK MP, Minister for Culture, Communications and Creative Industries. “We will take careful note of the specific

VoIP and AoIP hybrid codec JK Audio

By David Fox The new AutoHybrid IP2, Voice over IP/Audio over IP Codec from JK Audio, is a compact desktop/half rack unit for applications that require a 92 theibcdaily

simple IP audio interface.

It functions as a two-line VoIP hybrid, providing one button access to the common features of a phone line hybrid including: call control, auto-answer, and conference. Advanced call control features and VoIP line setup are provided through the internal web server. In VoIP

recommendations for government and will work closely with the industry-led Next Generation TV Planning Programme.”

The report covers new reviews of consumer trends, the evolution of devices and applications, computing for the creative industries, data management, and future networks and infrastructure. The steering group made 13 recommendations based on the evidence from this work. These include the establishment of a leaders assembly to guide a next generation TV technology

planning programme; a technology advocacy programme for innovators to share newly-developed technologies and applications; and a cross industry working group to respond to the challenges of big data in TV. The taskforce noted anxieties about privacy, which it says remain the biggest barrier to widespread consumer adoption of video on any device at any time in any place, and said that this highlights the need for transparency from providers — potentially delivered via an industry-led review of

mode, Line-level XLR jacks provide mono send and receive audio for Line 1 and Line 2. It supports SIP and RTP for call management and comes with a variety of codecs, including the G.711 and G.722 (HD) voice codecs.

AutoHybrid IP2 also functions as a 24-bit AoIP Codec, for mono or stereo, narrow to wideband audio. Initial codec options include the OPUS algorithm running at sampling rates up to

48kHz stereo. In AoIP mode, the XLR jacks provide stereo send and receive analogue audio.

Other features include: send and receive LED metering, LAN and USB connections, rear panel recessed level controls, and remote control I/O terminal block. It offers low power consumption with Power over Ethernet capability. Several units can be powered by one PoE capable data switch. Its remote jack allows easy connection to

From formal programmes to face-to-face meetings with colleagues and industry experts, to seeing the newest innovations from companies such as GatesAir, IBC remains the greatest venue to understand the industry trends and map out solutions for today’s challenges and tomorrow’s opportunities.

We view IBC as an excellent venue to build greater intimacy with our customers, to understand their challenges and enable new revenue streams through innovation and services that provide complete, high-efficiency solutions that deliver the lowest total cost of ownership; and support advanced methods for wireless transport and delivery of overthe-air content.

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self-regulation — and digital literacy programmes for consumers.

“The UK TV industry is an amazing success story, with an enviable heritage of innovating in television technology,” said Dr. David Docherty, chairman of the FITT taskforce and of the DTG (pictured). “But it’s facing unprecedented challenges to its ability to compete, let alone lead. The FITT report is testament to the resolve that exists within the industry to deliver innovation that consumers and viewers want and to keep the UK TV technology industry globally competitive.”

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the JK Audio Interchange Intercom Phone Bridge, offering a VoIP/AoIP connection into a party line intercom.

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Opinion Simplicity, density, capability, variety We've a renewed sense of urgency to create products that make delivery of multi-platform content simpler explains Michael Newman, VP international sales and global marketing, Optical Cable Corporation (OCC) The rapid growth of video on demand platforms, coupled with broadband adoption, increased network speeds and the boom in sales of connected devices such as gaming consoles, smartphones, and tablets makes delivering content effectively and reliably a must for any major broadcaster. Multi-platform delivery enables content to reach a vast audience with a higher potential for more frequent and longer exposure.

This leads to enhanced audience loyalty and the convenience of delivery over any device at any time. Over-

the-top players such as Crackle, Hulu, and Netflix have made great strides in terms of content deals, with richer content catalogues, growing consumer bases and resourceful IP delivery networks. The exclusive content deals between OTT players and large studios are another indication that the business has forever changed in many new directions.

There has been a vibrant growth in free to air channels and content in major economies. In addition, cloud computing has delivered innovative solutions for

broadcasters. Production and post production houses have access anywhere and anytime while reducing resource costs.

Cloud computing and data storage brings platforms and services to realise live broadcasting for nonlinear networks and takes content to the viewers regardless of their location – as evidenced by Fox’s recent announcement regarding moving its master control to the cloud.

What this means for our company is a renewed sense of urgency to create products that make the delivery of multiplatform content simpler for

IP-enabled compact X-series camcorders Canon

By David Fox Canon has added two midrange models to its X-series camcorder family. The XF205 and XF200 sit between the existing XF100/XF105 and XF300/XF305, although as the XF200 models each have a single slightly-bigger-than one-third-inch CMOS sensor, they are nearer the 100/105 than the 300/305.

As is the trend, they are IPenabled, with Wi-Fi and Ethernet LAN connectivity allowing direct or wireless connection to smartphones, tablets and laptops, including camera control, remote viewing and the ability to transfer files via FTP without

additional software. A new CameraAccess function allows lower-quality proxy files to be streamed to another device via Wi-Fi, improving the speed in which content, such as news flashes, can be shared.

Each camera has a 20x zoom lens (3.67 - 73.4mm equivalent to 28.8 - 576mm on a 35mm sensor, f1.8), double the optical zoom of the XF100, using Hi Index Ultra Low Dispersion glass lens elements for compact size and reduced chromatic aberrations. It has a minimum focus distance of 60cm (throughout the zoom range) or 10mm in Wide Macro, plus a built-in ND filter.

They record at 50Mbps (MPEG-2) 4:2:2 MXF on Compact Flash (to dual card

4K for DITs GB Labs

By Carolyn Giardina

Linked in: The single-sensor XF205 includes Wi-Fi and Ethernet LAN connectivity

slots), and can simultaneously capture 35Mbps 4:2:0 MP4 files to an SD card, in HD or lower resolutions – useful for shooting for both broadcast and web channels.

Audio capture has been upgraded, with four-channel linear PCM recording, with two XLR inputs. The XF205 also has selectable 3GSDI/HD-SDI, Timecode and Genlock connections for easy integration on multi-camera shoots or with other broadcast equipment.

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Powerful L-Band amps showcased RF-Design

By Ian McMurray RF-Design is showcasing some of its latest innovations such as improved and more powerful LBand line amplifiers, the 94 theibcdaily

RLA270L and SLA270L. These units are said to not only offer a range of features and excellent RF-performance but also 1:1amplifier redundancy, while versions with integrated 8-way or 16-way splitters - the RLS2708L and RLS2716L - are also available.

broadcasters. We talk to our customers about today’s high bandwidth demands and they are telling us – simplicity, density, capability, and variety.

In addition, we are working to meet those needs with products that stay true to OCC’s heritage of ruggedness and reliability, but also provide solutions that pack a ton of functionality into smaller and lighter spaces with more options than ever.

An event such as IBC allows the industry to reconnect and see, touch, and experience products and innovations that keep up with these ever

Visitors can also see demos of the company’s L-Band switch matrices – the FlexLink series – and the SA3B series of multiinput broadband remote spectrum analysers. Fiberlink RF-over-fibre solutions are also on show.

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The new 4K Duo On-Set, an on-set storage platform enabling ingest and data backup designed to support third party editing systems, is being demonstrated by GB Labs.

“It opens up the potential for 4K platform sharing in the field, with the option for editors, audio technicians and colourists to work simultaneously on the same project. With multiple clients connecting using 10Gb Ethernet, this will deliver significant time savings and help the director to shape the production as never before,” the company explained.

4K Duo On-Set features an 8TB SSD-based RAID that the company claimed can sustain performance levels above 2000MBps. The system also includes

evolving demands. While we are at IBC, we have unequalled opportunities to talk to end-users, manufacturers, suppliers and even competitors about products, services and trends.

This keeps us on our toes and allows us to truly immerse ourselves in the broadcast industry’s international perspective.

From industry insights, to technology innovations, IBC is essential to staying on top of our game when it comes to the international broadcasting market.

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dual LTO-6 drives that can be used to auto-replicate new files to tape; with the drives running at their full speed (a combined performance of 320MBps, according to GB Labs), twin 2.5TB tapes can back up files as they are imported into the system as well as automatically replicate ongoing projects.

The company reported that for ingest, 4K Duo On-Set also features twin SSD disk readers that can import data at 500MBps. “Most DIT carts are illequipped for high bitrate 4K. Ingest is slow, primary storage lacks realtime editing performance and back-ups are unsafe. With 4K Duo On-Set, it’s like having a post facility on set. It’s fast and safe, and includes advanced features to verify data ingest and export, re-format cards and work effectively with third party editing, transcoding and grading tools,” asserted Ben Pearce, sales and marketing director of GB Labs.

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SATCOM integrator? You’re invited…

Tango Wave

By Ian McMurray Just before the RAI opened its doors to IBC2014, Tango Wave launched its new website.

Designed for ease of use in learning about the company’s range of products and services, it offers quick links to descriptions, features, options and complete data sheets for the company’s new compact, and lightweight antenna-mount TWTAs. Tango

Wave amplifier products cover Ku, DBS and Ka-band frequencies with power levels up to 1250 watts, including options for redundancy, power combining and block upconverters (BUCs). Data

sheets are available for all products include detailed electrical and performance specifications, redundancy and phase combined function diagrams, package dimensions and options.

Visitors to the new website can also find sections on markets served, product images, press activities, special events, simple RFQ forms, customer technical support, customer resources,

and domestic and international business associates. It also features a careers page section listing current openings at Tango Wave.

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Gas heaters now CE certified Walton De-Ice

By Ian McMurray Now available worldwide with CE (European Union) certification are Walton De-Ice’s gas heaters which, combined with the Walton De-Ice Plenum system, are claimed to offer unparalleled performance and reliability.

“These heaters provide the most rapid and costeffective solution for preventing snow and ice build-up at the lowest operational cost for an ESA” said Walton DeIce’s, David Walton.

“Since their introduction we have installed over 250 units. The new Gas Heater is easy to upgrade on existing antennas by using the same wiring and mounting configuration as Walton’s original heaters.”

The new heaters feature dual hot surface igniters, providing redundancy in the ignition sequence, while a large flame sensing rod means that turbulence is no longer a factor during ignition sequence. Also included is a positive blower recognition for ignition sequence. The normally open contact on the air flow switch operates power to the ignition unit: if there is no air flow, no ignition takes place: the ignition unit will not be energised and the unit will go into ignition failure mode.

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Waving hello: The new 3 Series incorporates JBL's Image Control Waveguide technology

MAF moves to v3 Studio monitors with Metrological

By Monica Heck Visitors to the Metrological stand can see live demonstrations of the company’s cloud-based TV app store framework.

Version 3.0 of the Metrological Application Framework allows operators to launch their own branded TV and multiscreen app store and offers a publishing platform to content providers.

Delivered as a managed service, the platform allows operators to deliver and manage apps across different operating systems and multiple devices.

The framework supports both full screen and overlay display apps, meaning content providers can integrate social media and red button functionality within the TV experience, so that content such as live voting, sing-along and play-along content can run sideby-side live TV broadcasts.

Its app publishing platform offers over 150 pre-packaged apps ready for publication,

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including Facebook, Twitter, YouTube, Flickr and Google Maps. The V3.0 framework is currently deployed at UPC in Ireland, Hungary and The Netherlands, UnityMedia KBW in Germany and Cablecom in Switzerland.

Metrological also provides an open SDK (Software Development Kit) which enables operators and content service providers to develop their own apps to prevent vendor lock-in.

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Most wanted: The Metrological Application Framework gives access to apps on any screen

an added ambience JBL Professional

By Michael Burns The 3 Series studio monitors, the first studio monitor line to incorporate the patentpending Image Control Waveguide, have been introduced at IBC. Harman’s JBL Professional 3 Series features two models: the LSR305, a 5-inch powered studio monitor, and the LSR308, an 8-inch powered studio monitor. The LSR305 boasts a response of 43Hz to 24kHz and a peak SPL of 108dB, while the LSR308 features a response of 37Hz to 24kHz and a peak SPL of 112dB. The monitors also feature Class D amplifiers, a long-throw woofer and a damped woven composite tweeter.

A new JBL technology developed for the company's

M2 Master Reference Monitor launched earlier this year, Image Control Waveguide enables the listener to hear greater depth and ambience in recordings, claimed the company.

Surrounding the high frequency tweeter, and located directly above the woofer, the waveguide precisely controls the sound emanating from the monitor in the vertical and horizontal planes. With a complex contour employing tiny, engineered ridges, the waveguide optimises the phase relationship of the loudspeakers, and also the blend of directed and reflecting sound arriving at the listening position.

The company said the waveguide design allows subtle detail to be heard, even in a dense mix, and produces a wide stereo panorama with a rock-solid phantom-centre

image.

In addition, the waveguide enables 3 Series models to deliver neutral sound across a large working space, regardless of room acoustics, which JBL said eliminated the need for the customer to be positioned directly in front of the monitors when making critical adjustments to the mix.

JBL’s patented Slip Stream low-frequency port design works in concert with the woofer to produce deep bass response at all playback levels, while the double-flared shape of the port is engineered for greater lowfrequency extension and reduced turbulence.

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Ryder Cup trial for In Brief UHD learning curve SDN-inspired cloud storage

By George Jarrett

BT Sport wants 4K for 2015-16 season Conference Analysis

By Chris Forrester IBC delegates heard Alex Green, BT Sport’s director of TV, say the broadcaster was working “very hard” to see 4K transmissions of its Premier League soccer matches during the 2015-16 season.

BT Sport conducted the first end-to-end all 4K trial in the UK (of a Rugby final) and the recording is being played out on the Ericsson stand (1.D61).

“This gave us a great deal of confidence. We are also doing a lot with 4K camerawork across upcoming sports events. We are also using in the studio a couple of 4K ‘stitched’ images allowing us

to see the whole field of play, and this is very useful and we are excited by this.”

Green was speaking during the ‘More Pixels or Better Pixels?’ session, and he said he sensed a strong enthusiasm for the technology from the public. “I invested in a 4K display for home, and showed my family House of Cards in 4K and it truly generated the ‘wow’ factor.

There is an appetite [from the public] for quality. The demand is there.”

Green said that sport would be a major driver, and perhaps ‘the’ driver for 4K adoption. “We see 4K being a natural evolution right across the industry. Live sport is all about immediacy and UHD is perfect.”

First fruits of partnership unveiled Vislink

By Ian McMurray Said to be the world’s first portable IP news gathering solution capable of simultaneously and reliably aggregating microwave bandwidth with multiple cellular data connections at unprecedented quality, TVU Networks and Vislink have announced the launch of a nextgeneration TVUPack with Vislink’s integrated hybrid microwave IP technology. The TVUPack is the first fully-integrated product to emerge from the partnership between TVU Networks and Vislink announced in April.

The joint offering integrates the TVUPack TM8200 with Vislink’s hybrid microwave IP technology.

Utilising TVU’s Inverse StatMux IP transmission protocols, the TVUPack is able to combine multiple cellular data connections with Vislink’s hybrid microwave IP technology to give broadcasters unrivalled flexibility, says Vislink,

letting them transmit HD video simultaneously over cellular and microwave connections with sub-second latency. As a fully integrated IP newsgathering solution, the TVUPack is claimed to combine best-of-breed cellular and IP microwave transmission technologies into a single mobile lightweight backpack.

“This integrated package is the first in the world to combine the best in cellular transmission technology from TVU with Vislink’s award-winning microwave uplink solutions. This integrated joint solution enables customers to overcome the inherent limitations of cellular and microwave infrastructure, when they are used alone. The new generation TVUPack combines both infrastructures into a single small backpack and will significantly increase the transmission success rate in extremely challenging conditions. We look forward to working with TVU to provide additional transmission solutions in the future,” said Mike Payne, CEO of Vislink.

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With Sky about to extend its UHD trials with a shoot at the Ryder Cup – in order to settle on a programme chain for different genres of sport – chief engineer Chris Johns has compiled a ton of format experience to apply to his co-chairmanship of the DTG UHD Group.

“There has been a push by the consumer vendors to make UHD happen and we are not drawn into as trap.” he said at IBC. “We are watching very carefully what consumers are actually getting.

“There is a worry with the Digital Europe release where they have committed to the basics of UHD, and are sticking to 8-bit. All broadcasters want to push the boundaries and go for 10-bit and above simply to deliver a bigger, better picture,” he added. “By sticking to 8-bit we have a legacy which we are trying to move away from.”

The DTG is dealing with the same issues everybody has with UHD. “There is that big push to make it happen, but then you take a deep breath and suddenly realise there are all the nuances of frame rates, Phase1 and Phase-2, and dynamic range,” said Johns. “Do we have to have HDR now? How do we deliver HDR through the production system?

Chris Johns: “How do we deliver HDR through the production system?”

“It is very easy to produce a screen that delivers all those bright colours, but if you want to get it through an entire production chain you have to look at that seriously,” he added. “The DTG is pushing for what the consumer needs, and what we need in production, post and delivery.”

On the issue of frame rates, Johns would like a utopian world with one standard.

“When we looked at this, and the proposal went forward for 60 and 120 fps (ITU Rec) we quickly discovered that lights, cameras, shuttering and lighting in a 50Hz world produce strobing effects,” he said. “So we still have to have the 50Hz variant for a time. It may be several years before we get to a single harmonised frame rate.”

The veil has been lifted for the first time on the underlying architecture of Signiant’s redesigned cloud platform, which supports the company’s Media Shuttle and SkyDrop file movement products. The new architecture, driven by the company’s introduction of cloud products, involves the separation of the software that controls file transfers, the control plane, from the data plane, which is the software that performs file transfers.

This concept, borrowed from the principles of Software Defined Networking (SDN), allows Signiant to use the cloud to increase the pace of innovation. The new SDN-like architecture has enabled Signiant to take an incremental approach to SaaS implementation. “Because the piece that initiates and controls the file transfers is in the cloud, we can evolve it much quicker than if it was onpremise software relying on customers to perform upgrade and maintain it,” explained Ian Hamilton, CTO at Signiant.

“Historically, our software was installed on the customer’s infrastructure on-premise.

Many companies just replicate their software and deploy it on virtual machines in the cloud, but we rebuilt our platform in a cloud-form architecture to offer global availability, scale, automatic updates and so on.”

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RackMac for Pros

Dante delivered on a card Sennheiser

By Michael Burns A Dante card for the EM 9046 receiver has been launched, enabling the Digital 9000 microphone system to be integrated into Dante audioover-IP networks. Sennheiser said users would be able to conveniently route the system’s high-definition audio data via Audinate’s Dante Controller.

The EM 9046 DAN extension card simply inserts into the expansion slot of the EM 9046 eight-channel receiver.

Internally, the card features sixteen audio inputs to send the digital audio and command signals over the Dante network. Connection is

via two Gbit RJ45 sockets that serve to establish two redundant network circuits or daisy chain the signals. The card works with sampling rates of 44.1/48/88.2 and 96kHz at 24-bit resolution.

Sennheiser will also adapt its Wireless Systems Manager software to include a monitoring function for the Dante card. Like the card, the new version 4.2 will be available from October and will allow users to listen to and monitor the EM 9046’s Dante audio streams from any point in the network.

The company also announced that Technology and Production Center Switzerland (TPC) would be among the first users of the EM 9046 DAN Dante card.

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Sonnet is featuring a technology lineup that includes the RackMac Pro rackmount enclosure for the Mac Pro computer and Thunderbolt Pro P2 card reader. The RackMac Pro – supporting the rackmount installation of one or two Mac Pros – provides a front panel power switch and USB 3.0 port for each computer, while panel-mounted cables connect each Mac Pro’s Gigabit Ethernet, USB 3.0, HDMI, and power ports to ports on the back of the product. The Thunderbolt Pro P2, based on 10Gb/s Thunderbolt technology, can ingest footage from individual P2 memory cards at 70 MB/s.

At IBC, Sonnet is also featuring the xMac Pro Server, a rackmount technology with built-in Thunderbolt 2-to-PCI Express expansion for the Mac Pro; and the xMac mini Server. 7.G02

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Nature drives technology Tie-up for cloud transcription Anthony Geffen: “We really believe in the potential of VR: people want to fly with the birds and touch things from the natural world”

Conference Analysis

By Catherine Wright Exclusive footage of Atlantic Films’ upcoming wildlife production for Sky 3D, Conquest of the Skies, fronted

by Sir David Attenborough, was shown during ‘Natural future: the new natural history documentary’, chaired by journalist Neal Romanek.

Shot in full 3D, the series posed a series of daunting technological challenges, according to Anthony Geffen, the CEO of Atlantic Films. “We wanted to be as close to the birds as possible and get some proper raw 3D footage, which meant putting two Red cameras on an October drone.

If you lose that rig shot, that’s half a million pounds down the drain!”

In an interview made especially for IBC and aired during the session, Sir David Attenborough explained that the production was about “ evolution and how animals started to fly. Birds, bats and

insects move in 3D and the technology we used enabled us to get images that human beings have never seen.”

Atlantic Films is also creating content for virtual reality headsets. “We really believe in the potential of VR: people want to fly with the birds and touch things from the natural world”, added Geffen.

At the other end of the spectrum, Peter Cowley, the founder and CEO of Spirit Digital Media, is the producer of a YouTube channel, Lionwhisperer TV, featuring South African animal behaviourist, Kevin Richardson, who uses a GoPro camera to shoot lions up close.

“We have a cast of one, which enables us to keep the cost of production down.

But it also allows us to present a different perspective, closer to the viewer and that plays to the benefits of digital media,” he described. In both cases, technological constraints have pushed the boundaries and paved the way for riveting content.

Forbidden Technologies

By Michael Burns A partnership with Take 1 Transcription will integrate Take 1's transcription capability into FORscene. Users of the cloud video platform will be able to access Take 1's service directly from the FORscene interface with the touch of a button.

Forbidden said this integration could eliminate the need to prepare and transport large files or other media manually for transcription, and also help to create thorough transcripts that can accelerate the post production process.

“Many of our customers rely on time-coded transcripts as a valuable source of information during post production, but getting those transcripts in hand can be a cumbersome process,” said Forbidden Technologies business development director, Greg Hirst. “Our partnership with Take 1 means our customers can skip the manual steps involved with initiating a transcription."

Unlike the usual transcription process, which requires

producers to transcode clips, create and transport DVDs, or send files via FTP to a transcription vendor manually, the integration between Take 1 and FORscene creates an automated process. Producers select the content in FORscene to be transcribed, and then click a button to send proxy files to Take 1. Take 1 receives the transcription order, where it is processed immediately by the company's distributed workforce. Once completed, the transcript is imported back into FORscene as an XML file so that it gets linked back to the master video in the FORscene cloud.

At that point, production teams can use FORscene's logging functions to add more metadata around visual descriptors, locations, and other key information. From there, FORscene's search tools can be used to scan the transcript and the additional metadata to find the right clips. Teams can then use FORscene to complete some or all of the editing process, from stringouts to publishing, with review and approval cycles throughout.

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iON positive about lighting kit Particle physics: Rotolight and iON submit to forces of attraction

By Michael Burns A new technology being showcased at IBC addresses the challenges of repurposing theatrical content to TV in the context of full loudness compliance. DynApt provides similar benefits when adapting TV content for mobile streaming, or any other application that requires adapting dynamics accurately to the constraints of the delivery system.

Nugen said DynApt, available as an extension for its Loudness Management Batch (LMB) Processor, gives audio engineers a new option for efficiently adapting the content to preserve dialogue clarity. The LMB Processor is an offline file-based batch loudness analysis and

correction program for high throughput applications.

Working faster than realtime, DynApt adapts dynamic audio appropriately for different listening environments and playout systems, while respecting the level of dialogue in the original mix and meeting specific loudness criteria.

In addition, Nugen Audio has launched a new version of the LMB Processor's MXF Extension with DPP AS-11 compatibility.

A result of the company's participation in the Digital Production Partnership compliance program, the MXF Extension introduces native MXF audio-handling that enables the LMB Processor to perform automated analysis and correction of audio within an MXF container while preserving all other data within the file.

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CloudSigma joins Cloud Exchange CloudSigma, the public cloud Infrastructure-as-a-Service (IaaS) provider, has been added to the Equinix Cloud Exchange.

Cloud Exchange is an Ethernet switching service with automated provisioning that enables private virtual connections to multiple cloud providers.

Jim Poole, Equinix VP, global service providers, said: “By working with innovative companies like CloudSigma, we continue to expand the breadth of cloud services available across Platform Equinix – ensuring enterprises have the necessary resources and interconnection options needed to confidently meet business demands.”

CloudSigma chief executive Robert Jenkins added: “By providing enterprises with direct, private access to our public cloud, we are able to significantly enhance performance and security, while capitalising on Equinix’s global footprint.”

Cloud Exchange is currently available in 17 markets around the world including London, Paris, Amsterdam and Frankfurt.

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DAMsmart chooses Dynamics solution

Dynamic audio with DPP Nugen Audio

In Brief

Rotolight

By David Fox iON Cameras, which claims to have won 10% of the action camera market share in its first two years in business, has introduced a joint product with Rotolight- the iON Pro Lighting Kit. The LED lighting system is compatible with the W-iFiequipped 1080/60p Air Pro 3, iON’s highest specification camera, and includes Rotolight’s RL48-B LED Ringlight (with colour

temperature and ND filters), a floating pistol grip (which can act as a water sport buoyancy aid for the camera – which is waterproof to 15m), an accessory belt pouch that will contain both light and camera, a twin ¼-inch mount adaptor bar, and 360º swivel, for under £150. The Air Pro 3 costs about £300, although iON has HD cameras from just £100.

Lightweight, water resistant and simple to use, the kit runs on three AA batteries for up to four hours of continuous use.

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Digital media asset management company DAMsmart has turned to General Dynamics Mediaware for frameaccurate, lossless editing solutions to assist in the editing of 21,000 hours of videotape from Radio Television Hong Kong’s (RTHK) archive. The project will make RTHK’s production archive available in a HD digital format to coincide with the introduction of its new digital terrestrial TV service. General Dynamics Mediaware says that its integrated compressed editing platform will be used as part of the solution being deployed to enable RTHK to realise significant increases in post production efficiencies, reduce risk in the storage and access overheads inherent to physical videotape and, most importantly, ensure the content is digitised and secure for future generations.

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Cloud comes of age Conference Analysis

By Catherine Wright Cloud computing has been a hot topic for the last three years but broadcasters are now beginning to adopt bespoke solutions, despite remaining concerns over the security of their content. NRK in Denmark or Fox Sports in the US and Australia were some of the

examples pinpointed during a conference called ‘Can broadcasters get real benefit from their Cloud?’ hosted by Paul Drinkwater from Partner Media Industry Lead, IBM. David Peto, the CEO from Aframe, reflected on the rapid evolution of customer demands.

“In the beginning, they were interested in cloud solutions but were not really sure how it could be relevant to them, especially as in the early days there were

Documentaries get 4K treatment

Powering A Pixel Factory Pixel Power

By Adrian Pennington Claiming that 4K is a reality for many of its customers while looking ahead to a world of 8K, Sony has cemented its position in ultra resolution acquisition with a number innovations.

Documentary producers can future-proof their content in 4K using the PXW-FS7, a shoulder mounted unit with adjustable viewfinders designed specifically for run-and-gun operations and use in harsh environments.

The Euro 7-8000 XDCAM camera houses a large format CMOS sensor and shoots 4K Quad Full HDi in 60fps and super slowmotion 240fps HD, at up to 14 f-stops.

“The creative possibilities of shallow depth of field can now be applied to new genres such as documentaries,” said Dennis Lennie, a DP and producer who works for Sony. Demonstration content shot by Lennie is being shown on the stand.

“The dynamic range in particular is incredible.”

Bolstering this new product is a shoulder mounted accessory for the F55, tailored for documentaries, and an upgrade to the F5 giving users 4K recording capability. A companion E-mount 28-135mm full frame – 35mm, interchangeable power zoom lens is also debuted.

To view it all, Sony will launch next March a 30-inch Euro 30,000 4K OLED monitor, the BVM X300.

It is well known that Sony produced the 4K outside broadcasts from the Maracanã stadium in Rio this summer. Among its

few concrete examples. But we are now firmly an enterprise business and sell directly into the major network broadcasters.”

One of the key challenges is to make sure that the creative process does not feel any different for the broadcaster.

“They do not want to know about the cloud, they just want to get the work done, without running through hoops,” explained Bill Roberts, the senior director of video product

By Carolyn Giardina

Dennis Lennie with the PXW-FS7: “The dynamic range is incredible”

other 4K experiments was a recording of the World Cup final using a pair of F65 cameras whose 8K signals were stitched together to form a 12K x 2K video.

A Euro 18,000 Super Resolution Demosaicing Processor is available this October.

Action was also recorded using F65’s at 120fps for live super motion 4K clips, a significant development in rounding out Sony’s 4K sports production arsenal.

Meanwhile, Sony continues to work on 8K production kit as part of a Japanese government supported task force intent on broadcasting the 2020 Tokyo Olympic Games in the super hi-resolution format, with tests beginning 2016. “We have a special project team working on that and there will be ramifications to our future product since we only have the F65 to produce 8K just now,” said Sony Professional Europe head of AV Media, Olivier Bovis.

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management at Adobe.

Fox Sports in LA, for instance, went to Aframe “ which became the central portal through which all their video is loaded. It is then automatically transcoded into the correct format and they can then choose which bits of content they like and drop them into their Quantels before going to air,” described David Peto.

“Cloud has come a long way in the last few years, because we have listened to our consumers, most notably to improve data transparency,” indicated Jonathan Wisler, the European general manager of Softlayer in the Netherlands.

Pixel Power has brought together a software implementation of its realtime graphics engine Clarity with its Gallium workflow toolset to create a unified graphics and media assembly system for file-based environments.

This system, dubbed Pixel Factory, is developed to automatically generate content such as different versions of a programme or promo, channel branding, and localisation or personalisation of content.

Clarity incorporates DVE as well as character generation and layered 3D graphics. By implementing it in software to run on standard hardware, Pixel Power has also made it resolution independent, including 4K. Pixel Factory is managed by Gallium, which collects

instructions on the content to build through direct links to business, asset management or playout systems, or through a watch-folder operation based on Excel spreadsheets.

“This is a single vendor solution to a real issue, which can be dropped into any infrastructure quickly, easily and cost-effectively,” said James Gilbert, CEO of Pixel Power.

“We even offer a pay as you go version – Pixel OnDemand – so broadcasters can try it at minimal cost.”

Also in the news, Pixel Power has completed an agreement with Digimetrics that will see the Aurora file-based quality control system integrated into Gallium.

“It tackles all aspects of quality control in smart test plans, and performs the tests extremely quickly. Even 4K files can be tested faster than realtime,” Gilbert said.

Pixel Power is demonstrating its integration with Aurora on its stand.

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MADI option launch: A new addition to the MUX22 series has been showcased at IBC, making the platform compatible with the MADI audio format. Broadcast Manufactur (BroaMan) launched the original MUX22 video, audio and intercom module last year. Offering up to 16 3G/HD/SD-SDI I/O configurable video ports with built-in CWDM multiplexer, it allows multiple signals to be multiplexed over just one single fibre each. The new MADI board is populated with four duplex SC MADI ports, offering 256 inputs and 256 outputs, and each MADI port is fully AES10 compatible, offering 56 or 64channel MADI I/O. As with all MUX22 devices the new MUX22 MADI can support up to eight video channels with a selectable number of dual inputs and dual outputs. It is also equipped with a sync board for video tri/bi-level or audio word clock sync, either with RS485 or GPIO ports, and can provide fibre tunnels for any third-party products. The audio engine is equipped with a single channel router, enabling routing from/to any MADI stream, either within the same device or between the remote Optocore, BroaMan or ProGrid devices. “The MADI option will push the MUX22 series even more,” said BroaMan managing director Tine Helme (pictured), adding that the new arrival had already stoked a lot of interest at BroaMan’s IBC stand. “It’s the first day of the show but we’ve already heard of some great new projects and have made some new partners.”

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In Brief Team-up for HEVC encoding A partnership with Kalray, a developer and manufacturer of manycore processors, has been announced that will enable high density realtime HEVC video encoders.

Based on Kalray’s massively parallel Multi Purpose Processor Array (MPPA) chip, Digigram said it would integrate the resulting technology into new IP-based products to offer efficient high-density HEVC HD and Ultra HD video encoding in broadcast and OTT applications. Kalray’s technology is already used in a large spectrum of applications, including the VoIP applications supported

by Digigram products. “[The technology] takes full advantage of both the MPPA’s unique parallel architecture and its video-optimised instruction set to bring a truly disruptive video encoding offering to the market,” said Kalray president and CEO Eric Baissus.

Digigram president and CEO Philippe Delacroix said the technology partnership would enable the very quick introduction of realtime HEVC encoding to the Digigram product line. “This in turn will enable our customers to dramatically reduce bandwidth requirements and accelerate their deployment of Ultra HD TV to multiscreen OTT applications,” he added.

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Content gets wise to viewer habits The latest version of the ContentWise personalisation, discovery and recommendations platform for digital TV is making its debut at IBC. New updates ensure ContentWise 5 can help TV service providers address growing consumer demand for more personalised multiscreen video experiences.

New features include predictive browsing, personalised genres and an updated UX engine to give operators more control over UI elements without changes to client code.

ContentWise analyses what, when and where each user is watching and determines the ideal combination of content duration, type, structure and genre that best fits the discovery style of each user.

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The cost of the cloud A straw poll in the session on ‘The Cloud and Broadcast TV’ found that only a handful of broadcasters are not yet using some kind of cloud capabilities, but the weight of the usage is in preparation and distribution of content and not on production, particularly for live events.

“We use cloud throughout the production chain. We aren’t religious about it,” said Paul Clark, technology controller, online, pay and interactive at ITV in the UK. However, ITV has “stayed away” from using the cloud for file asset management, which the company is moving to entirely this year. All content files will come in DPP format at 120 Mbps. “If we were to try and manage those master assets in the cloud the time it would take would be prohibitively expensive for us.”

This is particularly crucial for big live entertainment shows like

The X Factor and I’m a Celebrity… shows that need to be turned around and available for a range of platforms including the ITV Player. So ITV transcodes them on an owned site and distributes from there.

“This is the hardest nut to crack,” said Clark.

Sky also uses mostly a hybrid strategy in relation to the cloud.

Some 50% of Sky’s set top boxes are connected and there is a big focus on monetisation services and serving live content to its subscribers. “Our customers love our content and they tend to love it at exactly the same time,” said Matt McDonald, director of broadcast services, BSkyB. “Scaling in live sport for example is massively important to provide that elasticity. And we don’t want to build for the peaks of usage, so we use private cloud for normal throughput and public cloud for the overflow and the big (usage) peaks. It’s very important from an economics perspective.”

Sky, ITV and Viaplay in Sweden all see demand for their

Recording 4K video

4K monitor legacy

Conference Analysis

By Kate Bulkley

Panasonic

By David Fox

Crystal clear: Panasonic’s new HC-X1000 4K camcorder with 20x Leica zoom lens

The HC-X1000 Ultra HD 4K camcorder is the first Panasonic prosumer camcorder that can record 4K 60p/50p video on an SD card.

It has a compact Leica Dicomar 20x optical zoom lens and a new backside-illuminated 1/2.3-inch sensor, with highspeed Crystal Engine Pro 4K LSI processing and a new noise reduction system.

The HC-X1000 can record both UHD (3840x2160 at 50/60p) and Cinema 4K (4096x2160 at 24p) in MP4 at up to 150Mbps (50/60p) or 100Mbps (24p), as well as AVCHD (1080p up to 28Mbps) and .mov or MP4 in HD, which can use all-Intra compression for a maximum bit rate of 200Mbps.

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Apantac

By Michael Burns A new family of 4K converters is making its European debut at IBC, aimed at displaying UHD sources on inexpensive monitors. Part of Apantac's Crescent line of signal processing solutions, the company said the converters offered an ideal solution for 4K broadcast and mobile production, as well as many other on and off-set monitoring and conversion applications.

The Micro-4K mini converter down-converts four 3G-SDI signals from 4K/QFHD equipment at 50, 59.94 and 60 Hz. The Micro-4K four 3G-SDI inputs are down-converted to both HDMI and SDI simultaneously, with outputs up to 1080P. The company said UHD sources could thus be affordably viewed on inexpensive LCD monitors or routed in existing 3G infrastructure.

The Micro-4K allows users to select one SDI embedded stereo audio pair and embed it on the SDI and HDMI outputs.

Also new, the Micro-4K-DP is a 4K to Display Port 1.2 converter.

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services from a growing number of devices. “People’s expectations are extremely high right now and so we have to decide where the cloud is applicable,” says McDonald.

Solving these demand problems is going to get more important as broadcasters move toward 4K quality video and the economics and the capacity of the cloud are still issues.

“Moving a lot of what we do today into the cloud would be horrendously expensive,” says McDonald. “It’s all well and good building out cloud native applications but for vendors they

have to find a commercial model that takes advantage of that.”

Total online traffic for the World Cup rose 71% between 2010 and 2014, underlining the rampant growth in online video, according to statistics from streaming provider Akamai and that rate of growth is something that is not confined to live football. “This is the kind of growth rate we see across our platform in general,” said Tom Leighton, CEO of Akamai.

“Quality, at scale and at low cost are real drivers and we have a lot of our company working on that.

We call it the ‘grand challenge’.”

BBCW chooses Media Factory Globecast BBC Worldwide (BBCW) has entered into a long-term partnership with Globecast to provide content preparation, playout and distribution services for up to 30 channels globally.

Globecast will be the primary technical partner for these services, handling channels that were previously supported by multiple service providers across multiple regions. Moving the whole operation to a single service provider means a more cost-effective, flexible and efficient playout and distribution workflow than would have been possible with the current multitude of separate providers, according to Globecast.

BBCW is taking advantage of Globecast’s newly-announced Media Factory, a unified, converged workflow to prepare and playout content. It provides a dedicated web portal enabling more efficient and secure orchestration of content preparation by the broadcaster, Globecast and selected partners. The web portal will allow BBCW to track the progress of content through the

Olivier Barberot: “Partnership is testament to our highly evolved media management capabilities”

In Brief FCC access for Anvato TV Everywhere platform provider Anvato recently announced that its turnkey video platform is fully compliant with the latest FCC closed-captioning mandates, as per the agency’s 11 July ruling regarding online broadcast of short-form clips that aired on television.

Anvato’s technology makes multi-language captions compatible with both desktop and mobile devices, as well as customisable and searchable in the video player.

The platform provides an end-to-end closedcaptioning solution that supports more than 180 languages and all popular text file formats. Using a combination of in-band and out-of-band ingest methods, all live and on-demand content managed in the Anvato platform can support multi-language captioning data.

When a file for a specific language is added to the media content platform, the language instantly becomes available for users to select in the player’s closed caption menu. The use of onpremises and cloud resources also enables broadcasters to caption back-catalogue content for compliance with the regulation that begins phasing in 1 January 2016.

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MPEG-DASH and surround sound

workflow, providing a live service health dashboard for playout and global channel distribution.

“This major partnership with BBC Worldwide is testament to both the power of our distribution services and our highly evolved media management capabilities,” said Globecast CEO Olivier Barberot (pictured). “We are very proud that they have chosen to extend the relationship between our two companies in such a comprehensive way.”

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castLabs is demonstrating its video player applications.

Based on its end-to-end MPEG-DASH solutions for creating, protecting and playing content, castLabs will be showing DASH playback technology for various platforms, including iOS, Android, Chromecast and browsers.

Also on show is the DTS Headphone:X surround sound innovation built into castLabs’ video player SDK for Android. An UltraViolet player app will be on display for iOS and Android devices. castLabs enables secure video playback using its cloud-based DRMtoday service. It streamlines DRM for digital video, allowing multiple DRM systems to be easily adopted from a single source.

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