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theibcdaily www.ibc.org

FRIDAY 11.09.2015

THE OFFICIAL NEWSPAPER OF IBC

SAM I Am By Carolyn Giardina

Snell and Quantel – two widely known brands that have been represented at IBC for decades – have been rebranded as SAM, an acronym for Snell Advanced Media. Such a move was widely expected, following the joining of these two companies roughly 18 months ago. “We are going to be an aggressive, forward-thinking player in the marketplace,” said Tim Thornsteinson, who came on board as CEO of the combined companies last March. “There’s a lot of great things about both

businesses; the technology is strong and they have a great reputation for customer support… But we lost touch with the market, and we weren’t moving quickly enough. We hadn’t delivered on our product roadmap to the degree we should have.” He said of the naming decision: “Snell has a strong brand worldwide; Quantel also did, but was more localised in post production and broadcast editing… It didn’t make sense to move away [from the brands] entirely, and we wanted to get away from ‘broadcast’ [thus

Everything is virtualised Conference Analysis By Ann-Marie Corvin

Al Jazeera’s technology chief Mohamed Abuagla sent out a clear message to vendors working on cloud-based applications: keep systems open and look at ways of forming partnerships with IT companies – or risk getting swallowed up. “The industry has been infrastructure obsessed with toys in rooms and connecting them and there’s a lot of lock-in happening. That’s going to be

disturbed by the cloud and new players coming in,” he warned in a session titled ‘Cloud Processing: Applications that make sense’. Abuagla pointed to the growing list of IT companies exhibiting at IBC this year – Microsoft, Oracle and Amazon – who “are really jumping in on this market ”. The CTO calculated that the combined R&D budget alone of the 11 IT companies exhibiting this year is around five times the size of the industry itself. “And these guys have a vision. They will buy everything up in the next five years and start again.”

Tim Thornsteinson: “Our goal is to be more open”

‘Advanced Media’].” All products remain in place, and to keep the legacy brand name Quantel, the Pablo Rio post production system will now be known as the Quantel Rio. The CEO also revealed that last spring the company’s investor,

The growing trend for virtualisation, where one machine can run on multiple environments, means that clients no longer care about what desktops or operating systems are used, Abuagla said. “We have to change the way we are thinking and we have to adapt. We don’t care what we are running on because everything is virtualised.” Fellow speaker Steve MacPherson, CTO of Framestore, revealed that the VFX house has already been using Google as an extension of its own machine was surprisingly engineering led. “You go into Google and there are lots of really smart people to align

Lloyds Development Capital, infused $22m into the business, tied to a three-year growth plan. Meanwhile, he increased the company’s investment in R&D by roughly 15%, in areas including automated playout, asset management, IP infrastructure and media biometrics. Asserted Thornsteinson: “By IBC next year you’ll see an entirely new product line.” Citing a brand reputation for high prices and being a bit closed, he added, “our goal is to be more open, for instance in storage, and be more approachable from a price standpoint – more competitive.” SAM’s IBC lineup addresses areas including IP, 4K, HDR and assurance monitoring. 7.G20

Hall 1, D.61 • ericsson.com/tv-media •

@EricssonTV

Ultra HD – get it right now

When it comes to Ultra HD, it is now apparent that the next generation user experience needs to provide more than just resolution Page 10

Touch & Connect for everyone

This unique IBC innovation has been redesigned to provide a simple networking and content collection system Page 19

Can you hack it?

The IBC Hackfest is a brand new creative space where coders, developers and designers converge to brainstorm Page 22 Mohamed Abuagla: “We have to change the way we are thinking”

with. For people who do not care about hardware, virtualisation is very exciting.” Cost, however, is still a challenge and MacPherson calculated that if the post house needed to use Google’s services for any more than four and a half months it would be cheaper to set up the operation in-house.

We turn consumers into your greatest fans We help you continually enhance your customers’ TV experience to achieve ultimate loyalty and create fans who keep coming back for more!

Inside

Securing the future

Peter White at the IABM explores trends in the industry and examines the general mood in the market Page 45 Read our IBC news stories on the move… Published on behalf of the IBC Partnership by


Switcher Control Ethernet lets you plug in a computer for control and uploading graphics.

12G-SDI Inputs 20 inputs with 12G-SDI and re-sync for HD and Ultra HD up to 2160p60.

Redundant Power Two built in supplies keep the switcher running in case of a fault!

Built in Audio Mixer Dedicated audio inputs can be mixed with audio from all SDI sources.

Aux Control Select video sources to aux output right from the front panel.

Aux Outputs 6 aux outputs allow connection to on stage screens and projectors.

Built in Monitoring Full resolution HD display lets you view any router source!

Program Outputs Send your program feed to your audience, or for recording!

Multi Views in HD or Ultra HD Multi view lets you see 8 sources and program on a single monitor.

Introducing the world’s first live production switcher with 12G-SDI for high frame rate production up to 2160p60. The ATEM 2 M/E Broadcast Studio 4K is a live, multi camera production switcher that features 12G-SDI so you can now work in high frame rate Ultra HD which is perfect for live events such as sports, music concerts, theater and more! The advanced 12G-SDI based design featuring 20 12G-SDI inputs with full re-sync lets ATEM 2 M/E Broadcast Studio 4K work in all HD and Ultra HD formats all the way up to 2160p60! You also get advanced broadcast features such as chroma key, transitions, keyers, multi view and much more!

High Frame Rate Ultra HD The native 12G-SDI design lets you use the same high frame rate workflow in Ultra HD for fast action sports that you use in HD! 12G-SDI is 4 times faster than 3G-SDI so it easily handles Ultra HD in frame rates up to 60 fps. Because 12G-SDI switches speeds, you can instantly switch to operate in regular HD whenever you need!

Creative Transitions You get a huge range of real time high quality transitions in all resolutions and frame rates! Use mixes, dips, wipes and animated stinger transitions for eye catching live broadcasts! Every transition is instantly available and via macros so you get full control of transition type, pattern, length and other attributes. Create your own ‘on air’ looks with ATEM’s amazing transitions!

www.blackmagicdesign.com/nl

Multi View Monitoring in Ultra HD ATEM 2 M/E Broadcast Studio 4K features two Ultra HD multi views so you can see your program, preview and sources with custom layouts and labels! For the ultimate in image quality you can use Ultra HD displays or you can use regular HD displays and the multi view will down convert to HD!

Media Players The 4 built in media players are designed for high frame rate HD and Ultra HD! ATEM can store full motion video and full resolution RGBA stills with key and fill, or you can direct export from Adobe Photoshop to the switcher with the included plug-in. The media memory is big enough for 64 Ultra HD still graphics plus 360 frames of Ultra HD video or 1440 frames of regular 1080 HD video!

ATEM 2 M/E Broadcast Studio 4K ............................. €5 395* ATEM 2 M/E Production Studio 4K.................................................€3 595* ATEM 1 M/E Production Studio 4K..................................................€2 245*

Get a complete 12G-SDI workflow! Blackmagic Studio Camera 4K .......................................................€2 359* HyperDeck Studio 12G Broadcast Deck .....................................€2 559* Smart Videohub 12G 40x40 Router ..............................................€4 495* Teranex Express Standards Converter ........................................€1 255* Teranex Mini 12G Converters ..............................................................€445*

*SRP is Exclusive of VAT.

IBC template.indd 1

02/09/2015 06:31


03

Published on behalf of the IBC Partnership by

“EPG is broken” says Twitter boss Conference Analysis

By Ann-Marie Corvin

With its grid-like display and limited screen functionality the Electronic Programme Guide has not changed much in 30 years but new content players that have equity with the TV audience look set to shake this up. During Thursday lunchtime’s session ‘From EPG to PPG’, Twitter director of business development Brenda O’Connell declared that the EPG was “broken”. The panel, chaired by Decipher MD Nigel Walley, agreed that a growing list of nonlinear content brands – such as Netflix, Redbull

and Vice – needed to exist now alongside traditional broadcasters with a channel line-up that made sense. “People are watching TV from anywhere, any time across any device. At the moment it’s chaos. Viewers are lost,” O’Connell added. Twitter has been working with the TV industry to integrate the ‘social’ aspect into the EPG, including a recent partnership with Xbox One to create an overlay that allowed viewers to see Matthew McConaughey’s tweets during an episode of True Detective. The Twitter boss revealed that its partnership with US broadcaster Fox on hip hop drama Empire led to one in seven viewers (6 million)

Brenda O’Connell: “At the moment it’s chaos. Viewers are lost”

tuning into the show via social media referrals. The social media giant is also set to introduce TV timelines into Twitter itself, which will display curated content around key TV shows. Established EPG player Zap TV Media is planning to launch a

social media Personal Programme Guide (PPG) next year. The online TV aggregator will allow users to share TV info across social media platforms such as Facebook and Twitter and enable their mobile phones to be used as remote control devices.

Multi-vendor project signals IP is go By George Jarrett

The LiveIP Project initiated by Belgian broadcaster VRT in partnership with the EBU and 10 vendors under the VRT technology acceleration program Sandbox+ is one of the must-see wonders at IBC. A landmark achievement in terms of interoperability, it uses SMPTE 2022/6, AES67, and PTP to transport broadcast feeds via an SDN, and highlights sharing resources, remote production and automation. “We demonstrate it is possible to build a multi-vendor system using open standards,” said Felix Poulin, EBU senior project manager, networked media production. “Broadcasters

Felix Poulin: “Early adopters will deploy islands of production using IP technology”

are wondering when IP will be mature enough for business critical applications. Whilst there are multiple system offerings on the market, we have not got much hard evidence yet on the feasibility, performance and cost benefits of making the transition,” he added. Two improvement areas have

been identified. “The support of PTP/SMPTE 2059 for time and sync is not yet implemented by all vendors. We hope to use it more extensively in the next phase,” said Poulin. “Another challenge is the lack of proper monitoring tools to provide immediate visibility on all the flows on the network.”

Making the IP transition happen Sony By George Jarrett

Sony’s IP Live production system, a re-configuration of SMPTE 2022 that has wide support at IBC from over 20 other companies, is a hot subject as visitors debate the need for new standards to support the rapid adoption of IP technology. “A lot of IP people do not think

03 IBC D1 2015 v2 MDL.indd 1

standards are going to be an issue,” said Sony Europe’s head of workflow and IT solutions Niall Duffy. “SDI was something developed by Sony that was subsequently ratified by SMPTE, and we could now well be in a world where de facto standards that are used and later certified may be much more beneficial and powerful than standards that have been ratified

over a two-year period but not used widely,” he added. Looking back at all the issues around MXF, Duffy continued: “Whether Sony, Imagine or Evertz, all vendors are keen to just make this IP transition happen. There is concern that we have to wait until every single standard in the pipeline has been ratified; it will be far too late for the IP revolution to happen as it should.”

Regarding the hybrid transitional period from SDI Poulin said: “This will happen in multiple evolutionary steps. SDI over IP is the first solution -- reproducing current workflows. It has the benefit of making the transition very smooth. “Early adopters will deploy islands of production using IP technology. What we learn from them will inform further standards developments through the EBU/SMPTE joint taskforce on network media,” he added. “Once there is a network infrastructure in place, since IP is scalable contrary to SDI, we will see a modular evolution, where part of the system can use different formats.” 10.F20

Duffy is chairing a conference session on that subject today (11:30-13:00 at E102), and said: “The standardisation question is one of the issues I will be putting to the broadcasters and vendors in my session. How do you manage the interim period when there will be a lot of hybrid technologies involving SDI and IP in tandem? “Some people may believe all the requisite standards are not there, whilst some will be developing technologies in advance of any standards.” 12.A10

Software-defined virtualised IP channels Orca, an entirely virtualised, IP-enabled playout and channel delivery technology, has been launched by Pebble Beach Systems. Running in a VM on a virtualised platform, it optimises a softwareonly implementation of the company’s Dolphin platform to run in a private cloud with IP inputs and outputs. Pebble claimed Orca provides equivalent functionality, in a pure software environment, to what was previously handled by discrete video server, graphics and subtitling systems. As with Dolphin, Orca software-defined channels can be configured to meet the exact requirements of each service. An advanced orchestration layer also allows ultra-fast deployment against pre-configured templates, so that channels can be launched and integrated into a running Marina system literally at the click of a button. 8.C71

Conference Highlights Today at IBC Keynote: Programming with Global Ambition 10:00 –11:00, Forum Is OTT Simply Broadcast Rebooted? 11:30 –13:00, Forum Silicon Valley Investment in Video – Constructive or Disruptive Innovation 14:00 –15:30, Forum Breaking the Bundle:The end of TV as we know it? 14:00 –15:30, E102 Online News Case Study: How Vice News is changing the paradigm 16:00 –17:00, E102 Wearable Wearables? 16:00 –16:45, Forum Paper Session: High Dynamic Range Video: Status and strategies 14:00 –15:30, Emerald Room Keynote: Chaos and Quality:The foundations of TV’s new world order 18:00 –18:30, Forum

10-09-15 18:52


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Welcome to IBC2015 By Michael Crimp, CEO, IBC

Once more I have the great pleasure of welcoming you to IBC. I firmly believe that IBC is the most vital event of the year for all parts of the media and entertainment industry. That is in large part because of you, our visitors and delegates. You come because you need to discover the latest in technology and practice, and because you are keen to share knowledge. It is the spirit of collaboration and co-operation that creates the atmosphere of IBC, which in turn is what makes it so effective. One way of sharing, which we have extended this year, is our

Touch & Connect networking. We have experimented with building networks alongside the delivery of information for the last two years, and those trials have led to a new and comprehensive system this year, which is available to everyone. Touch & Connect does two really important things for IBC. First, it allows attendees to build up the knowledge and the contacts that will be important to them throughout the coming year. Second, it allows us to see precisely what our visitors need, which means we can make IBC2016 even better focused. But we have a rich and varied IBC2015 for you to enjoy first. As

A Mayor’s welcome Dear IBC visitor, the City of Amsterdam is delighted to welcome you to IBC. This week, the IBC exhibition and its agenda-setting conference will bring more than 55,000 industry professionals from all over the world.

IBC attracts the most talented and driven people from the worlds of broadcasting, ICT, consumer electronics, research and technology. We are honoured that IBC has been our guest for more than 20 years now. I would like to

Ninja Assassin targets 4K Atomos By David Fox

resolution, with 10-bit 4:2:2 recording for Apple, Avid and Adobe workflows (with both ProRes and DNxHR recording). It also supports 1080 50/60p. It weighs 430g and comes with a soft case, SSD caddy and AC adaptor. It is targeting such 4K cameras such as Sony’s a7s and a7RII, Canon’s XC-10 and Panasonic’s GH4 bypassing such limitations as compressed MPEG/H.264 recording, 4:2:0 colour compression, 30-minute time limits and the disadvantage of monitoring on smaller screens.

The new Ninja Assassin costs 35% less and is 10% lighter than Atomos’ popular Shogun. Priced at $/€1295 (£899), the Assassin forgoes the Shogun’s 12G/6G/3GSDI inputs, RAW recording, in-built conversion, genlock and balanced XLR audio connections, but for anyone with an HDMI camera (such as DSLRs), it provides 4K/ Ultra HD monitoring, recording, playback and editing. 9.D25 “It’s priced just right. It makes it very attractive to those people using today’s DSLRs and mirrorless cameras,” said Heather Williams, VP sales, Atomos. The 7-inch 1920x1080 monitor delivers 325ppi Colourful: Williams in the frame on the new Ninja Assassin

04 IBC D1 2015 v2 MDL.indd 1

ever, we continue to innovate, adding new ideas which reflect our changing world. We have our first Hackfest, for example: 48 hours of concerted brainstorming which might just come up with next year’s hit product. The conference has the overall theme of ‘The Future of Media in an Age of Disruption’, and features a remarkable programme. Keynote speakers include JB Perrette, president of Discovery Networks International, Dominic Glynn, the senior scientist at Pixar, and even Lord Michael Dobbs, author of House of Cards. We add to that the IBC Leaders’ Summit which took

invite you to explore and enjoy our restaurants, nightlife and vibrant culture while you are with us in Amsterdam. I hope you will feel as welcome as always and return home full of business opportunities, fresh ideas and inspirational experiences. Eberhard van der Laan Mayor of Amsterdam

place yesterday and was a great success, and the regular opportunity for new entrants to the industry to gain a foothold in our Rising Stars programme. All this, plus dedicated theatres on the show floor for presentations in cutting edge technologies, and of course the IBC Big Screen Experience where the absolute state of the art in cinema technology is on show. Our exhibition space has expanded once more, with the latest building on the RAI campus, the Amtrium, also becoming an

Potential to reinvent live TV

exhibition hall for IBC. It gives us the space to accommodate more than 1700 exhibitors, each of which brings innovation, excitement and the prospect of a more engaging, creative and efficient future. Whatever your agenda here at IBC2015, I hope your time with us is productive and effective, and I look forward to seeing you around the show.

theibcdaily EDITORIAL Editorial Director Fergal Ringrose Managing Editors Michael Burns, Melanie Dayasena-Lowe, Adrian Pennington, Catherine Wright Head of Design Jat Garcha

ChyronHego

By Carolyn Giardina

ChyronHego has acquired Newsroom Solutions, provider of integrated software, hardware and services for local and network cable/TV stations. Also, its recently acquired VidiGo signed a contract at IBC on Thursday with Euro Media Group to deploy VidiGo’s new VidiGo Live remote live production system in four environments. The value of these deals was not disclosed. The Newsroom Solutions deal, along with the VidiGo acquisition, underscores ChyronHego’s wider strategy to build a complete software suite for live news production. “We will continue developing and acquiring the best technologies available,” said Johan Apel, president and

CEO, ChyronHego. “With its comprehensive family of solutions and solid expertise in presenting data graphically from a range of data sources, Newsroom Solutions provides the ideal complement to our product family.” Newsroom Solutions products include NewsTicker, which provides graphics displays in a 24-hour news cycle environment; and Freedom HD, a graphics engine for domestic ticker displays. EMG, the first user of the VidiGo Live software, plans to have its systems in use in Belgium, France, Germany and the Netherlands by the end of the year. In a typical deployment, cameras and a production server are the only equipment required at the remote location, with the full production controlled over an IP network from a centralised studio.

Senior Production Executive Alistair Taylor Reporters Ann-Marie Corvin, Chris Forrester, David Fox, Carolyn Giardina, Mark Hallinger, George Jarrett, Heather McLean, Ian McMurray, Anne Morris, Will Strauss Photographers James Cumpsty, Sander Ruijg, Chris Taylor IBC Chief Executive Officer Michael Crimp SALES Sales Manager Ben Ewles Tel: +44 (0)20 7354 6000 Email: bewles@nbmedia.com Account Manager Richard Carr Tel: +44 (0)20 7354 6000 Email: rcarr@nbmedia.com Sales Executive Nicola Pett Tel: +44 (0) 207 354 6000 Email: npett@nbmedia.com US Sales Michael Mitchell Tel: +1 (631) 673 0072 Email: mjmitchell@broadcast-media.tv ART & PRODUCTION Page Design Jat Garcha Managing Director Mark Burton Printed by Partnion +31 (0)6 1362 4321 NewBay Media, 1st Floor, Suncourt House 18-26 Essex Road, London, N1 8LN, England © The International Broadcasting Convention 2015. 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

7.D11, 7.H30

10-09-15 16:23


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FUJIFILM’s Optical Devices Division “Fujinonâ€? delivers newly developed 4K UHD 2/3-inch lenses to Europe’s ďŹ rst 4K OB Van (s) On a global scale Fujifilm has already received numerous orders for the new UA80x9 and UA22x8 2/3-inch 4K U-HDTV lenses which have been available since July 2015 as production companies around the world are embracing the new 4K format. In Europe “Timeline Television Ltdâ€? was the first major client to acquire the new UA-Series for their newly built 4K UHD OB-Van (Outside Broadcast Vehicle) which was built by Timeline Television’s System Integration division. The unit contains the latest UHD 4K technology including Sony 4300 2/3 inch UHD 4K cameras, Sony UHD 4K PWS-4400 server and the world’s first 4K UHD Fujinon 2/3- inch lenses UA80x9 (9-1440mm) EFP box and UA22x8 ( 8-352mm) ENG lenses. Also on board Snell Kahuna UHD 4K vision mixer and Sirius router, Axon signal processing equipment & Axon Cerebrum control system, EVS XT3 UHD 4K servers, Grass Valley KaleidoModular-X multiviewers & Belden cable. The new unit was built in conjunction with BT Sports who have awarded Timeline a four-year contract.

congratulate FUJINON on the development of the new UA-Series 2/3� inch 4K UHD lenses as these will enable us to deliver the purest image quality to our valued clients and TV broadcast audiences around the globe�. Another recent OB Van project was acquired with Italian OB Company “Telerecord Srl� Italian outside broadcast company Telerecord recently completed the installation of their new 4K UHD OB-Van Unit 26. The new outside broadcast vehicle will be equipped with Sony HDC-4300 cameras, they will be optically enhanced by Fujinon 4K UHD 2/3-inch UA-Series UA80x9BE and UA22x8BE lenses. Telerecord has recently extended their contract with SKY Sports to produce the UEFA Europa League and the Italian Lega Serie-A in the new 4K UHD format.

-<10565VW[PJZVUIVHYK,\YVWLZĂ&#x201E;YZ[2</+6)=HU -<10565VW[PJZVUIVHYK0[HS`ÂťZĂ&#x201E;YZ[2</+6)=HU

Mr. Dan McDonnell, Managing Director of Timeline Television, said: â&#x20AC;&#x153;Timeline has always been at the forefront of technology and UltraHD is the cutting edge. The challenge of this emerging standard has been to work with manufacturers to find solutions to enable UHD productions to be made to the same high standards as previously achieved with HD content. I am pleased to strengthen our long relationship with BT Sport by supplying UHD 4K OB services. Furthermore, I would like to

The new UA-Series 2/3-inch 4K UHD lenses UA80x9BESM

Mr. Giovanni Bertini, CEO & Owner of Telerecord Srl comments: with the migration to the 4K UHD format we have committed to delivering the best image quality; this will elevate the viewing experience of our customers. It was not an easy choice to make, but after evaluating current 4 K UHD acquisition technologies we decided for UA80x9BE & UA22x8BE 4K UHD 2/3 inch Fujinon lenses and Sony HDC-4300 cameras as this combination delivered the highest dynamic range with the best optical quality.â&#x20AC;?

data. This capability and interface promise enhanced compatibility with virtual systems for composing CG with live broadcast images which is critical for any Sportâ&#x20AC;&#x2122;s production environment. Excellent 4K imaging quality of even distant detail are thus faithfully conveyed to the camera by elevating the optical performance in the frequency bands that carry the vast majority of imaging

NEW 4K UHD 2/3â&#x20AC;&#x153; UA 80x9BE

(9-720mm 1:1.7) and UA22x8BERD (8-176mm 1:1.8) have a high dynamic range and integrated 16-bit encoders that provide high-resolution lens data output including extremely accurate zoom, iris and focus

About FUJIFILM Corporation FUJIFILM Corporation is one of the major operating companies of FUJIFILM Holdings. Since its founding in 1934, the company has built up a wealth of advanced technologies in the field of photo imaging, and in line with its efforts to become a comprehensive healthcare company, Fujifilm is now applying these technologies to the prevention, diagnosis and treatment of diseases in the Medical and Life Science fields. Fujifilm is also expanding growth in the highly functional materials business, including flat panel display materials, and in the graphic systems and optical devices businesses. For more information, please visit: http://www.fujifilm.com.

NEW 4K UHD 2/3â&#x20AC;&#x153; UA 22x8BE

light. High-fidelity transmittance of â&#x20AC;&#x2DC;blacksâ&#x20AC;&#x2122; to the camera is essential to imaging expression and Fujinon lenses achieve this by increasing red and blue transmittance ratios. Ever since the first color television content aired in 1962, FUJIFILM has been involved in the development of broadcast-quality lenses for the television industry. Then, as now, our mission is to provide production professionals with â&#x20AC;&#x2DC;high-performance, high-qualityâ&#x20AC;&#x2122; lenses. Fujinonâ&#x20AC;&#x2122;s lens commitment to quality has won the acclaim and trust of both the broadcasting and cinema Industries, recognized through three Emmy Awards for outstanding technological developments, as well as IF and Red Dot Design Awards. Now, with the full-scale shift to 4K broadcasting on the horizon; Fujinon, along with other manufacturers, is looking to deliver the next-generation of production technology to capture and transmit 4K UHD content to viewers in Europe and beyond.

About FujiďŹ lm in Europe Nowadays Fujifilm entities operate in about 50 group companies in Europe and employ approximately 5,000 people engaged in R&D, manufacturing, sales, and service support. Throughout Europe they serve a range of industries including medical, chemical, graphic arts, electronic materials, optics, recording media and photographic technologies. FUJIFILM Europe GmbH (Duesseldorf, Germany) acts as Strategic Headquarters for the region and supports its group companies in Europe by formulating marketing and corporate strategies. For more information, please visit: www.fujifilm.eu/fujinon

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10-09-15 15:45


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Leaders look to the future By Ray Snoddy

Viewers across Europe are increasingly demanding personalised content wherever they are and on whatever devices they own. This is according to new research by IBM Global Business Services, unveiled yesterday at the IBC Leaders’ Summit. The invitation-only audience of senior communication industry executives also heard that a considerable majority of industry professionals – 67% – now believe that non-linear and over the top (OTT) viewing volumes will surpass those of linear broadcasting within five years. A smaller percentage, but still a clear majority, also think that non-linear revenues will overtake linear over the same period. Such powerful trends, combined with the drive towards personalisation in particular, will, according to IBM, require

the broadcasting industry to respond with strategies for personalisation. “A new set of skills, capabilities and partnerships will be required to deliver this,” the senior executives were told. Significant numbers produced by the research project covering the main European countries include: 79% expect to watch more downloaded content in the future; 32% want to control their viewing times; and 42% say they actually prefer targeted advertising. In addition, 68% said they were already watching programmes on their smartphones and tablets. Later, when questioned by broadcaster Andrew Neil, who chaired the Summit, IBM said that smartphone and tablet viewers were watching for half an hour a day on average – a fraction of the time spent with linear television. The delegates were also told

about how OTT operator Netflix is likely to face growing competition as broadcasters such as HBO launch their own services. Netflix has a great brand and enjoyed great first mover advantage but broadcasters were beginning to wake up to the dangers of selling on their intellectual property to an increasingly powerful rival. “For every dollar that Netflix makes in the US, it loses a dollar overseas,” one senior broadcaster claimed. Other speakers emphasised that Netflix had one huge

enduring advantage: the vast amount of data it obtained on the programme preferences of its subscribers, which enabled the company to individually target viewing recommendations. This is the fifth Leaders’ Summit, and the largest so far. The audience is made up of senior executives from media companies from around the world. Their discussions are behind closed doors and not attributable, allowing the leaders of the industry to discuss critical issues off the record.

VoD means broadcast gold Conference Analysis By Adrian Pennington

Video on demand is fast becoming a significant revenue stream for pay-TV operators with predictions from Time Warner Cable Media that 50% of its revenue may be generated by VoD in less than five years. “In 2014 there were more than 1 billion on-demand impressions generated per month from US cable networks which is starting to generate meaningful revenue,”

said Joan Gillman, EVP and COO, Time Warner Cable Media. In terms of ad-supported VoD she admitted that the operator’s revenue was under 10%. The speed at which it will rise depends on content availability and experimentation with business models. “Consumers do not use the term VoD. TV is TV and that’s the way we think about it. They do not mind advertising if the ad load is well thought out, but they will also pay to receive ad-lite premium content.” Gillman said the growth of

Live production network NewTek By Carolyn Giardina

With an eye towards the IP future, NewTek is introducing its Advanced IP Workflow, a live production paradigm developed to allow production switchers to communicate with cameras and other video sources connected

06 IBC D1 2015 v2 MDL.indd 1

on a network, assign any of them as inputs, and deliver video encoded in realtime over standard Ethernet networks. This model debuts at IBC in a new version of TriCaster Advanced Edition, and central to workflow is the Network Device Interface (NDI) open IP protocol that NewTek unwrapped on Wednesday. NDI allows any enabled

VoD was thanks to a healthy TV ecosystem. “TV is still 93% of all content consumed in the US. Live viewing may be down 8.9% but if you combine live linear with DVR and VoD then TV viewing is increasing by 16.4%.” Channel 4 sales director Jonathan Allan said VoD will comprise 10% of C4 revenue in 2016. “90% of revenue is still not VoD. But over the last five years the TV market has grown about 20% and our VoD revenue has grown 360%.” Gary Woolf, EVP business

device on a standard Ethernet connection to be recognised as a video source or destination as part of an IP production workflow. NDI’s backwards compatibility means that along with NewTek, technology from companies including Brainstorm, CasparCG, CharacterWorks, ChyronHego, ClassX, Compix, EasyWorship, Gnural Net, Graphics Outfitters, LiveXpert, Media 5, PlayBox Technology, Teradek, Vizrt and Wasp3D

In Brief Envivio goes for $125m The acquisition of softwarebased encoding company Envivio for approximately $125m has been announced by Ericsson. The company said that the acquisition will strengthen its video compression position, combining its capabilities in broadcast and contribution with Envivio’s capabilities in multiscreen cable and telecom. Envivio’s cloudcentric and software-based video capabilities will, said Ericsson, be a key addition to its portfolio of media enrichment, processing, publishing, delivery and TV platforms, enabling TV experiences on any device. Envivio has an installed base of over 400 TV service provider and content owner customers, including Comcast, Cox Communications, Liberty Global, Sky, Telstra and Time Warner Cable, and generated revenues of $43m in 2014. “Our consumer research clearly shows that viewers are demanding TV on their terms on any device, and expecting experiences that continually evolve,” said Per Borgklint, senior vice president and head of business unit support solutions at Ericsson. 1.D61

Joan Gillman: “If great shows aren’t being made and funded then you are going to weaken your business”

development, digital and insight, all3media international, believed the percentage of revenue producers derive from digital will grow “aggressively. Consumer demand for VoD will double between now and 2019 so broadcast VoD is an important opportunity.”

will be NDI-enabled. NewTek has also collaborated with AJA and Deltacast to enable their capture cards to act as NDI senders or receivers; support for Blackmagic Design cards will also be provided. Boland, JVC, LiveU, Microsoft Skype TX, NewsMaker, Panasonic, PESA, Sienna and Wowza are also working on providing NDI-based technologies. A free SDK will be available for download in Q4.

GlobalTelevision adds Avatega On Demand Canada’s Shaw Media, the owner and operator of the Global Television Network, has extended its ongoing relationship with Arvato Systems and added the manufacturer’s Avatega On Demand and AdStore products to its Broadcast Management suite. The additional technology will be used for non-linear scheduling and advertising sales management. Arvato said: “As traditional revenue streams are challenged across the market, Shaw recognised an opportunity to extend its activities on their networks and digital channels with VoD offerings and online advertising. They have the vision of providing campaigns that work across multiple platforms. To achieve this, they need a system that can support a cross-platform workflow, where data and effort duplication would be eliminated and transactions could be automated.” 3.B38

7.K11

10-09-15 18:02


Fresh New Products for IBC AJA is introducing many new and exciting products at IBC 2015. We’re adding new Mini-Converters to keep pace with the needs of industry professionals as you move to 4K and we’re bringing our expertise to technologies such as HDBaseT to create high-quality solutions for A/V, broadcast, on set and post-production.

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No Grumpy Cat for Dubai’s OSN Conference Analysis

By Chris Forrester

IBC’s ‘The Future is Now’ opening session managed to draw a nearcapacity audience to the Forum, where the panelists delivered plenty of headline news. First up was Dubai-based pay-TV operator OSN’s CEO David Butorac who said that despite the challenges of piracy in his region, and fierce competition from the 750 or so local free-to-air channels, OSN was working hard to expand its 59 HD channels and would launch its first 4K/Ultra-HD channel early next year. Fran Unsworth (director, BBC World Service) told moderator Ray Snoddy that the BBC’s plans to expand programming to Russia and to add services for Korea were both subject to government funding approvals. “They can only happen with government cash, and will not come from licence fees. Our challenge at World Service is to remain prominent despite the explosion in new media. We have to cope with governments and regimes that deliberately block us.

Google’s Thomas Riedl and the ‘amazingly popular’ Grumpy Cat

We also have to have enough cash to serve our listeners and viewers. But we are also asking ourselves whether we should now move away from transmitted radio and concentrate on phone or tablet delivery?” Phillip Luff, MD for the UK and EMEA at Scripps Networks Interactive, stressed to delegates that they were expanding, and fast, into the UK (where they are 50/50 partners with BBC Worldwide in the 10-channel suite of Gold and Living services) and more recently acquiring the TVN bundle of pay and free channels in Poland. “The sky is not falling for us.” However, countering these enthusiasts for broadcasting was Google’s Thomas Riedl (head of

global Android TV partnerships) who told delegates that new paradigms were emerging, and where’s today’s viewers recognised their stars from YouTube. “The second most queried question on YouTube is ‘Minecraft’ where many users were perfectly happy to watch other fans playing the game. Number 8 on the list is the amazingly popular ‘Grumpy Cat’ who has now written books and has a film in production.” Riedl argued that Android’s methodology of delivering simple access to multiple devices, whether phones, tablets and TVs was increasingly important to content producers, and could not be ignored.

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Switching the IP revolution Grass Valley By David Fox

GV Node is Grass Valley’s newly announced hybrid platform for IP integration, which combines IP and SDI inputs. It can connect to other devices to create a distributed architecture, but unlike a conventional IP switch it can switch in the vertical interval, making it more suited to broadcast use. It can also switch audio and video independently, and supports Grass Valley’s Densité modules. “This is a broadcast specific switch that has a lot of integrated processing,” such as multiviewers, explained Mark Hilton, Grass Valley’s VP infrastructure products. “It does what it needs to do for a broadcast environment, and integrates with IP switches for other services.” It will also “work nicely” in a commercial, offthe-shelf Ethernet environment, using SMPTE 2022-6 connections It supports the lightweight (4:1) visually lossless TICO compression for production environments, which will allow Ultra HD to be carried over a single 10Gbps IP link (or a single coax cable). “It’s inexpensive in terms of resource and licencing

Mark Hilton: Grass Valley’s new GV Node integrates IP into the broadcast environment

costs,” he added. GV Node will be available later this year and Grass Valley has already taken several orders. Hilton is taking part in ‘The IP Infrastructure Revolution’ this morning (Friday) 11:30-13:00 in Room E102, which examines the commercial and operational issues surrounding the move from SDI to IP, particularly for UHD. It will look at whether there is a compelling business case, how realistic remote production is, and how soon IP might stretch from the sensor to viewers’ screens — something that Grass Valley hopes to achieve by the end of the year. However, Hilton believes that “it doesn’t have to be a revolution. Evolution makes more sense for your business — unless you start with a green field.” Grass Valley is allowing its users to incrementally add IP gateways to its various products, rather than having to rip and replace. 1.D11

MAKE THE

SWITCH TO IP 0U[YVK\JPUN5L^;LR(K]HUJLK07>VYRÅV^ Switch any video source. Anywhere on your network. :LLP[ÄYZ[H[0)*:[HUK2 newtek.com

©2015 NewTek, Inc. All rights reserved. TriCaster, 3Play, LightWave, Broadcast Minds, ProTek and TalkShow are trademarks and/or service marks of NewTek, Inc. LightWave 3D is a registered trademark of NewTek.

08 IBC D1 2015 v2 MDL.indd 1

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10

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Ultra HD - get it right now: not more but better pixels! The race for what forms the next generation Ultra-High Definition (UHD) TV format focuses on many aspects. While the industry initially concentrated on resolution, it is now apparent that the next generation user experience needs to provide more than just resolution. This article outlines the current issues in the debate. By Hans Hoffmann, European Broadcasting Union (EBU) For the display manufacturing industry it was relatively easy to upgrade the manufacturing lines to create panels with four times resolution but leaving dynamic range, frame rate and colorimetry untouched. A resolution increase can only be appreciated at short viewing distance (the optimum distance being 1.5 picture heights for a 4K display). However, most viewers in the home are actually sitting at a much wider distance than 1.5 picture heights, making the benefit of resolution increase marginal. As a result, it became obvious for the industry that further technological developments were required in order to generate the ‘WOW’ effect for consumers and to make UHD a success. Various industry parties conducted formal subjective tests (ie. EBU, 4EVER, NHK) and it became evident that 4K (‘UHD Phase 1’ in DVB terms) was only the starting point for a kind of full UHD or what we call ‘UHDTV Phase II’ in DVB terms. This phase consists of parameters which create a clearly perceptible improvement in image quality by using

10 12 IBC D1 2015 Issue v1MDL.indd 1

(in addition to resolution increase) higher dynamic range (HDR), wider colour gamut (WCG) and higher frame rates (HFR). The International Telecommunications Union (ITU-R BT.2020) and the Society for Motion Picture & Television Engineers (SMPTE 2036) have standardised the baseband format for UHDTV with higher resolution, higher bit-depth and dynamic range, wider colour gamut and frame rates up to 120Hz.

Dynamic range rather than frame rate? ‘Talking heads’ will not be the driver for UHDTV and all experts are sure about this. Great stories are required to make UHDTV content attractive and increase consumer demand. It is also important that creatives become familiar with the different technical options offered by full UHDTV. There is debate as to why some industry groups are focusing on the extended dynamic range discussion instead of treating the HFR parameter with similar importance. HFR is a must-

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have parameter for sports, but challenging to implement due to the enormous bitrates in the uncompressed domain, and for early UHDTV decoders in the home. However, it has a high gain in entropy

during compression, and viewers simply appreciate HFR sports. Extended or HDR provides an added value to static as well as dynamic pictures, so it is well suited for multiple genres. In addition,

Cont p12

02/09/2015 20:33


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movie producers see HDR as the added value for their particular content genre. Over-the-top content (OTT) providers sell movies as their primary content. Consequently, they also opt for having HDR as their most important parameter (maybe followed by HFR later). From the production grammar perspective, HDR and HFR provide new shooting opportunities and new ways of creative expression. The CE display industry still struggles with the power consumption regulations particular for dynamic range, however, first models with 800 cd/m2 and higher are available. Camera technologies have met the HDR requirements for some time. From the standards perspective the situation on HDR is somewhat difficult since several HDR systems are proposed and debated in ITU. SMPTE defined one particular HDR system that is backed by at least one manufacturer in the distribution chain. Other industry partners, such as BBC and NHK (jointly), and others also proposed particular HDR ‘curves’ to the ITU-R meeting which took place in July 2015 (no clear direction was taken). Further work on the

harmonisation of standards will be required.

Breaking the single format rule With all former TV standards the camera and production raster has been similar to the distribution raster. UHDTV will clearly break the rule, and will serve as a master format in production for a variety of distribution formats at different resolutions, frame rates and dynamic range. Theoretically, the optimum situation would be a system which would adapt the best parameters of UHDTV to the needs of a certain content genre and the capabilities of the distribution chain and the end device. For OTT providers in particular this would mean reducing resolution in situations where bandwidth is reduced (ie. from 4K to 1080p) while maintaining extended dynamic range and frame rates, for example.

UHDTV will need new infrastructures One of the crucial aspects in the production chain is the need for new high bitrate realtime interfaces that support the various UHDTV parameter sets. SMPTE has defined a whole set

of new SDI-based standards and at the NAB 2015 a number of implementations of the 12G SDI were shown. 12G is, however, not enough as a single link when we consider features such as HFR (and UHD-1). In this case, multilink solutions will still be required (which are not mainstream solutions). On the other hand, the trend for full IP-based infrastructure production systems has also reached out to UHDTV. Several demonstrations have shown 4K over IP, uncompressed or compressed, with a mezzanine compression format. IP will allow scalability and new workflows, but certainly requires a more complex network management than SDI links and more developments still have to be done (See the current work of the Joint EBUSMPTE-VSF Task Force on Networked Media for more).

OTT and HBBTV 2.0 with 4K One of the key questions in the future will be how broadcasters can deliver their content in whatever flavour of UHD they chose to the home. The internet offers a new alternative to satellite for experimenting and delivering test productions or events to the consumer in the home.

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Well-known OTT providers such as Netflix and Amazon have already started on this. Broadcasters also have a unique possibility to provide UHDTV to consumers using the new HBBTV 2.0 standard that supports HEVC as a compression system and at least 4K (‘UHD Phase 1’).

Immersive audio: an integral part of the experience Since the beginning of discussing UHDTV, the requirement for an immersive sound experience was defined. The industry responded with different technologies such as channel-based systems (e.g. NHK’s 22.2), scene-based audio (Ambisonics) or objectbased audio (e.g. MPEG-H, Atmos, etc.). The primary purpose of these sound systems is to provide a significant better sound experience to the listener. But, there are many more advantages which particularly object-based systems can provide.

In conclusion UHDTV will not have the same destiny as stereoscopic 3D. It will become a success, but when will it come, with what features and how many compromises in standards will have to be

accepted? A phased approach that introduces a 4K system with dynamic range (a kind of ‘Phase 1 plus HDR’) bears the risk that the industry will stabilise around such a system and introducing a full Phase 2 system (with HDR and HFR) will be significantly delayed. In standards the debate around the various options for extended dynamic range was dragging on already for too long, making it difficult for the industry to come up with implementations – and likely more than one HDR system will be used. A secret for success for UHDTV will be to engage now with the creative communities and to produce content with the various features that UHDTV supports, such as extended dynamic range as well as higher frame rates and to demonstrate to the public the benefit of the next generation TV experience. The EBU and its activities will support and foster this dialogue, on the one hand by driving for open technical standards, and on the other hand, by demonstrating the benefit of UHDTV with extended dynamic range and higher frame rates to the public. Join us at EBU Stand 10.F20 to find out more.

‘Pay-as-you-grow’ product on show Conax

By Ian McMurray

Conax Contego and Conax GO Live are on show at IBC2015. According to Conax, Contego has an extensive set of features to secure and control pay-TV content. With smart cards,

10 12 IBC D1 2015 Issue v1MDL.indd 2

multi-DRM support – including Microsoft PlayReady, Widevine, NAGRA PRM and Conax OTT Access – and cardless security, the company claimed that Contego would accommodate the security needs of all types of pay-TV operators on all distribution platforms. Contego’s features can be deployed independently to fit local

market needs: Conax described it as a ‘pay-as-you-grow model’, which means that customers do not need to tie up unnecessary capital for capacity and features that their market does not yet require. When new market requirements arise, Contego can be easily upgraded. Conax GO Live is the company’s new entry-level,

Screen time: GO Live is designed for pay-TV operators looking to stream to iOS and Android devices

targeted solution for pay-TV operators looking to provide streaming of live channels to iOS and Android devices. It is designed to enable operators

to venture into the unexplored territories of OTT and multiscreen with minimal upfront investment and with reduced technical risk. 1.C81

02/09/2015 20:33




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Q&A Donald McGarva, chief executive officer, Amino Has IBC come at a good time for the electronic media industry? Why? There are some seismic shifts in pay-TV right now and we always look to IBC to see how everyone is responding and changing to operator and consumer needs. Multiscreen and 4K Ultra HD are re-shaping the landscape and IBC gives us a great opportunity

to meet partners and customers to discuss the future shape of our industry.

What do you think are the key developments in, or threats to, your market sector at the current time? There are three key developments: the shift to IP for pay-TV delivery across

the industry; cloud TV and its key role in multiscreen TV experiences; and the accelerating demand for 4K Ultra HD. All three trends are radically re-shaping how IP device developers like Amino are responding and developing new solutions to meet changing consumer demands and operator needs.

Why should delegates visit your stand at IBC? Weâ&#x20AC;&#x2122;re showing a new range of IPTV and hybrid devices â&#x20AC;&#x201C; alongside our new cloud TV platform â&#x20AC;&#x201C; for the delivery of 4K Ultra HD entertainment to any screen inside or outside the home. Itâ&#x20AC;&#x2122;s a great opportunity for people to see how weâ&#x20AC;&#x2122;ve evolved since last year â&#x20AC;&#x201C; and the

benefits our recent acquisitions of Entone and Booxmedia bring to our offering. 14.K20

New ďŹ rmware for TouchMonitors RTW By Mark Hallinger

New firmware for the TouchMonitor TM7 and TM9 devices is being debuted. This update includes added features enhanced from previous versions of the firmware. The new release features

 networks

12th octave RTA mode with 125 bands, a high resolution with bandpass filters. There will also be a higher resolution LF dedicated analyser, as with previous versions of the firmware. Cinema loudness modes TASA and SAWA are provided by the latest release, as well as asymmetrical and individual adjustable tolerance ranges for



loudness measurements. An additional numerical display informs the user of the length of an integrated measurement. Improvements have also been made to enhance timecode, chart and histogram functions and recalculation mode for integrated loudness measures.

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14 IBC D1 2015 Issue v1MDL.indd 1

02/09/2015 20:35


         

 

 





 



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16

For the latest show news and updates follow

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Pixar: HDR Inside Out IBC Big Screen Experience Keynote Monday, 09:30-11:00, Auditorium

High Dynamic Range is a major focus of the IBC Big Screen Experience conference this year with three panel sessions devoted to the topic, the IBC2015 Conference Prize awarded (today at 14:00) to BBC Research & Development for a paper on HDR for TV; and with a headline keynote from Hollywood masters of the art Pixar and ILM.

The keynote ‘Extending the Creative Palette - Vision from Pixar and ILM’ which takes place on Monday (09:30-11:00; Auditorium) will make perfect use of the IBC Big Screen’s Christie 6P 2D and 3D laser projection and Dolby Atmos immersive audio to showcase clips from Inside Out and Tomorrowland, the first two movies ever released in a cinema HDR format. Talking about the vision and technical production, post and presentation process behind Inside Out will be Pixar’s senior scientist Dominic Glynn and

Pixar supervising technical director Rick Sayre Glynn, an imaging specialist, mathematician and colour scientist, is forever challenging assumptions of fidelity in standards bodies and the industry at large. He is leading Pixar’s endeavours in HDR, mastering and exhibition in Dolby Vision, an exhibition format which features HDR and Rec.2020 wide gamut colour plus Dolby Atmos. Sayre, a veteran of Pixar Animation Studios for almost three decades, has feature credits from Toy Story onwards

and is winner of a Sci-Tech Academy Award. They are joined by Jeroen Schulte, Industrial Light and Magic’s image pipeline lead, who oversaw the creation of the HDR Colour timing and mastering pipeline for the theatrical release of Brad Bird’s Tomorrowland. Cinema’s digital transition is over and cinema itself is now actively becoming redefined. There is nobody better equipped to share with you the future of cinema than our IBC Big Screen Experience keynotes and the best thing is

Pixar’s senior scientist, Dominic Glynn

everyone is welcome because this conference session is free.

OPINION

Time for the smart STB The next generation of SmartSTB platform is software- and service-driven, argues ABOX42 chief executive and founder Matthias Greve The market for TV subscription services is getting more competitive all over the world. New IPTV operators are competing with traditional cable and satellite companies. The technology is getting more and more affordable. The increasing demand in flexibility, usability and services opens the market for a new generation of smart set-top box platforms and services. In the past, for each operator, the STB and the software platform was custom developed. The cost and risk for these project had to be handled by the

16 IBC D1 2015 Issue v2MDL.indd 1

operator. This worked for bigger operator projects, since the project size was large, long term and not very complex. Operators need a fast, flexible, state-of-the-art, cost effective STB platform. The platform needs to offer, in addition, reliability and security, since operators need to have full control over their services during the entire lifecycle. The solution for this is a more standardised approach in both software and hardware. Over the past three years we have developed and deployed the ABOX42 SmartSTB platform. This consists of four lines of

SmartSTBs with various price points and feature sets. All STBs are running the same ABOX42 SmartSDK. So a deployed operator TV service can for the first time run on different hardware models with different configurations and feature sets. The SmartSTBs can run as IPTV/OTT platform or be used in a hybrid-DVB environment, which combines traditional broadcast DVB with IP services, like network PVR or additional pay-TV channels with IPTV unicast. The advantage for operators are in cost, risks reduction and flexibility. Operators with

heterogeneous infrastructures like a traditional cable network and fibre network, can run on the same platform. As in the mobile industry the performance of STBs is increasing each year and the pricing is getting more affordable over time. With a common platform, the operator can run multiple hardware versions seamless in the same service, without additional development cost for software porting and can always offer the latest functionality. For example, one customer is currently running a traditional HD IPTV service. With our new M40 UltraHD 4K STB line, it can seamlessly offer 4K services for its high end customers, without the need to upgrade the complete service infrastructure. Also, in a unique way the SmartSTB platform can combine

secure Operator Linux for the live pay-TV system, with ‘retail’ like Android services such as Home Media Playback or third party Android TV services in a secure and controlled environment. The main benefit with the SmartSTB platform is that all is product driven by ABOX42, installed via many different operators. So the single operator doesn’t have to invest in costly development, but can benefit from a market-proven constantly evolving solution. 14.J13

02/09/2015 20:36


         

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02/09/2015 06:40


For the latest show news and updates follow

18

#IBCShow

Taking care of business Sports graphics on show 3D Storm By Carolyn Giardina

Need some privacy? Then head to the Business Lounge

IBC is about making connections, sharing knowledge and, in many cases, closing deals. Much of this will be done on the show floor or in the conference area. Sometimes, though, you may need some space and quiet to discuss the details. To help you, IBC offers the Business Lounge. This is a quiet and relaxing area, designed for business discussions. You will find it near the IBC Big Screen Experience, on the ground floor to the left of the Auditorium. There are informal seating areas, and hosts who will

18 IBC D1 2015 Issue v1MDL.indd 1

help you with coffee and photocopying. The area also has free Wi-Fi. If you need a little more privacy there are some small meeting rooms available by the hour. You need to book these meeting rooms in advance: you can do it online at www.ibc.org and follow the Business Lounge link under Visit. You can also book at the Business Lounge whilst on site. The Business Lounge is available to all IBC visitors, and is free for everyone. It is open every day of IBC2015 from 10:00 to 17:00, and until 15:00 on Tuesday.

3D Storm, distributor of NewTek and LiveXpert products, is showing a lineup that include DELTA-Stat IP, a high-end graphics and scoring system developed by Deltacast. DELTA-Stat IP is a turnkey system that generates and displays all graphics for multisport live productions such as pre-game animations and presentations, clocks, animated scores, statistics management, actions and referee decision. Featured in a 1U rack system, DELTA-Stat IP is designed for stadium and sports arena control rooms, or in outside broadcast mobile units. It supports NewTek AirSend protocol, connecting to TriCaster and 3Play with an

Ethernet cable, without using video inputs. Users can insert logos, titles and clips, and animate and synchronise them to deliver quality graphics. DELTA-Stat IP also features a timeline providing rapid and precise control over the animations and transitions. DELTA-Stat IPâ&#x20AC;&#x2122;s multicriteria database is created to ease games preparation and sequencing, giving users the ability to customise fields with various type of information such as age, height, weight, rank and position. Pictures and videos can

be attached to each entry form. Information related to players and participants can be imported from an Excel spreadsheet. Each sport has a dedicated interface in order to easily manage live production according to the rules and actions of each sport. DELTAStat IP can also be connected to digital scoreboards using LiveCG TeD, LiveXpert scoreboard plug-in dedicated to basketball. The DELTA-Stat IP 3D graphics engine control the quality for display on big screens or on any video terminal. 7.K21

Rack up: DELTA-Stat IP is designed for OB and sports arena control rooms

02/09/2015 20:37


19

Published on behalf of the IBC Partnership by

Touch & Connect for everyone

Q&A Richard Shepherd, marketing manager, Canon Europe Has IBC come at a good time for the electronic media industry? Why? IBC has always been a key focal point for the electronic media industry. Thousands of media industry businesses and professionals look to IBC to find inspiration and the tools to realise that inspiration. The electronic media industry has never been more dynamic than it is now, so IBC is, and will continue to be, a cornerstone of the market.

What do you think are the key developments in, or threats to, your market sector at the current time? 4K has been a buzzword for years, but it is only just starting to develop into a proper branch

19 IBC D1 2015 Issue v1MDL.indd 1

of the industry, having been held back by challenges such as lens quality, dynamic range and the workflow for processing content reliably. Canon has invested in addressing these challenges. Another key development is IP streaming, which is becoming crucial to both broadcast and cinema workflows, especially with higher resolutions demanding higher bandwidths.

Why should delegates visit your stand at IBC? Canon will be demonstrating its unique end-to-end (or ‘glass-to-glass’) workflow, from peerless 4K lenses, through Canon’s wide range of cameras, to professional quality 4K reference displays. We’ll be

showing visitors how they can make the most of this high resolution, high dynamic range workflow, with live capture and grading demonstrations. We’ll also be demonstrating the recently-announced Canon ME20F-SH, a camera capable of capturing professional grade HD footage at ISO 4,000,000 – an industry first. 11.E50

IBC is the most important international event in electronic media and broadcasting because it represents the best place to network as well as to collect information. IBC aims to make it even easier with its new-style Touch & Connect available to every visitor. This unique IBC innovation has been redesigned this year to provide the visitor with a simple networking and content collection system. Through a single portal, the IBC community can share knowledge, here on site and throughout the year. Everyone registered for IBC2015 is automatically registered for Touch & Connect, with a pre-populated account in the portal. Your registration document will

give you a username and password. You can log in at any time, on any device, to update your profile, check your information and network with your contacts. Here on site the IBC Connect app allows you to make new contacts, collect information from Download Walls or pass on your contact details to exhibitors with a simple ‘touch’. Through the year you can use the Touch & Connect Portal to maintain networking with all your contacts. Sharing knowledge and experiences this way ensures that everyone gets the best from IBC, 365 days a year. To log on to your Touch & Connect Portal visit www.ibc.org/portal

02/09/2015 20:38


20

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IBC Big Screen Experience Saturday Night Movie RAI Auditorium, 18:30 In today’s multiscreen, multiplatform world, IBC reflects every way of consuming content. Despite television on the go and video on demand, if you want the wow factor it has to be a big screen. That is why each year IBC builds the biggest of big screens, in the RAI Auditorium. This very comfortable theatre, with seating for over 1000, is kitted out by IBC with the absolute cutting edge in projection technology. A range of projectors are installed, including the latest in laser projection for 2D and 3D. Alongside that, a powerful and immersive surround sound system completes the experience. The IBC Big Screen Experience is then host to conference sessions relevant to the digital cinema and big screen

20 IBC D1 2015 Issue v1MDL.indd 1

industries. It is also the venue for panels and presentations, and never-before-seen demonstrations, many of which are free to all IBC visitors. For 2015 these sessions will delve deeper into the topics which are shaping the future, with the benefit of being able to demonstrate the issues as well as debate them, for example high dynamic range systems. The technology can be seen in action, alongside the practical considerations for delivery and revenues, including the need for new standards. Last, but definitely not least, IBC is pleased to present two movie screenings which have driven the technology forward as well as capturing audience acclaim. Thanks to the generous support of 20th Century Fox, you can come along to see Fantastic Four at 18:30 tomorrow night, Saturday 12 September.

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On Monday, thanks to Christie, Dolby Labs, Harkness Screens, QSC & Disney Pixar; you can also experience Inside Out in near-Rec.2020 extended colour gamut on Monday at 18:30. Both movies are free to all IBC visitors and are always incredibly popular. For more information visit www.ibc.org/Bigscreen

The Avid ISIS |1000 shared storage system is now available, aimed at giving independent media professionals and smaller facilities access to realtime collaboration. Starting at $17,995 and running on the Avid MediaCentral platform, ISIS | 1000 integrates with Avid Media Composer, Pro Tools, and third-party tools including Adobe Premiere Pro CC. According to Avid, the system supports realtime SD, HD, 2K, and 4K. Starting

at 20TB, ISIS | 1000 can be expanded to 80TB delivering 36 to 144 streams of 50Mbit/ sec media. Chris Gahagan, senior vice president of products and technology, Avid, said, “To help more independent professionals and boutique post production facilities participate in the Avid Everywhere ecosystem, we are now delivering the performance, reliability, and scalability of our proven storage suite in a more affordable, easy-to-use system that speeds up editorial efficiency while protecting content creators’ valuable media assets.” 7.J20, 7.J14

Shared assets: ISIS |1000 supports realtime SD, HD, 2K and 4K

02/09/2015 20:39


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Deal to deliver â&#x20AC;&#x2DC;world classâ&#x20AC;&#x2122; experience needs. Our new partnership with Zappware further strengthens our ecosystem. This integration allows for a rapid and straightforward deployment that will empower

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and increase customer understanding.â&#x20AC;? Part of the Agama DTV Monitoring Solution, the Agama Embedded Monitoring Solution forms what the

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A technology partnership to deliver a pre-integrated solution for assuring a â&#x20AC;&#x153;world-class customer experienceâ&#x20AC;? to joint pay-TV operator customers worldwide, has been created by Agama and Zappware. The integration of Agamaâ&#x20AC;&#x2122;s Embedded Monitoring Solution with the Zappware Service Delivery Platform, already deployed on millions of devices around the world, is said to allow TV operators to easily extend their Agama video service quality and customer experience monitoring, assurance and analytics technology into the subscribersâ&#x20AC;&#x2122; Zappwarepowered viewing devices. Agama claimed this allows for full awareness and control of the delivered service quality throughout the end-to-end distribution. Johan GĂśrsjĂś, director of product management, Agama Technologies, said. â&#x20AC;&#x153;We take pride in delivering superior solutions to our customers, tailored to their specific environments and

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Here, there and everywhere IBC Content Everywhere Europe is the event running parallel with IBC2015, as part of a global series of events. It provides a focus and meeting point for everyone involved in the content everywhere concept – online and mobile media, IP connectivity and more. One of the centrepieces of IBC Content Everywhere Europe is the Hub. This is a theatre and networking area, in Hall 14, which hosts a programme

of free sessions and product demonstrations. All IBC visitors are welcome to join in, enjoying the debates and demonstrations as well as making use of the networking area behind the theatre. Each day the Hub will see two, hour-long sessions at 13:00 and 15:30, tackling key subjects. Today, for example, sees an introduction to virtual reality. A panel of experts will look at the new buzzwords emerging

– Cardboard, Oculus Rift, Morpheus, Vive, 360˚ and more – and how they are impacting the technology, creativity and economics of the media industry. Later, another panel will look at the app business. Apps have become the gateway to online television and video services, as well as allowing traditional broadcasters to extend their brands. How do you create and maintain an effective app presence?

Can you hack it? IBC2015 Hackfest 11-13 September

If you go down to Hall 5 today you never know what you may find. You may find hackers – but don’t worry. These hackers have come to IBC to join forces and create hacked solutions and inventions to invigorate and inspire the audiovisual industry over the IBC2015 weekend. With over €5000 in cash prizes and a hugely influential jury of broadcast industry professionals

22 IBC D1 2015 Issue v2MDL.indd 1

as judges, The IBC Hackfest is a brand new creative space at IBC. The event kicks off on Friday 11 September and will see coders, developers, designers, entrepreneurs, hardware hackers, UX and UI specialists, data scientists and others converge on Hall 5 to brainstorm over a couple of days. With traditional broadcast and cable TV undergoing disruption perhaps the best way to fight back is to innovate. At the IBC Hackfest, sponsors will set challenges to hackers and push

outsiders to look at their brands in a new light. For media and broadcast industry companies trying to build a developer community, The IBC Hackfest could be considered a necessity. The IBC Hackfest is also about empowering young talent with bright ideas to take on new and exciting challenges and to build new ideas in an innovative environment. The winners will also walk away with cash prizes worth thousands of Euros. Join in – if you can hack it!

Around these key panel sessions there are a number of short presentations from vendors and users. These look at the latest products and services in connected technologies and the impact they have on the media business. Also part of the Hub is a Download Wall. Use your Touch & Connect enabled badge to collect session and demonstration presentations, brochures, white

papers, data sheets and other background information. Many of the presentations in the Hub will also be recorded and you can see sessions from earlier IBC Content Everywhere Hub events at www.ibcce.org/vod. All IBC visitors are warmly welcomed to the IBC Content Everywhere Hub. For more information on the Hub, including the programme, visit www.ibcCE.org/hub

Technology in Action Often the best way to understand how you can best adopt a new technology is to hear from someone who has already used it. That is the thinking behind a new IBC feature this year: the IBC Content Everywhere Technology in Action Theatre. Found in Hall 3, the Technology in Action Theatre is the venue for a series of free case studies. They are presented by leading vendors and their users, covering hot topics including; the transition to IP, the cloud, production and post production, and new delivery platforms.

Today’s programme includes a useful session setting out the issues around the transition to IP. Chair of the session is well qualified to lead this IP primer: Brad Gilmer, executive director of the Advanced Media Workflow Association, one of the leading bodies developing standards around connectivity and interactivity. Also on the programme today is the first of a number of sessions dedicated to developing cloud solutions for media. And with new formats and higher resolutions in mind, there is also a workshop on mezzanine compression as a means of interconnecting workstations. The Technology in Action programme continues until Monday 14 September. Topics over the next couple of days including regional content in South-East Asia, multi-format delivery, Content Everywhere and the prospects for a cloud-based eco-system. Participants include BBC and Freeview; vendors such as Broadpeak, Ericsson and Studer by Harman. The full programme can be found at www.ibcCE. org, and at the theatre itself in Hall 3. All sessions are free to every IBC visitor, and provide a concise, comprehensive overview and a chance to ask questions in just 30 minutes. For more information on the IBC Content Everywhere Technology in Action Theatre visit www.ibcCE.org/ techinaction

02/09/2015 20:40


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IBC TV makes the Bod news One of the best ways of keeping up to date on the latest news and issues from IBC2015 is through IBC TV. This is a 24 hour a day live web channel, produced on site and accessible on any device. Led by Rob Curling, the popular presenter now firmly established as the voice of IBC, a team of reporters and professional crews are out and about around the exhibition and conference reporting on what is happening on the ground at IBC2015. The keynote sessions are streamed live â&#x20AC;&#x201C; including this morningâ&#x20AC;&#x2122;s presentation from JB Perrette of Discovery â&#x20AC;&#x201C; and are followed by debates from industry pundits. Many other conference sessions are covered by IBC TV too, adding to the usual mix of technology, business and general interest stories. The production base, and the studio for the live programmes, can be found in Hall 12. The production system is sponsored with equipment from EVS and Sony. From here, the team outputs a live schedule 24 hours a day, from today until the show closes on Tuesday afternoon. You can find the service at www.ibc-tv.org: the streaming system senses the device you are watching on and ensures you get the very best quality. To allow you to make IBC TV part of your morning routine, IBC has arranged free Wi-Fi with most of the hotels for IBC delegates. The live stream is not the end of the IBC TV story, though. All the content is packaged and made available for Video On Demand. You can catch up on this yearâ&#x20AC;&#x2122;s stories, and those from previous years, at www.ibc.org/VOD

23 IBC D1 2015 Issue v2MDL.indd 1

IBC TV is produced from Hall 12

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02/09/2015 20:40


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OPINION

ATEM swings result on UK Election Night Blackmagic Design and Sky News presenter and producer Martin Stanford talk about the ambitious UK Election Night Live for Sky Arts Coming live from Sky News’ West London studios, Election Night Live was an ambitious broadcast project on Sky Arts that gave viewers a unique behind-thescenes perspective of the news channel’s 2015 General Election coverage. The base of operations for the Sky Arts coverage of Election Night Live was Sky’s Studio D. The entire 10 hour live broadcast was produced with a Blackmagic Design live production workflow, with two ATEM 2 M/E Production Studio 4K switchers delivering realtime vision mixing and routing for the show.

“When we specified this studio we didn’t have a huge budget, but we needed a space that could be as capable as our main television channel, in as much as it could be,” says veteran Sky News presenter and producer Martin Stanford. “We ended up going almost completely Blackmagic throughout the programme chain. “The Blackmagic ATEM 2 M/E Production Studio 4K was vision mixer of choice as well as their ATEM 2 M/E broadcast panel, offering the vision mixer a familiar interface. For flexibility we also put in one of a Smart Videohub 40 x 40 router, ensuring that everything

was patchable -- including monitor feeds, our Chyron caption generator, Vizrt graphics machine and the Apple computers we use to insert graphics to air.” To cover the broadcast, Sky relied on a series of 25 remote PTZ camera systems throughout the production gallery, studios and backstage areas, as well as a camera handheld by Stanford, who interviewed members of staff on their roles throughout the broadcast. Programme output relied on two key ATEM features. SuperSource, which offers multiple boxes to create a multi-

layered output image, and was complemented with onscreen graphics. The team also decided to tag each camera, to ensure viewers immediately knew where Stanford was broadcasting from. The switcher’s new Macro feature allowed the team to set up one button to cut, change camera and change the label at the same time, rather than a graphics operator having to track and change manually throughout the broadcast. Sky’s coverage included broadcasts from 200 ballot counts across the country. Fifty were traditional broadcast, with a journalist to camera and the remaining 150 were media students equipped with a small

HD camera and LiveU 400 unit, with content streamed to YouTube. Viewers watching via tablet could select their own count, which proved extremely successful. Special software was also developed to show all the live YouTube feeds on video wall in the main broadcast studio, enabling the director to cut to any of them if a particular result was being announced. Election Night Live confirmed Studio D was a flexible space capable of scaling to host a main network programme. The Blackmagic-based studio took on a very ambitious brief and passed with flying colours. 7.H20

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02/09/2015 06:42


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Is OTT simply broadcast re-booted? Conference Today By Chris Forrester

Session producer Bill Scott (COO, Easel TV) has gathered some extremely senior panellists to help guide IBC delegates through the maelstrom that is OTT today (‘Is OTT simply broadcast re-booted?’ Forum: 11:30-13:00). As he says, “Everyone is doing it, from the likes of Sky to HBO to Sony and Dish in the US.” Indeed, it is threat of the ‘disruptive’ nature of OTT,

especially from the deep-pocketed names such as Netflix and Amazon Prime, which pose a real and present danger to all of the established broadcast norms. When Netflix can comfortably achieve more new subscribers in a single year than the likes of Sky UK in 20-odd years of effort, then it is a global force to be reckoned with. Scott’s panel will comprise those in firm favour of OTT, perhaps on the basis that if we cannot beat them, then we had better launch a rival service, as well as speakers from a more traditional

broadcasting background. Maaz Sheikh, president of Starz Play Arabia (from the UAE); Joseph Inzerillo, EVP/CTO at Major League Baseball Advanced Media; David Pendleton, COO at Australia’s ABC; Gideon Katz from Sky’s Now TV service and Hans Van Rijn, Denmark-based VP/digital media & business development at Discovery Networks International. They will debate the key questions, including: Is OTT simply the future for broadcasting? and examining how new and very different consumption patterns are

driving ‘broadcasters’ to present and curate their content in favour of OTT. The OTT phenomenon is also examined in a follow-on session (Friday, Room E102, 14:00-15:30) when Cognizant’s Chris Lawrence asks his panel to review the impact of cord cutting and its implications for traditional broadcasters. Later in the afternoon, IBC’s Content Innovation session (‘How Vice News is Changing the Paradigm’: E102, 16:00-17:30) also takes a close look at how on-demand Vice News is wholly

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altering the newsgathering model, and which in a matter of months seems to have made a dramatic impact with viewers wishing to escape the traditional broadcasting formula.

IBC Content Everywhere Content is everywhere today. Consumers are watching on television, online and on mobiles. They are watching what they want, where they want it. This is a great achievement for consumers. But for businesses that have to deliver these services, it is a continuing and growing challenge, commercially and technically. The industry needs new partnerships, new business models and new interconnectivity.

IBC Content Everywhere is the forum where all these parties – telcos, mobile device developers, ISPs alongside broadcasters and content producers – can come together to discuss the real issues. Only through understanding and debate can the issues be solved. IBC Content Everywhere launched a year ago, as an event within an event. This year IBC Content Everywhere Europe again runs concurrently with

IBC, bringing all sides together to talk and debate, and to see the latest in technology. The most obvious manifestation of it is the Hub, in Hall 14. It hosts a programme of debates and demonstrations looking at the key issues affecting everyone delivering media to any device, in any location, at any time. Even more important than the chance to discuss and debate here is the chance to form a community of interest

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which can continue the debate in the weeks and months to come. At the first IBC Content Everywhere Europe, Touch & Connect was introduced as a social network as well as a means of exchanging information. Although the technology has moved on since last year, with Touch & Connect now appbased, the same networking

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opportunities remain at the heart of the service. This networking, like all the other features of IBC Content Everywhere Europe, is free to all IBC visitors, and all are welcome to share experiences and to learn from early adopters. IBC Content Everywhere extends far beyond Amsterdam in September in the physical as well as the virtual realm. Earlier this year another linked event, IBC Content Everywhere MENA, was held in Dubai, gaining a great deal of interest and support from industry leaders in the Middle East. The second IBC Content Everywhere MENA event will be held 29-30 November this year, again in Dubai. It will bring together the international and regional leaders who are driving forward the media industry, and debate the opportunities for online content distribution in the region. Find out more about all the activities around this initiative at www. ibcCE.org. Here, you can also view recordings of some of the presentations from both IBC Content Everywhere Europe 2014 and this year’s conference in the Middle East.

02/09/2015 20:41


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Free travel from IBC Amsterdam has an excellent public transport service â&#x20AC;&#x201C; the narrow streets and almost complete lack of parking means the city and its citizens rely on it. During IBC you can benefit too as your IBC registration gives you a free travel pass, valid from today until Tuesday 15 September inclusive. The pass covers the cityâ&#x20AC;&#x2122;s buses, trams and metros, 24 hours a day. Conference delegates will find their travel pass in their bags. Other visitors can collect a ticket from an IBC Info Point. You will need to use this travel pass to get free travel. The RAI tram stop, outside the main entrance is served by tram 4 and the special IBC tram 11. They both go through the city to Centraal Station, following different routes and passing many of the major hotels. If your hotel is near Centraal Station or on the eastern side of the old town, then there is a quicker â&#x20AC;&#x201C; and maybe less crowded â&#x20AC;&#x201C; way back. The RAI train station is just a couple of minutesâ&#x20AC;&#x2122; walk from the main entrance. There you will find the sneltram route 51. Sneltram â&#x20AC;&#x201C; meaning â&#x20AC;&#x2DC;fast tramâ&#x20AC;&#x2122; â&#x20AC;&#x201C; is Amsterdamâ&#x20AC;&#x2122;s city metro. From the RAI station to Centraal station the 51 takes under 15 minutes, with just a couple of stops along the way. If your hotel is not close to a tram route then check out the IBC shuttle buses. Information on routes and times can be found at IBC Info Points. Finally, when the time comes to leave, there is a free shuttle bus from IBC to Schiphol airport. Again, check with IBC Info Points for times or alternatively, you can view the timetable at www.ibc.org/travel

27 IBC D1 2015 Issue v1MDL.indd 1

Meet us at IBC Stand #10.D29

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02/09/2015 20:42


28

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At the end of the day IBC is the most comprehensive, informative and cosmopolitan event in the broadcasting and media calendar. So it is appropriate that it takes place in Amsterdam, one of the most cosmopolitan and welcoming cities in the world. Whether you are looking for fine dining or simpler fare; calm and tranquillity or wild nightlife; high culture or the excitement of the streets, you will find it

all in Amsterdam. Even better, Amsterdam is an easy city to get around, however you want to travel. There are good restaurants within walking distance of the RAI, and the city centre has numerous places to eat and drink. All IBC visitors receive a pass for free travel on buses, trams and metros within the city, 24 hours a day, Friday 11 September to Tuesday 15

September. IBC Info Points will help you with route maps. The centre of the city is easy to explore on foot, but you might want to join one of the city’s most famous traditions – bikes. Amsterdam has more bikes than people, and there are plenty of places to rent, including near the RAI station. Late at night, or to get to out of the way locations, you may want to take a taxi. They are in

Your IBC Badge The first thing you need to do when you arrive at IBC2015 is to get your badge. This is not just your entrance to the exhibition and conference, it is your passport into the continuing IBC community through Touch & Connect. If you have registered in advance, you will have been sent a confirmation email which includes a barcode. Take that barcode to one of the badge stations, scan it, and your badge will be with you in seconds. If you haven’t already, you will need to make sure you have updated your Touch & Connect profile by logging into www.ibc.org/portal. You can also download the IBC Connect app at www.ibc.org/ tcapp to download content and network with ease. There are badge stations in several places around the RAI. Follow the signs to the one nearest to you.

plentiful supply, and there is a rank outside the RAI. The narrow city streets make hailing a cab impractical, but there are ranks at all the popular areas. Be sure you get in a licensed cab. It will have a meter. Rates for a four passenger cab are around €3 to hire, plus about €2 a kilometre travelled. The meter will print out a receipt. The general advice for tipping taxi drivers is just a couple of euros,

By Chris Forrester

Conference delegates, and Gold Pass visitors, also have dedicated desks in the Forum, the main conference area. Look for signs to the conference. If you have not yet registered for IBC2015, you are still welcome on site. If you have your own device with you go to www.ibc.org/register and follow the links for registration. Enter your details, and your badge will be immediately available for collection. There are workstations in the

registration areas if you do not have a connected device with you. You can upgrade your registration at any time. Maybe you want to add some conference sessions to an exhibition-only registration, or perhaps you want to upgrade to a Gold Pass for the full VIP experience. The staff in the Forum will be able to help, and adapt your pass for you. Find out more about pass types and registration at www.ibc.org/register

and certainly no more than 10%, unless you have enjoyed exceptional service. For more information about travel visit www.ibc.org/travel

Site planning, safety, and WRC15 readiness Emerald Room 16:00-18:00

There are several badge stations around the RAI

Amsterdam is full of surprises

This important session in the Advances in Technology stream will provide the broadcast engineer with a high value tutorial update on a number of important topics related to site planning – including regulatory considerations and coverage performance. The session (Emerald Room, 16:00-18:00) comprises: an overview and update on international standards for RF safety, presented by the chair of the IEEE International Committee on Electromagnetic Safety (ICES); system design methods for optimising antenna performance

at transmission sites to maximise signal coverage, with demonstrations of method of moment and terrain based modelling software; plus a timely update on critical spectrum issues, in the lead up to the World Radio Communications Conference 2015 (WRC-15) being held in Geneva, Switzerland, this coming November. Chaired by co-producer Eric Wandel, president, Wavepoint Research, and with expert panellists including C-K Chou, chairman of the IEEE’s International Committee on Electromagnetic Safety, and Christine DiLapi, Harris Corporation’s associate principle spectral engineer. The session is co-produced by Rich Chernock, CSO at Triveni Digital.

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Programming with global ambition Conference Keynote Today

By Chris Forrester

There are very few broadcasters with larger global coverage than Discovery Networks. It is present in some 220 nations and territories, and each of those major markets has about 10 channels to choose from. It supplies the number one kids channel in Latin America, for example, and its reach is a massive 3 billion subscribers around the globe. This is the core background for JB Perrette, president, Discovery Networks International, and todayâ&#x20AC;&#x2122;s Keynote (Forum, 10:00-11:00). But Perrette has not been standing idly by this past year. He has

supervised further dramatic expansion moves by Discovery, notably into Free-ToAir broadcasting in many markets. Then, on 29 June, came the bombshell: EuroSport, a Discovery-controlled sports broadcaster, had secured the TV rights for most of Europe for the Summer and Winter Olympic Games, across all platforms and delivery methods from 2018 to 2024. The UK and France are exempt because of the rights they already hold for 2018 and 2020, and Russia is also exempt from the deal. But 2022 and 2024 will see the BBC having to sub-license the Games. Perrette says that his plan is to use the Olympics to do what Discovery does best, which is to tell stories. â&#x20AC;&#x153;How the barefoot athlete trained in Kenya, or

Clipster heads up parade of 4K products Rohde & Schwarz By Carolyn Giardina

Rohde & Schwarz is showing new products for post production and broadcast workflows, including the debut of a new version of its Clipster mastering station. Based on a new hardware architecture, Clipster has enhanced I/O, image processing and codec acceleration, which the company believes to be especially notable for use with for high-end post production workflows that require 4K with

high frame rates or using Rec. 2020. At IBC, the company is also showing an enhanced Venice ingest and production server, aimed at 4K production in live studios, as well as its DVS storage systems, focused on high availability by offering backup options. 7.E25

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Ethiopia, and what we think we can do uniquely is how to inspire, in our kids channel, and to emote with the person who trained in bare feet, or couldnâ&#x20AC;&#x2122;t afford shoes, or who trained in really challenging circumstances. That storyline is why we watch, and why we become so very involved in the drama of the moment and why we can become as emotional as the competitor when we watch.â&#x20AC;? Discovery is significantly more than â&#x20AC;&#x2DC;Shark Weekâ&#x20AC;&#x2122;. It owns All3Media, and thus produces Ramsayâ&#x20AC;&#x2122;s Kitchen Nightmares, and Midsomer Murders. It backs Oprah Winfreyâ&#x20AC;&#x2122;s OWN channel, and Animal Planet. Perrette will be interviewed by journalist Kate Bulkley. The session is free and seat demand will be heavy.

JB Perrette gives todayâ&#x20AC;&#x2122;s major IBC Keynote

Best of the Best

Enhanced ingest: The Venice server is aimed at 4K production in live studios

The very best papers are presented at IBC as posters





Each year IBC works with IET â&#x20AC;&#x201C; the Institution of Engineering and Technology â&#x20AC;&#x201C; to bring the best of the IBC Conference to an even wider audience. Working with the Conference Committee, IET is publishing a special edition of its journal, â&#x20AC;&#x2DC;Electronic Lettersâ&#x20AC;&#x2122;, here at IBC2015. As well as rounding up some of the more important media-related papers from its own publications, â&#x20AC;&#x2DC;The Best of IBC and IETâ&#x20AC;&#x2122; also includes selected papers from the conference. Now a regular publication, it is seen as a valuable single source for the most important research and future thinking in broadcast and media technology. Papers for the technical sessions at IBC are carefully considered and peer-reviewed by a specialist group. Their task is first to whittle down all the applications into those which merit presentation at IBC, those which are best considered as posters, and those which do not bring enough new thinking. From those, they then select a

handful for â&#x20AC;&#x2DC;The Best of IBC and IETâ&#x20AC;&#x2122;, focusing in particular on the hot topics of the moment. Finally, the Technical Papers Committee selects one paper for the IBC Best Conference Paper Award, representing the most important research expressed in the most engaging manner. This yearâ&#x20AC;&#x2122;s Best Conference Paper Award goes to Andrew Cotton and Tim Borer of the BBC. Their paper, â&#x20AC;&#x2DC;A Display Independent High Dynamic Range Television Systemâ&#x20AC;&#x2122; describes both theoretical and experimental work towards a practical implementation of extended dynamic range and colour gamut in an Ultra HD broadcast system. IET is one of the IBC partner organisations. You can find out more about its work, and buy copies of the new publication, at the IBC Partnersâ&#x20AC;&#x2122; Pavilion. This is in the Park Lobby, outside Hall 8. To find out more about the IBC Technical Papers, including accessing previous Technical Papers visit www.ibc.org/technicalpapers

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Q&A Stephan Krafft, vice president marketing and technical sales, Rohde & Schwarz We are seeing the rollout of 4K/ UHD. Initial tests are completed and the first live events have been broadcast. Here our headend was frequently responsible for encoding the signals. Now it’s time to establish regular 4K/UHD operation. Essential improvements like HDR and HFR are also being tested and standardised. It’s sure to be a hot topic at IBC.

What do you think are the key developments in, or threats to, your market sector at the current time? Work is ongoing to increase 4K/UHD frame rates. As a system solution our headend already offers HEVC realtime encoding at 60 fps. Rohde

& Schwarz professional presentation solutions even support up to 120 fps at resolutions of up to 4K to meet the highest of demands.

Why should delegates visit your stand at IBC? We have long supported the highresolution 4K standard with our extensive product range, which we’ll be pleased to show on the booth – including a demonstration using the mastering station R&S CLIPSTER. This year sees the addition of the enhanced 4K version of our VENICE ingest and production server for high-quality 4K studio productions. We’ll also be showcasing our ultraefficient transmitters. 7.E25

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FASPStream aims to enhance long-distance ingest, playout Aspera, an IBM company

By Carolyn Giardina

New streaming protocol Aspera FASPStream is able to expand Aspera’s FASP transport technology for live and near-live data streaming. According to Aspera, FASP’s patented transport protocol achieves highly efficient bulk data transfer over IP networks, independent of distance and quality (round-trip latency and packet loss). The company explained that FASPStream expands this capability to provide a fully reliable streaming

protocol for in-order data delivery over Internet WANs with “excellent quality and negligible start-up delay”. This enables media companies to achieve long-distance ingest, remote playout, and even distribution of live video to playout systems running FASPStream, said Aspera. Also on show is Aspera’s Directto-Cloud Storage transfer capability, developed to move 4K media formats from source directly to object storage destination with native I/O for major cloud storage providers. The new version brings new capabilities to Aspera on Demand products, including server-side encryption at rest, in addition to client side and in-transit encryption; automatic determination of the cloud storage part size, allowing for large file sizes to be sent without specific configuration, and new clustered transfers which Aspera reported can enable 10 Gbps+ transfers in, out, and between clouds.

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7.B27

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OPINION

Evolving security requirements Tor Helge Kristiansen, EVP principal architect, Conax, explains how to efficiently manage multi-DRM complexity, Ultra HD content and more From a consumer’s view, pay-TV has changed more the last few years than the first decade of this century. TV is available on a range of devices, tablets and phones are used as viewing or companion devices, social media is increasingly influencing TV consumption and vast video libraries have become available to the majority of TV viewers – just to mention a few developments. Increased choice also introduces a more fragmented experience that consumers may find bewildering. Basically, today’s savvy consumers are expecting smooth reach to existing devices with their favourite TV content – regardless of manufacturer and

operating systems, creating a security challenge for operators. New content formats, such as Ultra HD quality content, bring additional consumer demands. As Ultra HD content is of higher value, studios have issued a new, stricter set of security recommendations.

So what next? Studies show TV is still the consumer’s first choice, with other devices and OTT content playing a complementary role. How can pay-TV operators embrace an expanded role of capitalising on a brilliant opportunity to expanded offerings, fight off pure OTT competitors and handle the

complexity of reaching a wide range of consumer devices to meet consumer expectations? He now needs to securely support the vast pool of active consumer devices in their market; unmanaged devices, bought and maintained by consumers, resulting in a wide variety of devices and operation system versions. Ultra HD brings the potential of even higher value content with Hollywood studios issuing a set of security recommendations through MovieLabs, such as use of hardware security mechanisms in the client, in particular Trusted Execution Environment (TEE) and requirements for Hardware Root of Trust (HRoT). In addition, there

is a requirement for the ability to add Forensic Watermarking to UHD content. These recommendations represent a significant strengthening of security mechanisms for Ultra HD compared to HD and will make it very complex to support Ultra HD on most open devices.

How can operators respond? Until recently, there have been a handful of successful multiscreen deployments and often only the largest players having the resources to play the game. A wide variety of solutions are popping up on the market making it possible for pay-TV operators of all sizes to get their feet wet, plan and deploy OTT services. Success criteria include planning a flexible, future-ready ecosystem to support and enable these new services, while simultaneously managing security to ensure over-the-top

content revenues (all in a content landscape that includes evolving new standards – 4K content, cloud services and more). Key targets to consider when planning a scalable DRM platform include reaching the broadest range of devices in a cost-effective manner, satisfying all content security requirements from providers and for devices, flexibility to support a wide range of evolving business models, hiding complexity of underlying security and DRM technologies and finally, ensuring readiness to benefit from new technologies, standards and devices (MPEGDASH, HTML5, new Android versions, etc.) 1.C81

DTG: secret ingredient in UK TV success story The DTG has been shaping the success of British TV for 20 years, and CEO Richard Lindsay-Davies says it should be your first stop on the road to the UK market The UK TV industry is a towering achievement however you look at it: hugely popular free-to-air TV platforms underpin a thriving pay-TV market, UK consumers have enjoyed the latest technology first — from widescreen to OTT, and it continues to develop through connected platforms and Ultra HD. How was this achieved? Not by accident, but thanks in no small part to the DTG (Digital TV Group), which celebrates its 20th anniversary in 2015. The DTG is a non-profit body, formed in 1995 to help launch the world’s first digital terrestrial TV services by defining a common specification for

32 IBC D1 2015 Issue v1MDL.indd 1

everyone from broadcasters and infrastructure providers, to TV and set-top box manufacturers. The result was the D-Book, created through a family of cross-industry working groups and published to DTG members. It has been developed through the years to implement not just visible advances like widescreen and HD, but crucial background technology such as Active Format Description, for which the DTG received an Emmy in 2011. The eighth edition of the D-Book was published in April 2015, and as ever it incorporates high-level standards such as DVB and HbbTV into a practical

specification for industry. Its value has inspired other publications, such as the U-Book on best practice for accessibility, and the R-Book guidelines for the installation industry, which was also updated this year at the request of the UK media regulator, Ofcom. D-Book developments devised by DTG members have also influenced international standards including DVB and HbbTV, such as the Target Region Descriptor, the SSU UNT download signalling in D-Book 8, and ongoing work around signalling of adult content to enable parental controls over streaming services.

Alongside the DTG is DTG Testing, a non-profit subsidiary which also conducts conformance testing and licenses its test suites to manufacturers. Without the stamp of approval from an industry-reviewed and DTGlicensed test suite, products cannot wear the Freeview badge. If you want to get into the UK TV market, your first stop should be a conversation with the DTG. It’s a small organisation – and great value to members – bursting with industry knowledge from policy and strategy to implementation and testing. Come and meet us at stand Hall 5.A17.

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OPINION

Software is eating video space At IBC2015 it is clear that software-defined video has arrived declares Sam Blackman, CEO and co-founder, Elemental Technologies We all know that change is sweeping the industry, given the massive shift to IP-based delivery of multiscreen content. By some estimates, 15-20 billion IP connected screens will be in use in the next five years. This influx exerts enormous pressure on media companies to rapidly evolve traditional broadcast facilities in support of an infinitely more complex multiscreen world. The exponential growth of video complexity exposes the fact that dedicated hardware can no longer keep pace with changing market dynamics. Video infrastructure is in the midst of a disruptive process with Moore’s

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Law enabling software-defined video solutions running on general-purpose processors. We saw this happen with VMware in enterprise computing; Salesforce in CRM; and more recently with Arista Networks in data networking. Software-defined video (SDV) is an infrastructure agnostic approach to implementing flexible, scalable and easily upgradable video architectures. Software allows video providers to leverage an optimal combination of dedicated and virtualised resources on the ground and in the cloud. SDV also provides new ways to engage customers with innovative services such as

live-to-VoD and multiscreen while reducing capital expenditures. The flexibility of SDV solutions is vital to the continued expansion of services including 4K and HDR. SDV solutions offer a more seamless migration path to high-efficiency video coding (HEVC/H.265) than dedicated hardware equipment. Since we initially rolled out our VoD and live multiscreen products, Elemental Live and Elemental Server, Elemental software has devoured a good-sized chunk of the video infrastructure market. This trend continues as we continuously improve our core technology to deliver unified headend solutions.

Proven in major global live production events including the Sochi Winter Olympics, 2014 World Cup and 2015 Cricket World Cup, Elemental software-defined video solutions offer support for full frame rate 4K/HEVC video processing. Elemental software is now sufficiently powerful and comprehensive that it can support entire linear and multiscreen workflows – a single, unified SDV platform for the entire video delivery backbone. More than 600 content providers have deployed Elemental software. We’ve become a critical element of video infrastructures for leaders like Comcast, HBO, Turner, Sky and Telstra. For example, Sky is leveraging Elemental software to power and deliver its over-thetop (OTT) TV service NOW TV and mobile TV service, Sky Go. As the transition to HEVC advances and device count

ramps to 20 billion, software is taking over. As forecast by Gartner, one of the world’s most respected IT research firms, the SDV market will top $10 billion by 2018. The report, ‘Emerging Technology Analysis: Cloud-Based Solutions Change Video Delivery for CSPs and MSOs Globally’, authored by Gartner research director Akshay Sharma, concludes that the benefits of software which have pervaded the IT industry are about to have the same impact on the video industry. 4.B80

02/09/2015 20:45


Our world. The largest Arab community in the sky at 26ยบ East. Your world.

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Is the Big Screen about to get even bigger at IBC? By Richard Welsh, SMPTE governor for EMEA and Central & South America Region and CEO at Sundog Media Toolkit

Since its inception, cinema has always had one particular facet that is very difficult to reproduce anywhere else: size. That enormous screen fills your vision and draws you into the picture. Earlier this year, Qantas Airlines teamed up with Samsung to bring virtual reality (VR) headsets on to flights and into airport lounges. This technology could be used, in theory, to reproduce a cinema screen of virtually any size. Or, the experience could be taken much further and place the viewer right into the movie. Of course, we’re not quite there just yet. A lack of content is easy to point to, and it’s also fair to say there is still a big question over consumer acceptance of VR. Whether VR is posing a real commercial threat to cinema is doubtful (for now), but cinema doesn’t have a long history of standing still and always seems to react to advances in consumer media technology with its own push to improve the experience. While VR companies speak of the immersive experience, it’s the cinema that has always held this high ground and now is looking to take it further.

Range of IBC sessions Acknowledging this fact, the IBC conference is once again looking at the latest developments in cinema technology. On Monday in the Big Screen conference stream, there will be a big focus on immersive cinema, with a session on immersive picture being produced by Pete Ludé, SMPTE past president and senior vice president at RealD. In the future, immersive cinema may well incorporate VR or augmented reality (AR) technologies. Right now, though, the push is to capitalise on the big screen by extending it to the peripherals of our vision. 20th Century Fox has already produced immersive movies shown in

36 IBC D1 2015 Issue v1MDL.indd 1

Barco’s proprietary Escape format that extends the visual experience to two extra screens at the side of the main screen and uses a three projector setup. Wraparound cinema is not new,

Cinema still faces the massive challenge of transitioning fully to the SMPTE Digital Cinema Package format of course; there have been various ‘ultra-wide’ formats over the years, stretching back to the Cinerama format of the early 1950s that used three projectors and a deeply curved screen. Another advance in technology that accompanied Cinerama was the innovative use of surround sound to enhance the experience. History repeats itself here too, with object-based and immersive audio formats for the cinema already gaining significant traction. IBC2015 is looking at developments here alongside the immersive picture investigation. Of course, there’s more to improving the experience than just making it bigger. Other innovations in this area include higher frame rate (HFR), a wider colour gamut (WCG), and higher dynamic range (HDR). The IBC2015 Big Screen conference stream dedicates a three-part session to HDR across Friday and Saturday, produced by Robert Kisor, SMPTE past president and Fellow. HDR raises an interesting question about the proliferation of these experiential improvements. From a human perception point of view, they all interact. Sound has a clear influence on our perception of picture, and frame rate has an influence on our perception of 3D. Contrast (afforded by dynamic range) has an influence on our perception of resolution. And so

it goes on. Of course, the beauty of digital technology is that the barriers to improving all these elements are falling away. The challenge is that if these technology improvements interact and influence each other, then it would make sense to improve all of them at once to get maximum impact. You’re probably several steps ahead of me here in thinking, “It’s just not that simple, is it?” It’s worth remembering that digital technology is a relatively recent development in cinema exhibition, with the transition to digital screens only just completed. Cinema feels to me right now a little like a kid in a sweet shop. (I’m as guilty of that excitement as anyone.) In actual practice, the exploration of these formats all at once is bringing its own challenges.

Digital Cinema Update From my perspective at Sundog Media Toolkit, the impact is evident in a couple of ways. First, there are challenges with the source material. For example, we recently ran noise management tests on HFR, HDR, high-res footage. The issue for capture is that with HFR, the camera sensor needs to operate at a higher ISO to retain dynamic range. This change in sensitivity and exposure range affects the impact of noise on the captured image,

and the upshot is that noise becomes an issue for the rest of production and post production through grading, visual effects (VFX), distribution, compression and — ultimately, if not addressed — the final image quality seen by the audience. We are observing significant increases in demand for tools that deal with this particular issue, and this interest reflects the fact that noise management is becoming an essential part of the pipeline for those working in high resolution, HFR, HDR, WCG, etc. At the other end of the spectrum, we see format proliferation — an attempt to cope with the fact that not all cinemas are capable of handling all formats. Cinema still faces the massive challenge of transitioning fully to the SMPTE Digital Cinema Package (SMPTE-DCP) format, and until that challenge is met, a dual inventory of legacy Interop DCP as well as SMPTE DCP is needed for distribution. Add to this the challenge of handling various flavours of immersive audio on top of 5.1 and 7.1 surround, and the usual language versions (both subtitled and dubbed) with HFR, 2D versus 3D, and more. The result: ballooning volumes of versions required for a big movie release to cater to all the possible playback configurations a cinema may support.

A couple of years ago, seeing that this was a challenge likely to increase over time, we made the decision to move to cloud to deal with the scaling issue. I’ll discuss in more detail what these new challenges for cinema look like and how we deal with them practically in the popular European Digital Cinema Forum’s ‘Digital Cinema Update’ on Sunday in the Big Screen stream. We will continue the conversation and advance it further into the future at the SMPTE 2015 Annual Technical Conference & Exposition (SMPTE 2015) from 27-29 October in Hollywood. The signature SMPTE event will be preceded on Monday, 26 October by the day-long SMPTE 2015 Symposium, which will be dedicated to looking at VR and AR technologies. The impact of VR and AR on cinema, moviemaking, and media in general will be explored in this not-to-be missed conference. The virtualisation doesn’t stop there, though. The technical conference, which extends from Tuesday to Thursday, will take a more in-depth look at virtual production and post pipelines in the cloud, as well as challenges and innovations in image processing and the continued rise of IP technologies in the media facility. Find out more at www.smpte2015.org

02/09/2015 20:47


!&""  $%"'&"!% Datavideo features a line of affordable and top quality PTZ cameras. These cameras are joystick operated from a central position and are mountable on any flat surface, walls and ceilings. They are able to do a 300 degree turn and offer up to 30x zoom levels. PTC-120 is a lightweight and small PTZ camera. Its small outlook might throw you off guard if you see the picture that this camera produces. With a daisy chainable VISCA control protocol and the ultraportable RMC-190 control center, this camera is suited for lightweight situations like church broadcasts or smaller scale conferences. RMC-190 can store up to 255 presets, and is able to address 7 cameras. PTC-150 is designed specifically for lecture recording, conference meetings, religious events and automated studios. Unique position tracking function is able to output frame accurate PTZ position in real time. With a big tally light, 3G 1080p50/60 resolution, and 2m Pixels, PTC-150 can satisfy applications that require high image quality. The innovative IP protocol gives you full control over the camera through standard LAN connection. For more information, visit booth 7.D39 at IBC Amsterdam!

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39

Published on behalf of the IBC Partnership by

Q&A Matt Anderson, CEO, Sound Devices Has IBC come at a good time for the electronic media industry? Why? IBC comes at a great time for the industry â&#x20AC;&#x201D; there has been so much excellent hardware and software development as of late, it is great to gather together and take it all in. That and we love to get over to Amsterdam in September to speak directly with our customers, potential clients, and industry cohorts. Post-IBC is always a very fertile time back home with all of the ideas that weâ&#x20AC;&#x2122;ve heard.

What do you think are the key developments in, or threats to, your market sector at the current time? Never before have there been so many wonderful opportunities in our industry. It sounds clichĂŠ, but the rate of change in our field accelerates daily. The massive

technology upheaval that we are in the midst of with cameras and other gear is incredible. From the advances in silicon making hardware smaller, cheaper, and infinitely more capable, to the internet enabling production methods and distribution unheard of just a few years ago, to new collaborative financing methods such as Kickstarter and Indigogo â&#x20AC;&#x201D; the price of entry has never been lower and the audience has never been more accessible. Think about how a motivated person or small group can write software or produce content (in 4K nonetheless!) and instantly upload this to literally the entire world in seconds. This sort of production and distribution just a few years ago was only possible with millions of dollars and thousands of workers. Also, the quality of the professional content, from movies to

traditional broadcast to shows on Netflix, HBO, Amazon and the like, is simply stunning.

Why should delegates visit your stand at IBC? We have exciting new hardware and firmware for our products â&#x20AC;&#x201D; both audio and video. Sound Devices has become the gold standard in field audio capture; we continue to innovate and produce bulletproof mixers and recorders with audio quality, which is second to none. With our newer brand, Video Devices, we are bringing this same commitment to rock-solid reliability to best in class video recording and monitoring. Our new PIX-E line of recording monitors record full 4K video using Appleâ&#x20AC;&#x2122;s ProRes codecs. 8.B59

Preservation and collaboration of media high on the IBC agenda NOA By Mark Hallinger

The new N7000C audio interface, NOARecord pico and FrameLector pico have all been released. Making its debut at IBC 2015, the N7000C features technologies such as Bitproof Support and Dante interfacing. NOARecord pico delivers high-quality audio digitisation at what NOA said was a â&#x20AC;&#x2DC;breakthroughâ&#x20AC;&#x2122; price point. In combination with NOAâ&#x20AC;&#x2122;s new N7000C hardware platform, NOARecord pico

makes it possible for a broad range of users to quickly set up a professional quality digitisation facility without requiring the sophisticated workflow management system and extensive IT infrastructures appropriate for large-scale archive collections. Also new at IBC2015 is a product for standalone SD video ingest, the FrameLector pico. Combining NOAâ&#x20AC;&#x2122;s FrameLector SD-Video ingest system with the streamlined, free-of-charge workflow system pico, the software combines convenience and simplicity, said NOA. 8.D91

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Media technology industry in midst of structural shift By Joe Zaller, IABM DC

To say this is a dynamic time in the broadcast and media technology market is an understatement. We believe the industry is in the midst of a structural shift, which is reshaping the media landscape globally. End-user business models are dramatically different compared to just a few years ago, due in large part to an explosion of digital and online delivery platforms, the shift to file-based workflows, and the promise of commercial-offthe-shelf (COTS) IT hardware managed by software-defined networking technologies in facilities that increasingly look more like an IT data center rather than a traditional broadcast plant. A comprehensive overview of the forces impacting the media technology industry is provided in the 2015 Global Market Valuation Report (GMVR), published by IABM DC, a joint venture of IABM and Devoncroft Partners. The 2015 GMVR is based on a data model that encompasses approximately 3000 providers of media technology products and services. This 450-page report provides clear evidence that we are in the midst of an industry-wide shift in technology buying patterns, which began in 2012. We believe that these forces will continue to alter the structure of the industry through the end of our forecast period (2018).

Broadcast industry market sizing The total market for broadcast and media technology products and services in 2013 was $47.8 billion, growth of 1.1% versus the previous year, following growth of 5.1% and a growth of 1.0% in 2011 and 2012, respectively. Revenue from hardware and software products in 2013 was $22.2 billion, or 46.4% of the total industry value, up 3.1% versus the previous year, following growth of 5.3%

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and growth of 1.3% in 2011 and 2012, respectively. Revenue from services was $25.6 billion, or 53.6% of the total industry value, a decline of 1.1% versus the previous year, following growth of 5.0% and growth of 0.6% in 2011 and 2012, respectively. Services include transmission infrastructure; managed services; systems integration; consultancy; and the rental and hire of facilities, outside broadcast resources, and specialist equipment.

years 2012 to 2014 (“2012 – 2014”). A review of these relative growth rates of individual sections is informative and is illustrated in the table below. By separating the aggregate performance of the market from 2009 – 2012 and 2012 – 2014, a clear contrast between these two time periods becomes visible (please note that 2012 is counted in each time frame). The CAGR from 2009 – 2012 was 4.0% for the market

Figure 1. Total industry size by market segment

Figure 2. Comparison of total industry CAGR from 2009-12 versus 2012-14

Figure 3. Comparison of total product and services CAGR from 2009-12 versus 2012-14

The total size of the broadcast market is shown below, including details of each market segment covered in this report. Comparison of industry CAGR from 2009-12 versus 2012-14 reveals dramatic change in technology spending patterns. Between 2009 and 2014, the compound annual growth rate (“CAGR”) for the total market was 2.9%. However, this headline growth figure masks individual contributions from product revenue, service revenue, and the relative impact of the performance from 2009 to 2012 (“2009 – 2012”) versus growth rates from calendar

whereas the CAGR from 2012 – 2014 was 1.3%, a difference of more than 300%. This abrupt shift in industry spending reflects the overall change in the industry that occurred in the 2011-2012 timeframe, and provides evidence of a structural shift in the industry. With the benefit of hindsight, the impact of this shift is very noticeable, as shown by the chart below. From 2009–2012, when the industry as a whole grew at a CAGR of 4.0%, the total revenue from products grew at a CAGR of 3.6%, and the total revenue from services grew at a CAGR of 6.0%. From 2012–2014, when the

industry as a whole grew at a CAGR of 1.3%, the CAGR of total product revenue was -0.5%; and the CAGR of total service revenue was 2.9%. Contrasted against the 2009 – 2012 time frame, the 2012 – 2014 figures are stark. Growth in both products and services declined between 2012 and 2014, but services fared better than products. Given these facts, it is perhaps not surprising that growth in the broadcast market decelerated between 2012 and 2014. There are a variety of explanations for the change in shift in market spending over the past several years, including the overall economy; consolidation of technology suppliers, service providers, and media companies; and a pause in spending prior to the next industry transition. These factors and their impact on the market are explored in detail throughout the 2015 Global Market valuation Report.

More change to come The broadcast and media technology industry is hugely diverse and complex, and change will continue at multiple levels. Growth in some product categories has and may continue to decline sharply, while other parts of the market are growing very quickly. Even in segments where overall revenue appears to be flat compared to previous years, there are often significant changes to the composition of the underlying segment revenue as new products and services are developed and deployed to meet the evolving needs of end-users. Nevertheless, aggregate industry growth in technology spending has changed in favour of software and services, as end-users increasingly deploy filebased systems and adopt IT/IP-oriented operational paradigms. We believe this is a dynamic time for the industry, and

the macro forces impacting both buyers and suppliers of media technology will drive a huge wave of innovation, as nimble technology suppliers develop new solutions to meet emerging business model challenges of their customers. Confidence remains high in our industry and new opportunities with new technological developments abound, so the future for suppliers in the broadcast and media technology market will favour the innovative and bold and those capable of changing with the times.

2015 GMVR is now available Published by IABM DC LLC, a joint venture between IABM and Devoncroft Partners, the 2015 GMVR provides the definitive valuation of the broadcast and media technology supply market. The GMVR is the only report where broadcast industry vendors come together in a collaborative partnership, under a mutuallyagreed framework of strict confidentiality, to share their revenue data, future forecasts, and detailed information on what drives their businesses. The data model underlying the GMVR includes information on nearly 3000 individual technology vendors and service providers. The report and accompanying data tables cover approximately 150 separate product categories, and includes written analysis and regional splits and forecasts to 2018 at the segment and sub-segment levels. The 450 page written report is based on in-depth interviews with hundreds of industry participants, including technology vendors, and end-users including broadcasters, pay-TV operators, service providers, and OTT platform platforms. The 2015 IABM DC Global Market Valuation Report is available for immediate delivery. It’s a must-read document for all broadcast industry strategists.

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Published on behalf of the IBC Partnership by

Colour video in the dark

HD OB win with KBS Broadcast Solutions By Mark Hallinger

South Korean Broadcaster KBS

has awarded Broadcast Solutions a contract to deliver a 12-camera HD OB van. The assignment covers the construction and delivery of the

van, called HDTV2. Broadcast Solutions is working in close cooperation with local partner DYD and will deliver the van in 2016. It will be the second live production vehicle that Broadcast Solutions has built for KBS. Stefan Breder CEO, Broadcast

Solutions, said, “We are very happy that KBS once again show their trust in Broadcast Solutions to build their new OB van. The close cooperation with our local partner and the long term relationship to the customer KBS resulted in this new project.” 8.A84 & Outdoor 0.B01

transforming video delivery *HUVU»ZUL^4,-:/VɈLYZ/+ JVSV\Y]PKLVPUL_[YLTLS`SV^SPNO[

Canon Europe By David Fox

A small, new full-frame camera that can ‘see the unseen’ in extremely low light has been launched by Canon. The ME20F-SH can capture full colour images in almost complete darkness (less than 0.0005 lux), with a maximum ISO in excess of 4million (+75dB). It is compact and lightweight, making it ideal for wildlife productions, and can be installed in a semipermanent location, under remote control, for use on long-term projects. It has both HDMI and two 3G/HD-SDI outputs. Previously, working in so little light required infrared illumination, producing black and white video, but the ME20F-SH can produce colour 1080p or 1080i video with reduced noise, without the need for infrared lights. It uses a new full frame 35mm 2.26megapixel CMOS sensor with a DIGIC DV4 processor. As with Canon’s Cinema EOS cameras, it includes Canon Log and Wide DR settings, for a wider dynamic range (800%). It can take EF mount lenses (with Cinema Lock, as used on the C500). It also offers flexible control with auto and custom settings, including remote control of camera settings and built-in ND and IR cut filters.

VISIT US @ behindeveryscreen.com | thomson-networks.com

11.E50

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02/09/2015 20:49


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Securing the future By Peter White, CEO, IABM

As the only association that represents the broadcast and media technology supply industry worldwide, we provide a unique perspective and understanding of the critical issues facing those businesses. We have a presence at every major trade show and each event offers a different platform for us to gauge opinions and encourage discussion around the challenges most affecting our members and industry colleagues. The general mood is that there is still a fair degree of uncertainty in the market. The latest round of quarterly IABM figures show continuing improvement but not dynamic growth and certainly some of the smaller businesses are having a tough time at present. Overall market growth for the next few years forecasted in our Global Market Valuation and Strategy Report (GMVR) is modest with a marked swing away from hardware products to software and services. Our half yearly market surveys, both on the demand and the supply side, say the future is stable â&#x20AC;&#x201C; however, people are expected to remain cautious with their spending. The point of view of many in the industry seems to be that a lot of customers in the broadcast and media space are sitting on their hands. The path to take them forward is not clear cut, and to some extent there is a degree of waiting and observing the industry before committing to any further investments. That is perhaps inevitable, given the disruptions happening in the industry today. Most obviously there is the transition from traditional broadcast hardware towards a full IP solution. Softwaredefined infrastructures are a significant departure, which lead us to the question is the technology ready yet? 4K? Will this happen, or is this another side issue? What about the other elements of

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Ultra HD, like high dynamic range or high frame rate? We have faced the issues around multi-platform delivery, but will there be further challenges in terms of distribution? There are questions surrounding how new architectures dovetail with them. There is a sense of irony as the first problem is actually the solution. A well-designed IP-centric system could â&#x20AC;&#x201C; and should â&#x20AC;&#x201C; be independent of the nature of the content. So if, say, 4K suddenly becomes a transmission standard, then that should simply be a case of updating a couple of numbers in a parameter file. This very much depends on all the elements of a modern broadcast system working in cohesion. Which in turn means that systems from multiple vendors will play nicely together. It is not in anybodyâ&#x20AC;&#x2122;s interests to commit to a future of proprietary systems: we all know that best of breed solutions means we get the required functionality. What is needed in the future is a champion for this level of interoperability. In particular, the smaller players should be heard, their focus on innovation brings the key niche products that could give broadcasters and media companies the critical business or creative edge. At IABM, we can provide at least the opportunity to talk, to address the technical and commercial issues around interoperability, and maybe a platform to define and test new solutions. It is clear that â&#x20AC;&#x153;co-opetitionâ&#x20AC;? â&#x20AC;&#x201C; rivalry with a common goal â&#x20AC;&#x201C; is now more important than ever. Many of the current challenges facing the industry will be discussed at this yearâ&#x20AC;&#x2122;s show and, as ever, the IABM team will play a very active role. At IBC, we have our much anticipated State of the Industry conference, which should help to provide some context of many of these topical issues. We also have

Figure 1: The shift from product to services, 2009 â&#x20AC;&#x201C; 2018 (from GMVR 2013)

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a number of additional events planned, from our new HEVC workshop, the ever-popular member lounges and our first event focussed on M&A. In between we will dedicate as much time as possible talking to our members and the wealth of companies exhibiting here at IBC. Vendors need to understand the issues facing their customers, in terms of changing business models, and in planning a gradual and graceful change from todayâ&#x20AC;&#x2122;s

It is clear that â&#x20AC;&#x153;co-opetitionâ&#x20AC;? â&#x20AC;&#x201C; rivalry with a common goal â&#x20AC;&#x201C; is now more important than ever infrastructures to the softwaredefined world. If they can see that investing in one piece of the jigsaw at a time is going to boost their capabilities

today without limiting their opportunities tomorrow, then we may break the log jam, and business â&#x20AC;&#x201C; for all of us â&#x20AC;&#x201C; will start moving again.

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OPINION

Towards a 2020 Networked Society In the Networked Society of 2020 the most forward-thinking and agile players will be those who put the connected viewer first, argues Elisabetta Romano, vice-president and head of TV and media, Ericsson The television industry has transformed the service beyond recognition from 90 years ago when the first public demonstration of televised moving images took place. From TV’s inception, pioneering work has pushed the medium forward both technically and creatively, from black and white into colour, and from conventional broadcasting to experimental storytelling. Now it has surged ahead into digital territory, through HD and soon into the internet era of television. Over the next five years, we’ll see the traditional media value chain being broken and remolded into a new dynamic ecosystem.

Established rights holders, producers, content owners, broadcasters and all forms of TV service providers will compete with one another, and new entrants for consumer loyalty and new investment. As all players seek to constantly evolve how content is produced, delivered, discovered and experienced, we’ll see greater interplay between players across the entire media spectrum. Most importantly, if today’s television industry is to flourish, it must continue to listen and understand the needs of the viewer. In the Networked Society of 2020, the most forwardthinking and agile players will

emerge as leaders of the pack – those who are putting the connected viewer first. With the hunger for media consumption that consumers are showing today, and their outright refusal to accept that TV isn’t on their terms, companies that offer seamless services across many devices, deliver sophisticated personalisation and create outstanding visual experiences with perceived value, will be rewarded. Technology has been an utterly critical component in allowing the art of television to continually evolve and become more beautiful, impactful and immersive. And at the heart of

this journey to the internet era of television lie three technologies in particular. The cloud is fuelling agility and dynamism across TV, and will be key to serving the constantly shifting and ever changing demands of the consumer. It’s an industry imperative which will deliver a whole host of cross selling opportunities, social interactions and will change the way consumers discover, navigate and experience content. Broadband IP has cemented its place as the fabric of the Networked Society and the transport for every piece of content in the future from acquisition to consumption. Large investments in broadband capacity will be required to feed the ever-increasing demands of video consumption across mobile networks. High Efficiency Video Coding too will take video transport into a more efficient direction, bringing about Ultra HD through

advancements in higher dynamic range, higher frame rates and colour depth. At IBC, Ericsson is elaborating on these important themes and showcasing new and existing solutions that have been built to meet the needs of customers’ viewers and which bring value to the entire media value chain, right the way through from media enrichment to media processing, delivery and the experience for the end viewer. By publishing our 2015 ConsumerLab TV report, that spans 20 countries, we will validate our strategy by showing what audiences are demanding and how these consumer insights should be responded to in order to ensure success in the future of TV. 1.D61

Shogun Studio on the IBC rack Atomos

By David Fox

The new Atomos Shogun Studio is claimed to be the first all-in-one 4K/Ultra HD/HD, two-channel, dual 7-inch 3RU rack recorder, monitor and playback deck. It has been designed especially for the rack environment, for live event, studio, on-set and broadcast use. “Combining recording, playback and monitoring with tremendous

ease of use, unleashes powerful and unique feature combinations never seen before in a 3RU dual channel product,” claimed Jeromy Young, Atomos’ CEO, who believes that besides time, cost and space savings, it will also allow “fast migration to 4K and seamless integration to legacy HD infrastructure.” It handles 4K/UHD and 1080p60 recording to Apple ProRes, Avid DNxHR and Cinema DNG in 10-bit 4:2:2 quality, with the ability to use both channels for dual codec, dual

resolution recording, whether UHD ProRes on one channel, and HD DNxHD on the other, or to convert or duplicate files. It also offers scheduled playback and recording via Ethernet, serial or on screen, and can be used to schedule synchronised playout for video walls, signage, projection or broadcast. The 7-inch 325ppi monitors offer an array of scopes, 3D LUTs, 2:1/1:1 zoom, safe area grid lines and can be calibrated using the optional Spyder unit. It also offers

Preparing for 8K broadcasts Ikegami Electronics (Europe) By David Fox

The new SHL-810 camera is Ikegami’s fourth generation 8K/ Super Hi-Vision camera, and is one tenth the size and weight of

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its first model from 2002. It uses a single 33-megapixel Super 35 CMOS sensor, achieving 4000TVL horizontal and vertical resolution, and provides 8K, 4K and 2K output, all in native quality. It can be used in a fully 8K production environment or alongside Ultra

HD and/or HD cameras. It can use regular PLmount lenses, while a System Expander enables the use of large viewfinders and full studio lenses, converting the portable camera into a full facility studio/ OB camera. A flange back adjustment system enables

Rack reinvented: The new Atomos Shogun Studio

continuous HDMI and SDI down conversion and down scaling from 4K to 2K/HD to any infrastructure,

back focus adjustment of PL-mount lenses without shims. Output from camera head to the control unit is 40 gigabits per second via standard SMPTE hybrid fibre, allowing long-distance links for live broadcasting. Test 4K/8K broadcasts will take place from the Olympics in Rio next year, with the

and has dual redundant power supplies. 9.D25

intention of having immersive 8K broadcasting in Japan by 2018 in preparation for the Tokyo 2020 Olympics. 11.A31

04/09/2015 11:15


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OPINION 1000 UHD channels by 2025 Michel Chabrol, director marketing innovation & digital cinema Eutelsat, talks about the satellite-enabled Ultra HD evolution With technology here and content well on the way, how is Ultra HD going to actually reach the market? It can be safely said that the implementation of commercial channels in Ultra HD will take place in two phases: first in pay-TV packages, then on DTT channels, once DVB-T2 modulation and HEVC encoding are in place. We are currently in the first phase and one of the major obstacles preventing the creation of such channels, namely content, is now being removed thanks to the increase in the number of UHD shootings and the acceleration of creation in native format.

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Actors of the Ultra HD ecosystem have been discussing encoding, image frequency, the availability of equipment and production costs, as well as the installed base of Ultra HD screens. Regarding image frequency, we are currently working at 50 images/second in progressive mode in Ultra HD (against 25 images/second in interlaced mode in HDTV), but we expect to see this changing by 2017 with the advent of 100/120 images per second. In addition, we know that viewers now expect the highest image quality when viewing video content related to live sport events and this pushes the entire broadcast

chain to deliver what it can do best, namely Ultra HD.

A lot is heard about Ultra HD theoretically, but for the time being the average viewer doesn’t have much in terms of hardware nor content. What would be required to move from theory to practice? Ultra HD is undergoing a standard cycle of development: like any new TV broadcasting format, this cycle begins with demonstration channels. Ultra HD channels are already broadcast on the Eutelsat satellite fleet. Eutelsat 4K1 is broadcast over Europe via HOT BIRD (13° East), and an additional

demo channel is available in France via EUTELSAT 5 West A (5° West).

What can be said about forthcoming Eutelsat developments in the field of Ultra HD? Satellites are clearly a natural transmission channel for Ultra HD content, due to their significant bandwidth capacity and extensive coverage, with equal quality throughout the coverage. Ultra HD requires large transmission capacity, which some terrestrial systems will be unable to provide everywhere or immediately. This new format boosts the TV and broadcast worlds. The entire industry, from production to distribution, will benefit from this push towards enhanced quality. The next phase will be the development of commercial Ultra HD TV channels, of which we hope to see many on our

satellites in the next few years.

Can the forecast of 1000 UHD channels broadcast by 2025 be considered realistic? Very generous figures had been publicised for other promising technologies, that didn’t always materialise. Analysts expect some 200 UHD commercial channels to be operational throughout the world in 2020 and 1000 by 2025. The trend is already underway: the latest figures released by GfK earlier on this year reveal that by the end of this year, 600,000 to 700,000 Ultra HD screens of over 50 inches should be deployed in France, Germany and the UK alone. 1.D59

03/09/2015 18:27


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Q&A

Model Mover for ‘perfect’ image sequences Camerobot Systems

By Heather McLean

Jon Folland, director, Nativ Has IBC come at a good time for the electronic media industry? Why? Yes it has. There is a huge shift in investment from traditional broadcast infrastructure to software business systems to support a more datadriven, on-demand TV marketplace. At a high level, it’s about replacing specialist hardware with state of the art software designed to sit on commodity data centre infrastructure. The media industry is going through huge technological change and IBC provides a perfect backdrop to push forward pertinent discussions and showcase the required new technology.

Camera systems can now be supplemented with Stäubli precision robots to manage the positioning and movement of items to be filmed in three-dimensional space. Camerobot Systems is using its six-axis compact robot of the Stäubli TX series to be its Model Mover, claiming it enables spectacular image sequences without stretching budgets. Peter Pühringer, division manager, Camerobot Systems said, “We are now able to offer an affordable alternative to this costly and time-consuming procedure, namely our Model Mover. The sixaxis compact robot of the Stäubli

TX series can move and position models freely in space and at an optimum orientation to the camera. In this way, spectacular image sequences can be created to the highest standard and reproduced as often as required.” A special advantage of this solution is that Model Mover is fully integrated into the programming environment of the camera robot, thanks to further refinements of the Camerobot Motion Control software and the graphical user interface. The user can control all the axes of the two robot systems simultaneously and with full synchronisation. One further advantage is the simple, intuitive operation of the system, which allows rapid adjustments without any inconvenience.

New cloud DVR architecture Envivio

By Ian McMurray

Software-based video processing and delivery company Envivio is demonstrating its new cloud DVR architecture at IBC. Envivio’s new solution is claimed to cover all the functions expected to address

‘Anytime TV’ across all screens, including network time-shifting, Start-over TV, Catch-up TV and network personal video recorders. The company said the endto-end architecture has been designed for the multiscreen world, to provide flexibility to video providers who want to offer TV anytime services to their subscribers across all their devices.

Take two: The Stäubli TX series robot can move and position models freely in space

Pühringer added, “With the addition of Model Mover to the Camerobot product portfolio, we have taken the final step towards a high performance overall system which allows setup to a hitherto unprecedented level of precision. In this way, special effects and image sequences in

Envivio added that its cloud DVR architecture combines all the latest processing techniques, from efficient software-defined storage with erasure coding, the use of the latest compression standards to packaging and even transcoding on the fly, resulting in storage reductions at each step. Storage costs have, according to Envivio, been the main obstacle to the deployment of TV Anytime services. However,

TV commercials or on a studio set can be optimised by yet a further dimension and all of this with significantly reduced expenditure and effort.” Model Mover can also be retrofitted to existing Camerobot systems. 10.D30

it believes that, thanks to these innovations and efficiency gains, video providers can achieve 10 to 30x storage savings throughout the process compared to existing approaches. This will ultimately lower the operating expense of delivering the DVR features desired by consumers. The Cloud DVR architecture does not require an operator to pick and choose among formats. 1.D73

What do you think are the key developments in, or threats to, your market sector at the current time? Investment in traditional broadcast and playout infrastructure is going to drop off and be replaced with new software platforms. Changes in viewer consumption is accelerating fundamental changes to the TV supply chain.

Why should delegates visit your stand at IBC? Because we have a demonstrable end-to-end platform to support the new TV supply chain. Content owners and broadcasters can see for themselves how new platforms can lower the cost of creating, managing and delivering multi-platform TV. 7.K01B

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02/09/2015 20:52


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We don’t know what we’re doing. And that’s OK... By Mark Harrison, managing director, DPP Ltd

On 18 November 2010 I went paperless. That was the day I got my first iPad, and I made the decision there and then to throw away my Moleskin notebook and to see if I could function in a fully digital working world. I had a particular reason to challenge myself in this way: I had been tasked with developing ways of working for the BBC’s new production centre in the north of England, and I wanted to ensure I really understood what it meant to work in a way that was mobile, flexible and web-based. But there was something else. Now that I had stopped being a programme maker, going paperless was the nearest I could get to going tapeless. For all that paper isn’t tape, and chairing a meeting is hardly like directing, I would nonetheless experience some of the same

51 IBC D1 2015 Issue v1MDL.indd 1

anxieties, have to learn to love metadata, and be forced to use new kinds of virtualised services in a way not that dissimilar to those whose means of production I was busy disrupting. And then on 1 October 2014 the UK went tapeless. That was the date the Digital Production Partnership announced at IBC2013 as the point by which all UK broadcasters had pledged to take delivery of programmes in file format, to the AS-11 DPP standard. A year on, file delivery is now normal. Of course, this change doesn’t in itself indicate the end of tape – any more than buying a tablet computer means you’ll stop using pen and paper. But both carry an invitation: they provide a logic for extending your use of digital tools – though without any prior experience of working that way, precisely how you’ll work and what you’ll need are not things you will initially be able to predict.

The DPP will present its work on UHD delivery at the Sony stand in Hall 12, Sunday 13:00

Mark Harrison: When you intentionally invite the experience of unintended consequences, can you be sure you’ll get the outcome you need?

In short, the intentional consequence both of going paperless and tapeless is to generate unintended consequences. The question is: when you intentionally invite the experience of unintended consequences, can you be sure you’ll get the outcome you need? You may feel as if you have just stumbled upon the lecture notes for the Logic module of a Philosophy course from the University of Nonsense. So let me explain. I’m not a technologist. And from what I can see ‘digital’ isn’t really a technology: it’s a state of mind. It carries a logic to it that is very different from physical media. It suggests mobility, flexibility and simultaneity. It offers direct relationships between systems and devices that invite automation and intelligence. Mobility, flexibility, simultaneity, automation, machine intelligence: that’s a very long way of spelling ‘unplanned change.’ When I took up my iPad and put down my pen I had no idea precisely which additional tools I would use to replace my paper-based world.

I imagined I’d be able to access everything I needed from anywhere, on different devices; but I didn’t know how. I had an illogically greater anxiety about losing things than I did when I relied upon sheets of paper, but didn’t know how I’d make myself secure. I suspected I’d be able to perform tasks and create outputs that were different and maybe better, but I didn’t know what or how. So I intentionally embarked upon something the outcome of which I couldn’t quite predict. What gave me confidence in a good outcome was the knowledge I was one of millions – and there was nothing unusual about my needs. So I could be confident in the knowledge there were many minds at work trying to create and deliver products suited to those needs, within commercial models that would appeal to my pocket. And this is where the paperless/tapeless analogy carries an important difference. What products and services are required to do in the broadcast TV industry, and what customers require of them, is highly complex and diverse, and the market – when compared to

consumer electronics – is much smaller. So although both customer and supplier are approaching this revolution in the means of production with the same acceptance of unintended consequences, the journey to an outcome that validates the investment of faith and money needs to be undertaken together. And that, in essence, is what the Digital Production Partnership is here to do for its members: to be the network that harnesses collective intelligence to generate insight, enable change and create market opportunity. There is a genuine excitement about the whole supply chain working out together what a format that never existed as tape (UHD) really means in a file-based world. IP-based production and broadcasting is like going tapeless all over again. Data analytics has transformed other industries; and we’re waiting for when it’s our turn. It’s hard to recall a time when we’ve embraced such disruptive change. But that was the intention. It’s OK.

02/09/2015 20:52


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Reinventing live action capture

Wireless POV: HEROCast was KLZPNULK[V^VYRZWLJPĂ&#x201E;JHSS` with the GoPro HERO 4

Vislink

By Ian McMurray

HEROCast is being showcased at IBC, offering broadcasters previously unseen levels of flexibility when wirelessly capturing and transmitting high quality live video, says Vislink. Vislink claimed it has reinvented how broadcasters capture live action footage, pairing what the company said was the worldâ&#x20AC;&#x2122;s smallest and lightest broadcast-quality HD micro transmitter, HEROCast, with a dedicated wireless receive unit, PROCeiver, to offer a complete end-to-end solution. Itâ&#x20AC;&#x2122;s now easier than ever for technical crews to introduce point of view camera angles from any location and transmit them live for broadcast television. HEROCast was developed in partnership with GoPro and is designed to work specifically with the GoPro HERO 4 and HERO 3+ product lines. Paired with Vislinkâ&#x20AC;&#x2122;s technology, GoPro cameras can now transmit live HD video wirelessly for the first time. HEROCast is small enough to be mounted on helmets and the body, giving broadcasters significant flexibility when capturing live sports and events. Simon Derry, CEO at Vislink, said, â&#x20AC;&#x153;Vislink has a long track record of creating the industryâ&#x20AC;&#x2122;s smallest and lightest wireless camera transmitters. Now, with HEROCast and PROCeiver, Vislink is taking this expertise and expanding the range of points of view to enable more compelling and immersive content.â&#x20AC;? HEROCast has already been used to transmit unique perspectives and angles at NHL playoffs, the summer and winter X Games.

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1.A69

53 IBC D1 2015 Issue v1MDL.indd 1

02/09/2015 20:53


Hall 7 | Stand # B27 September 11 - 15, 2015 Amsterdam RAI

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Frame system for SDI, IP and 4K unveiled Crystal Vision

By Will Strauss

The new Vision 3 frame system, a platform suitable for IP and 4K that also supports adapted variants of existing SDI video and audio products, is making its industry debut at IBC. Similar to Crystal Vision’s Indigo frame, Vision 3 has the ability to house different signals together and features a choice of outputs via changeable rear modules. Also part of the package are two 1Gb/s Ethernet connections for control and

file transfer – including the updating of card software – plus remote backup and restore of all card settings and pre-sets. Features that will benefit future product additions include the frame’s ability to be used with higher bandwidth signals including 4K and 10Gb/s IP, large storage on the frame CPU along with fast internal communications for transferring big files, and increased power availability. The 3U-sized frame is on show at IBC with an initial 18 cards including chroma and linear keyers, up and down converters, synchronisers, embedders, routing switches,

colour correctors, video and audio delays and audio converters. The three keying products work with 3Gb/s, HD or SD sources and have extra main and auxiliary outputs. The Safire 3-VF and Safire 3-VF Xpress real-time chroma keyers are designed for live applications – with the former including built-in colour correction and video delay for virtual studios. The LKEY-VF linear keyer is designed for keying one graphic over video streams and includes a framestore synchroniser on each input, masks with adjustable edge softness and fades.

On Air Flex console gets Remote User Interface

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Ten video cards have also been launched – again working with 3Gb/s, HD and SD and benefitting from extra outputs – along with five audio

interface cards including the TANDEM10-VF embedder/ de-embedder for AES and analogue audio. 2.B11

Focusing on 4K workflows

Stage Tec

By Mark Hallinger

An important update for the On Air Flex broadcast console is being presented at IBC by Stage Tec. Thanks to the new XACI card, the console’s control logic is now fully embedded into Nexus, doing away with the need for an external host PC, while also boosting the virtual console control features. The Stage Tec On Air Flex broadcast console is modular, flexible and IP-based, said Stage Tec, with the system based on web technologies like JavaScript and Webkit. The company is providing access to the console’s control logic from almost any web-savvy device, including

Cinegy )VVZ[LK!;OL:[HNL;LJ6U (PY-SL_IYVHKJHZ[JVUZVSLPZ TVK\SHYÅL_PISLHUK07IHZLK

mobile devices and tablets irrespective of their OS, in an approach dubbed ‘Remote User Interface’ (RUI). As of IBC2015, both the control logic and the webbased RUI are available without an external host PC. Instead, both software modules are integrated into the Nexus system via the new XACI card. On Air Flex thus

By Carolyn Giardina

joins other Stage Tec consoles that run their audio and control routines without any help from an external computer. Stage Tec said that with this new approach, monitoring routines can now also be controlled via the virtual user interface, allowing for comprehensive remote-only scenarios. 8.C80

Version 10 of Cinegy’s tools place emphasis on 4K, the cloud, archiving, IP streaming and production. Cinegy Desktop version 10 now includes updated newsroom management, with newswire import services. The production tool is designed to provide real-time access to media in Cinegy Archive. It runs on a standard PC and offers logging,

Wireless mic range debuts Audio Ltd

By Mark Hallinger

The new 1010 digital range of wireless microphone systems is being introduced here at IBC. The DX1010 digital true diversity

55 IBC D1 2015 Issue v3.indd 1

receiver and 1010 digital pocket transmitter comprise the full digital system. Audio Ltd claimed the system has a latency of only 2ms. Both units switch over a 100MHz switching bandwidth and can operate up to 20 channels simultaneously in

one 8Mhz TV channel, without compromising the audio quality or RF performance. The Audio1010 TxApp, also launching at IBC, allows the transmitter to be turned on/off remotely and also controls many other transmitter parameters. Audio is also showcasing

the small RF DA and matching portable rack mount plates for the 1010 digital. The RF DA has 200MHz bandwidth and has a masthead DC supply built in. There are two sets of DC outputs via four Hirose sockets on the RF DA.

searching and editing, with an integrated timeline. Also on display is version 10 of Cinegy Air, a multichannel software playout and automation system for scheduled or live operation in SD/HD or 4K. Cinegy Air is designed to integrate into existing SDI infrastructure, or can run in a cloud environment using IP streaming for I/O. IBC attendees can also examine Cinegy Capture, a multi-channel, multiformat and multi-proxy ingest system, and Cinegy Multiviewer, multichannel video monitoring software developed to enable broadcasters and production houses to monitor streams from satellites, camera feeds, playout devices and other sources locally and remotely. 4K support is new to Multiviewer version 10. Stands: 7.A30 and 7.A41

8.C97

03/09/2015 15:30


For the latest show news and updates follow

56

Intercom systems get flexible Clear-Com

By Heather McLean

Here in Amsterdam Clear-Com is demonstrating its new LQ-R

interfaces for IP connections. The four or eight-port IP interface devices in a 1RU form factor are new additions to the LQ Series family this summer. They have already been proven to simplify and cost effectively extend or

#IBCShow

Chat up:The new LQ-R devices can provide either four or eight ports per unit

link any industry standard 2-wire or 4-wire intercom and audio system over LAN, WAN or IP networks to any remote location, said Clear-Com. Stephen Sandford, product manager, Clear-Com, said,

News release The PT3170 DAB/ DAB+/T-DMB/T2 Lite modulator is displayed on ProTelevision Technologies booth at IBC2015 Hall 8.C48

ProTelevision Technologies announces the launch of the DAB/DAB+/T-DMB/ T2 Lite modulator

ProTelevision Technologies, market leader in design and manufacture of best in class TV modulators, is proud to announce the product launch for their DAB/DAB+/T-DMB modulator dedicated to Digital Radio Networks and upgradable to T2 Lite Radio and DVB-T/T2 standards The ProTelevision DAB modulator is characterized by its high RF and MER performance and its unique ability to optimize the performance of any third power amplifier being utilized with the modulator

Key features · Cost efftective · OptiPower: Optimizing transmitter efficiency · Ease of integration

ProTelevision Technologies highly advanced adaptive pre-correction technology, achieves substantial increase in transmitter power efficiency, reducing power consumption and consequently, a reduction in OPEX cost for the Digital Radio Broadcasters

· MER typical >42dB

The DAB/DAB+/T-DMB modulation core has been developed by ProTelevision on the same world recognized hardware platform PT3000, utilized for digital TV standards. Therefore with a simple software upgrade the modulator can be reconfigured into any Digital TV or radio standards developed by ProTelevision such as DVB-T/T2 or T2 Lite

· Seamless switching

· 2 x ETI Inputs · 2 x EDI Gigabit Inputs · Built In GPS & GLONASS · Advanced digital pre-correction · SFN and MFN Operation

This software flexibility, also means that all the generic features developed for the TV standards, can be installed at the DAB/DAB+/T-DMB modulator, such as OptiPower, the most advanced state of the art non-linear signal processing technology capable of enhancing the overall efficiency of any DAB/DAB+/T-DMB transmitter

· User friendly web GUI · SNMP Client Get/SET/trap · Supplied as OEM Board or 1U Rack Version

The DAB/DAB+/T-DMB features redundant ETI (G703/G704) inputs, two EDI Ethernet Gigabit IP ports providing seamless switching of data inputs and two TCP/IP control ports. Advanced monitoring ETI and EDI stream check, time stamp error and deviation, Support for SFN with absolute timestamps over EDI. Integrated multi standard Global Navigation Satellite System (GNSS) receiver supporting both GPS and GLONASS satellites

About ProTelevision Technologies: ProTelevision Technologies, formerly Philips TV Test Equipment, has more than 50 years of experience and is represented in more than 60 countries around the world. With more than 25.000 units in operation worldwide. We are dedicated to provide our customers with superior cutting edge hardware and software solutions for OFDM modulation. Our professional and dedicated team provides our customers high skilled sales and technical support, service, support and in-house or on-site training. We bring value to your Digital Radio network systems.

ProTelevision Technologies A/S · Valhoejs Alle 176 · DK-2610 Roedovre · Denmark Phone +45 4470 0000 · protelevision.com · sales@protelevision.com

56 IBC D1 2015 Issue v1MDL.indd 1

“Intercom and audio devices often have to be flexible and expansive to support multi-floor, multi-site or multi-venue operations. Unfortunately, many existing venues don’t have the internal infrastructure to support expansion of an intercom system without considerable upgrade or further system construction. “Now with the introduction of LQ-R, Clear-Com’s LQ Series provides a complete IP connectivity solution that can help broadcasters achieve a more expansive intercom and audio deployment faster and with fewer resources,” he added. The new LQ-R devices can provide either four or eight ports per rack unit, while the compact LQ throw-down devices offer two ports of connectivity. The devices have the option of either eight 4-wire connections, four 2-wire connections, or four 2-wire and four 4-wire connections in a single unit. The 2-wire option is both Clear-Com and RTS TW compatible. Also, a maximum of six LQ IP interfaces can be linked together in any 2- or 4-wire combination. LQ utilises the low latency audio CODEC OPUS, which features a range of different settings to provide high quality audio on the network bandwidth available. This means that the LQ Series can be used for intercom conversation and for audio signals that need to be transported between floors or buildings, or across cities or countries. The LQ series of products can operate in both point to point and partyline modes allowing the user flexibility of connection to meet their workflow needs, claimed Clear-Com. 10.D29

04/09/2015 09:40


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Acquisition & Accessories

Media Asset Management

Broadcast Solutions

Audio & Radio Displays

Playout Automation & Server Applications

Cable & Satellite

Content Production

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Home Systems & Broadband

Studio Systems

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iTV

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Mobile Systems

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

Wall

Evertz

IBC Content Everywhere Technology In Action Theatre

China

Pace plc

IBC Hackfest

Grass Valley, a Belden Brand

KAONMEDIA The Israel Export & International Cooperation Institute

China

Humax Co. Ltd ARRIS Harmonic Inc

Samsung

China

ArabSat South Korea

Dolby Laboratories

Eutelsat SA SES

Huawei Technologies Co. Ltd.

Great Britain Ericsson

France

arqiva

Appear TV

Canada

Nevion

Cisco Intelsat Corporation

Amtrium Philips Home Control

NAGRA

Imagine Communications 4.AMT

L

r Service Centre, yer Room

57-68 IBC D1 2015 Centre Section v4.indd 2

Amtrium Restaurant (1st floor)

IBC Launch Pad

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60

24i Media...........................................14.L05 25-Seven Systems .............................8.D47 2CRSI ...................................................8.C15 2nd Screen Mini-Cluster....................8.F03 2wcom Systems GmbH .....................8.E78 3D Storm .............................................7.K21 3Flex and AutoPost Projects ............8.F13 42 mediatvcom...................................2.A30 422tv ..................................................9.B30a 4MOD .................................................14.C15 9.Solutions Technology .....................9.D12 A A & C Ltd............................................11.D65 A.C. Entertainment Technologies ...11.A70 Aaton - Transvideo...........................11.F31 ABC Products....................................11.D35 ABE Elettronica ...................................8.A43 Abekas, Inc .........................................9.B06 ABonAir ............................................ 3.A29k ABOX42..............................................14.J13 ABS ......................................................2.A27 Absen GmbH .....................................11.B63 ABV International ...............................5.B20 Academy of Broadcasting Science of SARFT..............................................8.G05 Accedo...............................................14.E14 ACCESS..............................................14.D14 Accusys ....................................6.C19/7.J31 AccuWeather Inc. ...............................3.A68 Ace Marketing Inc. .....3.B37/5.A15/5.A41/ 5.B03 /5.C03/6.A29/ 9.B14/11.B51 Acebil.................................................11.E69 Acetel Co., Ltd.....................................2.A09 Acorde .................................................5.C49 Actia Telecom .....................................4.C83 Active Circle ...................................... 2.B39f Actus Digital .......................................7.B10 Adam studio monitors .......................8.D70 ADB ......................................................4.B52 Adder Technology ..............................7.C30 Adobe Systems Inc. ...........................7.G27 AdSparx USA Inc ..............................14.N16 Adtec Digital .......................................1.D01 Advanced Media Workflow Association (AMWA) ........................3.A19a Aeta Audio Systems...........................8.A24 Advantech ...........................................9.C22 Advantech Wireless ...........................1.A74 AEQ.......................................................8.C55 Agama Technologies .........................4.A75 AheadTek ..........................................10.F35 Airborne Robotics Drones & Copters2.A14 Airbus Defence and Space ............. 2.B39g AirTies Wireless Networks ................5.B05 AJA Video Systems ............................7.F11 AJIMI................................................. 2.B39h Akamai Technologies Limited ..........6.A15 Akfa Teknoloji.....................................8.D15 AKG by Harman ..................................8.D60 Aladdin co., LTD ...............................11.E65 AlanDick Broadcast Ltd.....................8.B94 Albis Technologies ............ 14.C04/ 14.C11 Albrecht Elektronik ..........................10.A40 ALC NetworX GmbH ...........................8.F57 Alcatel-Lucent ....................................MS25 Aldena Telecomunicazioni ................8.A40 ALi Corporation...................................4.C59 Alpha Networks SA ............................5.B01 Alphatron Broadcast Electronics....11.C36 Altech Multimedia ..............................1.D40 Altera Europe Ltd................................2.A50 Alterpop ............................................. 2.A36f Alticast Corp. ......................................1.F36 Amagi Media Labs Pvt. Ltd ...............2.C23 Amazon Web Services .....................14.N29 Ambient Recording GmbH...............8.C73a AMD .....................................................7.H35 AMIMON Ltd. .....................................11.C75 Amino Communications ..................14.K20 Amos - Spacecom..............................1.C65 Ampegon .............................................8.D35 Amptec ................................................8.D70 AnaCom, Inc........................................1.A95 Andra Motion Technologies Inc......11.C36 Anevia..................................................4.B66 ANNOVA Systems GmbH ...................3.A33 ANT Group SRL ...................................8.D65

57-68 IBC D1 2015 Centre Section v4.indd 4

For the latest show news and updates follow

Antik Technology .............................14.E05 Anton Bauer ......................................11.E55 Anvato ...............................................14.L20 ANYWARE VIDEO ..............................8.B36c Apace Systems Corp..........................7.K27 APANTAC.............................................8.E37 APEXSAT GmbH ..................................4.C80 Appear TV............................................1.C61 Appiness...........................................10.F42i Applicaster ........................................3.A29o Aputure Imaging Industries Co. Ltd .9.D38 AQS ......................................................1.A06 ArabSat................................................1.B38 Arbor Media ........................................5.B04 Arcadyan Technology Corporation.14.F19 Archimedia Technology.....................7.J01 Archiware GmbH ................................7.G03 AREPLUS .........................................11.E40c ARET video and audio engineering ..0.C01 Argosy ...............................................10.C51 Arion Technology Inc .........................4.A81 Ariston BTS SA ...................................8.D03 Arkena/TDF .........................................1.B79 ARM .....................................................4.C61 arqiva...................................................1.B61 ARRI ...................................................11.F21 ARRIS...................................................1.D31 Arrow OCS.........................................14.D02 Artec Technologies AG ......................7.C28 Artel Video Systems Inc.....................2.A20 Artesyn Embedded Technologies14.D01/MS34 arvato Systems...................................3.B38 ASC Signal Corp .................................1.C51 Asensetek ...........................................8.A20 ASG-Atempo & ASG-Digital Archive 7.J31 Askey Computer Corp........................1.A40 ASPERA, an IBM company ................7.B27 Associated Press/AP ENPS ...............7.D30 Astec Solutions................................. 4.A61f Astro Strobel Kommunikationssysteme GmbH ...................................................3.C41 ATCi and Studiotech ..........................1.A03 ATEME .................................................1.D71 Aten Infotech NV.................................8.D11 ATG Danmon Ltd. .............................8.B51a ATG Middle East FZ-LLC ..................8.B51a Atomos ................................................9.D25 ATTO Technology, Inc. .......................7.F41 ATX Networks .....................3.A29b/14.G16 Audible Magic...................................14.L04 Audio Ltd .............................................8.C97 Audio Network....................................7.H09 Audio Wireless Ltd .............................8.E98 Audisi / Stereo Tool / Thimeo ...........8.A15 Autel Intelligent Technology Corp., Ltd. ............................................8.E30 Autocue .............................................11.E55 Autoscript..........................................11.E55 AV Stumpfl GmbH ..............................8.B15 Avanti Communications ....................MS48 Avateq Corp. ..................................... 2.A41f Aveco ...................................................3.B67 Avid ........................................... 7.J14/7.J20 AVIION Media ....................................14.G17 Avitech International Corporation ..10.F26 Aviwest................................................2.A29 AVL Technologies...............................5.A49 AVP Europa .......................................10.E52 AVT Audio Video Technologies GmbH ...................................................8.E76 AWOX ...................................................4.C64 Axel Technology SRL .........................8.B81 Axia Audio ...........................................8.D47 Axinom ..............................................14.H15 Axle ......................................................7.D07 Axon..................................... 10.A21/10.B21 Ayecka Communication Systems Ltd ........................................5.C05 Azden Corporation .............................8.E81 Azercosmos ........................................5.B23 AZURE SHINE TECHNOLOGY CO., LTD. ..............................................5.C11 B B & H Photo, Video, Pro Audio ........10.A01 Band Pro Munich GmbH ..................11.D21 Barco Silex ..................................... 10.D31a Barnfind Technologies ......................3.B16

Barrowa...............................................1.A32 BBC Research & Development..8.F14/8.G08 BBright...............................................2.B39a BCE - Broadcasting Center Europe ..7.G15 Beamr ............................................... 3.A29h Beenius..............................................14.C30 Beijing Feiyashi Technology Development Co., Ltd.....................11.B51c Beijing Fxlion Electronic Technology Co.,Ltd................................................11.A14 Beijing Huahu Senda Technology Co., Ltd............................................ 11.B51d Beijing Novel-Super Digital TV Technology Co., Ltd............................4.B51 Beijing Realmagic Technology Co. Ltd..................................................2.A24 Beijing United Victory Co., Ltd ........11.G73 Beillen Battery - JIADE Energy Technology........................................11.B52 Bel Digital Group ..............................10.A30 Belgium Satellite Services s.a. .........1.F49 Belden................................................11.D11 Benel BV / Falcon Eyes ....................11.A64 BES.....................................................10.D57 Bexel ..................................................11.E55 Beye .....................................................5.C18 BFE Studio und Medien Systeme GmbH ...................................................3.A63 BindInc Program Data Services......14.L23 Biquad ...............................................8.C30c BIRTV ...................................................6.A04 bitmovin GmbH ......................8.F14/14.H12 Black Box Network Services.............8.E32 Black Unicorn (Operating Crane) Parallax Company ..............................0.E03 Blackmagic Design ............................7.H20 BLANKOM systems GmbH.................1.A08 Blind Spot Gear Ltd ..........................9.B30a BlockBattery .....................................11.C36 BLT .......................................................8.A48 Blue Lucy Media .................................7.G07 Bluebell Opticom Ltd........................10.F24 Bluefish444 .........................................7.J07 Blueshape .........................................11.A20 BMS Broadcast Microwave Services GmbH ...................................................1.A10 Bon electronics.................................10.D20 Booxmedia Inc..................................14.G06 BorisFX ................................................7.K29 Boxx TV Ltd .......................................10.C49 Bradley Engineering.........................11.F41 Brainstorm Multimedia......................7.K31 BRAM Technologies (Broadcast Automation Technologies) ................8.B10 Brazil Pavilion PS Electro-Electronic8.C30 Bridge Technologies ..........................1.F68 BRIDGET EU Project - University of Surrey .................................................8.F03 Brightcove ...........................................4.B60 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.D14 Broadcast Solutions GmbH ... 0.B01/8.A84 Broadcast Sports..............................11.F63 Broadcast Traffic Systems................2.C18 Broadcom Corporation ......................2.C25 Broadpeak...........................................4.B78 BroadStream Solutions .....................8.B29 BroadView Software ....................... 2.A41n Brother, Brother & Sons ..................11.D46 Bryant Unlimited...............................10.D15 BTESA (Broad Telecom S.A)..............8.D16 Bubble and Squeak PR .....................8.B38i BW Broadcast .....................................8.E73 C C2m Solutions ................................. 2.B39h Calrec Audio......................................8.C61a Cambridge Electronic Industries Ltd.9.A36 Cambridge Imaging Systems ...........7.F39 Camera Corps Ltd ............................11.E55 Camerobot Systems GmbH .............10.D30 Camgear Inc......................................11.B66

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Cammotion Ltd ................................9.B30ci Canara Lighting Industries Pvt. Limited...............................................11.B62 CANARE .............................................11.A50 Canford ................................................9.C01 Canon Europe Ltd .............................11.E50 Cantemo ............................................7.K01a Capella Systems .................................3.C31 Carl Zeiss AG.....................................11.F50 Cart Blanche - SmartCait-SVX..........5.B24 Cartoni ...............................................11.E30 Caspian One Ltd .................................8.B38 castLabs GmbH ................................14.K02 CastleNet Technology Inc..................5.B02 Castoola ............................................14.H10 CASTPAL TECHNOLOGY INC., SHENZHEN .........................................5.A15a CASTWIN .............................................2.C50 Cataneo GmbH....................................3.B19 CatDV (Square Box Systems)..........7.J15c Cavena Image Products AB ..............2.C32 CB Electronics.....................................7.F06 CCBN2016 ...........................................6.A03 CCI Paris Ile-de-France .....2.A36/2.B39/8. B36/8.D82/11.E40 C-COM SATELLITE SYSTEMS INC. ....4.C53 CCPIT Electronics & Information Industry Sub-Council .......................... 5.C26/10.D25 Cedar Audio Ltd ..................................8.C98 Cedexis .............................................14.M33 Cerevo Inc. .......................................14.M06 Census Digital...................................2.A41e Challenger Communications ............1.F59 Chengdu Dexin Digital Technology Co., Ltd.............................................. 5.A41b Chimera .............................................11.A55 China Const Co. Ltd..........................11.E67 CHINA SUN COMMUNICATION GROUP LIMITED .............................................5.A41c Christie ................................................9.D15 Christy Media Solutions - Broadcast Recruitment Specialists ....................6.C29 Chrosziel............................................11.D72 CHYRO .............................................. 2.A36b ChyronHego ........................................7.D11 Cinedeck .............................................7.J07 Cinegy...................................... 7.A30/7.A41 Cinela.................................................8.C73a Cinematography Electronics...........11.D63 Cinemoves UK...................................11.D64 Cineo Lighting...................................11.F53 Cineroid .............................................11.G27 Cinfo.....................................................5.B18 Cires21...............................................14.K06 CirroCast .............................................7.G07 Cisco ....................................................1.A71 Civolution ............................................2.B41 ClassX SRL ..........................................8.A74 Clear-Com .........................................10.D29 Clearleap ...........................................14.G10 ClearView Imaging .............................8.E17 Cleversafe ..........................................8.B01 Cloudian, Inc .......................................2.C11 Cloundncoder.com ...........................14.K14 Clyde Broadcast ...............................9.B30a Cmotion GmbH..................................11.G42 COAX Connectors ltd........................10.F39 Cobalt Digital Inc. .............................10.B44 Cobham ....................................0.G04/1.F41 Codex Digital.....................................11.G54 Cogent Technologies .......................6.C28a COM-TECH Italia SpA .........................8.A33 Comigo .................................. 3.A29e/3.B52 Communications Specialties/Artel...2.A20 Compunicate Technologies Inc. .......1.F29 Comrex ..............................................11.G11 Comtech EF Data ................................1.F80 Comtech Telecommunications .........1.F80 Comtech Xicom Technology .............1.F80 Conax...................................................1.C81 Conciety AG..................................MS1/MS2 Concurrent Computer Corporation...2.B31 ContentWise......................................14.K05 Convergent Design...........................11.A38 Cooke Optics.....................................11.D10 Corning Optical Cables ......................7.J31 Corran Media ....................................9.B30a Coship Electronics Co, Ltd. ...............1.F50

Cosmolight ........................................11.C30 Coveloz ............................................. 2.A41k CP Cases Ltd .....................................10.A44 CPI International Inc. .........................1.B41 Craftwork ............................................5.A25 Craltech Electronica, S.L. ..................9.C02 CreateCtrl AG ......................................3.A40 Creative Network Design...................7.F06 CRENOVA MULTIMEDIA Co., Ltd. ......4.A74 Cryptoguard AB ..................................3.C63 Crystal Vision ......................................2.B11 CSG International .............................14.L18 CSR Ltd ................................................5.C19 CSTB Russia........................................6.B06 CTM Solutions.....................................7.B11 CTP Systems .......................................8.E83 Cube-Tec International GmbH ..........5.C41 Cubiware .............................................5.B48 Cuescript ...........................................11.F45 Custom Consoles Ltd .......................8.B38a CV Support Limited ..........................11.B66 CymTV International BV.....................5.A03 CYTAGlobal .........................................4.C76 D DAC System SA ..................................8.E04 daccord broadcasting solutions GmbH ...................................................8.C21 Dalet Digital Media Systems .............8.B77 Damery ........................................... 10.D31h Dan Dugan Sound Design .................8.C94 Danmon Asia Ltd. .............................8.B51a Danmon Danmark A/S.....................8.B51a Danmon Group..................................8.B51a Danmon Norge AS ...........................8.B51a Danmon Svenska AB .......................8.B51a Danmon Systems Group A/S ..........8.B51a DataDirect Networks .........................7.B33 DataPath..............................................1.F56 Datavideo Technologies Europe B.V.7.D39 Datos Media Technologies S.A. ......8.B51a Davicom ........................................... 8.B38h DAVID Systems GmbH .......................3.A31 Dayang Technology Development Inc. ...... ..............................................................7.B35 dB Broadcast ....................................10.A28 DB Elettronica Telecomunicazioni ...8.A22 DCC LABS ..........................................14.L14 Decimator Design...............................7.B40 Dedo Weigert Film GmbH ................11.E31 Dega Broadcast Systems Ltd............7.D01 Dejero ................................................11.C51 Dek-Optics .........................................8.B10 DekTec.................................................2.B40 DELEC Audio- und Videotechnik GmbH ..... ..............................................................8.C80 Delta Meccanica s.r.l. ........................8.E39 DELTACAST developer solutions ......7.A14 DELTACAST sport graphics ...............7.A14 deltatres.p.a. ................................MS1/MS2 Deltron Italia SRL................................8.E35 DENZ ..................................................11.C88 DeSisti - ILT Italy S.r.L. ....................11.B45 Deutsche Telekom ..............14.L24/14.N28 DEV Systemtechnik GmbH & Co. KG 1.B31 DEVA Broadcast Ltd. ..........................8.D79 DEXEL Lighting .................................11.G68 DGQoS SRL ........................................8.D37c DHD ......................................................8.A50 DiGiCo UK Limited ............................8.C61b DiGiDiA.................................................8.E89 Digigram..............................................8.C51 Digispot System GmbH......................8.D74 Digital Broadcast Inc .........................6.B03 Digital Forecast CO., Ltd ..................5.C48b Digital Vision .......................................6.A14 Dimetis ................................................1.B30 DirectOut GmbH..................................8.E85 Disk Archive Corporation ................ 8.B38f DIVICON MEDIA HOLDING GmbH ......8.C81 DJI ........................................................9.C33 DK-Technologies ................................8.E60 DLP - Digital Tech Co., Ltd.................9.B10 DMG Lumiere ......................................9.A01 DMLite ...............................................10.D20 Dolby Laboratories .............................2.A11 Dongguan Dishstone Electronics Co. Ltd .. ........................................................... 5.A41h

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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 DR.PENG TELECOM MEDIA GROUP CO.LTD ..............................................................5.B15 DSPECIALISTS GmbH .........................8.E69 DTG ......................................................5.A17 DTS.......................................................2.B50 Dune HD.............................................14.D07 DVB ......................................................1.D81 DVBControl - MediaControl ...............3.B41 DVEO division of Computer Modules, Inc. . ..............................................................2.A34 DVLab ..................................................5.C06 DVMR ................................................. 2.A36f Dynacore Technology Co., Ltd. .......11.D62 Dynamic Drive Pool............................7.H15 Dynamic Perspective ... 0.G01,0.G02,8.E12 DynamiCam Ltd ................................11.F41 Dynaudio .............................................8.D56 E E2Work Solution .............................. 8.B30b Earda Electronics Ltd .........................4.C67 Easel TV ............................................14.M25 Easy Media Suite ................................8.A25 easyDCP GmbH...................................8.B80 Easyfocus ..........................................11.G42 Easyrig...............................................11.A46 ebs.tv .................................................14.B01 EBU (European Broadcasting Union).......... ............................................................10.F20 Eclipse Broadcast ........................... 9.B30d Eddystone Broadcast...................... 8.B38b Edgeware ..........................................14.B20 Editshare .............................................7.G37 EDL-REC ..............................................7.A05 Egatel S.L ............................................8.D40 Egripment BV ....................................11.A21 EiTV ....................................................8.C30a EKT (Eagle Kingdom Technology Ltd) ........ ..............................................................5.C32 Elber SRL .......................................... 8.D37a Elecard.................................................3.C25 Elemental Technologies ....................4.B80 Elements.tv | Syslink GmbH ..............3.A27 ELENOS – ITELCO - ELECTROSYS .....8.C41 Elite Antennas Ltd ............................4.A61e Elmo Europe SAS.............................14.M11 ELTI d.o.o.............................................8.C25 Embrionix Design Inc.........................6.B02 EMC......................................................7.H10 EMCORE Corporation (OpticommEMCORE) .............................................5.B21 Emerson Network Power – Avocent 5.C14 Emotion Systems .............................6.C28c EMS Technical Personnel Ltd ...........1.B09 ENCO ....................................................8.A45 Encompass Digital Media..................4.B77 Enensys ...............................................2.A31 Ensemble Designs, Inc. .....................8.B91 Entertainment Communications Ltd ......................................................14.C01 Entone................................................14.L10 Envivio, Inc. .........................................1.D73 EPGdata.TV........................................14.L22 Equinix.................................................3.B13 ERECA ..................................................9.C47 Ericsson...............................................1.D61 ERSTREAM ........................................14.L15 Es’hailSat ............................................4.B74 Espial ...................................................5.B25 ETC .....................................................11.A62 Etere.....................................................8.B89 Etilux ............................................... 10.D31b ETL Systems .......................................1.A33 ETRI......................................................8.G06 Euro Light System ............................11.E38 Euro Media Group...............................0.E02 Eurofins Digital Testing .....................5.B17 Eurotek S.R.L ......................................8.A59 Eutelsat SA ..........................................1.D59 Evertz ...................................................3.C20 EVS ........................................... 8.A96/8.B90 EXALUX............................................. 8.B36d

57-68 IBC D1 2015 Centre Section v4.indd 6

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Exir Broadcasting AB .........................8.D28 expertplace solutions GmbH.............3.A60 Exterity ..............................................14.H13 Extreme Reality ................................ 3.A29f Extron Electronics ..............................9.A07 Eyeheight Limited...............................8.B97 eyeSight..............................................3.A29l eyevis GmbH .......................................9.B24 F F&V Europe B.V.................................11.G50 F.A.Bernhardt GmbH, FAB .................2.A21 Facilis Technology Inc. ......................7.C10 farmerswife ........................................9.C25 Farseeing Co., Ltd.............................11.D66 FAST LTA AG .......................................8.A01 fayteq AG..........................................14.M24 FENIX3 S.p. z o.o. S.K.A......................5.B22 Fiberfox .............................................11.G59 FileCatalyst .........................................7.H37 filmfabriek...........................................6.A07 Filmgear ............................................11.A28 Filmlight ..............................................7.F31 Filmotechnic Remote Systems B.V.11.G72 Fischer Connectors ..........................11.F32 Flanders Scientific, Inc. ...................10.B10 Flanders/ Belgium...............10.F38/10.F42 Flow Works GmbH..............................3.C31 Flowcine ..............................................9.A03 FocalPoint Server .............................7.J38a Fonix ..................................................10.F45 Fonsview Technologies Co., Ltd .......1.F92 FOR-A...................................................2.A51 Forscene............................................8.B38e FORTIS ...............................................5.C48e 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 Freakworks & Freak Films ..............9.B30a Freefly Systems ..................................9.B35 Friend MTS ..........................................1.A44 FSUE “VGTRK” ....................................8.B10 Fujian Newland Communication Science Technology Co.Ltd..............................1.C91 Fujifilm Europe GmbH ........................9.B02 FujiFilm Recording Media GmbH .................. ............................................... 9.B04/ 11.G20 Funke Digital TV .................................3.C60 Furukawa ..........................................11.G25 G G. L Optics .........................................11.C80 GatesAir...............................................8.B20 GATR Technologues...........................1.A02 Gazprom Space Systems ..................4.B85 GB Labs .............................................7.J15b GearCam............................................11.A54 Gearhouse Broadcast ......................10.B39 GenArts................................................7.J05 Genelec................................................8.D61 General Dynamics Mediaware..........5.A26 General Dynamics SATCOM Technologies ..............................................................1.A41 Geniatech Inc,Ltd .............................5.A41e Genius Digital Ltd .............................14.F33 Genval Les Dames ..........................10.D31i Geritel Giomar.....................................8.E33 Ghielmetti AG ......................................8.C77 GIGABYTE Technology .......................4.C75 GigaContent A/S .................................1.B71 Gigatronix Ltd .....................................9.A51 GkWare e.k..........................................2.C51 Glensound ...........................................8.E72 Glidecam Industries, Inc..................10.B20 Global Distribution .............................7.J31 Global VSAT Forum ............................6.B05 Globecast ............................................1.A29 Glookast Technology .........................7.D03 GODOX Photo Equipment Co.,Ltd......8.D07 Gold Best Limited ...............................4.C62 GoMax Electronics Inc. ......................2.C41 Good Mind Industries.........................3.A52 Google - Widevine ............................14.F05 GoPro ...................................................9.C40 Gorgy Timing ................................... 8.D82b

GOSPELL Digital Technology Co., Ltd.,....... ..............................................................3.A61 Gotech International Technology Ltd ......... ............................................................5.A41a Gracenote ..........................................14.H20 Grass Valley, a Belden Brand.1.D11/1.E02 GraVue Co., Ltd ...................................9.A18 GREAT Britain Pavilion..........4.A61/6.C28/ ........................................7.J15/8.B38/9.B30 GreenPeak Technologies...................1.C90 Grip Factory Munich GmbH .............11.D64 GRUS ....................................................2.C29 GSERTEL .............................................8.D23 GT - SAT International .......................5.B31 G-Technology .....................................7.J31 Guangshun Suitcase & Bag Industrial Co.,Ltd............................................. 10.D25b Guangzhou Shiyuan Electronics Co., Ltd... ............................................................5.C03b Gulfsat Communications Company ...4.B75 Guntermann & Drunck GmbH ...........1.B10 Guramex ............................................10.B31 H Haivision............................................14.N26 Hangzhou Xingfa Transmission Equipment Co.,Ltd ........................... 5.A41d Harmonic Inc ......................................1.B20 Harris Broadcast ............................. 4.AMT HDMI Licensing, LLC ..........................5.C33 Hefei Radio Communication Technology Co., Ltd.............................................. 3.B37b HELLAS SAT ........................................1.B38 HEXAGLOBE.......................................14.L25 HF Prints ..............................................8.E03 HGST ....................................................7.J31 HHB Communications Ltd .................8.D56 Hi Tech Systems Ltd ..........................8.C92 Hibox Systems ..................................14.L12 HighPoint Technologies, Inc. ............8.A68 Hiltron GmbH.......................................4.B89 Hisilicon Technologies co., Ltd .........2.C30 Hispasat ..............................................1.A50 Hitachi Data Systems.........................7.C12 Hitachi Kokusai Electric Europe GmbH ...... ............................................................11.D39 Hitachi Kokusai Electric Turkey Elektronik Ürünleri San. Ve Tic.A.S. .................11.D39 Hive Streaming ............................MS1/MS2 HMS GmbH ..........................................8.C21 Homecast Co., LTD .............................1.A27 Hongkong Haifei Electronic Limited..5.C24 Horizon Teleports ...............................4.C65 HP........................................... 14.H05/MS21 HS-Art / Diamant-Film Restoration ..5.C41 HTTV.....................................................5.B35 Huawei Technologies Co. Ltd............4.C70 Huaxin Antenna ..................................1.C95 Hubee................................................14.M29 Humax Co. Ltd ....................................1.C27 HwaCom ..............................................5.B22 hybris Software - An SAP Company .......... ............................................................14.N31 Hyundai Fomex Co. Ltd....................10.F23 I IABM ....................................... 8.F51a/8.F54 IBAS - Italian Broadcasting Advanced Solutions .............................................8.A40 IBC Content Everywhere Hub ..........14.J10 IBC Content Everywhere Technology in Action Theatre ................................3.A19 IBC Drone Zone...................................0.CS1 IBC Future Zone ..................................8.G01 IBC Hackfest ......................................5.C12 IBC Partners’ Pavilion ........................8.F51 IBC TV ................................................12.A05 IBM................................MS22/MS40/MS41 Icom Scottech Ltd ............................9.B30a ICoSOLE - Immersive Coverage of Spatially Outspread Live Events .......8.F14 IdeasUnlimited.TV ..............................8.A54 IDX Technology.................................11.C25 IEC Telecom ........................................2.B20 IEEE ......................................................5.B08 IEEE Broadcast Technology Society ...8.F51b IET - The Institution of Engineering and Technology........................................8.F51c

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iFootage International (HK) Limited... 9.B14g IGP b.v..................................................1.F58 IHSE GmbH ..........................................7.B30 Ikegami Electronics (Europe) GmbH .......... ............................................................11.A31 Ilionx ....................................................3.C27 Image Engineering GmbH & co. KG 11.E16 Image Matters ............................... 10.D31c Imagine Communications ............... 4.AMT Imagine Products Inc.........................7.G41 Imagineer Systems ............................7.K29 IMC Technologies Inc ........................8.A12 iMetafilm Ltd.....................................9.B30a iMinds ...............................................10.F42l iMinds - Expertise center for Digital Media.......................................8.F14 I-MOVIX .............................................11.E43 In2Core ..............................................11.G41 INA - Institut National de l’Audiovisuel...... ..............................................................6.A20 Indiecam GmbH ................................11.E75 IneoQuest ............................................3.A23 Inetsat..................................................5.C09 Infomir GmbH ...................................14.L09 Infostrada Creative Technology......14.B36 Inmarsat ..............................................2.B19 innoPia Technologies, Inc ...............5.C48c Innovative Pixel GmbH.......................7.E30 Innowave Technologies, S.A ..........14.M26 Inside Secure .......................... 2.A08/MS45 Inspur Group Co. Ltd. .......................5.C26b instaDIGITAL ....................................14.M31 Institut für Rundfunktechnik (IRT) .10.F51 Intek Digital., Inc. ...............................4.C56 Intel Corporation.................................4.B72 Intelsat Corporation ...........................1.C71 Inter BEE ..............................................6.A06 International Datacasting Corporation ...... ..............................................................1.C29 Interra Systems ..................................7.B13 Interxion ............................................14.L13 intoPIX SA ...................................... 10.D31d Inview ................................................14.H07 inXtron .................................................6.A23 IO Industries Inc. ..............................11.D67 IPcopter GmbH & Co. KG....................0.A01 IPE Products........................................9.D18 IPV Limited ..........................................8.D41 Irdeto ...................................................1.D51 Irom Tech inc. ...................................8.B30e ISO......................................................9.B30a Itelsis ...................................................8.E19 Ittiam Systems....................................1.F61 IWEDIA S.A ..........................................5.B40 iZotope, Inc .........................................8.D70 IZT GmbH.............................................8.A34 J J.L. Fisher ..........................................11.C40 Jampro Antennas, Inc. ......................8.B96 Jaunt....................................................8.F18 Jave Yuan Electric Wire Co.Ltd.........5.A01 Jinni ...................................................3.A29s JK Audio ............................................11.G11 JLCooper Electronics .........................8.B92 JOANNEUM RESEARCH VidiCert .......5.C41 JoeCo Limited .....................................8.E97 JSC Prospect.......................................8.B10 Junger Audio ....................................10.A49 Jutel .....................................................8.E91 JVC Professional Europe Ltd...........11.G30 k K5600 Lighting..................................11.E28 Kabelkom SP. Z O.O. ..........................5.C15 Kaltura ........................ 3.A29c/3.C67/3.C69 Kantar Media ......................................2.B41 KAONMEDIA ........................................1.B16 KATHREIN TechnoTrend GmbH.........1.F89 KATHREIN-Werke KG .........................8.C29 Keepixo................................................1.F34 KenCast, Inc .....................................14.M10 Kinefinity .............................................9.A04 Kino Flo/Cirro Lite (Europe) Ltd ......11.E33 Klotz Communications.......................7.F07 KOBA 2015 ..........................................6.B07 KOBES.Co.Ltd....................................11.E65 Kobold................................................11.A61

KONOVA KOREA CO., LTD ................11.E65 KONVISION ..........................................9.B10 Korea Pavilion..........................5.C48/8.B30 Korusys Ltd ...................................... 4.A61h Kratos Integral Systems Europe .......1.A01 KUDELSKI SECURITY ..........................1.C81 Kupo Grip Ltd. ...................................11.G69 Kvant-Efir ............................................8.E75 KWS Electronic GmbH........................3.C41 L L-3 Narda-MITEQ................................1.A18 Lacie ....................................................7.G17 Lanparte ............................................11.A34 LAON Technology .............................10.F22 Lasergraphics, Inc .............................7.F01 LATTO .................................................3.A29j LAWO AG .............................................8.B50 LCA - Lights Camera Action............11.F53 Leader Electronics Corp-Europe.....11.A10 LeaseWeb Global Services ..............14.K18 Lectrosonics, Inc. .............................8.C73b LEDGO TECHNOLOGY LIMITED ........11.C71 LEDIXIS ............................................. 8.B36d LEMO Connectors .............................11.D42 Lenovo .................................................5.C20 LES-TV ................................................8.B10 Level 3 Communications ............MS1/MS2 Levels Beyond..........................5.C21/MS38 Libec ..................................................11.A53 Liberty Global plc. ..............................1.D39 Lightcraft Technology........................5.C01 Lightstar (Beijing) Electronic Co., ltd................................................11.A63 Limecraft .........................................10.F42a Limelight Networks............................3.C22 Linear Acoustic...................................8.D47 LINK Srl................................................9.A50 LINKEDTV EU Project..........................8.F03 LiteGear .............................................11.F53 Litepanels..........................................11.E55 Lith Technology Co., LTD .............. 11.B51b LiveArena AB ...............................MS1/MS2 LiveLike ...............................................8.F17 Livestream ..........................................7.A10 LiveU ....................................................3.B62 Livewire Digital...................................2.C27 LLS BROADCASTING UNION ..............8.B10 LMP Lux Media Plan ........................10.F21 LogicKeyboard - BSP .........................7.F49 LOOTOM TELCOVIDEO NETWORK WUXI CO.,LTD. ............................................ 3.B37d LS telcom ............................................8.E43 LSB Broadcast Technologies GmbH 8.B35 LSI Projects Ltd.................................11.E35 LTO Program .......................................9.C35 LUCI - Technica Del Arte BV..............7.C09 Lukup Technologies...........................3.A30 Luma Tech ........................................11.A54 Lumantek ............................................3.B61 Lumens............................................11.E40a Lund Halsey (Console Systems) Ltd.2.B10 Lupo Light SRL .................................11.F59 Luso Electronic Products Ltd. ...........1.F11 Lynx Technik AG.................................8.C70 M M & J Comms .....................................1.F59 Mac TV...............................................9.B30a MACOM................................................8.A19 Magma ..................................... 7.F06/7.J31 make.tv................................................3.B40 Malooba............................................14.M04 Mandozzi .......................................... 8.D37d Manfrotto ..........................................11.E55 Mark Roberts Motion Control Ltd ...11.F11 MarkAny, Inc.....................................11.E65 MarkMonitor International ................2.B41 Marquis Broadcast Limited...............2.A58 Marquis Media Partners LLP.............2.A58 Marquise Technologies .....................7.H03 Marshall Electronics ........................11.D20 Mart, JSC.............................................8.C18 Marvell.................................................5.C23 Massive Interactive..........................14.K17 Masstech.............................................8.B70 Masstech Innovations Inc .................7.K28 Masterclock, Inc...............................10.A42

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EVS UNVEILS “IP4LIVE” AT IBC - ENABLING A SMART TRANSITION TO IP BROADCAST WORKFLOWS IP/4k

SDI

IP/4k

ENHANCING TV ENTERTAINMENT – EVS THOUGHT LEADERSHIP PAPER

MAIN STUDIO

IP

STUDIO 1

IP/4k

› IP BASED DISTRIBUTED PRODUCTION › HYBRID IP/SDI › CONNECTED XT3 TO IP SMPTE2022

The live broadcast environment is supported by systems and infrastructures that are reliable. To adopt new technologies broadcasters need to be confident in their reliability. As the industry stands on the precipice of 4K and beyond, and consumer behaviors continue to change, solutions need to be more flexible, faster and more productive. This is where the live environment can benefit from IP-based systems.

sition that focuses on bringing the benefits of IP-based workflows to live production while preserving customers’ existing investments. The key is enabling existing solutions to offer a smooth transition to IP. EVS is spending time and resources creating the best solutions for an IT-based broadcast future. This means working with other industry players like Cisco and Imagine Communications to offer best-of-breed, end-toend solutions, and supporting multiple standards and compression initiatives. EVS is also involved - alongside leading industry vendors – in the LiveIP Project led by VRT and EBU (more details on page 3).

EVS is unveiling “IP4Live”, a strategic approach to IP tran-

The progressive migration to IP will require a combina-

IP is almost all that everyone is talking about. And this year’s IBC promises to be all about IP-based systems, in every way and for any application imaginable. No surprise there.

STUDIO 2

PLAYOUT CENTER

› OPEN/INTEROPERABLE › PROFESSIONAL COTS INTEROPERABILITY (SDN, SWITCH)

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IBC SEPTEMBER 2015

tion of smart management of hybrid SDI/IP workflows, integration of off-the-shelf networking equipment, and new solutions that will optimize production technology resources and define new distributed workflow operations like the ability to produce content remotely - already made possible through EVS’ IP-based switcher DYVI. Read on for more information about what we’re doing. Let’s move beyond the hype into action. Come see us at stand 8.B90 and we’ll talk real-world IP.

Entertainment shows are no longer limited to the television set. Audiences are increasingly consuming content with multiple screens and through different means – OTT subscriptions, on-demand services and PVR recordings. Social media is also increasingly playing a huge part in an audience’s interaction with entertainment programming. To combat this, broadcasters and producers need to be delivering content which is compelling and engaging with a workflow that reduces the recording-to-airtime and increases productivity for a better ROI.

In its latest thought leadership paper, EVS discusses the benefits of using a live production server network in entertainment workflows. It explains how it’s able to boost the entire production workflow, so producers can focus on their creativity and enrich content to engage viewers across a number of platforms. Visit EVS.com now to download the USING LIVE PRODUCTION SERVERS TO ENHANCE TV ENTERTAINMENT thought leadership paper.

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EVS AND CISCO DEMONSTRATE “IP4LIVE” LIVE REMOTE PRODUCTION AT IBC SEE HOW LIVE SWITCHING AND SMPTE 2022 INTEROPERABILITY ENABLE RELIABLE, LOW LATENCY IP-BASED REMOTE OPS

IP IP is enabling broadcasters to achieve new levels of flexible and efficient remote production. At IBC2015, you’ll see exactly how. Using EVS’ new XiP gateway enabling in/out IP links to its live video server, EVS will demonstrate multi-feed live remote production – via SMPTE 2022 uncompressed video – over an IP network using Cisco’s standard IP switches and software defined networking (SDN). “Cisco and EVS are collaborating to help broadcasters, content owners and rights holders worldwide apply IP technologies to live video production workflow. Using IP and SDN programmable networking with video frame accurate Ethernet switching, we can deliver benefits including entirely new scale, resilience, and economies for more efficient and flexible workflows,” said Paul Bosco, vice president, market development, Cisco Software defined networking (SDN) guarantees reliable, low-latency, high-quality video flow between remote sites. The configuration ensures the necessary bandwidth for production-critical video flows while dynamically allocating

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DISCOVERY NETWORKS DENMARK EXPANDS ITS EVS LIVE PRODUCTION WORKFLOW all remaining bandwidth to best-effort traffic such as file transfers. The integrated IP demonstration will also extend to DYVI, EVS’ IT-based distributed live production platform. Visitors will see a real live distributed system, incorporating multiple workflows over the same network infrastructure, that uses industry-standard hardware and optimized software, allowing production to interact with content from the distant site as if it were local. IP figures prominently in EVS’ future-smart solutions for live and near-live sports, news, and entertainment production workflows, as well as for interfacing with postproduction and archives. At IBC, attendees will see new live storytelling tools, enhanced content management capabilities and state-of-the-art multimedia distribution technologies. “Standards-based innovations like these will make end-toend IP workflows a reality,” said Benoit Février, chief technology officer at EVS, EVS. “Open, interoperable IP workflows enable us to provide content to consumers how and when they want it, quickly and efficiently, which will only become more important over time.”

With the exclusive national broadcast rights to the biggest sporting properties in Europe, Discovery Networks Denmark needs an efficient and reliable solution to produce highlights for brands like The Bundesliga and the English Premier League. To meet their growing needs, the broadcaster expanded its EVS workflow by implementing a brand new XT3 server, Xedio CleanEdit and additional router control functionalities to the existing IPDirector PAM system.

motion replays for playback during studio analysis. The IPDirector PAM content management suite allows Discovery to add comprehensive metadata to content, schedule the ingest of feeds when multiple matches are happening simultaneously and to control its video routers. This efficiency in resource handling is a big cost saving for the network, providing a good basis to generate a positive ROI.

Discovery’s workflow solution previously consisted of an XT3 live production server, an IPDirector PAM content management suite with several clients, XTAccess gateway units and Xsquare orchestration software.

Discovery’s Xsquare software and XTAccess units are controlled and managed by the IPDirector PAM suite. This enables the workflow to automatically handle media-conforming operations, while acting as a gateway for file transfer to multiple destinations at the same time.

Newly upgraded, the workflow’s two XT3 live production servers – each with an LSM remote control panel and IPDirector control - record up to 12 HD SDI feeds while using between four and eight output channels for edits. With the LSM remote control panels operators can quickly create highlights live and produce clips and live slow

To address the challenge of quickly and easily producing long-form match summaries of the Bundesliga, Discovery decided to add a Xedio CleanEdit. This lets them speed up the editing process and turnaround of ingested feeds. EVS’ NLE allows editors to begin their work on these 30-minute edits as soon as each match starts.

Once they’ve completed the first edit they can immediately begin another, since Xsquare quickly handles the rendering of the edits back to the XT3 servers for playout. The latest workflow expansion was undertaken to increase the production capacity of Discovery’s in-house facility as demand has grown for production. It has also further extended the internal 10Gigabit Ethernet connectivity infrastructure, allowing the EVS solutions to speed up the production processes throughout. “Everything has been running smoothly from day one and the implementation of this new EVS equipment has significantly improved the performance of our workflow,” said Michael Lind, technical manager, Discovery Networks Denmark. “It’s always exciting to install new technology in such an important workflow like this and it’s a real pleasure to work with such extensively developed and well-designed technology,” added Benoit Fevrier, CTO at EVS.

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EVS AND TECHNOLOGY PARTNERS PIONEER LIVE IP PRODUCTION TO BUILD THE WORLD’S FIRST IP TV STUDIO FOR EBU AND VRT FOX SPORTS SCORES A HOLE-IN-ONE WITH EVS, WITH A MASSIVE REMOTE OPERATION FOR THE U.S. OPEN Held in June every year, The U.S. Open Championship is the granddaddy of North American golf tournaments. This year, Game Creek Video was the exclusive provider of remote production facilities for Fox Sports’ production of the event. Fox went all out for its first-time coverage of the prestigious event with a massive remote production using multiple trucks, including its large, state-of the-art Encore, accompanied by the world’s first large-scale IP-based routing system in a remote production facility. The undertaking was immense with 37 XT3 servers and 164 channels of replay populating the production system, which also featured 52  playout channels. Throughout the compound in Chambers Bay, Washington, 19 IPDirectors provided complete production management and supported three database servers. Nine XTAccess engines acted as an ultra-fast gateway and

transcoding solution. Multiple XFile3 workstations handled file transfers and archiving, while 27 LSM remotes came together resulting in more than 25,000 files. Collectively, nearly 6,000 clips and 16,000 hours of record space resulted in the largest remote EVS network ever deployed in a remote television production. Fox also used four of EVS’ MultiReview systems, which enabled operators to call up templates for different holes and easily see all available camera angles. “An undertaking of this size and scale takes months to plan and implement,” said EVS’ vp of product marketing James Stellpflug. “It was enormously gratifying to see so many EVS products integrate into the production, perform so well and produce such a fantastic result.”

The European Broadcast Union (EBU) and Belgian public broadcasting company VRT have partnered with a number of industry-leading technology partners to found the LiveIP Project. This partnership, part of the Sandbox+ platform, has led to the building and implementation of the world’s first fully IP-based live production studio. In place at VRT’s headquarters in Brussels, the studio uses state-of-theart IT-centric hardware and software to enable broadcasters to produce programmes quickly, efficiently and cost effectively. Mick De Valck, head of technology and operations at VRT, said that “this project is a great measure of the added value of IP-based production

workflows and the benefits they bring to functions like sharing resources, remote production and automation.” Industry technology partners participating in the project include Axon, Dwesam, EVS, Genelec, Grass Valley, Lawo, LSB, Nevion, Tektronix and Trilogy, who provide all the elements of a live production chain driven by IP. This design was created so the multi-vendor system which uses open standards – SMPTE 2022/6, AES67, and PTP - can transport broadcast feeds via an SDN. Not only does the workflow allow broadcasters to produce programs quickly, efficiently and cost effectively, it also enables seamless switching, limited redundancy of uncompressed video and

audio feeds as they’re transported over an IP network. This is a huge step in broadcasting with Hans Hoffmann, head of Media Fundamentals & Production Technology at EBU saying, “we’re very proud that we’ve been able to implement a leading-edge studio workflow using only IP-based technology as it is set to take the industry to the next level of interoperability in live production environments.” The project has been nominated for a 2015 IABM Design and Innovation award, which will be presented here at the show. A scaled-down demonstration version of the studio will be showcased on the EBU booth (10.F20) at this year’s IBC2015 show.

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EVS ENABLES THE FIRST-EVER CONNECTED APPLICATION FOR A MULTI-SPORT EVENT 01

APP DOWNLOADS AND USE

317,618

37 MILLION

USERS

02

OF TRAFFIC WAS FROM SINGAPORE

40

SESSION OF VIDEO AND DATA CONSUMPTION

50%

ID RO

THE APP HAD

RE AND WE

60%

IT CLOCKED UP A TOTAL OF MORE THAN

Partnering with SINGSOC, EVS designed a cloud-based second-screen delivery platform using C-Cast integrated with the event’s live production infrastructure. The system allowed users to access live games, near-live multicam

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clips, highlights and replays on a mobile app designed by NETCO SPORTS. The SEA TV app featured live and near-live action from all 36 sports at the SEA Games, including swimming, boxing, rugby, cycling and table tennis. The app delivered a gold-winning performance, with users using and returning to the app in record numbers. The project has also been shortlisted as a finalist in the IABM Design & Innovation Awards in the content and communication infrastructure category. The winners will be announced at IBC on Saturday 12 September.

90%

LE

THE SEA GAMES GOES MOBILE!

This year’s Singapore Southeast Asian Games Organising Committee (SINGSOC) wanted to deliver an even better, more immersive experience for the 28th Annual SEA Games. The answer? The first-ever mobile app designed for an international multi-sport event, in which 11 countries participated in more than 300 events.

W ERE APP

OF USERS RETURNED AFTER THEIR FIRST USE

WHAT WAS CONSUMED

THE AVERAGE SESSION TIME OF USERS WAS NEARLY 30% LONGER THAN

EIGHT MINUTES

THE TOP 3 SPORTS WERE 1,500,000 VIEWS 600,000 VIEWS

500,000 VIEWS

80%

40%

OF THE APP’S VIDEO VIEWS WERE OF

OF THE APP’S VIDEO VIEWS WERE OF LIVE FEEDS

SIMILAR APPS IN 2014

NUMBER OF CLIPS PUBLISHED

8395 NUMBER OF MULTICAM ANGLES PUBLISHED

5710 NUMBER OF CLIPS PUBLISHED ON YOUTUBE

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EVS POWERS TIMELINE TELEVISION’S ULTRA HD TRUCK, FOR EUROPE’S FIRST SPORTS ULTRA HD CHANNEL

EVS SCORES A TOUCHDOWN WITH 2015 NFL BROADCASTS This season’s NFL (National Football League) viewers in the USA are in for a treat, with EVS live product innovations being used at all stages of the broadcast production workflow to deliver everything from in-depth analysis to close ups and replays. Some of the national television network’s sports playback centers in New York have upgraded to EVS XT3 servers, XStore shared central storage, XFile3 for content backup and transcoding, and Adobe integration. With this advanced setup, production teams can work more efficiently with live game content. Meanwhile, at the game venues themselves, remote production companies are using EVS solutions including next-generation Multicam 14 software and 12-channel XT3 servers. With the help of LSM tools such as MultiReview for fast access and review of all record channels, and 4K and SuperMotion zooming through EVS’ Epsio Zoom – they’ll be exciting viewers with extreme close ups and replays.

Major US broadcasters and mobile trucks will be using LSM Connect–now with enhanced metadata for highlights–to help production teams find the right game content at any given moment much faster. EVS technology is also behind some innovative replay-focused broadcast segments, including a complete referee analysis studio implemented last season. EVS’ 12-channel XT3 server and IPDirector live content management suite will power in-the-moment highlights, commentary and analysis. “In the extremely fast-paced, quality-driven world of professional American football coverage, technology that helps give viewers better coverage faster can’t be underestimated,” says James Stellpflug, VP product marketing at EVS. “Advances like metadata for better content identification for highlights development, UHD/4K, and the tools used for referee studios are critical to keeping viewers engaged and coming back for more.”

EVS JOINS THE TICO ALLIANCE When Timeline Television, one of the UK’s leading OB providers, was awarded a multi-year deal to support UK sports broadcaster BT Sport’s launch of BT Sport Ultra HD, Europe’s first such channel, it needed to build a truck with robust and reliable broadcast workflows. EVS’ XT3 live production servers offer fast and flexible operations and have proven that they are ideally suited to 4K production having been used in Brazil for UHD production of the 2014 FIFA World Cup™ and in numerous successful 4K trials for prestigious events, such as the Ryder Cup, the Qatar Tennis Open and the El Clásico between Real Madrid CF and FC Barcelona. It was for this reason Timeline Television chose to

incorporate the systems into its truck. The 12 meter-long truck is easily able to produce multi-cam feeds, instant replays and fast-turnaround highlights all in UHD. The EVS servers installed have provided Timeline with up to 18 UHD channels in multiple input and output configurations. The server network can record several UHD feeds while simultaneously providing instant replays in the same format. “EVS’ ability to embrace new formats means that we can deploy their proven solutions to help make UHD productions a reality,” said Dan McDonnell, managing director of Timeline Television. “We’ve got a long-standing relation-

“WE’VE GOT A LONG-STANDING RELATIONSHIP WITH EVS HAVING WORKED WITH THEM ON MANY PROJECTS, INCLUDING BT SPORT’S WORKFLOW IMPLEMENTATION IN STRATFORD, SO WE KNOW ITS TECHNOLOGY IS RELIABLE AND CAN DELIVER” ship with EVS having worked with them on many projects, including BT Sport’s workflow implementation in Stratford, so we know its technology is reliable and can deliver.” EVS’ inclusion in Europe’s first UHD truck is a testament to its status as the leading live production solution provider.

EVS has joined the TICO Alliance, which is working to establish a new visually lossless (up to 4:1) video compression standard that enables 4K/UHD transport over existing SDI infrastructures as well as 10 GigE IP production and contribution networks. EVS’ move to join the growing consortium is in line with its “IP4Live” IP-based approaches to live video infrastructure and open solutions that provide interoperability between technology providers and optimize existing customer infrastructures to meet new production standards. The TICO Alliance, which includes broadcast technology industry leaders such as Grass Valley, Imagine Communications, Artel Video Systems, Embrionix, IntoPix, and Ross, is supporting new UHD streams in existing systems and net-

works using available pipeline bandwidth with the lowest latency, smallest complexity and highest-quality preserved image quality. “With the steady transition to IP and the need to move 4K/UHD and even higher resolutions and frame rates in the future, precise compression is essential to next-generation video production and distribution,” said Benoit Fevrier, CTO at EVS. “TICO is an important step in this evolution and we’re committed to developing the standard and to the larger IP-based live ecosystem.” Since January 2015, SMPTE has been specifying TICO compression and 4K mapping over active 3G-SDI and IP Networks (RTP). Initially developed by IntoPix, TICO compression is designed specifically for high-bandwidth video transfer HD to 4K/8K Ultra HD - over IP.

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IMAGINE THE POSSIBILITIES… IMAGINE COMMUNICATIONS AND EVS TEAM UP TO DELIVER NEW CAPABILITIES AND EFFICIENCIES TO LIVE PRODUCTION FACILITIES THROUGH SMPTE 2022 INTEROPERABILITY

Imagine Communications is a global leader in video and advertising solutions for media and entertainment, multichannel video programming distributors and enterprise markets. Together, Imagine and EVS are embracing industry standards for IP signal distribution and delivering a best-of-breed, end-to-end solution for live production, slow motion and instant replay operations. Some might call it a match made in heaven as the two industry-leading companies debut a solution at IBC that utilizes SMPTE 2022 and JPEG2000 (J2K) standards for moving and managing SDI and compressed signals over IP. The integrated solution brings greater agility and cost efficiencies to live production facilities, as well as enabling broadcasters to seamlessly transition to an all-IP ecosystem. As shifting video consumption patterns and new competitive demands put more pressure on media and entertainment companies to improve the quality, productivity and efficiencies of their production facilities, broad acceptance of industry standards becomes even more critical for multivendor interoperability and a gradual, pragmatic migration to next-generation technologies.

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The live demonstration will be conducted at both Imagine Communications’ and EVS’ booths at IBC. Attendees will see live sports and slow-motion applications that use compressed and uncompressed SDI over IP video signals routed from remote venues to a centralized production center. The demo features EVS’ XT3 media production server using the new EVS XiP gateway to manage in/out SMPTE 2022 IP video signals with HD multicamera live feeds and highlights, as well as Imagine Communications’ Selenio MCP with SMPTE 2022 UCIP and J2K interfaces. Imagine’s Magellan™ SDN Orchestrator will simultaneously manage the routing and control of all IP and SDI signals.

moving the industry toward next-gen technologies, including IP, software-defined networking and cloud, to deliver the agility and performance that media and entertainment companies require to compete today and in the future,” said Charlie Vogt, CEO of Imagine Communications. “The partnership between our two companies is a meaningful first step toward realizing that goal. We look forward to working with EVS to bring our customers the solutions that will solve today’s challenges, while providing a bridge to tomorrow’s opportunities.”

The solution underscores the need for broad standards adoption that will enable broadcasters to build out future-proof facilities that provide the higher-quality content, operational efficiency and agility needed to pursue new monetization opportunities. IP’s flexibility also relieves the architectural constraints of proprietary solutions, including dependency on inter-site connectivity for wide-area workflows.

“As a true pioneer of live video replay and instant video enrichment, EVS has always been at the forefront of practical technology innovations offering real benefits to our clients,” said Muriel De Lathouwer, Managing Director & CEO of EVS. “Our open collaboration with other industry leaders such as Imagine Communications enables us to present our customers with comprehensive IP-based workflows that rely on our legendary robustness and flexibility for future-proof live operations.

“Imagine Communications is a champion of industry standards and the role they play in

See it all in action at Imagine Communications, stand 4.AMT and EVS, stand 8.B90.

THE PERSONAL TOUCH MADE A STATE-OF-THEART UPGRADE EVEN BETTER AND DOUBLED REVENUE For Sam Schrade, owner of Digital Network Associates, the personal connection made all the difference in a recent EVS technology upgrade. His company produces more than 150 live events in the southern United States every year, providing mobile television and studio equipment rentals for networks like ESPN and events such as the NBA’s (National Basketball Association’s) high-profile Final Four tournament. Because DNA provides complete broadcast technical services including mobile trucks, HD cameras, full crewing and event uplinking and packaging, Sam wanted to ensure his equipment reflected the best the industry has to offer. After spending some time discussing with EVS’ James Stellpflug and Jeff Gouch exactly how the equipment would be used and pain points, they decided on a new solution that included a cadre of new XT3 media servers and the XFile3 transcoding solution that handles file transfer and archiving needs. Key to their decision: the XT3 offered more channel support, the highest number of SuperMotion camera configurations in the market, and full support of the new codec and standard formats, while the Xfile3 pro-

vided faster and simpler multi-angle content backup and transcoding - offering more performance and cost efficiency for their clients. Now the results are in and they speak for themselves. Since DNA purchased the new servers and upgrades, their truck revenue and studio client rentals have doubled in the past year. Sam said it best when describing his recent EVS experience. “The service and support for getting the units upgraded and road-ready was fantastic. This was one of the main selling points and advantages for us. EVS has always been top notch in providing us support and treating us like an important client. Even though we aren’t the biggest truck fleet in the US, they make us feel like we are.” And the solutions matter. Sam continues: “We are proud to tell our clients we have EVS technology in our trucks and studios. By providing industry-leading technology, we’ve seen an increase in sports network shows coming to us for production.” While Sam is thankful to EVS, we’re just as proud to have DNA as a satisfied customer. There’s nothing better than that – regardless of the size of the project.

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GET MORE OUT OF NOW 4K / UHD 12 Channels 10 Gbps IP enabled

www.evs.com/xt3

DUAL-LSM MODE ENHANCES THE XT3’S FLEXIBILITY BY THE POWER OF TWO

OPERATOR 1

OPERATOR 2

The release of the upcoming Multicam 14.01, the software engine behind the XT3, brings about new collaborative capabilities for the industry’s leading live production server. With the new Dual-LSM mode enabled, a single XT3 server is able to offer personal settings to two operators. When fully utilizing the server’s 12 channels, feeds can be attributed to either operator with ease. Both operators working on the same machine can

configure their own personal settings and map their specific camera angles preferences independently of one another. Henry Alexander, EVS’ VP of market and product puts it this way: “The latest version of the Multicam software engine enables EVS customers to get more from their XT3 servers – more channel support and more configuration flexibility, as well as more ROI thanks to its increased productivity.”

ITN KICKS OFF THREE SEASONS OF THE FOOTBALL LEAGUE WITH EVS ITN Productions, the in-house TV production business from ITN, recently signed a three season contract to produce all content from The Football League, to be shown on national and international networks. ITN Productions is set to produce edits for over 1800 games each season for the next three years beginning in 2015. It needed to strengthen its production facilities and partnered with EVS to do so. As a result ITN Productions installed XS video servers, IPDirector live content management and a Xedio CleanEdit NLE as its primary production workflow. With filming requirements ranging from one pitch-side camera to expansive multi-camera OB productions, ITN Productions needed to make sure the solutions and workflows used would be able to handle the deployment of additional camera feeds during the season if needed. To achieve this, ITN Productions’ configuration of 12 EVS XS video servers can ingest up to 44 HD SDI feeds simultaneously while maintaining four outputs as back-up. ITN Productions has also installed EVS’

live production asset management suite IPDirector which acts as the central nervous system of the EVS workflow. It allows operators to control the servers, schedule ingest, log, browse and review media as well as create clips and playlists in a quick and efficient way.

“OUR WORKFLOW NEEDED TO PRODUCE THE HIGH QUALITY CONTENT THAT OUR AUDIENCES EXPECT FROM OUR PRODUCTIONS WHILE PROVIDING ITN PRODUCTIONS WITH THE ABILITY TO CREATE CONTENT FOR MULTIPLE SPORTS QUICKLY AND EASILY”

With Xedio CleanEdit installed ITN Productions is able to produce the variable edits needed by its multiple broadcast partners. Ten minute highlight packages are produced for Channel 5 without voiced commentary and for clubs and archive commentary is included. A further two minute unvoiced package is also produced for uploading on YouTube. EVS’ NLE allows 20 editors to simultaneously begin working on highlights with access to all of the low resolution files available on EVS’ XStore shared storage. The speed and flexibility of the solution means ITN Productions no longer needs to wait several hours after a match to edit their coverage, but instead can do everything from kick off to the final whistle in real-time.

The XS server network is installed outside of London, while the editors working on Xedio CleanEdit are in central London. Due to the speed and reliability of the EVS workflow, even with a 40km distance between the two, editors in central London experience latency of less than one millisecond. “This contract win is a transformative moment for ITN Productions and ITN,” said Mark Browning, MD of ITN Productions. ”Our workflow needed to produce the high quality content that our audiences expect from our productions while providing ITN Productions with the ability to create content for multiple sports quickly and easily.”

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NBC SPEEDS INTO HIGH GEAR FOR NASCAR

It’s the first time in a decade that NBC has broadcast the NASCAR (National Company for Stock Car Auto Races) season. The leading US-based television network revved up its live production in July with Game Creek Video, who built PeacockOne, a specially-built remote production truck, to service the widely viewed and high-profile racing coverage.

the complexity are four Sony HDC 4300 cameras, with two running in six-time speed and four running at the four-time rate. For the first time, NBC will use EVS’ Channel Max, which debuted at NAB earlier this year - packing 12 channels into a single XT3, enough to handle the two six-time cameras, in a two-in, two-out configuration.

Described at America’s fastest-growing sport, NASCAR and its coverage is often compared to the Super Bowl - a massive endeavor that this year requires a team of 200 to manage the equipment, including 69 cameras used for race and studio coverage and 21 XT3 servers. Adding to

PeacockOne - which comprises PeacockOne for primary production, graphics and equipment and PeacockOneB, that handles replay and audio – is designed to scale as needed, capable of handling up to 24 XT3 units.

in the production as operators work “full-on with 10 replay operators handling the 51 cameras covering the track, as well as the in-car cameras,” as described by Tom Ginocchi, lead replay operator for NBC Sports. Also on board is EVS’ XStore SAN storage device, a first for a remote production unit in the U.S. (Borrowed from SVG’s story that appeared on Thursday, July 2.)

EVS’ new 12-channel XT3 server will figure prominently

POWER TO FLY

LSMCOCKPIT

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Masterplay Digimedia........................8.A16 MathEmbedded Ltd............................5.A25 Matrox Electronic Systems ...............7.B29 Matthews Studio Equipment Inc ....11.G71 Maud Technology.............................14.N03 Maxon Computer GmbH ....................7.K30 MEDIA BROADCAST ...........................1.B79 Media Broadcast Technologies (MBT) ................................................ 8.D82a Media Excel.......................................14.D10 Media IT Profy.....................................7.J43 Media Links EMEA .............................1.C31 Media Logic ........................................7.F07 Media Portal......................................8.C30b Media Utilities, a DNMS brand ..........8.A50 Media-Alliance ...................................8.B71 MediaGeniX NG...................................3.C59 MEDIAGURU ......................................10.A41 Mediamano .......................................14.L03 Mediamat Broadcast Services..........8.E16 Medianet Vlaanderen.....................10.F42k MediaPower ........................................7.J42 Mediaproxy Pty Ltd ............................7.J07 Mediascape EU Project - Vicomtech 8.F03 mediatvcom ........................................2.A30 Megahertz .........................................11.F20 Mekall ................................................9.B30a Memnon Archiving Services .............8.C85 Merging Technologies .......................8.E96 MeteoGroup ........................................2.C48 Metraweather ...................................14.C06 Metrological ......................................14.E25 METUS .................................................7.A02 MeVi Limited .....................................9.B30a MG ALBA ...........................................9.B30a Mico Electric (Hong Kong) Limited...3.A46 Microsoft ......................................MS1/MS2 Microtech Gefell GmbH......................8.D77 Midas Media Ltd...............................9.B30a Mier Comunicaciones S.A. ................8.E40 Miller Fluid Heads (Europe) ltd .......11.D30 Minerva Networks............................14.A12 miniCASTER® c/o TV1 GmbH...........1.A80 Minnetonka Audio Software .............7.J40 Mirada .................................................4.C50 MiraVid ..............................................14.L02 Mirror Image .......................................3.A24 Mistserver.org/DDVTECH.................14.K13 MISTV ..................................................2.A16 mLogic.................................................7.J31 Mobibase...........................................14.C07 Mobile Viewpoint..............................14.F21 Mode-AL............................................10.A38 MOG - Technologies...........................7.K28 Mogami Cable.....................................8.D56 Mole - Richardson Company ..........11.F57 Moso Power ........................................8.E24 Motama .............................................14.H19 Motion Plus Media ...........................14.L17 Motion9 ...............................................9.B12 Movicom, LLC ...................................11.F73 MovieTech AG...................................11.D35 MPP Global Solutions.......................14.K01 MSA Focus International Ltd.............3.B56 Mstar Semiconductor, Inc.................2.C33 MT-C .................................................10.D31j MTF Services LTD.............................11.C61 MTS - Media Technical Systems ....11.D35 MULTICAM SYSTEMS.....................11.E40a Multidyne Video & Fiber Optic Systems...............................................9.D40 Murraypro Electronics .................... 8.B38g MWA Nova GmbH ...............................7.E30 Mware Solutions Ltd ........................14.F10 N NAB Show ........................................10.F34 nablet GmbH .......................................7.G05 nac Image Technology Inc. .............11.G75 NAGRA .................................................1.C81 Nagra Audio ........................................8.E96 nangu.TV ...........................................14.L27 Nanguang Photographic Equipment Co., Ltd...............................................11.E10 Nanjing Magewell Electronics Co.Ltd...................................................8.C11 Nanocosmos .......................................2.A10 Nanuk By Plasticase ..........................9.A49

57-68 IBC D1 2015 Centre Section v4.indd 7

Narda Safety Test Solutions..............8.E20 Nativ...................................................7.K01b Nautel ..................................................8.C49 Nautilus Studio ...................................7.G05 ND SatCom ..........................................4.A60 NEC Corporation .................................8.B37 NEETRA S.r.l. .......................................8.E92 Neotion ................................................4.B53 Net Insight...........................................1.B40 Net Mobile AG ...................................14.L16 NetApp .................................................7.J42 Netco Sports .......................................8.E25 Netgem ................................................5.B44 NETIA ..................................... 1.A29/8.B36b Netsweeper ........................................2.A41i NetUP .................................................14.J18 Network Innovations..........................2.A46 NeuLion .............................................14.F34 Neutrik AG ...........................................8.C90 never.no...............................................7.A09 Nevion..................................................1.B71 New Japan Radio Co., Ltd .................4.C71 NewFace TV Ltd............................... 2.A41b Newtec ................................................1.A49 NewTek ...............................................7.K11 NEWZULU...........................................14.C05 NexGenWave Co.,Ltd.........................5.C48f Nexidia......................................7.F39/MS43 Nexsan by Imation .............................6.A08 Nexstreaming ...................................14.C36 NEXTO DI ...........................................11.G37 NGINE NETWORKS ............................2.A36a NHK ......................................................8.G03 Niagara Streaming Media ..............14.M28 Nice People At Work ..........................5.C45 Nila LED Lighting ..............................11.E38 Nimbus, Inc. ......................................11.E65 Ningbo Eimage Studio Equipment Co., Ltd ............................................................11.C50 Ningbo Jie Yang Television Equipment Co., Ltd.............................................. 9.B14b NINSIGHT .............................................7.B11 NKK Switches Co., Ltd .......................8.A70 NOA ......................................................8.D91 NoisyPeak Sarl. ................................14.H16 Nordija A/S ........................................14.L06 North Telecom ....................................4.A55 Northwire Inc ....................................11.D42 Norwia ...............................................10.A12 Novella SatComs Ltd..........................1.F58 NovelSat ...................................3.A29r/MS3 Novotronik GmbH ...............................1.A54 Nozon.................................................8.F20c NST&T Univers Phone - Afrikanet Oxford Consultech.................. 4.A61/8.B38 NTP Technology A/S ....................... 8.B51b NTT Group ...........................................2.C58 NTT Network Inovation Labs ............8.G07 NUGEN Audio ......................................8.D56 NWIEE ................................................5.C03a NyeTec Limited ...................................2.C31 O Obh Obh.............................................9.B30a Object Matrix Ltd ..............................6.C28b OConnor.............................................11.E55 OCTOPUS Newsroom .........................7.G11 OKNO-TV..............................................8.B10 OMB Broadcast...................................8.E27 Omnia Audio .......................................8.D47 Omnitek .............................................10.F30 Onair Medya Ltd .................................8.E44 ONE CONNXT .......................................1.A97 One For All...........................................1.C41 Onetastic SRL .....................................8.C20 Ontario, Canada..................................2.A41 OOONA .................................................2.C32 OOYALA .............................................14.F32 Open Broadcast Systems Limited . 4.A61g Open Telly........................................10.F42c Openheadend - DVMR ..................... 2.A36f Opera Software.................................14.E20 Opic Telecom ....................................8.C30d Optical Cable Corporation ...............10.E59 Optispeech .......................................14.M09 Optocore GmbH ..................................8.C60 Optoway Technology Inc ..................8.E34 Optral, S.A. ........................................10.E50

Oracle ..................................................7.D14 Orad Hi-Tec Systems .........................7.J20 Orban Europe GmbH ..........................8.D93 Ortana Media Group Limited ...........8.B38c OSEE TECHNOLOGY CO., LTD...........10.D59 Osprey by Vario Systems...................3.A26 OTICOM CORPORATION ...................11.E65 OVERLINE - Systems ..........................8.E94 Ovide Smart Assist...........................11.G41 P P+S Technik .....................................11.G35 Pace plc ...............................................1.B19 Packet Ship Technologies ...............14.H11 PAG Ltd..............................................11.C36 Pals Electronics Co. Ltd .....................0.F01 Panaccess Systems ...........................5.C18 Panasas, Inc. ......................................7.J31 Panasonic Marketing Europe GmbH ..................................... 9.C45/10.D46 Paneda.................................................8.E02 Panther GmbH ..................................11.E20 Parabola .............................................4.A61i Paradigm.............................................4.C74 Paralinx .............................................11.E55 Pathpartner Technology Consulting PVT. Ltd ...............................................9.A06 Paywizard .........................................14.G14 PBI........................................................2.A32 PCCW Global .....................................14.E10 Peak Communications Ltd. ...............1.C33 Pebble Beach Systems ......................8.C71 Perception TV Ltd .............................14.E09 Perceptiva - Labs .............................2.A36c Percon ...............................................10.E51 Perfect Memory ............................... 8.D82d Pesa .....................................................8.E47 Phabrix ..............................................10.B12 Philips Home Control .........................1.A81 Phoenix7 Ltd .......................................3.C21 Phonak Communications AG ............8.E95 Photon Beard Ltd..............................11.D43 Piksel .................................................14.C34 Pixagility...........................................14.M32 Pixel Power LTD .................................7.A31 Plaber S.r.l. - HPRC Cases .................9.B43 PlayBox Technology Ltd. ...................8.B70 Playlist Software Solutions. ............8.C30e Plisch GmbH........................................8.D32 PLURA Europe GmbH .........................8.B73 Pluxbox................................................8.A14 Polecam.............................................10.C49 Pomfort GmbH ..................................11.A40 Popyoular AB ...................................14.B01 Portabrace ........................................11.A54 Portaprompt Ltd ...............................11.G49 Postium Korea Co., Ltd. ...................10.D20 Prime Focus Technologies ................7.B12 Primestream .......................................7.D21 Prismahub...........................................8.B02 ProCase GmbH..................................10.F29 ProConsultant Informatique..............2.B21 Prodrone Technology Ltd ..................8.A47 Prodys..................................................1.A39 Professional Sound Corp. ..................8.C96 PROFITT Ltd ............................ 7.A07/8.B10 Progira Radio Communication..........8.D44 Projectbuilders ...................................0.E02 Promax Electronica S.L. ....................8.E41 ProMAX Systems................................7.A04 Promise Technology ...............6.C10/6.C11 Pronology ..........................................10.A26 ProSup/Casu .....................................11.E73 ProTelevision Technologies AS ........8.C48 Providius Corp. ................................ 2.A41p Provys ..................................................2.B49 PRO-X CO., Ltd ..................................11.E42 Prysmian Group (Draka Comteq Germany)...........................................11.C31 PSI Audio ............................................8.E96 Psiphon Inc. ......................................2.A41c Pufferfish Ltd ....................................9.B30a Push-Pull TV ......................................2.A30 Q Qarva .................................................14.E30 Qbit GmbH ...........................................8.E49 qinematiq GmbH...............................11.E75

Qligent .................................................8.A09 QTV Sports ........................................9.B30a Quadrille ........................................... 2.B39b Quadrus Technology ..........................7.K25 Quales..................................................8.A26 Quantel and Snell ...............................7.G20 Quantenna Communications .2.C17/MS36 Quantum 5X Systems Inc. ............. 2.A41m Quantum Corporation ........................7.B26 Quicklink .............................................2.B20 Quickplay ..........................................14.D27 QUICtools...........................................9.B30a Quintech Electronics and DEV Systemtechnik....................................1.B31 Qvest Media ........................................3.B40 R R.V.R Elettronica.................................8.E36 Rabbit Labs .........................................3.A44 Radica Broadcast Systems Ltd...... 8.B38h Radio Frequency Systems.................8.A41 Radioscape .........................................8.D90 RaLex Solutions..................................8.D73 Rambus Cryptography Research .....2.A49 RAMI ..................................................8.B36a Rapid Information & Communication ................................8.B30a Rascular Technology Limited ...........5.A10 RCS ......................................................8.E11 Red Digital Cinema............. 11.A77/11.C70 RedwoodComm Co.,Ltd .................. 8.B30d Remote Solution Co., Ltd. ................5.C48a Research Concepts Inc......................1.F58 RF-Design ...........................................1.F45 RFE Broadcast ....................................8.B23 RGBlink................................................7.B08 Riedel Communications GmbH & Co.KG .................................................10.A31 Ripple Networks ...............................14.N01 Rip-Tie, Inc.......................................14.M22 RIZ - Transmitters Co.........................8.B03 RJS Electronics Ltd ..........................6.C28d RME/Audio AG ....................................8.E05 RO.VE.R Laboratories S.P.A ...............8.B67 RØDE Microphones ............................8.D56 Rohde & Schwarz...............................7.E25 Roku...................................................14.E14 Roland ................................................8.D56 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.G77 Rovi Europe Limited ................................14.G01/14.H02/14.M16 RR Media .............................................1.B24 RSG Media Systems.........................14.H04 R-Style Softlab....................................8.B10 RT Software Ltd..................................7.F33 rt1.tv production GmbH .....................0.G03 RTI Group ............................................7.C03 RT-RK...................................................5.B32 RTS.....................................................10.B48 RTS (Royal Television Society) .......8.F51d RTW......................................................8.D89 Ruige China.......................................11.D47 Russian Satellite Communications Company (RSCC) ................................1.A58 Ruwido ................................................1.D69 Rycote Microphone Windshields Ltd8.C64 RYMSA RF ...........................................8.C65 S S&T (Strategy & Technology Ltd) .....1.B22 S3 Group..............................................3.B39 S3 Satcom Ltd ....................................1.B91 Sachtler .............................................11.E55 SAF Tehnika ........................................8.A28 Sagemcom ..........................................1.D41 SALZBRENNER STAGETEC Audio Video Mediensysteme GmbH.......................8.C80 SAM - Snell Advanced Media ...........7.G20 SAM EU Project- Socialising Around Media - TIE Kinetix ............................8.F03 Sam Woo Electronics Co., Ltd. ........11.G29 Samjin..................................................5.C36 Samsung .............................................1.D35

Sanken Microphone Co.,Ltd..............8.C93 Sans Digital .........................................7.F04 SAPEC ..................................................1.F27 Satellite Interference Reduction Group...4.A61 SatixFy ............................................. 3.A29m Satmission .............................. 0.D01/1.A91 SatService GmbH................................1.F47 ScaleEngine Inc. ................................2.A41j SCALITY ...............................................7.C29 ScheduALL ..........................................1.D30 Schill GmbH & Co. KG ......................11.E41 Schneider Kreuznach.......................11.A41 Schoeps Mikrofone ............................8.C64 Schulze-Brakel Schaumstoffverarbeitungs GmbH....8.D75 SCISYS Deutschland GmbH...............8.B61 Scottish Development International 9.B30a Screen Facilities Scotland...............9.B30a Screen Subtitling Systems ................1.C49 ScreenHI ............................................9.B30a SCTE...................................................8.F51e SDN Square .....................................10.F42b SeaChange ..........................................1.F70 SED Systems.......................................1.A52 Seewald Solutions............................11.A48 Selevision ..........................................14.J03 SELFSAT ..............................................5.B30 Sematron.............................................1.A78 Semtech Corporation .......................10.F46 Semyung India Enterprises Pvt. Ltd...............................................8.B30a Sencore ...............................................1.F76 Senna Ltd. .........................................11.F71 Sennheiser Electronic GmbH & Co. KG ..................................................8.D50 SeoulTech Co.,Ltd ............................8.B30c Servicevision.....................................11.C45 SES .......................................................1.B51 SGL.....................................................7.J15a SGO ......................................................6.A11 SGT.......................................................8.A98 Shape.................................................11.F61 Shen Zhen Maiwei Broadcast Equipment Co., LTD............................5.C25 Shengzhen Yelangu Technology C.,LTD .... ............................................................9.B14c SHENZHEN AEE TECHNOLOGY CO.,LTD ...... ..............................................................8.E38 Shenzhen Aoto Electronics Co., Ltd .9.B19 Shenzhen BestView Electronic Co., Ltd ..... ............................................................9.B14a Shenzhen C&D Electronics Co.,Ltd...1.C93 Shenzhen Crystal Video Technology Co. Ltd..................................................9.B02 Shenzhen Gigalight Technology Co.Ltd...................................................5.B06 Shenzhen Integration Multimedia Technology Co.,Ltd.......................... 5.B03b Shenzhen Jiuxing Tianli Technology Co., Ltd.................................................8.A11 Shenzhen Justek Technology Co., Ltd...............................................14.J01 Shenzhen Leyard Opto-Electronics Co. Ltd. .......................................................9.C17 Shenzhen Maike Industrial Co., LTD .............................................3.B37a Shenzhen New Glee Technology Co., Ltd. . ..............................................................2.C45 Shenzhen SDMC Technology co. Ltd ................................................14.J02 Shenzhen Seneasy Industrial Co., Ltd.................................................1.F90 Shenzhen Shiningworth Technology Co., Ltd...............................................3.B37e Shenzhen Sunchip Technology Co.,Ltd................................................5.B03a Shenzhen Wingsland Technology Co.,Ltd..................................................9.A30 Shenzhen Zoomtak Electronics Co., Ltd.............................................. 5.A41g Shooting Partners Group ...................9.D10 Shotoku Broadcast Systems...........11.F40 SHOTOVER Camera Systems ..........11.A68 SI Media ..............................................8.B93 Sichuan Changhong Network Technologies Co., Ltd...................... 6.A29b Sichuan Jiuzhou Electric Group Co., Ltd ... ..............................................................3.B45

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Sichuan Video Electronic Co., Ltd...3.B37c Sielco SRL ...........................................8.A58 Siemens.............................................14.A30 Sigma Designs....................................2.C35 Signiant .............................................14.L08 Signum Bildtechnik GmbH ................7.D31 Silver Brain..........................................9.A46 Silverpop - an IBM Company .........14.L30 SilverStone Technology Co., Ltd. ......8.A23 SintecMedia ........................................2.B32 SIRA-SISTEMI RADIO .........................8.C31 SIS LIVE ...............................................1.C55 Skardin ................................................5.A25 SKB Europe BV..................................11.F65 SkyDigita .............................................3.A44 Skyline Communications ..................1.A23 Skyware Global ..................................4.C88 Skyware Technologies ......................1.F33 Skyworth Digital.................................5.A31 Slik Corporation................................11.A30 Slomo.TV .............................................8.B40 Small Town Heroes ........................10.F42d SmallHD.............................................11.E55 SmarDTV .............................................1.C81 Smart Fun............................................8.C19 SmartLabs.........................................14.C19 Smarty Life Sp. z o.o. .........................5.B22 SMiT .....................................................1.F86 SMK Electronics (Europe) Ltd. ..........1.A46 SMPTE ................................................8.F51f SNL KAGAN .........................................4.C77 SoftAtHome .........................................4.A51 SoftLab - NSK .....................................7.A08 SoftNI Corporation..............................1.B28 Softron Media Services .....................7.G12 SOFTVALLEE........................................2.C21 Solarflare.............................................7.J31 Solid State Logic.................................8.D83 SOLIDANIM......................................11.E40d SOLITON SYSTEMS K.K ......................2.A42 Sommer Cable GmbH.........................9.C41 Sondor Willy Hungerbuehler AG .......7.H01 Sonifex Ltd ..........................................8.E61 Sonnet Technologies .........................7.G02 Sonosax...............................................8.E96 sonoVTS GmbH ...................................8.B68 Sony ........................................12.A10/0.E01 SONY Pro Audio ..................................8.D70 Sound Devices, LLC............................8.B59 Sound Ideas ..................................... 2.A41d Soundminer Inc. ...............................2.A41a Spacepath Communications Ltd ....4.A61c SPB TV ...............................................14.E17 Spectra Logic......................................7.J30 Spectracal Inc...................................10.A14 Sphericam.........................................8.F20b SPI International / Filmbox..............14.H09 Spideo................................................14.K04 Spin Digital..........................................1.F13 Spinner GmbH.....................................8.C28 S-PRO SYSTEMS.................................8.B10 Squadeo ........................................... 2.A36d Squid Systems....................................7.D13 SSIMWave Inc...................................2.A41o ST Video - Film Technology Ltd ........8.C07 STAGETEC Entwicklungsgesellschaft fur professionelle Audiotechnik GmbH..8.C80 Staer Sistemi ......................................8.A40 Stanleys.............................................10.A05 STARCOR ...........................................14.F27 Stardom storage solutions................7.G09 Starfish Technologies Ltd .................8.D88 Starline Computer GmbH...................7.H05 Step2e Broadcast AG .........................2.B29 Stirlitz Media.......................................8.E90 STMicroelectronics ............................1.F40 Stoneroos ..........................................14.H14 StorageDNA.........................................7.B42 STORDIS GmbH...................................7.H39 STP SA System Technology Partner .. 8.C85 Stream Group....................................14.J17 Stream Labs............................ 7.G47/8.B10 Stream Owl ......................................14.M27 Streambox, Inc. ..................................5.A09 StreamItUp ....................................... 3.A29n Streamlyzer.......................................10.D42

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Streamroot ........................................14.H17 STRYME GmbH ...................................7.J03 Studer by Harman ..............................8.D60 Studio Network Solutions..................7.H40 Studio Technologies ..........................8.D56 STV Group PLC..................................9.B30a Stypegrip ...........................................11.C65 Suitcase TV Ltd........................2.C10/2.C15 Suman Satellite Technology Company ........................................... 5.A41f Sumavision Technologies Co.,Ltd ....1.C30 Sundog Media Toolkit........................6.A14 Surface Heating Systems ..................1.F59 SVP Broadcast Microwave................2.C55 SVS Satellite System..........................5.C31 SWE-DISH (now DataPath)................1.F56 Swedish Microwave AB.....................1.F71 swissaudec .........................................8.F01 SWIT Electronics Co., Ltd ................11.A39 Switchcraft, Inc. .................................9.C49 SYES.....................................................8.C74 Synapse TV .........................................1.B22 Syrp Ltd .............................................11.A71 System House Business partners ....8.B10 Systembase Ltd ..................................8.E93 System-On-Chip Technologies Inc..2.A41l T TAG V.S. ...............................................4.C85 TAKTIK SA ...................................... 10.D31e Talia .................................................. 4.A61d Tangent Wave LTD .............................6.A21 Tango Wave ........................................1.A04 Tata Communications........................MS23 Tata Elxsi Limited ...............................3.A48 Tatung Technology Inc. ...................14.F19 TC Electronic.......................................8.D56 TCL Technoly Electronics (Huizhou) Co., ltd............................................... 5.A15b TDC POLSKA sp. z o.o. .......................5.A08 Teamcast.............................................2.B51 TECH4HOME ........................................3.C46 Techbid Auctions .............................10.A03 Technicolor ...................... MS5/MS7/MS47 TECHNICOLOR R&I Hannover ............8.F14 Technocrane S.R.O...........................11.D36 Techwave, Inc...................................11.E65 Tecsys Video Networks Ltd..............3.A29i Tedial ...................................................8.B41 Tektronix Communications...............2.A54 Tektronix Inc.....................................10.D41 TELECAST TECHNOLOGY CO., LTD .. 3.B37f Telechips .............................................5.A28 Teleidea .............................................14.J20 Telelynx Inc. ........................................6.B22 Telemetrics Inc. ................................11.C21 Telenor Satellite Broadcasting .........1.A59 TelergyHD & Mware solutions ........14.F10 Telesat .................................................1.C39 Telescript International .....................9.A44 Teleste .................................................4.B61 Telestream ..........................................7.G30 TELETOR, LLC......................................7.A08 Television Research Institute............5.C43 TELIKOU TECHNOLOGIES CO., LTD..11.A12 Telmaco S.A. .......................................7.K40 Telmec RF ...........................................8.A40 Telos Alliance .....................................8.D47 Telos Systems ....................................8.D47 Telsat Srl .......................................... 8.D37b Telstra................................................14.F37 TEM ......................................................8.E45 Teracue eyevis GmbH ........................9.B24 Teradek .............................................11.E55 Teris Tech Trade Co., Ltd................. 9.B14f Terrasat Communications, Inc. ........1.F94 Testronic Laboratories...................10.F42e Thales Angenieux.............................11.F34 The Electronic Lab..............................8.A08 The Good Life Co., Ltd ......................11.E65 The Inmex Company ......................10.F42j The Israel Export & International Cooperation Institute .........................3.A29 The Qt Company ...............................14.H01 The Walt Disney Company (Switzerland) GmbH ...........................8.F05

TheLight ............................................11.D69 thePlatform .......................................14.C20 ThinkAnalytics Ltd .............................1.D92 thinklogical .......................................10.A24 Thomson Broadcast...........................8.C35 Thomson Video Networks ...............14.A10 Thomson Video Networks - Project H2B2VS................................................8.F16 Thum+Mahr GmbH ............................8.A50 Thuraya Telecommunications Company... ..............................................................2.B30 TIANCHANG LIMING ELECTRONICS CO.,LTD. .............................................6.A29c TIE Kinetix N.V. ...................................8.F03 Tieline The Codec Company..............8.E74 Tiffen..................................................10.C49 Tiger Technology.....................6.A18/7.J31 Tilta Technology Co., LTD ................11.G74 Timecode Systems Ltd ................... 9.B30b Timeline Television Ltd ....................11.C20 TiVo ......................................................5.B48 TIXEL ....................................................7.B01 TMD Ltd ...............................................2.B59 TMG....................................................14.F11 Toner Cable Equipment UK Ltd. ........5.B21 ToolsOnAir Broadcast Engineering GmbH ........................................7.G45/8.F14 Toshiba Electronics Europe GmbH ...6.C23 Total Technologies Ltd ......................5.A02 TQTVD Software Ltda......................8.C30g TRACT ..................................................8.D74 Tract Co ...............................................8.B10 TRANSRADIO SenderSysteme Berlin AG .............................................8.D35 TRedess...............................................8.D23 Triada-TV.............................................8.B44 Trilogy Communications Ltd...........10.A29 Trimaran Georacing ........................ 2.B39d Trinnov Audio Pro...............................7.D12 TriVis Weather Graphix......................3.A58 True Lens Services (TLS Optics) .....11.G65 TSDA ...................................................8.C30f TSF.be SA ....................................... 10.D31k TSL .....................................................10.B41 TTI Norte ..............................................4.C69 Turbosight (TBS) Technology Co.Ltd....5.C02 Turksat A.S .........................................5.C07 tv2u ...................................................14.M07 TVC (TELEVIZIJOS IR RYSIO SISTEMOS, UAB) .....................................................0.B02 TVIP....................................................14.G03 TVLogic Co., Ltd................................10.D26 TVStorm...............................................4.C82 TVU Networks .....................................2.B28 TW Electronics (Newbury) Ltd ..........4.B63 Twist Cluster.................................. 10.D31g Two Big Ears .....................................8.F20a U UHD Alliance ......................................MS47 UHP NETWORKS INC. (formerly Romantis Inc.) ......................................................5.A11 Ultimatte Corporation ........................7.C27 Ultra Electronics GigaSat...................1.C57 Unified Streaming ............................14.D30 Unilumin Group Co.,Ltd....................11.A69 Unique Broadband Systems Ltd .......5.B19 Unitron ..............................................10.F42f Unity Intercom ..................................11.G11 Universal Electronics bv. ...................1.C41 UPnP Forum ......................................14.G15 US Wondlan International Ltd .........9.B14e Utah Scientific ..................................10.D10 Utelisys ..............................................14.C08 UXP Systems Inc. ............................ 2.A41g V Valtech...............................................14.C02 ValueLabs..........................................10.F37 VANGUARD VIDEO .....................3.A54/MS4 Vantrix ...............................................14.J06 Varavon .............................................11.C11 Vcodex Limited .................................9.B30a VdB Audio............................................8.C93 Vector 3 ...............................................7.C01 Venera Technologies .........................7.G43

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Verimatrix............................................4.A59 Verizon Digital Media Services .......14.C17 Versatile Remote Heads ..................11.F41 Veset ....................................................8.A21 Vestel .................................................14.A20 Viaccess-Orca ...................... 1.A51/3.A29d ViaLite Communications ...................1.A21 VIDAU SYSTEMS .................................8.B10 VidCheck .............................................8.A30 VIDELIO - Media..................................8.C58 Video Clarity........................................2.C57 VideoFlow......................................... 3.A29g Videomenthe.....................................2.A36e VideoPropulsion .................................4.C73 Videosolutions Group.........................7.A06 Videostich ............................2.B39e/8.F20d Videostrong Technology Co.,ltd......6.A29a Videosys Broadcast .........................10.F45 Videssence........................................11.B12 VidiGo B.V............................................7.H30 Viewz ...................................................9.A48 Vimmi Communications Ltd............3.A29a Vimond Media Solutions .................14.E26 Vimsoft ................................................9.A40 Vinten.................................................11.E55 Vinten Radamec ...............................11.E55 Visio Light Inc. ..................................11.G45 Vision III Imaging, Inc. .......................8.G04 Vision Research................................11.B42 Vision247.............................................1.B22 VISLINK ................................................1.A69 Visual Impact Scotland....................9.B30a Visual Research Inc. ..........................7.D05 VisualOn, Inc .....................................14.G13 Vitec .....................................................7.G16 Vitec Group .......................................11.E55 VIXS Systems Inc. ..............................3.A28 Vizrt......................................................7.A20 VJU iTV Development GmbH .............3.C31 V-Nova Ltd ..........................................5.A25 Vocas .................................................11.E34 Voice Technologies ..........................8.C73a VoiceBox .........................................9.B30cii VoiceInteraction ...............................14.H18 Volicon.................................................7.G23 Vortex Communications Ltd ...........11.G11 VRT (Vlaamse Radio- en Televisieomroeporganisatie) ............8.F14 VSN (VIDEO STREAM NETWORKS, S.L.) ..... ..............................................................7.D25 Vualto.................................................14.D24 VuTV.....................................................1.B22 W W.B. Walton Enterprises Inc..............1.A62 Walimex Pro......................................11.G87 Wallonia Export-Investment Agency (AWEX)...............................................10.D31 WASP3D ..............................................7.C21 Wave Science Technology ................8.A44 Wazee Digital ...................................14.M12 Weather Metrics .................................3.A68 Weather Services International ........7.A15 Wedel Software BV ............................8.C04 Well Buying Industrial Co., Ltd..........8.D92 WellAV Technologies Ltd...................5.B47 Wellen+Noethen..................... 0.G03/3.B40 Wheatstone Corporation....................8.A86 Wide Orbit............................................8.D71 wige Broadcast GmbH .......................0.G01 Wildmoka ............................................5.A25 WINEGARD COMPANY........................4.C79 WINJAY S.R.L. .....................................8.E92 Winmedia ..........................................8.D82c Wisi Communications GmbH & Co. KG ...... ..............................................................4.B50 Wisycom SRL ......................................8.D78 Witbe....................................................4.A71 Wiztivi ................................................14.L01 WNM SA .......................................... 10.D31f Wooden Camera ...............................11.E71 Woody Technologies..........................3.C31 Work Microwave GmbH.....................4.A77 World DMB ..........................................9.D30 WorldCast Systems ............................8.B60 Wowza Media Systems ......... 3.B18/MS46

wTVision..............................................7.A45 Wyplay .................................................5.A25 X X-ARTProDivisionGmbH .............MS1/MS2 XCRYPT, INC......................................5.C48d XD MOTION......................................11.E40b x-dream-media GmbH.......................3.C31 XenData ...............................................7.H47 XeusMedia Technology .....................8.C95 Xiamen Came Photographic Equipment Co., Ltd............................................ 10.D25a Xilinx Inc............................................10.F30 XOR Media...........................................7.J42 Xstream .............................................14.F15 Xylostream Technology Ltd ..............2.A48 Xytech Systems ..................................6.C22 Y Yamaha Commercial Audio ..............8.A69 Yangaroo .......................................... 2.A41h Yaojin Technology (Shenzhen) Co.,Ltd ...... ..............................................................5.C13 Yegrin Liteworks ..............................11.G63 Yellowtec.............................................8.A51 Yospace.............................................14.C18 YoYotta ................................................7.J31 Yuan High-Tech Development Co., LTD..... ..............................................................8.A76 YUYAO LISHUAI FILM & TELEVISION EQUIPMENT CO., LTD..................... 11.B51a Yuyao Sinor International Trading Co., LTD. ......................................................9.A38 Z Zacuto................................................11.G64 Zappware nv .......................................1.A81 Zattoo TV Solutions ..........................14.J05 Zaxcom..............................................8.C73a Zentrick ...........................................10.F42g Zeticon.............................................10.F42h ZHANGZHOU LILLIPUT ELECTRONIC TECHNOLOGY CO., LTD...................11.B51e ZHANGZHOU SEETEC OPTOELECTRICS TECHNOLOGY CO. LTD........................9.B41 Zhengzhou Generalink Lighting Equipment Co., Ltd. ..........................11.A75 Zhengzhou Taiying Video Equipment Co,Ltd...................................................9.B49 Zhongshan Kingjoy Photographic Equipment Co. Ltd ..............................9.A10 Zhuhai ChuanFu Optical Technology Co.,ltd................................................ 9.B14d Zippy Technology Europe GmbH ......5.C35 Zixi LLC ..............................................14.G04 Zoo Digital PLC .................................7.J38b ZTE .......................................................4.B45 Zylight................................................11.E38

Correct as of 10 August 2015

25/08/2015 11:54


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OPINION IP dominates broadcast industry By adopting IP, users will be able to leverage the benefits of the IT industry in future broadcast infrastructure, says Nicolas Bourdon, senior vice president marketing, EVS One of the reasons IBC is always so exciting is because of the nature of the industry it represents. Broadcast technology is constantly changing and we love to see what our partners, clients and even competitors are working on. Each show brings something different and it’s important to us that we’re at the forefront of innovation to enable our customers to produce better content. There’s obviously still a lot of talk about 4K but I think this year’s show brings us to a point where production infrastructures and workflows are ready for the new resolution. We’re waiting for the TV manufacturers and the broadcasters themselves to decide that it’s time to begin broadcasting in 4K. As this is implemented

however, infrastructures need to make sure they keep up with new resolutions and further IP adoption is going to be the enabler of this. IP has been a core component of production workflows for a long time both as the basis of filebased operations and for helping productions collaborate better. By adopting IP either through a soft, hybrid approach or by an entire end-to-end solution installation, users will be able to better leverage the benefits of the IT industry in the future of broadcast infrastructure. With our IP-ready products, we hope to be able to guide both visitors to IBC and the wider industry on the best practice for migrating to an IP future. A key trend in the industry that fits into an IP future is the further development of remote

Focus on shared storage Quantum

By Carolyn Giardina

StorNext 5 shared storage architecture, which includes high-performance online storage, extended online storage and tape- and cloud-based archives, is being showcased by Quantum. The company is also highlighting StorNext Connect, a management

and monitoring console that provides an ‘at-a-glance’ dashboard of the entire StorNext environment. StorNext 5 is a workflow storage platform designed by Quantum to support content production, distribution and archive. The company emphasised the system’s performance and efficiencies, claiming that StorNext 5 automatically moves data across

production solutions. We know that interest in creating a production infrastructure that takes advantage of this idea is popular. For example, Gearhouse Broadcast has recently developed a remote production solution because of a high number of customer requests. Its solution uses EVS’ IT-based DYVI switcher to cut together signals from HD cameras carried through 10Gbit fibre. It also remotely carried audio and comms signals. The use of DYVI in this way really is going to have a huge impact in broadcast workflows and we’re excited about being an integral part of it. Another trend that we, and our partners, are focussing on is the distribution of multimedia content to mobile devices. As more rights holders are understanding

different storage technologies while maintaining full control of the data. Quantum said that because StorNext 5 had been engineered from the ground up to deliver highresolution, collaborative post and broadcast workflows, the end-toend system can both simplify and accelerate monetisation of content in digital libraries. The company is also demonstrating how StorNext connects to MAMs, nonlinear editing systems and other tools. 7.B26

Ensuring reliability for live broadcast over IP NTT Electronics/ VideoFlow By Will Strauss

VideoFlow’s Digital Video Protection (DVP) technology is being made available to users of NTT Electronics’ NTT HVE9200 encoder, a move designed to help ensure continuity of service during live broadcasts over IP networks, including the public

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internet. DVP makes use of Controlled Adaptive Rate (CAR) which constantly probes the connection’s bit rate capacity, responding to any change by adapting the HVE9200 encoder’s own bit rate in real time to be slightly below the network capacity, avoiding congestion. The HVE9200 responds to the DVP’s commands with a fast change to the video bit rate

on-the-fly without interrupting the service. Adi Rozenberg, VideoFlow’s CTO, said, “DVP makes IP networks reliable for live broadcast anywhere. CAR is the latest feature added to the DVP which completes nine layers of protection. CAR allows us to make any IP network, managed or unmanaged, as stable and robust as traditional means but significantly less expensive.” 2.C58 and 3.A29

the importance of an engaged audience, we’re expecting multimedia distribution and – by association, our C-Cast technology – to become as much of a key component of sports broadcast infrastructures as is our XT3 live production server. For example, the past six months have seen two big projects using this technology incredibly successfully. At the SEA Games held in June this year, a cloud-based infrastructure based around C-Cast delivered content to the first ever second-screen app for a multi-sport tournament. The application – designed by Netco Sports – gave users the ability to view live camera feeds, choose their own camera angles and watch game highlights and near-live replays. C-Cast delivered over 8000 clips to the application which generated more than 37 million user sessions – proving that this is the kind of engagement consumers want. C-Cast was also a star of

the FA Cup Final at Wembley in May. We worked with Wembley Stadium’s lead partner EE to deliver live replays and highlights over Europe’s fastest 4G network to mobile devices around the stadium. The application, designed by Intellicore, received content from the BBC’s host broadcast feed and successfully enriched the match-day experience of its users. Our industry, as it always does, has many things that are constantly developing and making workflows and infrastructures quicker, easier to manage, more cost effective and efficient in their output. We’re looking forward to continuing to lead the technology in the industry. 8.B90

Playout and publishing options boost Iphrame Suite Suitcase TV By Will Strauss

The IP and SDI compatible Iphrame Suite has been bolstered with the addition of realtime production, playout and publishing options. On show at IBC for the first time, Iphrame Publish treats linear channel playout in much the same way as publishing for VoD by pre-rendering channels, while Iphrame Vision is a realtime production system and vision mixer that runs on standard IT hardware and handles video, audio and graphics. Ed Calverley, VP products at Suitcase TV, said, “By reducing the amount of proprietary broadcast equipment used, broadcasters can also save on the time it

takes to set such systems up. As a result, the only essential on-site staff are the camera operators and very few others. For broadcasters seeking ways to provide more high quality content while reducing their costs, it is clear that Iphrame Vision can help save on the expense of transporting staff and equipment.” Suitcase TV has also launched three smaller packaged products designed to help broadcasters working with IP. The Iphrame Encoder and Iphrame Decoder provide conversion between SDI and IP and include options for monitoring and control while the Iphrame Surface allows a PC to be re-purposed as a multi-viewer. MediaStor, the file-based MAM system, is also on show. 2.C10

02/09/2015 20:54


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02/09/2015 07:04


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OPINION IP workflows: last paradigm shift At IBC2015 we are all at the edge of a rare industrychanging moment, says Dr Andrew Cross, president and chief technology officer, NewTek Let’s face it, there are only a small handful of points in time where our entire industry shifts and pivots in fundamental ways that change it forever. I believe we are at the precipice of one of those rare industry-defining moments. An example of a similar moment in the past was the advent of file-based workflows. There were many people at the time who thought moving away from tape-based workflows was a mistake. Today, tape doesn’t exist at all. And like that example, the move away from SDI to IP-based workflows isn’t about a single specification or industry-imposed technology like the move to 4K.

It’s about a fundamental change in the way video is produced. Many people in our industry view the difference between SDI and IP as replacing one cable for another. They both essentially connect something to something else in a workflow. But an IP workflow is far, far more than that. It’s as big as the difference between a walkie-talkie and a smartphone. The underlying reasons why IP-based workflows will forever replace SDI are threefold: • One, IP makes your production part of a network infrastructure that is connected to every computer and cell phone in the world and more – even light

bulbs! This is unprecedented in human history. SDI can only run parallel to it but cannot talk directly to other devices connected on a network like IP can. • Secondly, professional broadcasters are being squeezed economically to produce exponentially more video while maintaining high standards of quality on ever shrinking budgets. Nowhere is this more apparent than in live sports production where demand for content is such that companies that once produced 10 shows a year are now being asked to produce 100. Imagine the costs. Imagine what you have to pay your crews.

Breaking news features bolster Astra Studio v3 Aveco

By Will Strauss

A host of original ‘breaking news’ features have been added to the latest version of Astra Studio, the news production automation system from Aveco. Among the additions in Astra Studio 3 is ‘floating shots’, a feature that allows the director to work outside of a planned rundown, providing flexibility for multiple stories across onsite video, set backgrounds, branding and graphics. MAM integration is also included in version 3. This allows video search results to get to air instantly outside of a rundown during breaking news, and includes the ability to integrate with multiple third-party MAMs including those from Avid, EVS, Quantel, InStat, Octopus, Vizrt and others. Pavel Potuzak, Aveco’s

71 IBC D1 2015 Issue v1MDL.indd 1

founder and chief executive, said, “The ability for Astra Studio 3 to control a wide range of broadcast equipment as well as our Redwood Studio-in-a-Box – with the same operator interface – makes this an attractive system for both big and small studios, as well as hub-and-spoke networks where regional studios are seamlessly integrated with a central control point.” One of Astra Studio 3’s unique selling points, according to Aveco, is its ability to provide multi-studio production automation. This allows studios to be combined for major events. Working this way, when production runs long in one studio, projects can be reassigned with one keystroke to other studios inside a facility, with all production switcher settings,

graphics, virtual sets, video rollins, on-set monitors, camera robotics, audio settings and lighting settings made available in the alternate studio. Astra Studio 3 also makes use of a Template Editor that can be used to develop and modify how a story is presented. Other features include onebutton release of CG control during times of breaking news, an advanced mode for news magazine and episodic studio recording, improved video search and additional local/ remote preview capabilities. 3.B67

Star quality: Astra Studio 3 provides multi-studio news production automation

Imagine trying to maintain quality standards with high turnover among your crews. Imagine your best talent getting away because you can’t pay them what they’re worth. Now imagine a production workflow that allows you to maintain your best production talent in a central location, but receives camera feeds remotely from wherever the action is in realtime. This is how production companies are scaling now as the demand for high quality video continues to rise. It is already happening and it will continue to drive demand for more efficiency on the broadcast side of the IP framework. • Lastly, IP workflows will continue to democratise our trade whether we like it or not. The advantages are too numerous and enormous to mention here and some that haven’t been imagined yet. But

think of an individual producer who today can’t dream of affording more than four camera inputs having as many as he or she could possibly use – from anywhere in the world. Multiply that by every company in the world that knows it needs to create quality video to be successful. It’s a completely new paradigm in production workflow. And probably the last one we will see for quite some time. 7.K11

AirPlayList 2.0 automates multichannel radio playout Netia By Mark Hallinger

and broadcast media or channels located within separate databases rather than one central database. With the module’s Webbased interface, remote users can access the module to monitor or supervise playout on each channel and check the status of media. To ensure high availability of media, the AirPlayList 2.0 module offers users the choice of one-to-one redundancy or a one-to-N option, in which a dedicated pool of servers ensures that in the event of a disaster, a secondary server can recover media and ensure an uninterrupted broadcast.

The new AirPlayList 2.0 module for the Media Assist software suite facilitates the automated playout of multiple radio channels simultaneously and with guaranteed redundancy. Because the module is AES67and audio-over-IP-compliant, users can broadcast either from a traditional physical sound card or using IP-based virtual drivers. Built on a distributed architecture, the AirPlayList 2.0 module augments the overall reliability and robustness of playout, said Netia. In 8.B36b high-demand scenarios, the AirPlayList 2.0 user interface supports centralised control and monitoring of many different playout systems installed across different servers. Air guitar: The new AoIP-enabled module for Media Users can access Assist can also broadcast from a traditional sound card

02/09/2015 20:55


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collection system in your pocket U=HS\HISLUL[^VYRPUN[VVS¶VUZP[LVɈZP[LHUKVUSPUL UOnline networking and appointment scheduling UOnline portal available to attendees 365 days a year with exclusive IBC content

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02/09/2015 07:08


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Strategic deal secured with V-Nova Daniel Url, managing director of Qvest Media. “During the first review of the technical information about it, we were initially a little sceptical. After

all, until now it had been virtually impossible to demand a low bit rate, very low latency and, at the same time, high image quality from a codec.

However, a live demo and subsequent technical analysis have completely convinced us.” Perseus encoders and

decoders are available as server and PC-based appliances, embedded software and codec plug-ins. 3.B40

Meardi: “We are convinced that we will be able to expand”

Qvest Media/ Wellen+Nöthen

By Will Strauss

V-Nova, the video and imaging processing hardware and software company, has entered into a strategic partnership with systems architect Qvest Media (formerly Wellen+Nöthen). Officially signed during IBC2015, the agreement will see Qvest Media offer the V-Nova Perseus to its broadcast customer base. Guido Meardi, chief executive and founder of V-Nova, said, “We are convinced that we will be able to gradually expand our activities in the broadcast and media environment thanks to the extensive network that our new partner enjoys with manufacturers and users in this industry.” Perseus offers advanced compression with improvements in picture quality, processing speeds and power efficiency. The codec is considered to be robust and is continuously hierarchical, using a single stream structure to carry SD, HD and UHD video qualities. It is said to be able to deliver UHD video at HD-standard bitrates. “With Perseus, V-Nova meets the challenge of constantly increasing amounts of data and ever higher data rates,” added

73 IBC D1 2015 Issue v1MDL.indd 1

04/09/2015 09:41


74

For the latest show news and updates follow

#IBCShow

OPINION

Technology + art = magic IBC is about using cool technology to create amazing experiences, says Jeff Moore, EVP & CMO, Ross Video Finding ‘the magic’ is what shows like IBC are all about. You’re looking for that special thing, solution or idea that you can take back after the show and use to advance your organisation’s goals. Especially for those of you engaged in live production, its more than just about technology but also the art that the tech makes possible. While we hear an overwhelming amount about technology at IBC every year, what is often left behind is a discussion, or better, a practical demonstration of why you should care about it.

Exhibitions like IBC should force us to answer the question: what’s cool about the technology we make and how can the world use it to create amazing new experiences for their audiences? For thousands of years people have been gathering together to be entertained, informed and inspired. This is live production, the focus for us here at Ross Video. Our passion is to help live production artists, the producers, designers, operators, and talent advance their art – and make amazing, impactful productions more easily. And of course we

help engineers create the facilities that the artists need to do great work. Often technology looks like it was designed by engineers for engineers without enough thought as to how it might improve things for people that must use it daily in the practice of their craft. As Ross has evolved from an engineeringcentric company to a more wellrounded team that understands the bigger production picture, a lot of creative talent has invaded the company and changed our culture for the better. This change has given us a much better

New stream processor announced Ericsson By Ian McMurray

IBC is witnessing the launch of the new AVP 2RU stream

processor platform by Ericsson. The AVP 2RU delivers a very powerful and high-density solution that can be rapidly deployed, drawing upon various key capabilities which

can be applied across multiple applications, stream processors, multiplexers and encoders. It is also said to enable service providers to reduce the complexity of their platform and

understanding of what our clients are trying to achieve. Our highly talented creative teams are there to help our clients get the most out of their technology investments and take their live productions to the next level, but they do a whole lot more than that. They push the envelope, taking our products to their limits (sometimes breaking them) and find unanticipated ways to use them to do unique things in a production. They also make a big impact on product and feature development. Having these folks close to the engineering teams makes a big difference and significantly influences product design, priorities and features. There is a lot of both art and technology at this year’s IBC from Ross. Full system

demonstrations include: an entire news production workflow; a full-on sports stadium production feeding a giant 20-foot screen; a full end-to-end large scale graphics production workflow; a live virtual and augmented reality production studio and more. These systems are staffed with both creative and technical people. Producing content for our own productions and for clients puts Ross in a unique position to help you ‘find the magic’ that combination of technology and art that you are looking for at IBC this year. 9.C10

make substantial cost savings by removing the need for additional product purchases. Ericsson’s AVP 2RU platform delivers new features including high-efficiency cooling, using two independent, hotswappable airflow channels, each of which can be cooled using a single fan at ambient Wilson: “TV service providers face a series of unprecedented challenges”

temperatures through a single connector for both fan power and speed control. The design delivers throughput of 6GB per second and each transport stream can be optimised to up to 300MB per second. The AVP 2RU integrates with Ericsson Virtualised Encoding and supports the development of softwaredefined video processing for TV service providers, allowing dynamic resource allocation and abstraction. Dr. Giles Wilson, head of TV compression, Ericsson, said, “TV service providers face a series of unprecedented challenges in order to meet the increasing consumer expectations of a TV Anywhere age and to deliver new channels to market at record speed”. 1.D61

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Collaboration and connectivity for news teams

helps journalists follow Twitter trends and track topics across the social network in real time; an automated research process gives teams information and analyses trends. Octopus is also introducing a new Octopus App to enable news production on tablets

and iPads. News teams working remotely will have access to wires, rundowns and assignments. They can also edit stories within a rundown, preview prompter text as well as create wires and reports in the field.

Janko: â&#x20AC;&#x153;The new dashboard brings together L]LY`HZZPNUTLU[UV[PĂ&#x201E;JH[PVUHUK\WKH[Lš

7.G11

Octopus

By Carolyn Giardina

Octopus Newsroom 8, designed to improve the way teams across different departments collaborate and share stories, sources and data has been launched. The software also has new features for connecting news teams with social media and online news channels. Information and media sharing is now supported without the need to duplicate information. The company reported that every topic and each element within a story is centralised and available across editorial teams, with transparency between TV, radio and social media departments. Managers can assign entire stories, or individual sections within a piece, to particular users across the organisation. Where features have multiple parts or sources, users can filter within that topic. Gabriel Janko, sales director, Octopus, said that Octopus 8 developers have also streamlined the workflows to be accessible from a single screen. â&#x20AC;&#x153;The new dashboard brings together every assignment, notification and update,â&#x20AC;? added Janko. The new version directly interconnects with CMS systems, for uploading scripts and articles to web portals. This new web component allows TV news editors themselves to upload pages directly. New features in Octopus also allow administrators to assign users to create content for social media. The company said Tweets and Facebook posts are treated like any other news story, with team managers able to assign and share tasks, and approve messages before they go live. The software also

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OPINION

A new brand vision Weâ&#x20AC;&#x2122;re in a true multimedia environment where it is consumer-pull thatâ&#x20AC;&#x2122;s defining the media landscape, says Neil Maycock, EVP marketing, Quantel and Snell I think everyone acknowledges that market conditions are tough right now, as is evident from the results weâ&#x20AC;&#x2122;ve seen published recently from a number of companies in the sector. This is a phenomenon weâ&#x20AC;&#x2122;ve seen before of course â&#x20AC;&#x201C; every time there have been major technology shifts, they have caused deferrals of decision making, and so purchasing. But the situation right now is

compounded into something that looks from the outside like a perfect storm thatâ&#x20AC;&#x2122;s hitting our customers from both ends. Not only is there a seismic technology shift going on that fundamentally changes their workflow models, but also a revolution in the way consumers are accessing media that equally fundamentally is demanding a radical change to their business models. Weâ&#x20AC;&#x2122;re no longer in a â&#x20AC;&#x2DC;pushâ&#x20AC;&#x2122; industry â&#x20AC;&#x201C; weâ&#x20AC;&#x2122;re

in a true multimedia environment where it is consumer pull that is defining the media landscape. Agility is the key to success in such fluid times; it is more important than ever that we enable our customers to easily embrace the new technologies so that they can exploit the benefits as and when their business models allow them. Iâ&#x20AC;&#x2122;m talking in particular about IP, 4K and HDR here, and also â&#x20AC;&#x201C; critically â&#x20AC;&#x201D; the

tools to manage multiple delivery requirements efficiently right across the media production chain. Our approach is to enable our customers to buy solutions that meet all of todayâ&#x20AC;&#x2122;s needs but also have the capability to change designed in â&#x20AC;&#x201C; giving them the flexibility to deal with an uncertain future while seeing a strong return on investment today. In contrast to many of our peers, weâ&#x20AC;&#x2122;ve just come out of a strong second quarter, and Iâ&#x20AC;&#x2122;m expecting IBC to further validate our approach as we get the great opportunity that the show provides to talk present and future plans with so many of our customers. We are

outperforming the market and anticipate that we will continue to do so throughout the balance of 2015. Weâ&#x20AC;&#x2122;ve also chosen IBC as the natural platform to launch our new brand and vision. Itâ&#x20AC;&#x2122;s much more than just a new name sticker â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s a whole new company with enormous potential, and weâ&#x20AC;&#x2122;re showing the first results of months of inspired hard work at IBC. Do call by. 7.G20

Threesome set for broadcasting bonanza NewTek

By Carolyn Giardina

NewTek is showing its TriCaster multi-camera video production systems, along with its 3Play sports production and TalkShow VS-100 video calling

production systems. This includes the TriCaster Advanced Edition, which provides broadcasters with augmented reality capabilities in their virtual studios, automated graphics creation based on data fields instead of manually typing in text, scores or stats, custom-

programmable web interface to control TriCaster from a browser, both audio and tally over IP, and mixing stored media clips right in their players while streaming live. NewTek is also showing its latest TriCaster models, including the flagship TriCaster 8000, which provides a

Super 35 Global Shutter Camera Dual/Quad 3G/HD-SDI





Augmented edition: Tricaster 8000 provides a premium 8 M/E production switcher

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premium 8 M/E production switcher. The company is demoing its 3Play 4800 sports production system, aimed at broadcasters, pro leagues/ teams, and large venues. It including slow motion, instant replay, multi-angle preview, in-game highlights and social media publishing. Also on the booth is TalkShow VS-100, the video calling production system designed for TV studios and live video producers, enabling them to connect to Skype users and integrate them as guest speakers into a live production. â&#x20AC;&#x153;NewTek has opened up the world of professional quality broadcasting to those with big ambitions, regardless of budget,â&#x20AC;? said Dr. Andrew Cross, president and CTO for NewTek. 7.K11

02/09/2015 20:57


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77

Four worlds of pro audio Sennheiser

Chat line: The MKE 2 digital clip-on microphone connects directly to iOS devices

By Mark Hallinger

Four distinctive audio worlds are being showcased at the joint Sennheiser and Neumann stand. ‘ENG world,’ a typical radio station environment, a TV broadcast studio and a dedicated sports broadcasting set-up are the four areas. The ENG area features the full scope of typical ENG situations. Here, Sennheiser is showing its most portable ENG audio solutions: the ClipMic digital and MKE 2 digital clip-on microphones which connect directly to iPhone, iPad or iPod touch devices, turning them into an ENG tool that is always at hand. The clip-on mics were developed in cooperation with A/D conversion specialists Apogee Electronics. The ‘typical radio station’ area features Neumann’s most successful microphones for this environment: the BCM 104, TLM 102 and the TLM 107. Sennheiser HD 26 Pro and HD 650 headphones and Neumann KH 120 monitor speakers as well as a Neumann KH 810 subwoofer round off the studio recreation. A typical TV talkshow ‘studio’ and control room showcase the highest-quality Sennheiser and Neumann broadcast equipment, from the Digital 9000, Sennheiser’s digital wireless system, to Neumann KH 310 monitor speakers. Also on show are wired microphones for studio use, such as the table-top Sennheiser MKH 8050 and ME 36 models as well as Neumann KM 185, and Sennheiser broadcast headsets. For presenters, the studio environment features the classic MKE 40 clip-on mic and the new Headmic 1, which was recently launched. 8.D50

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OPINION

Progress with cloud workflow Connectivity is the key to the cloud. Overcome the obstacles of migrating from SDI to IP, with Jon Landman SVP of sales, Teradek No matter your industry, it is clear that the cloud has started to play a far greater role in all our lives. Through new developments, we can now store unlimited amounts of media and deliver it affordably across multiple platforms faster than ever before. Despite the conveniences behind a cloud workflow, some broadcasters are still reluctant to embrace it. I understand that a major concern for broadcasters across the board has been security. However, it is important to recognise that the five major US IT security breaches of the past 12 months – Sony, Anthem, Target, Chase Bank, and

Walmart – all occurred within the local servers of each company. Contrary to this, the AWS ‘cloud,’ which is incorporated in Teradek Core, has been certified by the MMPA, one of the toughest media protection agencies out there. So, in terms of the cloud, security is a top priority for us and less of a worry for broadcasters. Another concern for broadcasters is accessibility to the cloud. At Teradek, we focus on offering an easy and affordable way for any broadcasters to transmit and route live video to the cloud whether via wireless, wired,

cellular, or satellite. For example, 10 years ago I was selling H.264 encoders for $54,000, and now I sell Teradek encoders for under $1500. As a result, I sold one Tandberg H.264 encoder compared to over 20,000 Teradek encoders. The cellular bonding market has evolved. Only five years ago using bonded cellular technology for video or file transmission was a $40,000 investment that had questionable quality and challenging connectivity. Today however, we offer bonding for under $1000 and a 1080P quality that can be streamed, routed and recorded in the cloud. At this

IBC, you will see that virtually every operation that once ran at a television station is running in the cloud – from ingest to playout, from acquisition to archiving. It can all be done in the cloud. For the past 20 years, a broadcasting facility has been predominantly a SDI facility. Equipment was broadcast specific and as such a broadcast engineer took care of everything: transmitting to an editing bay, an ENG camera, and to a payout server. Since the CE is the principal controller of this domain, if the station went off air or an advertisement didn’t play, the GM knew who was responsible. On the other hand, today’s software is the new ‘hardware’ and the CE needs a completely new tool set to effective accommodate for the new business model at the lowest price point.

For example, in place of their $25,000 vector scope, a Wi-Fi analyis could be used, which is $3000 in comparison. With stations constantly streaming, tweeting and posting content nowadays, it is a bold new IP world out there for broadcasters everywhere. In this day and age, technology is ever expanding and evolving, faster than most can keep up with. Teradek is dedicated to improving your ability to deliver affordable, HD programming and continues to advance as we make our way into the future of cloud technology. 11.E55

Fibre optic rollout simplified Fischer Connectors

By David Fox

Two new fibre optic accessories that should simplify the rollout of fibre for broadcast applications have been introduced by Fischer Connectors. The new daisy chaining and loopback accessories, coupled with the Fischer FiberOptic Series, are designed to making fibre optic deployment and transmission

78 IBC D1 2015 Issue v1MDL.indd 1

testing in the field much easier. The daisy chaining adapter connects the plugs on each reel, enabling several reels to be connected quickly and seamlessly. The loopback offers a shortcut to speed up testing, so that even someone working alone can ensure everything is in perfect working order; by shining a light down the first fibre, you can check if light appears on the second fibre, without having to walk right to the end to take a look.

The accessories come with Fischer Connectors’ preconfigured FiberOptic reels of any required length, making them a more convenient and flexible turnkey system. Jacques Miéville, FiberOptic product manager, Fischer Connectors, said “We’ve developed these new accessories to meet broadcasters’ specific challenges. They told us they waste a lot of time setting up the reels and going backwards

and forwards checking that everything works properly. Our new fibre optic solution is easy to use, fast to deploy, and highly reliable in terms of performance.” The Fischer FiberOptic Series come pre-cabled, with a removable sleeve holder (monobloc mate adapter) and a push-pull locking system, making them easy to connect, disconnect, and disassemble for quick field cleaning and maintenance.

Reel life: A FiberOptic reel with the new loopback and daisy chaining accessories

They are available in two versions: a fibre optic connector with two or four fibres, or a hybrid connector with two fibre channels and two electrical contacts. 11.F32

02/09/2015 20:58


79

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Scalable real time audio processing MicroN for media distribution Linear Acoustic Riedel Communications are showcasing our newest By Mark Hallinger By Heather McLean

The AERO.soft enterprise-class television audio processor is being displayed at IBC2015. AERO.soft features Linear Acoustic processing engines identical to those in the AERO.100/1000/2000, with optional Dolby coding and while supporting the ongoing transition to AoIP. Chris Shaw, vice president of global sales, television, for Linear Acoustic, said, “Trusted Linear Acoustic AEROMAX loudness control, UPMAX upmixing, and ITU-R BS.1770 metering and logging, plus available Dolby encoding and decoding, are available as an enterprise solution. AERO.soft enables both audio signal processing and I/O to be tailored to a facility’s changing needs, expanding only as needed. The Linear Acoustic SDI xNode or any of the Axia AES or analogue xNodes enable integration into a

79 IBC D1 2015 Issue v1MDL.indd 1

Peak performance: Both audio signal processing and I/O can be tailored to a facility’s changing needs

‘traditional’ non-AoIP environment, while also fitting seamlessly into any existing AoIP system.” AERO.soft, with its fully customisable I/O, loudness control and logging make configuration and maintenance easy, claimed the company. The AERO.soft Engine can host eight AEROMAX 5.1 (5.1+2+2) or AEROMAX 2.0 (2+2+2) processing instances. This approach to audio processing allows simple and future-resistant upgrades to support additional program channels, or new features and technology like personalised and immersive audio. Adoption of AoIP is accelerating

in television broadcast plants around the world, building on the proven success from the radio broadcast industry where it has been commonplace for well over a decade, supporting thousands of on-air facilities every day, said Linear Acoustic. AERO.soft uses the established Livewire+ AoIP format to interconnect with nodes used to convert AoIP to and from SDI, AES, and even analogue signals. Livewire+ is the next generation of Livewire, developed by Telos in 2003 and which forms the basis of the open AES67 AoIP standard. 8.D47

addition to the MediorNet line of realtime signal networks, the MicroN. This 1RU box is a powerful and flexible 80G media distribution device that can be used in several different ways to create unique signal topographies and simplify signal transport like never before. We are also demonstrating the new apps that are available for the stunning Smartpanel.” MicroN offers routing and processing capabilities that can be tailored economically for productions of all sizes and complexity.

Being showcased at IBC2015, Riedel Communications’ MicroN is an 80G media distribution network device for the company’s MediorNet line of media transport and management solutions. Working with the MediorNet MetroN core fibre router, MicroN is a high density signal interface with a complete array of audio, video, and data inputs and outputs, including 24 SD/HD/3G-SDI I/Os, two 10.A31 MADI optical digital audio ports, a Gigabit Ethernet port, two sync reference I/Os, and eight 10G SFP+ high speed ports. The company claims the unit is pegged at a very competitive price point. Thomas Riedel, CEO, MicroN is a high density signal Riedel Communications, interface with a complete array of audio, video, and data I/O said, “At IBC2015 we

02/09/2015 20:59


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Viz Engine enhanced

Q&A

Vizrt

Liren Zhu, CTO, Osee Technology Has IBC come at a good time for the electronic media industry? Why?

(signals) from the multi viewer, Aurora 1600.

It definitely comes at the right time after 4K technology has been a buzzword over the past couple of years. The issue now is how 4K technology can be better integrated into the workflows of broadcasters. One thing for sure is that the increasing maturity of 4K display technology renders the new technique of displaying HD signals on a multi viewer with higher resolution. 4K display screens offer four times more clarity than that on a HD screen. 4K displays can therefore exceed the standards of quality over HD displays and thus deliver a higher quality for video wall monitoring systems. OSEE brings its solution, SV-4K to IBC2015, where delegates will witness how good the signal quality can be on a 55inch 4K monitor with 10 windows

What do you think are the key developments in your market sector at the current time? Technically speaking, the key development in the market sector OSEE has been dedicated to over decades is the evolution of display technology from 4K displays to OLED as well as small dotted LED display. How these new technologies are applied will be one of the biggest market drivers for OSEE as we continue our focus on producing quality products integrated with the latest technology.

Why should delegates visit your stand at IBC? There wonâ&#x20AC;&#x2122;t be any better occasion than IBC2015 for delegates to go in-depth to learn about OSEEâ&#x20AC;&#x2122;s product lines

By Carolyn Giardina

should they be looking for a total solution provider for display systems. As a provider for both multiviewers and display products of monitors of all sizes and into all applications, OSEE has become a very reliable partner to best serve display system customers. There will be two highlights at OSEE booth for IBC this year: the bundle solution of SV-4K which offers superb picture quality with high flexibility in layouts at a very affordable price range; and second is our lineup of LCD monitors from colour grading to delicated field monitor. Regardless of the size of monitors, all of them are equipped with 3D LUT calibration. 10.D59

The latest version of Viz Engine with new video playout capabilities has been introduced. With the new features, Viz Engine functions as a multichannel playout server for HD and 4K, while also allowing streaming IP video out. It allows Vizrtâ&#x20AC;&#x2122;s graphics and video to be composited in real time and output in a range of formats for use online, on mobile devices or live on-air. When combined with a centralised SAN clip playback, thereâ&#x20AC;&#x2122;s no need to transfer files, claimed Vizrt. Viz Engine is also expandable. The company reported that multiple GPUs can be added for graphics and video production. The same Viz Engines can be used for J2K and SMPTE 2022; more formats will follow and could be installed as services with no need to upgrade the Viz

Versatile: Viz Engine now functions as a multi-channel playout server

version. According to the company, since every Viz Engine can function as a graphics rendering system and a video playback server, broadcasters can customise their own workflow. Developers have also ensured that Viz Engine can be used as a live format conversion tool. The company said it could accept any format video input and output to any format in real time. It added that could be useful, for instance, for media companies broadcasting content in HD or 4K that would like to simultaneously stream all their broadcast content live in various IP formats. 7.A20

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02/09/2015 20:59


81

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Using SaaS to build branded web presence Aspera, an IBM company

Cost-effective codec? CallMe Vortex Communications

By David Fox

By Carolyn Giardina

A new software as a service (SaaS) platform, Aspera Files, is being showcased at IBC2015. Aspera said the platform was developed to enable any organisation to establish a branded web-based presence for fast, easy and secure exchange and delivery of any size file-based media or data between end users across separate organisations, combining multiple storage platforms. Content can be stored and accessed in multiple cloud and on-premise storage systems, and may be shared between users and trusted organisations. Aspera asserted that the platform enables distance-neutral exchange of any size data over the Internet, regardless of

Aspera Files enables distance-neutral exchange of any size data over the internet

network conditions. Aspera Files has a security system that provides authorised users with a distributed content access control system that enforces content sharing permissions and authenticates each user’s access. Content transfers may be encrypted on the wire and at rest, with optional client-side and

server-side encryption. The platform is designed to scale to meet variable demand in throughput and storage by automatically adding new transfer nodes as transfer load increases, moving heavily utilised transfer nodes into an unavailable pool, and spinning down surplus nodes when transfer demand subsides.

The new CallMe Browser Audio Codec can get contributors on-air with a minimum of fuss and no need for specialist equipment, software download, or even specific technical knowledge. Contributors simply use their own computer, tablet or smartphone to converse, with high-quality sound. Vortex described it as a costeffective codec service that can deliver high-quality IP audio from just about anywhere and from almost any device back to the studio codec, with low delay and the minimum of setup. The studio sets up a CallMe Event that produces a web link to be e-mailed to the contributor. They click on it and are connected directly, using their normal internet browser, to the station’s dedicated and branded

portal on the CallMe.FM server. To go live they simply click on a call button and connect with low-latency high-quality broadcast audio to the codec at the studio, already set up as part of the licencing process. For reporter use, Vortex has a range of microphone and headset smartphone interfaces for professional connectivity. There is a CallMe-Enterprise version for large customers who may have an installed base of hundreds of codecs, but for small stations the service can be configured for a handful of simultaneous connections to save costs. 11.G11

On call: A journalist CallMe system reporting from Waterloo railway station

7.B27

Europe’s nr. 1 IP Contribution solutions for live audio and video broadcast BONDED LIVE BROADCASTING ADAPTIVE ENCODING HIGH QUALITY VIDEO

Live video over bonded IP connections WWW.MOBILEVIEWPOINT.COM

81 IBC D1 2015 Issue v1MDL.indd 1

IBC: Hall 14, Content Everywhere

14.F21

02/09/2015 21:00


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OPINION

Beware the magic bullet IP For some time we will be in a ‘hybrid’ world where SDI and IP infrastructure co-exist, argues Chris Exelby, managing director, TSL Professional Products In my IBC Daily article last year I talked about how the broadcast industry was at the very early stages of the move to IP-based infrastructures. Fast forward to IBC2015, and the Audio over IP (AoIP) and Video over IP (VoIP) revolution is now well and truly here. Ambitions in the broadcast community are set high. Some see it as a technology of ultra-convenience, or as a magic bullet for the bloated capital budgets that come with infrastructure and capacity upgrade — a high channel count transport system that can use existing IT provision. There could also be an even brighter future where infrastructure flexibility with software-driven routing of audio, video and metadata, complete with allencompassing synchronisation, is actually the main prize. We are seeing broadcasters

and facilities either refurbishing their existing technical centres or building from scratch, integrating their broadcast audio and video with IT networks to create buildingwide data systems. Where expensive edit suites were required for audio correction and compliance, we can now achieve this through software programmes with simple user interfaces and channel mapping technology allowing users to simultaneously correct, analyse and report streams of audio material from a single workstation. Gone are the days of heavy copper wire cables and overkitted-out edit suites – the future is single cable, low latency audio delivery. It’s a leaner, more cost effective future. However, we must be realistic about the challenges of practical implementation of

AoIP and VoIP in the broadcast environment and we will be, for some time, in a ‘hybrid’ world where both platforms co-exist in the same infrastructure. Generally a broadcaster’s IP transport will require a separate, managed network, with high enough bandwidth for audio and video, and capable of clean switching. Every point where you might have a camera really needs to have a 10Gb switch. A busy area on a network might be the video mixer on a live production, which would certainly require a 40Gb or even a 100Gb switch. This is neither commonplace nor inexpensive technology, though audio-only is a different matter and its bandwidth requirements are tiny in comparison. Also, moving to IP-based workflows necessitates the IT training and knowledge requirement that up until now has not been prevalent in

the broadcast department. Today’s reality is that most implementations of AoIP are straight replacements for an existing technology such as MADI or SDI. While there are advantages such as using metadata for remote control of mic pres, the broadcaster’s content-over-IP ideal — where audio and video share the same, synchronised, software-managed transport — is still in its infancy. Audio and video over IP for broadcast is not really about cost. We don’t think implementation of IPbased infrastructure will be significantly cheaper. However, a convincing argument can be made on significant and very practical gains. At TSL Products, we’re already embracing the future and working on next generation audio and video monitoring products to support all flavours of audio and video over IP. Our new range of AMUs address the move to AoIP, with models compatible with Dante, Ravenna, Hydra and MADI workflow requirements (the MADI option addresses video

Want to move from baseband to IP, but not sure how? Look no further! Discover how Nevion helps broadcasters transition their networks smoothly, incrementally and cost effectively from baseband to IP in studios, campuses and beyond — using a standards-based approach including real Software Defined Networking (SDN).

Visit our stand at IBC #1.B71

nevion.com

routing requirements as well as embracing single cable technology). Come and have a chat about your IP requirements with us at IBC. 10.B41

Muddysounding mixes no more iZotope Inc By Mark Hallinger

The new RX Final Mix realtime plug-in helps audio post production and broadcast professionals create balanced mixes that are impactful yet True Peak compliant. Part of the RX family of post production tools, RX Final Mix is built specifically for post production with support from mono to 7.1 surround. It enables editors and mixers to maintain the optimum balance between sonic elements when creating deliverables such as mix stems, for example, when a music and effects mix stem is required for foreign language dubbing. Muddy-sounding mixes can be avoided with reactive EQ and limiting tools. The Dynamic EQ and True Peak Limiter offer dynamic and transparent mix output that meets True Peak specs. Because RX Final Mix offers the ability to sonically sculpt in the frequency domain, editors can surgically carve sonic elements so that dialogue is clearly heard above music and effects. 8.D70

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Turnkey Alchemist OD converter unveiled Snell

the highest quality, most reliable and best supported file-based converters in the business.â&#x20AC;? Alchemist OD can be

purchased via the worldwide Snell sales and reseller network or direct from the Snell online store.

Making a splash: the turnkey Alchemist OD package is â&#x20AC;&#x153;ready to go, right out of the boxâ&#x20AC;?

7.G20

By Carolyn Giardina

A turnkey version of the Alchemist OD format and frame rate converter is now available as a fully configured, Snell-supported software and hardware option. As well as continuing to be available as a software-only offering, the move combines Snellâ&#x20AC;&#x2122;s media processing software with two choices of hardware configuration. The Professional Alchemist OD package makes use of high-performance commodity components to create a costeffective conversion solution for standard use. The Enterprise Alchemist OD package incorporates enterprise grade components for heavy 24/7 usage. The Enterprise solution enables fast connectivity to remote NAS/SAN storage and offers additional features such as ECC memory, redundant power supplies and increased CPU processing power. Both systems are delivered in a 4U chassis and come with Windows Server 2012, as well as enabling support for Appleâ&#x20AC;&#x2122;s ProRes family of codecs. Jeremy Courtney, business leader, Snell On Demand, said, â&#x20AC;&#x153;Everyone who sees the quality and flexibility of Alchemist OD software is instantly convinced. However it has become clear that some customers prefer to avoid the time and hassle of choosing the hardware and configuring the system themselves - as well as keeping the expertise on hand to put things right in the event of hardware problems. â&#x20AC;&#x153;Our new Alchemist OD turnkey solutions answer this perfectly,â&#x20AC;? continued Courtney. â&#x20AC;&#x153;They are fully configured and certified by Snell experts, ready to go right out of the box and both the hardware and software are supported by Snell. It means the customer can get on with their business secure in the knowledge that they have

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RAI Amsterdam Conference 10-14 September : Exhibition 11-15 September

The IBC2015 Big Screen Experience The IBC Big Screen Experience is the ultimate showcase that explores the art, science and business of cinema and how current developments in these areas are defining cinema and the wider industry for the 21st century. The IBC Big Screen Experience is free for all IBC attendees and features an editorially led programme, technology demonstrations and complimentary screenings.  

    

    

 Sponsored Session- ACES: The problem solver for production, post and archiving

 EDCF: Global update

  HDR: From zero to infinity - part 1

    

    

 HDR: From zero to infinity - part 2

 IBC Big Screen Experience Keynote - Extending the Creative Palette: Vision from Pixar and ILM

 HDR: From zero to infinity - part 3  Sponsored Session - ARRI: Complete solutions for breath-taking images     IBC Big Screen Saturday Night Movie: Fantastic Four - Exclusively in Dolby Atmos and Christie 6P laser projections. Courtesy of 20th Century Fox.

 Immersive Cinema: Picture  Immersive Cinema: Sound   Cinema 2020: Seeing the future business today     IBC Big Screen Monday Night Movie: Inside Out Exclusively in near-Rec.2020 extended colour gamut, Christie 6P laser projection and Dolby Atmos. Courtesy of Christie, Dolby Labs, Harkness Screens, QSC & Disney Pixar.

02/09/2015 21:01


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High resolution imagery on the go Avid

By Carolyn Giardina

Featured on the Avid stand, Avid Artist | DNxIO is a hardware interface designed to accelerate high-resolution video production. Combined with Avid Media Composer, it enables high-res video ingest, editing, monitoring and output. The company noted that since it is built on the Avid MediaCentral platform, it’s compatible with any Avid Artist Suite tool and third-party creative tools, including DaVinci Resolve and Final Cut Pro. Avid Artist | DNxIO additionally includes hardware by Blackmagic

Design, an IO connectivity partner for the MediaCentral platform. Chris Gahagan, senior VP products and technology at Avid, said, “As more and more productions move to greaterthan-HD resolution, it is important for video professionals to have the integrated hardware and software they need to take on any project.” Avid Artist | DNxIO enables users to capture, monitor and output formats including 2K and 4K. It fits in standard 19-inch equipment racks, and its HD display allows editors to monitor media that is being ingested into and outputted from the system, even when the software is not running. 7.J20, 7.J14

Top scorer: Avid Artist | DNxIO enables high-res video ingest, editing, monitoring and output

#IBCShow

Improving workflow efficiency with FlashNet SGL

By Carolyn Giardina

The FlashNet content management system is designed to integrate with MAM or automation control systems to improve workflow efficiency, and SGL is showcasing related technology and third-party integration with the system. This includes a demonstration of an archive using GV Stratus, which includes search, archive and restore integrated directly with FlashNet. The presentation will include FlashNet’s control of job queues directly from GV Stratus. SGL said it is also demonstrating how Direct Connect allows Avid ISIS users to quickly transfer high-

resolution material, how the FlashNet migration service enables migration to be set up as a single background task, as well as cloud-based archiving to Amazon S3 and Sony Ci Cloud. Additionally, the company has unveiled a new, entry-level FlashBox content storage

management system. At IBC, SGL is also showing Avid Web Services integration, an archive demonstration via Avid’s Interplay PAM system, support for LTFS, a new version of FlashWeb, and the latest version of its FlashNet API. 7.J15a

INTRODUCING AERO.10 - DTV AUDIO PROCESSOR Highest Quality Television Audio Processing-Incredible Value

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f Comprehensive remote control and monitoring f Stereo analogue audio I/O, Eight AES I/O, and 3G SD/HD-SDI I/O f ITU-R BS.1770 Loudness metering with logging of loudness and True Peak data © 2015 TLS Corp., All Rights Reserved. W15/1/18108

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From graphics production to branding Ross Video

By Heather McLean

A range of Ross Video workflow products are being exhibited here at IBC, from centralised graphics production workflow through to branding and ticker solutions. One example is a tailormade solution centred around the latest version of the LCS intuitive touchscreen interface. This interface is being used by legislative organisations around the globe, who are taking advantage

of it to automate their production environments and produce a high quality and consistent output for constituents. Infrastructure is a necessary foundation for all the solutions being demonstrated on the Ross stand. To provide high quality, low latency video connections between locations connected via IP transport, new openGear modules are being shown that offer SFP Based SMPTE 2022 IP and VSF TR1 JPEG-2000 conversion solutions. The new openGear modules include H.264 / MPEG-4 AVC

contribution encoders to provide simultaneous support of DVB-ASI, broadcast video over IP, RTMP, and HTTP Live streaming, as well as 3G / HD / SD distribution amplifiers offered in single, dual and quad re-clocking and equalising models, with support for SMPTE 424M, SMPTE ST 292-1 and SMPTE 259 serial digital video signals at 3G, HD, and SD rates. There are also frame synchronisers to synchronise, time, and process both audio and video in 3G, high definition, and standard definition applications.

All-in-one CCU and pocket recorder Datavideo By Carolyn Giardina

The HDR-10 pocket sized replay recorder has been introduced, designed to integrate with an existing HD workflow.

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The recorder has constant 30-second catch, just requiring users to drop a ‘mark in’. After that, a user can edit the clip by adjusting the mark in and mark out points. Once the clip is saved, it’s ready for playout in a broadcast workflow. There are

also jog shuttle controls for easy replaying. Cueing the clip is accomplished with the Contour Design ShuttleXpress, which is free for a limited time with an HDR-10 purchase. Datavideo is also showing the

Also on show is the MC1 master control, which adds 3G 1080p support, channel ganging capability to switch multiple MC1’s in tandem, either manually or under automation, and audio features with the ability to remap audio channels and make adjustments to level presets to any audio source. Ross is also showing its Acuity switcher, which offers enhanced processing power features. These include: full UHD (4K) production

with 8 keys/16 channels of DVE per ME; MultiFeed configurable programme outputs with two preview and six programme outputs for every ME; plus 36 channels of system-wide Media Stores. 9.C10

;OL(J\P[`Z^P[JOLYMYVT9VZZVɈLYZLUOHUJLK WYVJLZZPUNWV^LYMLH[\YLZ

CCU-100, claiming it lets you can be used to remotely control ‘pack all your signal, talkback various camera parameters and control cables into one such as the iris. 7.D39 multi cable.’ The camera control unit (CCU) powers the professional video camera, handling signals sent over the all in one camera cable (CB-49) to and ;OL/+9\ZLZHZLJVUKJH[JOHUK from the camera, and QVNZO\[[SLJVU[YVSZMVYLHZ`YLWSH`PUN

02/09/2015 21:02


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OPINION

Playout strategy calls for Cloud Cloud has emerged as the most affordable, flexible and scalable approach to managed playout services, says KA Srinivasan, co-founder, Amagi The broadcast environment is evolving rapidly, driving broadcasters to look for innovative technologies that optimise the delivery of video content. Broadcasters today are handling an increasing number of feeds being delivered to a plethora of viewing devices. In addition, video content needs to be prepared in multiple formats to take into account regional preferences such as language or local advertising restrictions. To overcome these challenges, broadcasters require a playout strategy that is much more efficient and affordable

than the traditional satellite- and fibre-based models. The cloud has emerged as the solution to these needs, allowing for the seamless transport of television content, significantly reducing the cost of launching and running a channel. By leveraging cloud-based services for content delivery and playout management, broadcasters can now speed up the origination and distribution of content to platforms and affiliates anywhere across the world. Platforms that utilise a hybrid architecture consisting

of cloud-management and edge-playout solutions, enable content owners to speedily move assets through the internet, or transport content into the cloud infrastructure via portable storage methods. The assets are then transcoded on the cloud into required formats, archiving the content as needed. Traditional asset management platforms, which store content in large proprietary data centres and tape archives, can often be cost-prohibitive to broadcasters. But asset management on the cloud allows broadcasters to

64-bit Channel Box Prime unveiled ChyronHego By Carolyn Giardina

Channel Box Prime is being introduced, a new version of ChyronHego’s Channel Box

channel branding system that has been re-engineered for 64-bit environments. With a new rendering engine and scene designer, Channel Box Prime is geared to broadcasters’ specific requirements for channel branding and playout. Mark

Gederman, director of marketing at ChyronHego, said, “Warp Effects is a special effect that integrates with industry-leading third-party modeling and rendering tools such as Adobe After Effects and 3ds Max from Autodesk.” Also at IBC, Chyron is debuting

     

store and archive all necessary content without requiring large capital investments. A cloud-based approach to asset management also enables broadcasters to easily alter the content on demand, and reformat it for VoD and OTT multiscreen delivery. Additionally, with built-in replication, the cloud is disaster-resistant and provides easy collaboration across multiple sites. The origination and playout of content through a cloudmanagement infrastructure is proving to be extremely beneficial for broadcasters. By hosting broadcast workflow capabilities on the cloud, including media asset management, quality control, subtitle editing and management, and automation and scheduling, broadcasters

Lyric64, a new version of its Lyric graphics system, in a 4K environment and in a video wall application; Studio MediaMaker, a new system for streamlining broadcast production in smaller or non traditional organisations; and Paint 6.1, a new release of the company’s telestration system that features support for 4K productions and integration with

can speed up operations, increase flexibility, and lower costs. At IBC2015, Amagi is demonstrating the latest enhancements to its cloud-based playout and regionalisation platforms, which offer broadcasters a scalable, cost-effective, and flexible solution for disaster recovery and managed playout applications, streamlining the delivery of content to platforms and affiliates anywhere across the world. 2.C23

Channel Box Prime features a new rendering engine and scene designer

EVS systems and workflows. 7.D11

Proudly introducing the new NRCS system

 

Witness the new ground-breaking features of Octopus 8 on our stand at IBC 2015. Visit us in hall 7 for a demonstration of the latest innovations in newsroom computer systems for both Mac and Windows platforms.

Go social!

86 IBC D1 2015 Issue v1MDL.indd 1

www.octopus-news.com

02/09/2015 21:02


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Integrated Ultra HD PTZ camera

87

Reality TV star: Panasonic’s new AW-UE70 UHD remote camera

Panasonic

By David Fox

The new AW-UE70 is claimed to be the industry’s first integrated Ultra HD pan/ tilt/zoom camera. It delivers 3840x2160 resolution at 25p via HDMI, and is capable of UHD IP streaming and in-camera recording to a microSD card. It also delivers various HD formats including 1080 at 50p, 50i and 25p. Features include genlock, optical image stabilisation, remote switchable ND filters, 3G-SDI; RS-422 and RS-232C I/O, and a built in web server. Browser control and IP-live preview, for up to 16 cameras, is possible from PCs, Macs and mobile devices. Jaume Miro, product manager for Panasonic Remote Camera, said, “The camera’s flexible 4K/HD capabilities make it a good choice for broadcast as well as demanding installations in stadiums, conference rooms, auditoriums and events, where ultra-high resolution video and precise control are required.” “Standard IP-control, built-in audio input and Power over Ethernet enables innovative single-cable installation. A USB webcam for videoconferencing and collaboration, a 20x zoom lens, preset functions and wide field of view (65.1°) mean the camera offers operational flexibility.” The UE70’s Night Mode makes it possible to shoot in virtually total darkness, by automatically switching to HD monochrome video with the use of an optional IR illuminator. It has a pan of ±175° and a tilt of –30° to 90° and will be available in black or white next month. 9.C45

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#IBCShow

Q&A Andreas Tweitmann, chief executive officer, RTW Has IBC come at a good time for the electronic media industry? Why? Yes, IBC has definitely come at an important time for the industry. The latest technical evolutions in broadcast and production technologies are creating a unique paradigm shift in the industry. Remote collaboration and cloud computing are becoming the new normal. High quality production equipment is coming down in cost, affording the everyday customer the opportunity to participate in quality video production. The popularity of streaming services, such as Netflix and Hulu, are starting to change the way we think of broadcasting as a whole. It is definitely an exciting time to be a part of this industry.

What do you think are the key developments in, or threats to, your market sector at the current time? RTW has its eyes on two key developments that have been taking place in the industry over the past year. Multiscreen transmission is increasing in popularity, enabling consumers to stream their beloved television shows and movies over their phone, tablets and other devices. With the increasing popularity of streaming services, it is only a matter of time before loudness regulations will come into play on these gadgets. Manufacturers in the loudness space need to continue to adapt their products to meet these new viewing habits. The other key development in our market is the implementation of an Audio

Over IP (AoIP) infrastructure. With the standard AES67 enacted, true standardised AoIP is now a reality and provides many benefits. AoIP offers greater speed of connectivity and there will soon be a shift to more software and server-based processing for both audio and video. With these developments, it is important to RTW to stay on top of the evolving market to ensure that we are able to conform as new standards and technologies arise.

Why should delegates visit your stand at IBC? RTW is celebrating 50 years as innovators in the audio metering industry. We are a trusted company when it comes to loudness solutions, solving challenges

as they emerge. This year is ceremonious for us and we are excited to share our new products and updates with our colleagues at the IBC exhibition this year. Throughout the first half of 2015, we have partnered with distributors worldwide and have introduced new updates to our already existing highlyregarded product line. During IBC, we are launching our new Continuous Loudness

Correction Software and TM3 USB Connect Tool, as well as TM7/9 Firmware Updates and Version 3.0 of our Masterclass PlugIns, Loudness Tools and Mastering Tools. RTW is a leader in loudness standardisation and appreciates the opportunities that IBC presents to connect with like-minded individuals in the broadcast audio industries. 8.D89

Implementing Media Technology

We think globally and act locally

Come a meet nd us at stand 8.B51

www.danmon.com

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02/09/2015 21:04


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Overcoming satellite rain fade Weatherproof: The AUPC is popular with Ka-band users

Peak Communications

By Ian McMurray

A flexible and cost effective solution for overcoming ‘rain fade’ in satellite links is how Peak Communications describes its Peak Automatic UpLink Power Controller (AUPC) system. The company said that this natural atmospheric attenuation of the satellite signal occurs at all frequencies. However,

it says, the attenuation is more pronounced at higher frequencies, so the AUPC is proving popular with earth stations operating Ka-Band links to help achieve often demanding availability targets. Units monitor the satellite beacon signal via either an internal or external beacon receiver and subsequently automatically determine the uplink path gain compensation required to maintain a constant uplink signal level.

Gain compensation is automatically applied to the uplink paths via internal attenuator channels (stand-alone system), or external attenuators within Peak UpConverter, BUC or Line Amplifier products. Up to four internal UpLink compensation channels can be provided in the standard 1RU unit, with a separate expansion unit providing up to 10 modular channels ‘slaved’ from the main unit. Peak claimed this offered ‘the ultimate in flexibility,

Smart SaaS for interactive video Zentrick

By Heather McLean

Showcasing the latest enhancements to its comprehensive smart video platform, Zentrick said it would enable brands, broadcasters and publishers to create, distribute and analyse ROIdriven interactive videos. Zentrick’s software-asa-service (SaaS) platform is designed to boost the performance of any video by adding interactive elements to new or existing video content. Zentrick Studio offers self service and full service options, giving content owners full control over their brand and their viewers’ experience. A central hallmark of

Zentrick Studio is the ability to create interactive video easily, without requiring technical skills. It is now possible to add contextual, in-video actions that drive sales, generate leads, boost engagement and more by adding a ‘fifth dimension’ to video through interactivity. This is enabled by Zentrick’s lightweight, interactive smart layer, which adds the interactive power of a webpage to any video, claimed the company. For interactive video distribution, the Zentrick Anywhere Engine delivers playback on nearly every screen, device and distribution platform, across paid, owned and earned media. The company also offers a patent-pending iPhone solution

for in-browser viewing without requiring a player download or native app installation. Additionally, Zentrick’s live updating lets creators make changes to their video, even after it is published, while real time refresh pushes updates live everywhere on the web. Intravideo metrics capture and report every user action during playback, making Zentrick-powered video infinitely more measurable than traditional online video. Whereas traditional video measures only impressions, view counts and duration, Zentrick claimed its solution captures every click, hover, share, submit and a host of other actions. These results can then be optimised based on what is performing best. 10.F42g

maintainability and futureproof expandability’. Single channel units are now available with an optional enhancement facility allowing rapid compensation to overcome the effects of scintillation with typically low look angle satellites.

Units feature a range of standard features as well as options to enhance performance including internal beacon receiver, fail-safe by-pass, 10MHz and DC pass-through and SHF beacon input stage. 1.C33

CantarX3 location orchestral recorder Aaton - Transvideo By David Fox

Poncho another extra. Transvideo, which is part of the same group as Aaton Digital, is celebrating 30 years in the industry, and is showing its range of high performance monitors, including the StarliteHD5, StarliteHD5 Arri and a StarliteHD Pack including viewfinder adapter, sun hood, transportation cover plate and Peli case. The monitors offer many display and analytic features and have inbuilt recording and playback.

The new Aaton Digital CantarX3 location 24-track digital audio recorder with a modular, expandable design, is now in production, and is designed for motion picture, location and orchestral recording. It is joined by new accessories, including the Cantarem 2, an optional USB 11.F31 connected mixer panel that allows users to quickly add 12 more mixer faders when operating a high track count; the new Modular Bag. The Sound Audio desk: Aaton Digital CantarX3 location 24-track digital recorder Mixer Rain

Bernau joins executive team Conax By Ian McMurray

Oliver Bernau has been appointed executive vice president and head of services at Conax. He will lead the company’s newly formed Services Division and play a central role in further cultivating the company’s global services portfolio, executing on corporate strategy to enhance

89 IBC D1 2015 Issue v1MDL.indd 1

Conax global commercial business through new service offerings. German-born Bernau is said to bring broad knowledge of the IT services industry, with areas of expertise including customer delivery and commercial responsibility in highly virtual international environments. He also brings with him experience in senior leadership of onshore and offshore teams within management consultancy and

service management from leading international companies. Morten Solbakken, president and CEO, Conax, said, “I am highly pleased to welcome Oliver to the Conax team. We have found an excellent fit for facilitating our long-term services strategy. Oliver Bernau brings both extensive leadership experience and a track record in forming new delivery and governance models, developing new services and service

management functions, and has a strong commitment to delivery and a very positive attitude.” “We’ve made some very exciting top-level enhancements this year further energising our executive line-up,” continued Solbakken. “Our goal is to continually tap and evolve our organisational resources to continue to improve how we serve our customers and partners, and ensure they

succeed in a highly dynamic marketplace.” 1.C81

Oliver Bernau has joined Conax as executive vice president and head of services

02/09/2015 21:04


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News production on show BRAM Technologies

By Mark Hallinger

The NewsHouse system for news production and playout is one of several products being showcased as part of a working broadcast facility on the united Russian stand. BRAM said this system helps organise news production and includes everything from the journalists’ planning of schedules and feeds, to playback with control of

video servers, prompters, title generators and more. BRAM is also showing its broader range of products for multichannel ingest, TV production, broadcast playout and archive in SD, HD, or UHD formats. The company said its core AutoPlay software provides 24/7/365 multichannel broadcasting with 100% redundancy and the ability to control studio equipment. The TimeRunner SE system, which provides multichannel recording and slow motion replays of video in SD/HD/

UHD format for live sports and similar content, is also on the stand. A product for recording multi-camera video, multichannel audio and timecode called the SerialCam system is being displayed. The latest development is LiveEdit, an on-the-fly editing and playout system. It is designed for multichannel ingest, non-linear audio/video editing in online mode, and live TV broadcast playout. The most recent version

End to end: NewsHouse can manage many of the technical processes of a news chain

of the company’s TitleStation channel branding system, which creates and plays out graphical objects and

dynamic data in real time, and monitoring systems are also on display. 8.B10

New head of EMEA launches partner programme Media Links

By Ian McMurray

John Smith has been appointed as head of EMEA by

Media Links. Smith has held senior roles over more than 25 years working with technology companies including Sony, Logica, Saudi Telecoms, OKI Systems, Feltech and IVC Media. His responsibility will

be to manage the expansion of the organisation throughout Europe, Middle East and Africa. “Due to unprecedented demand for our services, Media Links is now expanding

into new geographical markets,” said Smith. “We are now well positioned to continue to set new standards in developing advanced video technology and cement our leadership in Ethernet and

SONET based solutions for contribution video. Part of our expansion plans involve the roll-out of a partner programme which we are launching at IBC2015.” 1.C31

MULTIVIEWER CONTROL made smart The smart way to configure your multiviewer – timesaving, efficient, easy + setup and configure your walls in a breath + assign source signals via drag & drop + match any layout to any monitor output + swap single monitors or walls + change layout via drag & drop + re-label easily + store and recall user presets + use with any mobile device +

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New at IBC + Stand 8.B35

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90 IBC D1 2015 Issue v1MDL.indd 1

02/09/2015 21:05


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Pro Fusion of mid-budget prompters Portaprompt

By David Fox

The new Fusion Range of prompting head-up displays from Portaprompt come in 15-, 17- and 19-inch screen sizes. They are designed as a mid-budget system (from £1495 ex VAT) for users who do not need the extended facilities of the Broadcast

Quasar or Premium rigs but find that the company’s 365 Personal Prompter options are too limiting and require large screen prompters The Fusion prompters allow for traditional on-camera through lens rigging (with underslung Talent Monitor options), and have a direct read function (for green screen light ring, cranes and jibs). The LED-backlit 500 NIT brightness colour monitors are

Amplifying IP networking for DAB radio networks GatesAir By Mark Hallinger

An enhanced DAB radio product for broadcasters transitioning from FM to national digital radio systems is being demonstrated by GatesAir. The company has created a dual EDI interface for networks using Maxiva VAX VHF transmitters, with seamless switching between main and backup paths across networked DAB contribution and distribution

architectures. The system can provide new layer of redundancy across expansive DAB transmitter networks. As EDI is an IP-based transport system, broadcasters can take advantage of lower program delivery costs and greater multipoint flexibility, said GatesAir. Dual EDI inputs are integrated with Maxiva VAX transmitters, seamlessly linking third-party DAB headend and multiplexers with Maxiva exciters to further accelerate DAB network deployments. 8.B20

10G Wi-Fi advance unveiled for first time Quantenna Communications

By Will Strauss

A 10Gbps Wi-Fi product line has been launched at IBC that allows more users to concurrently access the internet in the home. Considered by its developers to be the first of its kind, Quantenna Communications’ upto-12-stream 10G Wave 3 family is said to deliver improved Wi-Fi performance in high-density environments, and can address both the service provider and retail market segments. It uses the company’s True 8x8 QSR10G Wi-Fi platform which features adaptive,

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multi-user MIMO (MU-MIMO) technology for home wireless access points (APs) and residential gateways. The improvement is achieved by combining the True 8x8 MIMO configuration for 5GHz networks with 4x4 MIMO configuration on 2.4GHz networks to create a combined 12 streams. The upshot is that 802.11ac Wi-Fi networks using Quantenna’s Wave 3 product family can allow additional users to access the internet in the home. Quantenna’s QSR10GU, QSR10GA, QSR10G5, QSR10PA products are currently being tested by early access partners. 2.C17

suitable for location, studio and virtual studio usage. They have a flexible rigging and clamps system using 19mm bars allowing multiple styles of camera to be used. The lightweight 19-inch model has a folding hood, to make it more compact and easily transportable. They have VGA and HDMI input, automatic PAL/NTSC composite video signal detection, do not use fans

making them silent in use, are lightweight for robotic operation, and slim line for improved on-camera tilting. Windigi Lite software is included in bundle with options to upgrade to Lite Plus and Full; there are also a variety of optional wired and wireless hand and foot controllers available (which require Windigi Lite Plus or Full).

Not-so-dear reader: Portaprompt’s slim-line new Fusion prompter in action

11.G49

Bringing flexibility to post file sharing Elements By Will Strauss

A German company has developed a range of SAN and NAS servers that allow post producers to share files natively across all platforms, even when proprietary software and hardware applications such as Avid editing systems are involved. By simulating an ISIS shared storage environment, Elements’ family of servers enables Avid clients that are connected to shared storage to collaborate, including when

working on a StorNext 5 file system. The technology is available as Elements One, an all-inone server with 360TB of storage space in a 4RU-size, and Elements Gateway, a Linux-based gateway server. Elements Cube is for mobile deployment. Customised SAN and NAS infrastructures are also available. At IBC Elements is showing an updated version of the One SAN/NAS server. Like its predecessor, the upgraded unit includes Elements’ workflow enhancement tool

set and offers the company’s Media Library MAM tool as an option. André Kamps, chief executive, Elements, said, “Elements One is not only a high-performance serverstorage unit but the ultimate collaboration booster.” “The full set of practical tools and intelligent functionalities embedded in One, all fully intuitive to use, provide everything one needs in the daily business, rendering the deployment and training of various complicated software applications obsolete.” 3.A27

Foxy upgrade sends in reinforcements Panther

By David Fox

Foxy Pro is the latest version of Panther’s remote and ride-on modular crane system, which can also be used as a two-man dolly with off road or track wheels. The main improvement over the existing Foxy Advanced is an increased payload on the platform or remote mount of up to 10%, thanks to a newly developed anchoring system

that reinforces each boom. The anchoring system can be retrofitted on to existing Foxy or Foxy Advanced models, using the Foxy Pro Upgrade Kit. The upgrade is also claimed to increase security by up to 50%, which

is particularly important where the dynamic forces are higher than expected, such as when the crane is mounted on a vehicle. 11.E20

Get Loaded: Panther’s Foxy Pro crane carries more weight

02/09/2015 21:06


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Six chosen to compete in TV Innovation Awards DTG By Ian McMurray

For a third year, the DTG (Digital TV Group) is running the DTG TV Innovation Awards, sponsored by UK Trade & Investment and IBC. An open competition to expose innovative SMEs in the digital TV sector

to global broadcast and media opportunities at the RAI, 12 applicants were shortlisted and invited to give a ‘Dragons Den’-style pitch at the DTG offices in Central London, with each company showcasing its innovation to a panel of leading industry expert judges. Six companies were subsequently chosen to compete before an

international judging panel to win the gold, silver and bronze awards at the show. The 2015 finals are goHDR with its end-to-end HDR solution; Motive Television, the company whose Tablet TV brings broadcast television directly to mobiles without the need for internet connection; Parabola, which has a patent pending video encoding technology enabling live full-

quality video transcoding; Smartzer, the developer of retail technology which brings consumer experiences through shoppable and interactive content; TV App Agency, which is focused on developing Smart TV apps; and Twocashew, with content management focusing on second screen usage during a live broadcast. Three overall winners

Platform for success HP

By Adrian Pennington

The T-Cube project devised and implemented by HP has shaped the transition of Italian broadcaster RAI into a fully digital media company.

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With more than 10,000 employees, RAI operates 14 television channels for digital terrestrial transmission and seven radio channels as well as several satellite and internet-based platforms. As well as making file exchange easier and more cost-effective, the T-Cube platform supports

16 end-to-end TV production workflows, connects several departments and functions including post production, archive, schedule, playout and advertising, while running tens of thousands concurrent processes. It also frees up resources previously dedicated to legacy processes such as tape recording, media handling and

ingest process for automated playout and editing, thereby increasing operational efficiency. David Sliter, vice president and general manager, communications and media solutions, HP Enterprise Services, said, “Today’s media companies need to digitalise their assets and processes in order to remain

will be presented with the DTG Television Innovation Award and will win oneyear affiliate membership to the DTG (worth £4500). Follow-up prizes will consist of additional support for the winners from their mentors and a sponsor, alongside regular consultation from the DTG as a part of the one-year affiliate membership. 5.A17

competitive. By supporting RAI in its transformation journey from legacy video workflows to an integrated digital supply chain, HP has established a reliable platform to support RAI’s future business success.” Roberto Cecatto, director, TV production department, RAI, is appearing at a special session, Laying Foundation for the Future of TV, at the Technology in Action Theatre, Monday 11:00 – 11:30. MS21, 14.H05

02/09/2015 21:06


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OPINION

Systems integration in a fast-paced media world Traditional broadcasting has proved its ability not just to survive competition from the internet but to embrace it, says Russell Peirson-Hagger, MD, ATG Danmon The broadcast media business is a fast-paced technological environment and we are very sensitive of the need to provide our customers with the latest technology. As a systems integrator, we need to ensure we are tuned to new developments and ready to act on those which deliver real operational or economic advantages. Our customers rely on us to make the right technological choices for them in order to gain maximum benefit from their investment. At least as significant as the introduction of 4K, and even 8K, over the next few years will be the

increasing use of Internet Protocol across areas of broadcast infrastructure that are currently dominated by SDI. We maintain an ongoing dialogue both with suppliers and customers. One factor emerging from these discussions is the realisation that IP-based systems will not necessarily be more costefficient than their SDI equivalents. IP clearly has some benefits on offer but there are still plenty of reasons why we will see the continued use of SDI for the foreseeable future. Rather than IP completely replacing SDI, it is evident that a hybrid approach

will offer the best of both technologies. The majority of broadcast systems integration projects we are currently delivering continue to be predominantly focused on HD. In recent months these have included the expansion of the playout facility for the Stockholm headquarters of Ericsson Broadcast Services, a qualitycontrol system for one of Europe’s largest state broadcasters and a 50-channel broadcast media compliance system for a Middle East transmission service authority. In the UK, we have provided

Realtime MPEG-H audio chain demo

transcoding and file-delivery resources for Arqiva and a number of companies in the post production sector. We also recently completed the second of two projects at the London studios of Trinity Broadcasting Network. Equipment supplied and integrated included a four-channel ingest and playout server with storage, router control, video waveform rasteriser, picture monitors plus audio equipment. Product choice was a combination of client specification and our own recommendation. We were asked to work to a specific timescale and everything went to plan, with the complete system fully tested and commissioned on schedule. Traditional broadcasting has proved its ability not just to survive competition from the internet but to embrace it. Many channels now offer catch-up television services as a

FM transmitter options expand WorldCast Systems

Fraunhofer IIS

By Mark Hallinger By Mark Hallinger

A realtime broadcast chain using MPEG-H audio is being shown on the Fraunhofer stand at IBC2015. The chain simulates delivery from a sports OB to network operations, then to a local affiliate, and then being broadcast to a Technicolor consumer set-top box for playback. A wide range of content formats are being used, and the demo features content stored on the video server in 5.1, stereo, 5.1 + 4H, and even 7.1 + 4H and HOA. Fraunhofer said the audio system developed by the MPEG-H Audio Alliance (Fraunhofer, Technicolor, and Qualcomm) allows broadcasters and streaming services to deliver the future of TV audio at comparably low bit rates and in a cost-effective manner. It is based on the MPEG-H audio standard and is being evaluated for the new ATSC 3.0 TV broadcast standard for the US.

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Immersive audio: An MPEG-H audio chain simulates delivery from a sports remote through to a Technicolor consumer set-top for playback

The system is designed to work with today’s broadcast equipment. It includes objectbased and immersive audio that allows viewers to adjust the sound mix to their preferences and improves the realism of sound. Furthermore it will tailor playback to sound best on a range of devices and environments, providing universal delivery. To enable broadcasters to take advantage of all the features of MPEG-Audio, new products have been developed and are being

shown at IBC2015. The Jünger Audio MPEG-H audio monitoring and authoring units adapt today’s 5.1 consoles for immersive audio production and allows operations to audition MPEG-H audio in the plant as it will be reproduced on viewer’s devices. Realtime encoders and decoders that include MPEG-H audio, supporting all phases of content delivery, are part of the demo, along with selective loudness levelling available from Alliance partners such as Jünger. 8.B80

routine element of their activity, along with web-based news, programme guides and over-thetop supplementary programme feeds. A key element of our role as a systems integrator is to support our customers with these new delivery options and to ensure they can operate as efficiently as possible in an industry which demands high productivity as well as creative efficiency. Whether your projects relate to studios, post production, content management, playout, transmission, or any other aspect of the media business, we can turn ideas into reality. 8.B51

A new Communication Pack for Ecreso FM Transmitters, providing advanced control, information and backup, is being showcased. A web interface allows quick and easy access to configure and control the transmitter while full SNMP management enables detailed control by network management systems. Audio back-up is provided courtesy of a micro SD card supplied with the transmitter. WorldCast said the most impressive feature of the new Communication Pack is the advanced metering interface, which offers built-in signal measurement with no

need for additional software or hardware. With this, a user can receive detailed, realtime analysis of the RF Spectrum, MPX Spectrum, Audio Spectrum and Peak Meters. A 24 hour history log details the performance of key parameters such as forward and reflected power, VSWR, temperature, fan speed, currents and efficiencies. Current users of Ecreso FM Transmitters can add the Communication Pack to their existing unit on site with no need to return to the factory. Those purchasing the Communication Pack with any compact Ecreso FM transmitter up to 2000W will also receive six month’s free access to the expert maintenance reporting service. 8.B60

:[HUKHSVUL!(UHK]HUJLKTL[LYPUNPU[LYMHJLVɈLYZI\PS[PU signal measurement for the new Communication Pack

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ARM to receive International Honour for Excellence 2015 at IBC ceremony ARM

By Adrian Pennington

The International Honour for Excellence 2015, the highest honour IBC bestows, recognises a technology â&#x20AC;&#x201C; and the company behind it â&#x20AC;&#x201C; which has been a key enabler of the transformation of our industry. The award goes to ARM, the Cambridge, UK headquartered semi-conductor firm behind the processors in virtually all of our smartphones and tablets.

That we can drive realtime, high resolution graphics and videos on a device in the palm of our hand, with a dayâ&#x20AC;&#x2122;s battery life, is a remarkable technical achievement. It is made possible by ARMâ&#x20AC;&#x2122;s specialisation, reduced instruction set computing (RISC). Today, around onethird of all intelligent electronic devices have ARM technology inside. Simon Segars, CEO, ARM, said, â&#x20AC;&#x153;We see an exciting future for the broadcast and entertainment industry as

evolving technology brings new revenue streams, diversity in consumption and seamless viewing experiences across all devices. Getting there will require effort, as technology must be delivered in the most cost, capacity and energy efficient way so companies remain as sustainable as they are innovative. ARM designs intelligence that enables industry to create the content, refine it in production and get it on to everyoneâ&#x20AC;&#x2122;s screens, and we will fully support the sector in this next phase.â&#x20AC;?

The worldâ&#x20AC;&#x2122;s first commercially successful RISC processor was launched 30 years ago by Acorn Computer Group. In 1990 the work on which Acorn and Apple were collaborating was spun out into a new company, Advanced RISC Machines or ARM. By 2002 a billion ARM RISC cores were made; by 2013 that had grown to a staggering 50 billion. Mark Dickinson, SVP and GM of ARMâ&#x20AC;&#x2122;s Media Processing Group, is giving the IBC keynote on Sunday (Forum, 09:30 â&#x20AC;&#x201C; 10:00).

ARMâ&#x20AC;&#x2122;s Mark Dickinson keynotes at IBC on Sunday

The International Honour for Excellence 2015 will be presented during the IBC Awards Ceremony on Sunday 13 September at 18:30. All IBC attendees are invited to enjoy this free event. 13.MS39b

SDN playout to support IP transition Transforming the visual display landscape at SDI Pixel Power

By Carolyn Giardina

Pixel Power is introducing StreamMaster, a new softwaredefined playout system designed to sit as an automated hub in a software-defined network, providing branding and playout. StreamMaster is ready to run on standard hardware or as a virtual machine in a data centre, as â&#x20AC;&#x153;a channel without a boxâ&#x20AC;?, said the company, but it can also be supplied as a standalone device with SDI I/O to support hybrid and transitional applications. According to the company, the aim of StreamMaster is to put sophisticated audience-retaining options like multi-layer 3D graphics, squeezebacks and other secondary events, into systems

available to all. Itâ&#x20AC;&#x2122;s designed for such users as online and on-demand broadcasters, regional services and pop-up channels. StreamMaster is also automation-agnostic so it can be added to an existing playout infrastructure. James Gilbert, CEO, Pixel Power, said, â&#x20AC;&#x153;With the continuing expansion of broadcast channels and the revolution in online broadcasting, there is a real need for sophisticated playout technology that can deliver professional quality. Delivering outstanding branding and the sort of playout that the big

channels need is really important to the success of new offerings. â&#x20AC;&#x153;We have worked hard to develop our new, modular, software platform, which allows us to deliver products like StreamMaster,â&#x20AC;? he added. Also at IBC is a first look at Promote, a new software system developed to automate branding in a transmission environment by using existing data from back-office, scheduling and automation systems.

7.A31

Key factor: StreamMaster VÉ&#x2C6;LYZT\S[PSH`LY+NYHWOPJZ ZX\LLaLIHJRZHUKV[OLY secondary events

PufferďŹ sh By Heather McLean

The worldâ&#x20AC;&#x2122;s first commercially available interactive spherical display is being used to showcase innovations and talent emerging from Scotland at IBC2015, on the Pufferfish booth on the Scottish Development International (SDI) stand. Pufferfish, which designs and supplies spherical projection systems, is exhibiting its interactive PufferSphere M600, enabling visitors to the SDI stand to scroll through a carousel of videos showcasing the range

of companies hosted by SDI. Geoff Kell, MD at Pufferfish, commented, â&#x20AC;&#x153;IBC is designed to attract the very best in electronic media and entertainment and we see this as a fantastic platform for our PufferSphere M600 display. People are very intrigued by this concept and itâ&#x20AC;&#x2122;s very much a â&#x20AC;&#x2DC;talking pointâ&#x20AC;&#x2122; wherever we have it on show. Visitors coming onto the SDI stand or the IBC Future Zone will be amazed and delighted of its capability as a world class interactive physical spherical display solution that commands attention and interest.â&#x20AC;? 9.B30a

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e.tv moves to new HD facility

Ready for moving day: Megahertz moved e.tv 5km across Cape Town

Megahertz

By David Fox

South African broadcaster e.tv has moved to a new purposebuilt facility in Cape Town, and to an all-HD operation, with systems integrator Megahertz in charge of the move. The project involved the installation of a substantial amount of infrastructure, including two Grass Valley Miranda 8000 routers: one for lines traffic and a larger router for all the transmission traffic. Axon provided much of the modular infrastructure, including synchronisers, converters, multi-viewers and transmission switchers, plus a central control and monitoring system. Pebble Beach provided e.tv’s playout automation, and the project involved updated Marina, Neptune and Anchor systems. Megahertz advised on civil engineering issues, like studio floor construction and soundproofing, and liaised with e.tv’s transmission partners: Platco, Globecast and Sentech, to achieve a seamless transition. Don Wilson, project manager, Megahertz, said, “We have also catalogued all the existing equipment, advising what could be upgraded to HD and moved, and where we need to plan for new hardware. Its core facilities include programme ingest, editing and graphics, a newsroom and three production studios. “Any project which involves picking up eight busy channels and moving them across town is always going to be a challenge on a knife-edge,” added Dave Stewart, group head of technology for e.tv. “We still have a station to run and channels to put out. So we needed a partner we could trust to come in and take responsibility for the move.” 11.F20

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Accessories on a Plate Vocas

By David Fox

A 6.6x6.6-inch matte box and newly designed Universal Shoulder Base Plates have been introduced by Vocas. The very lightweight 6.6x6.6inch matte box can be used

for wide-angle lenses (starting at 12mm), and contains Vocas’ patented eyebrows, which should make it more comfortable to use. Vocas has also improved its Universal Shoulder Base Plates with a quick release dovetail plate that can be exchanged in seconds between the different base plates (15mm and 19mm),

gimbals, tripods or studio carts. Other improvements on the next generation USBP plates are: greater range of height adjustability; improved stability when using a VCT14; increased rigidity; the shoulder pad is removable and adjustable without tools; integrated rear clamping block; and refreshed design.

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Vocas’ popular wooden start/ stop handgrip has also been updated to work with the Lanc

protocol and gains a magnify button. 11.E34 >H[[»Z\W!4VSL9PJOHYKZVU»ZUL^ >H[[:LUPVY3,+-YLZULSSPNO[

Senior LED takes on HMIs Mole-Richardson By David Fox

The days of large tungsten and even HMI lights are nearing an end thanks to the progress of LEDs, which are now capable of producing high output with reasonable colour performance and low power requirements.

Outside Broadcasting

Mole-Richardson’s new 900-Watt 3100K SeniorLED can replace its previous 5kW tungsten model, while the daylight (5600K) version has similar output to a 1400W HMI. While tungsten lights typically cost a lot less than LEDs, HMIs are more expensive, so the $5,500 SeniorLED, which requires no external ballast, generates

little heat, is smaller and lighter, and at eight amps can be powered from a domestic socket, would make financial sense. As the SeniorLED uses a single source LED, it doesn’t create the multiple shadows of earlier LEDs, allowing it to be fully focusable. The beam angle of the Fresnel is variable from spot (10°) to flood (55°), and it has

Streamline Family

flicker-free local or DMX 1000% dimming with minimal colour shift. Mole-Richardson

Broadcast Facilities

is also developing a 10kW equivalent. 11.F57

Satcom

All You Need For Broadcasting – From One Source For more than ten years Broadcast Solutions offers tailor-made solutions for Outside Broadcasting, Satcom as well as Studios and Broadcast Facilities. As an independent system integrator we provide turnkey-services from one source – from planning to implementation to training. Using our services and products, you can deliver your messages – reliable, future-proof and cost-effective. See for yourself what we can do for you!

2015

Stand 8.A84 Inside: Outside: Stand 0.B01

System integration and beyond. info@broadcast-solutions.de - www.broadcast-solutions.de - Alfred-Nobel-Str. 5 - 55411 Bingen, Germany

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Opportunity knocks with SOTV Arqiva

By Ian McMurray

Among the numerous demonstrations on Arqiva’s IBC stand is Start-Over TV (SOTV). Available on Freeview, Arqiva said that viewers will now be able to jump back to the start of a programme when joining mid-

broadcast, while broadcasters will be able to benefit from monetisation opportunities, as viewers will be taken back to the advertising break. Tom Cape, connected solutions director, Arqiva, said, “There are multiple benefits of broadcaster-owned start-over. The broadcaster brand remains front and centre, for example, while the absence of transport

controls prevents ad skipping, allowing SOTV to be monetised. It provides full control over content blackout, and full access to usage analytics and reporting is possible with session info and dwell time from both the live broadcast and restart usage capable of being captured.” Arqiva also claimed that SOTV has benefits when

compared with PVR solutions. The company stated that startover provides convenience without consuming a PVR tuner, as second screens typically don’t have PVRs. The company also believes that the cost of a PVR when compared with OTT is slowing their adoption – and start-over plus catch-up provides a replacement service.

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1.B61

4K and 8K resolution test charts Shared storage Image Engineering By David Fox

If you want to check if your cameras and lenses really are 4K or even 8K ready, Image Engineering has designed new 4K and 8K high resolution test charts to show the smallest structures your system can resolve, either by simple visual inspection or using a waveform monitor. By comparing the raw signal of the test charts delivered by the camera against the compressed one, users can also find out what

information actually remains in the output signal. To get to the required high resolution of up to 8000 lines per picture height in a small form factor, the charts have been produced as transparencies. The D280 size of the charts fits into its integrating spheres (LE6 or LE7) and also into its light box (LG2), which can be put on a table or a tripod. There are two 4K charts: TE277 designed primarily for waveform use; and TE279, which is ideal for quick visual checks. The TE278 D 8K Resolution Chart is designed

for waveform monitor use, but visual assessment is possible. A more detailed and automated, computer-based evaluation of a system, including MTF curves, can be done using its TE268 chart combined with its iQAnalyzer software, which can evaluate cameras at resolutions much higher than 8K. Image Engineering currently has an iQAnalyzer Color Module and ColorChecker Bundle on a special limited time offer for €1575.

By Mark Hallinger

New features for the ALTO Archive and Content Library that make it easier to manage multi-petabyte systems have been released, along with enhancements for shelf storage of externalised disk replicas. They are intended for use in unattended data centres. A new browser-based user experience for monitoring and management for ALTO is a response to the increase in popularity of distributed archives, said DAC. This new visual user interface will allow each of the distributed archive nodes and all of the system components to be managed from any location.

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It allows facility managers and administrators to see the entire system resource from any location on any Google Chrome device. Whether the archive is in a data centre or in a hazardous or geographically inaccessible location, the new user experience allows the system to be managed and monitored from a network operations centre in a

EditShare By Carolyn Giardina

The XStream shared storage range is being showcased, with applications ranging from capturing media in remote locations to managing petabytes of data at large organisations. Each model of XStream storage ships with integrated EditShare Flow media asset management.

XStream EFS, one of the latest additions to the product line, is designed for realtime workflows and offers project sharing, redundancy and scalability. In addition, EditShare is presenting its latest XStream ST, created to meet the needs and budget of smaller production facilities, studios and stations. MAM and archive tools are integrated into the system. 7.G37

11.E16

Easier access to the archive Disk Archive Corp (DAC)

for any application

secure location. Also new is a shelf-storage management capability for ALTO. The ability to externalise storage media is a capability often supported in high-end data tape library systems, but being able to externalise individual disk drives from a petabyte-class disk storage system is unique to ALTO, claimed DAC. 8.B38F

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AC-4 aims for enhanced audio Dolby Laboratories By Will Strauss

A demo showing the living room of today benefitting from the audio technology of tomorrow is a key focus for Dolby at IBC. Based around its AC-4 innovation, the presentation features both the consumer experience and the relevant broadcast operations. Dolby Audio spans content creation, distribution/interchange, and consumer delivery, making next-generation consumer broadcast experiences possible, said the company. Dolby AC-4 is part of the Dolby Audio system that,

according to its developers, provides a “practical, scalable, and flexible tool set to build on state-of-the-art technology and proven know-how.” The chance to experience Dolby Atmos surround sound and Dolby Vision are also available at IBC. Dolby Atmos delivers moving audio that can be precisely placed and moved anywhere in three-dimensional space. Dolby Vision allows creative teams to use the full gamut of colours, peak highlights, brightness and contrast, with the confidence that they will be reproduced faithfully on televisions that feature Dolby Vision technology. 2.A11

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OPINION

Rich tools for storytelling Johan Apel, president and CEO ChyronHego, explains how graphics production workflows can maximise new video revenue opportunities In todayâ&#x20AC;&#x2122;s highly competitive and rapidly evolving media and broadcast environments, video has become the killer app and the key to lucrative new revenue streams. In addition to their regular broadcast channels, media companies of all sizes are scrambling to deliver video to non-traditional channels such as multiple platforms, OTT, and streaming services. Adding to the pressure is the emergence of 4K broadcasting and new compression formats, with viewer demand driving ever-higher picture resolutions. At the same time, important innovations in broadcast graphics technologies are driving an explosion in both quantity and quality of graphics

appearing on air. In the past decade, as GPUs have become more powerful and CPUs have become more inexpensive and faster and memory capacity has grown, graphics technologies have advanced in kind. As a result, graphics have become much richer and graphics tools have become more integral in broadcastersâ&#x20AC;&#x2122; ability to tell a story, particularly in the news and sports environment. For our customers, efficient and scalable workflows can spell the difference between success or failure â&#x20AC;&#x201C; and graphics production is no exception. To take maximum advantage of the compelling new opportunities presented by multiplatform and OTT delivery,

broadcasters are migrating away from proprietary hardware models and towards IT-centric, software-based solutions. Without an increase in budget or resources, broadcasters must deploy tools and technologies that will deliver the most efficient workflows with the highest rate of return. Also, companies need â&#x20AC;&#x2DC;resolution-agnosticâ&#x20AC;&#x2122; graphics tools that can always deliver the highest-quality results in any resolution including 4K and beyond, with the ability to upscale and cross-convert content with ease between all major broadcast standards. Therefore, ChyronHego has adopted workflow efficiency as its broad theme at IBC2015.

Smart apps, and beer 24i Media

By Anne Morris

One local Dutch company does not have to travel far to showcase its latest 4K technology developments at IBC this week. Amsterdam-based TV app developer 24i Media is demonstrating 4K and streaming features of its TV apps created for global broadcasters, pay-TV Box set: 24iâ&#x20AC;&#x2122;s TV apps can be designed to work on any screen

operators and media companies. Customers so far include RTL, PathĂŠ, Nubeox, FOX Sports and Televisa. 24i engineers multiscreen TV apps in three product lines: Smart Apps, which are custom app solutions to meet any need; Smart VOD, a templatebased app engine that allows streamlined and cost-efficient app development; and Smart Operator, a TV Everywhere/ OTT solution offering all the functionalities of a set-top box with a unified interface and

advanced features for all OTT platforms. The company said it creates TV apps to suit any screen, from smart TVs, set-top boxes and game consoles through to tablets and mobile phones. It operates worldwide with offices in Amsterdam, Madrid, Buenos Aires and Los Angeles. 24i is also hosting a daily Happy Hour at the show, serving Dutch bitterballen and beer every day at 16:00. 14.L05

The spotlight is on the entire BlueNet end-to-end graphics workflow, including solutions for enhancing offline graphics production and creating graphics anywhere and at any time using file-based video import and export. ChyronHego is highlighting these solutions in an endto-end BlueNet workflow for creating not only 4K broadcast graphics but ultra highresolution video wall displays, augmented reality, and virtual graphics â&#x20AC;&#x201D; all powered by the next-generation CAMIO 4.2 graphics asset workflow solution. In addition, ChyronHego demonstrating several new software-based innovations designed to make it faster, easier, and more costeffective than ever to turn around stunning graphics presentations from creation to playout â&#x20AC;&#x201D; whether customers need to produce traditional graphics or ultra-high-

resolution presentations for video walls, virtual graphics, or graphics in nonlinear editing environments. For instance, ChyronHegoâ&#x20AC;&#x2122;s new Channel Box Prime offers a high-performance foundation for channel branding and playout. Also, Studio MediaMaker brings unprecedented simplicity to production automation for smaller operations as well as to larger networks that are expanding their local news and weather coverage. 7.D11

Monitoring MADI and more DirectOut

By Mark Hallinger

The brand new MI6 16-channel MADI monitor joins the MONTONE.42 Ravenna-enabled AoIP bridge being showcased at IBC2015. The compact, 1U MI6 device expands DirectOutâ&#x20AC;&#x2122;s product range of monitoring solutions. The unit provides three MADI inputs and outputs, an analogue stereo line out and an AES3 output. Sixteen channels can be summed with individual levels onto a main mix which is then output via the deviceâ&#x20AC;&#x2122;s integrated speakers and other

outputs. All MADI outputs carry the signal of the active MADI input allowing several units to be daisy-chained. The result is a flexible MADI audio monitoring system that delivers a 64-channel MADI signal via a single fibre link. DirectOut said this represents cost, space and weight savings in terms of cabling. MONTONE.42 is a fully AES67-compliant MADI (AES10) to AoIP bridge based on Ravenna. As the demand for Ethernet-based transmissions in professional audio environments increases, MONTONE.42 provides integration of network audio with existing infrastructures. 8.E85

6]LY[OLIYPKNL!465;65,VÉ&#x2C6;LYZMV\Y4(+0HUK[^VNPNHIP[UL[^VYRWVY[Z

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Iris supports IMF and Dolby Vision By Carolyn Giardina Archimedia

Iris, Archimedia’s suite of software aimed at enabling team work and speeding up file-based workflow, now has the ability to play back IMF files and support for Dolby Vision. Regarding these additions, the company related that in December, all Netflix content

providers will be asked to send in their content as IMF files, and Archimedia expects other program distributors to follow. The company also pointed out that high dynamic range (HDR) is gaining traction, and Dolby is rolling out Dolby Vision to allow broadcasters to deliver HDR programming. Iris 1.0 was introduced

during the summer and is a collection of networked applications that enable users of file-based workflows to work as a team, in parallel, no matter their location or choice of file or format. Mark Gray, CEO, Archimedia, said, “When media workflow was linear, production steps happened one at a

time, so teamwork was less important. But with filebased workflow, different components are worked on in parallel, so more coordination is needed. “One of the real appeals of Iris is that it supports new file work challenges as soon as they arise,” he added.

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7.J01

Joining the online video revolution Piksel

By Anne Morris

Piksel is demonstrating at IBC2015 how it can help to build successful online video businesses based on four pillars of strategic services, managed services,

100 IBC D1 2015 Issue v1MDL.indd 1

professional services and Piksel Palette infrastructure. The company noted that the business of video is no longer the exclusive pursuit of media and entertainment provider. The market is compelling and enticing for new entrants, even those without an existing audience or traditional content library.

The challenge for these businesses is determining how to fill the gaps in their offering and implement the most sustainable monetisation strategies to capitalise on the online video revolution. Piksel is therefore showing how its services-led approach addresses these diverse business needs.

Underpinned by the cloudbased modular framework called Piksel Palette, the company will show how its strategic services portfolio of consumer insights, content acquisition services and business modelling helps businesses develop online video strategies that position them for success.

Piksel is also highlighting how its managed and professional services are being used to support and futureproof client businesses, enabling stable growth alongside the entry of new technologies, competitors, and shifts in consumer trends. 14.C34

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Extensions for Max and Maya Autodesk By Carolyn Giardina

Autodesk is demoing the latest extension releases for its Maya 2016 and 3ds Max 2016 3D modeling, animation, VFX and rendering software on partner stands at IBC. Autodesk Maya 2016 Extension 1 includes a new text tool for

creating branding, flying logos, title sequences and other projects that require 3D text. Game exporter workflows have been simplified to make it easier to move from Maya to game engines such as Unity, Unreal and Autodesk Stingray. Autodesk also reported that “live linking between Maya and the Stingray game engine can update geometry, characters, and camera positions dynamically.

Changes can be seen instantly in either tool, eliminating the need to re-export or manually replace assets in a scene.” The 3ds Max 2016 Extension 1 also has a new text tool, game exporter and live link between 3ds Max and Stingray. Autodesk is showing its systems on several partner stands, including that of AJA Video Systems.

HEVC for Creative Cloud Vanguard Video

By Adrian Pennington

HEVC encoding is available for Adobe Creative Cloud users with the new V.265-PL module. Based on Vanguard Video’s HEVC compression engine, V.265-PL supports resolutions up to 4K and 4:2:2 10-bit colour space. V.265-PL uses the Adobe plug-in architecture to add HEVC encoded output to Adobe

Media Encoder, Premiere Pro, and After Effects. Raul Diaz, CEO, Vanguard Video, said, “Everyone sees the demand for encoded content exploding, both at the high end for UHD as well as for the massive amount of video sent over mobile networks. HEVC is the key enabler and now Premiere Pro and After Effects users have access to a truly high performance, high quality encoder.” 13.MS4

7.F11(AJA)

First timer ready for screen test Overcoming the EST hurdle TDC Polska

RSG Media

By Ian McMurray

This is a first IBC appearance for Polish company TDC Polska, at the show to demonstrate the SCEO range of LED screens. Available for both indoor and outdoor applications and in pixel pitches from 2mm to 150mm with brightness up to 15,000 cd/m2, SCEO screens are also available for mobile, videowall and curtain applications. They are, according to the company, designed to the highest quality, reliability and energysaving standards. The indoor screens, which are based on blackface SMD technology, are said to be flicker-free and have a viewing angle of 178 degrees. Noise

By Anne Morris

Screen scene: TDC counts Norway’s NRK among its customers

emissions are minimised via a fanless design, and 16-bit image processing delivers 281 trillion colours. The screens are also characterised by their narrow bezels for ‘seamless’ videowall applications, and by front access for ease of serviceability. Also on show on the TDC stand is an anti-moiré filter for LED screens deployed in TV studios to enable substantially

superior image quality. Founded in 2006, the company has offices in Poland and Germany and says that it has delivered complex projects for TV studios, public transportation organisations, conference and management centres and sports arenas in numerous countries. It counts ZDF and NRK among its customers. 5.A08

Driving the mobile home Tata Elxsi By Adrian Pennington

After the home, the next bastion of connected lifestyle is the car. There is already a battle between the operating systems of internet giants like Microsoft, Google and Samsung and the navigation and diagnostic systems of automotive manufacturers to own the data we

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are likely to churn on four wheels. This information will come into its own as the driver takes a back seat and lets the vehicle to all of the work. Today and everyday at IBC, visitors have a special chance to experience the driverless car. Automotive marque Tata Elxsi is offering a free ride in the back seat of a Tata Elxsi vehicle around the RAI. Two Tata Elxsi engineers will be along for the ride to ensure

everyone’s safety and you can see how the car’s pedestrian detection system functions. You will also be able to experience in car infotainment by using your own mobile screen or a range of tablets hooked into the car’s connectivity system. Plus you can witness a special demonstration of live TV using tablets on the go and from the comfort of the rear seat. Not only of great value to

RightsLogic’s VOD Offer Management functionality, which is being launched at IBC, gives operators the tools to easily re-price and re-offer content, offering greater merchandising flexibility to maximise reach and revenues. Electronic sell through (EST) as a form of media distribution is growing by leaps and bounds. Customers have demonstrated that they are eager to buy content during the early-release EST window, rather than waiting four-six weeks until they can rent the title. In the US, according to figures published by the Digital Entertainment Group, EST is up 30.4%. One hurdle that video service operators and MVPDs face is that launching EST brings administrative headaches, with increased volumes of data and a much greater frequency of

passengers this type of technology is also opening new opportunities for the media industry. All this is being demoed on a low cost Tata Elxsi model to demonstrate the effectiveness of these technologies for multiple price points in the automotive industry. You can find it located in the IBC Future Zone, which is in

updates. RSG Media said it aimed to overcome that obstacle with VOD Offer Management based on the RightsLogic rights management system. The system takes advantage of RSG Media’s expertise in data analytics and optimisation, using VOD sales and scheduling data to identify uplift opportunities that providers can use to generate substantial new VOD revenues. According to RSG, with RightsLogic providers can dynamically adjust pricing throughout a title’s lifetime on their platform, depending on demand and how the content is performing. Mukesh Sehgal, RSG Media president and CEO, said, “EST providers are stuck trying to manage hundreds, if not thousands, of updates that need to flow through into their CMS. With RightsLogic, they can focus on bringing their audience the finest shows, while maximising shareholder value. It’s a win-win.” 14.H04

the Park Foyer next to Hall 8. 3.A48 Care for a ride? Head to the IBC Future Zone

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Debut for integrated media transport systems

Q&A Michel Degland, CEO, SoftAtHome

Artel Video Systems

By Will Strauss

Has IBC come at a good time for the electronic media industry? Why? IBC is, since its creation, the unrivalled show for the electronic media industry. This is the place where you meet with partners and more important with your customers and prospects to show your innovations.

What do you think are the key developments in, or threats to, your market sector at the current time? 2015 is the year for HDR. We at SoftAtHome really see this technology as a great opportunity and a complement to 4K, improving image quality even on small screens. Providing the best customer

experience to the end-user is our client’s motto and we invest into HDR for that. We also see Internet of Things as a revolution for our industry. We believe we should work on horizontal solutions to develop better interaction between our connected devices within the digital home.

Why should delegates visit your stand at IBC? Visitors will enjoy our demos this year, as we have wanted

to show how our software can pave the way for operators to the whole applications universe provided by Android or by Linux. In 2015, the challenge will continue to be about giving users the best quality of experience, but differentiation will also require extending beyond the living room TV to all devices at home, including media content management and Internet of Things. 4.A51

The integration of the DigiLink, Fiberlink, and Scan Do media transport systems is being shown publicly for the first time. The move follows Artel’s acquisition in April of Communications Specialties, the fibre optic transmission technology company. At the show Artel is demonstrating how users can design a complete media transport system – from remote site to CO and studio-to-studio – by integrating the DigiLink media transport platform with Fiberlink fibre transmission products and Scan Do scan converters. Mike Rizzo, president of Artel Video Systems, said, “The synergy between products in Artel’s expanded portfolio enables customers to design

and build out their contribution video transport systems with IP, J2K, 4K, and other leading edge media transport and processing solutions, all from one vendor.” At the same time Artel is showing the new 1RU Fiberlink six-channel HD/SDI/ASI multiplexer which integrates DigiLink technology into a Fiberlink chassis. The company is also touting VLAN trunking and tagging capabilities for its DigiLink DLM205 and DLC205 9-port Ethernet aggregators and optical transceivers. The two modules can aggregate up to nine channels of 10/100/1000 Ethernet traffic. Up to nine VLANs can be defined and managed via DigiLink’s DL-Manager Element Management System, allowing the ability to trunk and tag video and Ethernet data streams for subsequent routing through their networks. 2.A20

Don’t let pirates run rampant Protect your media assets NexGuard, a Civolution Company, is the leader in forensic watermarking technology. NexGuard’s solutions are used worldwide every day to protect operators against illicit redistribution of premium content. To find out more, please meet us at IBC, booth 2.B41, September 11-15 (contact us for a complementary ticket), or visit our website: www.nexguard.com

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OPINION

Benefits of multiscreen Cloud DVR Jean-Pierre Henot, CTO, Envivio explains how operators and providers can be more competitive, offer better services and regain control of their multiscreen revenue streams Over the last few years, one of the major shifts in the video industry has been the adoption of additional consumer TV viewing devices in the market, from connected TVs to smartphones to tablets. Users increasingly are consuming content at any time they want, and they expect a great anytime, anywhere video experience This shift is great for consumers but represents a business challenge for network operators and content providers in that they struggle to offer the service the user wants at reasonable costs and with

increased revenue. Envivio believes there is a business opportunity here. The competitive difference is the Cloud DVR approach: it is a network-centric, scalable, affordable, and device agnostic solution, which launches new services with added value for both users and providers. Why Cloud DVR? Widespread adoption of multiscreen services and efforts to reduce set-top box costs have made Cloud DVR one of the most prominent approaches to seamlessly provide anytime viewing features across devices. These features include time-shifting,

the ability to restart live TV and even network personal video recorder. In Envivio’s opinion, the economics of cloud infrastructure are pretty straightforward: • On one hand, operators get increased revenues from subscriptions to Cloud DVR services, or from bundled premium packages. • On the other hand, operators have to spend money on infrastructure, particularly in storage. An all-software Cloud DVR solution provides two key benefits to the operator:

• Thanks to an advanced set of technologies and leveraging off the shelf servers, the storage bill can be drastically reduced. • It provides additional revenues through ad insertion. When a cloud solution is based on all-software storage technologies, designed to scale to Petabytes, optimised software for packaging and transcoding minimises infrastructure costs. It also integrates all the functions and workflows for dynamic and targeted ad insertion: each user gets their own personal ad while playing back their favourite content. This provides additional service monetisation for the operator. Such revenue opportunities are keys to satisfying and retaining customers with new features while operating a platform that sustains itself financially. It has the added

benefit of collecting data that allows for more efficient content recommendation engines (and better sellthrough rates). In short, it improves operators’ competitiveness with accelerated time-tomarket for advanced video delivery experience to their customers, and increased revenue from ad insertion. That’s the kind of technological win-win operators can expect to see Envivio demonstrate in Amsterdam. 1.D73

Modular optical Programmed for system enhanced revenue growth WISI

By Ian McMurray

Modular access platform Optopus has been enhanced to enable operation and integration with new and upcoming technologies such as DOCSIS 3.1 and 1.2 GHz operated networks. The Optopus platform is designed to fit into any optical network and is widely deployed in FTTx networks with RF Overlay, RF over Glass (RFoG) architectures as well as HFC applications. According to WISI, the system provides operators with a high level of flexibility, reliability, very high density and very low energy consumption. The LX15 S 3000 module offers a new optical adjustable full-band transmitter for long range signal transmission of up

to 60 kilometres. It is said to be fully DOCSIS 3.1 compliant and suited for all HFC services. The full-band functionality simplifies the operation of Converged Cable Access Platforms as the operator no longer depends on dedicated broadcast and narrowcast transmitters. The frequency range of the dual HFC transmitter LX 12 has been extended towards DOCSIS 3.1. It combines two transmitters in one module, is said to be very energy efficient and supports the monitoring of input signals via test point toggling. Other recent enhancements include the ValueLine fibre nodes of the LR 2x series for

outdoor use. Beyond this, the FttB/FttLA nodes for HFC, RFoG and RF overlay networks are now also DOCSIS 3.1 compliant. The modular LR 22 node is a wideband downstream receiver (1260 - 1610nm) and CWDM upstream. LR 23 (1310nm) and LR 27 (1550nm) are HFC/RFoG fibre nodes with CWDM upstream transmitters. The new LR10 in-home fibre network termination now has an integrated optical RF receiver for CATV and SAT, a fibre tray and can be easily wall-mounted, the company says. It is also available for xPon networks with an integrated WDM filter. 4.B50

Ooyala

By Anne Morris

Telstra subsidiary Ooyala is unveiling some new additions to its premium video publishing, analytics and monetisation products in the IBC Content Everywhere zone this week in Amsterdam. The company has rebranded its ad serving and programmatic trading products to Ooyala Pulse and Ooyala Pulse SSP, respectively. The change comes within less than a year of its acquisition of Videoplaza, a European video advertising company for premium content providers. As broadcasters and advertisers increasingly become more comfortable and apt to buy and sell video advertising programmatically, Ooyala

provides the necessary tools to boost CPMs and maximise revenue for its customers. In addition, Ooyala has now completed its second acquisition after Videoplaza in the form of UK-based media logistics company, Nativ. With Nativ, Ooyala’s technology stack now extends to video production, post production, digital content services, broadcast planning and media management for both OTT and on-air content. The company said this acquisition comes at a pivotal time for the industry, as the traditional systems for managing media workflow for on-air content delivery are undergoing major transformation, in the same way that media delivery and monetisation solutions are transforming into more open, modular, cloud-based systems. 14.F32

Component parts: Optopus modules enable operation and integration with upcoming technologies

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Little Vid LED kit Videssence

By David Fox

The new Little Vid LED lighting kit, on show at IBC from Videssence, includes three compact, 50 Watt, LV050-F Fresnel lens LED fixtures with adjustable beams (from a tight spot to flood), plus stands and

a rolling reinforced case. The small tungsten Fresnel boasts a 96+ CRI (there is also a daylight model), and the lightweight, compact, 165mm x 152.4mm housing allows easy handling in tight quarters. They are claimed to deliver a soft directional beam of adjustable light with flickerfree dimming without colour shift, and produce 1905 Lux at

a distance of 2.7m in the spot position. A manual slide bar at the top of the fixture adjusts the beam and locks in place. A passive heat dissipation design ensures it is quiet in operation. The remote boxes controlling the on-board dimming can also be used with a V-Mount battery.

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The fixtures also come with powerCon power cords, stands, barn doors and gel

frames, packed in the separate compartments of the case. 11.B12

Revving up the Engine Emotion Systems

By Carolyn Giardina

Engine, comprised of new signal processing modules for loudness compliance, is being shown by Emotion Systems. The system offers additional features such as channel

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mapping and mute, Dolby encoding and decoding, upmix and downmix and audio description insertion. These modules also feature a replace/extract function. Engine can be userprogrammed to allow a variety of audio workflows, or it can be operated manually for use with API or watch folders.

Emotion said that Engine can process audio embedded within MXF, QuickTime, MOV, GXF, LXF, AIFF, and WAV media files. MC Patel, CEO, Emotion Systems. “Engine is a major step forward in our already considerable suite of highly effective cross-platform, file-based signal processing

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technologies. Our flagship eFF loudness compliance product has been widely adopted by leading post production and

broadcast customers and [we are] showcasing even more power in our Engine at IBC.” 6.C28c

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OPINION

Exploding storage needs, solved When looking for a new storage infrastructure, take six key aspects into consideration including security and speed, advises Matthias Zahn, founder and president, FAST LTA Today, everything is high definition, 4K and even 8K. Every piece of raw footage must be kept, securely stored, and always accessible. Every channel requires customised edits, formats, versions. This all leads to exploding storage needs. It is common practice to use a layered (aka tiered) storage structure, trading cost savings for speed, security and availability. In media, tape is still going strong for certain aspects of storage, since it offers a number of benefits that are especially valid in production and broadcast: However, data on tape has

to be copied from and to disk systems in many aspects of media production and playout. Since disk based online and nearline storage is expensive, a lot of effort is put into storing data on different storage systems to optimise cost. The result is a rather complex setup. To manage all this, media asset management systems take control of the data, and detailed workflows must be created to keep data available and secure at low cost. When looking for a new storage infrastructure, take six key aspects into consideration: • Tape is cheap. In theory, terabytes of storage fit on a

Fusion PCIe drive joins Thunderbolt 2 Flash line

single LTO tape. Tape consumes no energy when stored offline. Tape is easily movable, with everything kept together. • Scalability – Does it scale out or only scale up? Scaleout storage systems allow for virtually unlimited storage growth. Whenever more space is needed, more storage nodes can be connected, simply enlarging the available space. Traditional scale-up systems only scale to a certain amount. More space requires another system — or the larger version of the storage system from the beginning. This needs to be asked for every tier — online, nearline and offline.

By Carolyn Giardina

The newest member of Sonnet’s family of Thunderbolt 2 technology products, the Fusion PCIe Flash drive is a rugged, pocket-size solid-state drive storage device with 256GB or 512GB storage capacity. According to Sonnet, it can serve as an ultra-fast alternative to USB thumb drives and portable SATA-based hard disk drive and SSD storage products, connecting to a compatible Mac or Windows computer or at the end of a Thunderbolt device daisy chain via an attached Thunderbolt cable. Designed for anyone needing high-speed storage capabilities,

the Fusion PCIe flash drive can be used as a shuttle drive or a ‘take-anywhere’ drive for editing 4K video at offsite shoots. Sonnnet is also showing the xMac Pro server, a rackmount system with built-in Thunderbolt 2-to-PCI Express expansion for the latest Mac Pro; and xMac mini server, which mounts a Mac mini inside a 1U rackmount enclosure and connects two PCI Express 2.0 slots via Thunderbolt 2 technology. Also on show are Echo Express Thunderbolt 2-toPCI express card expansion systems, including the Echo Express III-D (desktop), Echo Express III-R (rackmount) chassis, the dual-slot Echo Express SE II and the new single-slot Echo Express SE I. 7.G02 ;OL-\ZPVU7*0LÅHZOKYP]LPZHU º\S[YHMHZ[»HS[LYUH[P]L[V<:)HUK WVY[HISLOHYKKYP]LZ

By David Fox

Live+ EnGo is a compact camera-mounted or wearable transmitter that encodes H.264 video and transmits it over multiple IP networks, to deliver high quality pictures with low latency. Dejero claimed it is simple to set up and use, and can transmit via cellular, Wi-Fi, Ethernet, and portable satellite systems for live broadcasts from virtually anywhere, including a moving vehicle. The system is aimed

at newsgathering, sports coverage, or any type of remote live-event broadcasting, and its modular design enables the attachment of swappable wireless modules to customise Live+ EnGo to the locally available wireless network infrastructure, and for use around the world. Brian Cram, CEO, Dejero, claimed its new video-over-IP systems make live video acquisition and multiscreen distribution easier and more immediate than ever before.

Streaming Cloud aims to impress Wowza Media Systems By Will Strauss

The latest features and functionality of its Streaming Cloud service are the focus for

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consume lots of energy for operation and cooling. Also, take administration and maintenance into consideration. • Complexity – Can you handle it? Complexity must not be underestimated as source for problems in configuration, problem solving and data loss. The more different systems, the more SLAs, special crafts and interoperability is needed. Visit FAST LTA at IBC2015 and experience the new Silent Brick Library for Cold Storage. 8.AO1

Pick EnGo for wireless transmission Dejero

Sonnet

• Security – Is it safe? Losing data is not an option anymore. Surprisingly, most systems still require full mirroring for data protection, doubling cost, maintenance and complexity. Or, an additional backup is recommended (read: required), adding yet another storage layer. • Speed and Availability – Does it meet your expectations in terms of speed and availability? Note that speed and availability are two very different aspects. Tape is fast, but that certain clip stored on tape #712 for sure is not available eg. in search and browse applications. • TCO – How predictable are the costs? Apart from raw incremental storage costs, does the management software require new licenses when your expanding business needs more data storage? Large disk libraries

Wowza Media Systems at IBC. Available in addition to its streaming server software, Streaming Cloud is described as a “professional-grade service for live streaming to audiences of any size on any device, directly from a camera or encoder.”

“Live+ EnGo is the perfect solution for mobile video contribution professionals who require agility and versatility,” he added. 11.C51

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At the same time the company is demoing integrations and enhancements to its Wowza Streaming Engine software, including 4K streaming, H.265 and VP9/WebM streaming over MPEG-DASH, OTT delivery, and greater integration with the cloud and CDNs. 3.B18

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Variable camera rig weighs in Easyrig

By David Fox

The flexible new Vario 5 camera support system from Easyrig can carry a load range of 5-17kg using a new adjustable tension system. German cameraman Franz Lustig works with many different camera/lens combinations, and likes the V5’s ability to easily adapt to different weights and positions.

“What I love as well about the Vario 5 is that the arm really stays close to your vest, which is important to protect your back. It is a bit heavier than the Easyrig Cinema 2.5 or 3, but therefore you gain a lot of flexibility.” The unit “is heavier, but with [the Easyrig] Gimbal Rig vest this is not a problem at all. It is very comfortable and the weight I do not notice. I love the Gimbal Rig vest. So much more support and comfort,” said another Vario 5 tester,

New Zealand cinematographer David Paul. He feels that the Vario 5, which shifts the camera’s mass to the hips, is best suited to gimbal users or productions where the camera weight varies a lot, whereas documentary shooters might find the weight and slightly increased bulk of the V5 “a slight hindrance.” Dutch cameraman Stijn Brinkmann agreed. Although he liked the Vario 5’s solidity and ease of set up: “I would rather

Multi-play mode for DAD Enco By Mark Hallinger

The release of the new MultiPlay mode for Enco’s latest DAD radio automation software

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suite is being showcased. This mode enhances Live-Assist functionality within the on-air workflow for music station formats, said Enco. At its core, the Multi-Play mode enables more intuitive

console integration and manipulation of audio assets. The Live-Assist Presenter module, when configured with Multi-Play mode, effectively displays to the operator exactly what is playing during segues

Support line: Dutch cameraman Stijn Brinkmann testing Easyrig’s new Vario 5

buy the Cinema 3, because of the weight and price, [but] for rental companies and cameramen that change camera a lot [the V5] is a great solution.” “It was easy to operate and I love the fact it can handle the

weight of several cameras just by adjusting the tension on the back,” added US cameraman Brad White. “I noticed it was a little heavy, but once I started to use it the weight was not an issue.” 11.A46

and makes layering audio simpler. This integration results in Multi-Play Presenter, giving operators a (\[VTH[LKYHKPV!;OLUL^7YLZLU[LYTVK\SLVɈLYZ more agile and easierintuitive console integration to-follow workflow that allows the user to air music segues with multiple sequence and layer multiple, shotgun liners, or mix music simultaneous audio tracks. It beds with multiple voiceovers improves workflow efficiency on the fly. 8.A45 by simplifying how operators

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German systems architect re-named to mirror internationally used brand Wellen+Nöthen

By Will Strauss

German systems architect Wellen+Nöthen has been renamed Qvest Media in order to bring it in line with the Group’s internationally used brand.

The founders and shareholders of Wellen+Nöthen, Gunnar Wellen and Peter Nöthen, consider the main factor for changing the company name to be about achieving a consistent profile for the group’s activities. Nöthen said: “By taking this step to now operate under the Qvest Media brand

also in Europe, we are taking into account our successful company development over the last few years. We laid the foundations for this development in 2008 by establishing Qvest Media in Dubai and by introducing this brand for our nonEuropean activities. The new name is also a clear signal

to customers, suppliers and partners to see the Group as a global enterprise that is known locally for quality, competence and reliability.” The new brand is being officially presented for the first time at IBC. The legal transition will be effective from 1 October 2015.

Nöthen: “a clear signal to customers, suppliers and partners”

3.B40

Sidefinder combines monitor and EVF SmallHD

By David Fox

Sidefinder, a combination of HD electronic viewfinder and 5-inch fold out 1080p monitor, has recently started shipping. Wes Phillips, co-founder, SmallHD, said, “The industry response […] has been overwhelming. As a bonus, the Sidefinder is even more feature-rich than we showed at

NAB due to a recent firmware upgrade.” It is claimed to be both ‘the highest resolution EVF and highest resolution on-camera monitor on the market’, with either SmallHD’s 501 (HDMI) or 502 (SDI and HDMI) field monitor united with a specialised EVF loupe. Its screen provides more than double the viewing area of current combo systems, while its patent-pending folding design gives it a small form factor.

Explorer Version 4.0 is under discussion Parabola

By Ian McMurray

Version 4.0 of Parabola’s Explorer supports HEVC Range Extensions, including analysis of HDR and WGC metadata. According to the company, Explorer is an essential part of the toolkit of anyone working with HEVC/H.265, claiming that it gives unrivalled insight into inner codec workings via an intuitive user interface backed with powerful, multi-faceted analysis of video bitstreams. In the hands of video codec engineers, Parabola said Explorer can accelerate development and debugging, while helping to ensure standards compliance. Engineers can be more efficient, and hours wasted to frustrating problems or cumbersome instrumentation are said to be substantially reduced.

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According to Parabola, Explorer helps teams communicate video bitstream issues visually and is a powerful learning aid for people new to HEVC. Among its features are the ability to view any syntactic element of the video bitstream from access units right down to CABAC bins and encoded bits and bytes, and to zoom and pan predicted, reconstructed or filtered video frames with overlaid informative graphics layers. Users can also visualise the entire decoder state at any point of the decoding process, and see inter-picture bit distribution and dependencies. Explorer provides what Parabola said is comprehensive bitstream conformance validation against the HEVC standard, and delivering powerful statistical analysis of bitstream feature usage. Parabola Explorer is offered in two editions: Pro and Essential. 4.A61i

The Sidefinder ships with a bracket that accommodates the four most popular EVF mounting standards: ¼-20 threads, a quick release for 15mm rods, NATO rail, and Arri rosette. All of its software (focus and exposure-assist tools, audio meters, 3D LUTs, Image Overlay, Anamorphic De-squeeze, and so on) is activated via joystick. To improve ergonomics, the wireless joystick remote can be

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positioned on a tripod handle or any convenient spot. “A lot of thought went into the decision to shy away from touchscreen control,” explained Phillips. “Providing a tiny remote that can be mounted at your fingertips was a huge reason. Now shooters can have full control

of the monitor and swipe instantly to any feature without compromising a stable shooting position by taking their hand off the camera. And unlike touchscreen control, operators are not forced to put fingerprints all over their display.” 11.E55

Taking on the digital audience Vimond

By Anne Morris

Highlights 1.7 offers new features including support for

Chrome with MPEG-Dash, the ability to update alreadycreated clips, and stability enhancements. Vimond said the overall purpose of Highlights is to streamline live-to-VOD conversion,

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for rapid short-form clip production and distribution to social media. The Vimond Control Center comes with added support for plug-in modules, allowing users to build customised functionality into VCC with external tools and services using its APIs. A new wizard makes speeds up the process of setting up live streams (including externally hosted streams), and new metadata capabilities allow dynamic configurable metadata schemes that streamline the management of massive content volumes. 14.E26

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Tie-up to Video Ghost ascends to 3G slim down bandwidth BHV Broadcast

By David Fox

Vantrix

By Anne Morris

InterDigital is joining forces with Vantrix to demonstrate live transcoding using the Vantrix Media Platform. Vantrix has enhanced its open transcoding pipeline with InterDigitalâ&#x20AC;&#x2122;s PerceptFX perceptual pre-processor, and has claimed that this has resulted in bandwidth savings for video compressed with H.264 and H.265. The company noted that encoding 4K video for normal viewing distance with this new

process allows the video to be streamed at 10.7 Mbps for a 29% saving in bandwidth. In some instances, savings can reach 50%, Vantrix added. The Vantrix Media Platform is a software-defined videoprocessing platform with a modular, pluggable and extensible architecture that is open to third-party plugins. InterDigitalâ&#x20AC;&#x2122;s PerceptFX technology eliminates imperceptible image data for 4K and other resolution video, said the company, to yield bandwidth savings compared to traditional encoding solutions.

Video Ghost, which offers a safe and cost-effective way to transport DC power and SDI video over a single cable, has been upgraded to include support for 3G. The system runs serial digital video and DC power in one standard coaxial cable, removing the need for batteries or local AC power sources, and has been described as the video equivalent of phantom power for audio. It can supply 65W of power at distances of 150m, for powering devices in locations with difficult access, such as monitors or cameras on gantries or staging towers without the added cost and safety implications of running local mains power. Video Ghost also offers optional

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HDMI monitoring of SDI video feeds, and is being shown powering CueScriptâ&#x20AC;&#x2122;s teleprompters. There is also a rackmounted version, GhostRack, which offers four channels of power over coax in a 1RU case with integral power supplies and front panel monitoring, which is ideal for OB vehicles

and can be run over passive jackfield systems. When video is not required, BHV also has EasyDC, a lowcost, long distance power system (up to 300m) for monitors, cameras and LED lights in situations when AC is difficult or dangerous to access. 11.F45

14.J06

    

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R

OPINION

Unlocking the value of the RPD set-top box Nick Burfitt, global director of audience targeting, Kantar Media explains why pay-TV operators are embracing Return Path Data In Asia, Return Path Data (RPD) services are now a reality and the understanding of subscribers is being taken to a new level. This year Kantar Media celebrates 10 years of working with pay TV operators in this way — and we’re proud to have been the first research company to have done so. In July, pay-TV provider Astro, in partnership with Kantar Media, launched the first Audience Measurement service in Malaysia to use RPD from subscribers’ set top boxes. The proprietary

system, Dynamic Television Audience Measurement (DTAM), has a targeted panel size of 5000 to accurately represent viewing behaviour of not only linear channels but also of HD channels, recorded and on demand viewing. DTAM will also be able to track viewership of advertising spots across all 180 Astro channels. In Hong Kong now TV, part of PCCW, has agreed a similar deal. CSM Media Research, part of Kantar Media is setting up the Return Path Rating Service (RPR). It will be a cross platform

measurement system also using return path data technology. The service will record data on a second by second basis when panelists view now TV at home, via set-top boxes, or on the go with now TV’s companion apps. In Singapore, SingTel advertising announced earlier this year the introduction of RPD technology as a part of SingTel mio TV’s new television audience measurement platform. To deliver the highest level of accuracy, Return Path Data is captured for the entire SingTel mio TV customer base.

In all three countries the TV operators were looking for ever deeper insight into their subscribers viewing behaviour. Loke Kheng Tham, PCCW’s EVP of pay-TV, told me, “The RPR Service will more accurately reflect the aggregate viewership of now TV content across different platforms.” So it’s no wonder more and more pay-TV operators, particularly in Asia, are looking to Kantar Media’s return path data capabilities as a great way to bridge this information gap. When I spoke to Anthony Shiner, SingTel Advertising’s chief revenue officer, he said, “RPD technology has already provided us with a series of insights, including time spent per day watching pay-TV and the most watched channels during the course of each week. The numbers indicate that, apart from sports, widely thought of as the strongest

performing segment, there is strong interest in kids and local ethnic content as well.” There is huge potential for this type of audience measurement both in areas where TAM services are less developed but also in mature markets where broadcasters like Sky Germany have gained significant commercial benefits. Either way return path data offers pay-TV operators great opportunities to fully understand subscriber viewing habits across all activities and devices , in much greater detail than ever before. 2.B41

Run and gun-style protection Alphatron Broadcast Electronics By David Fox

Although only introduced this year, camRade has extended its range of run&gunBags to include a new compact bag and medium and large backpacks. The run&gunBags offer protection, lightweight

design, and easy access to a fully assembled camera, according to the company. The black bags are made of 1000 denier black Cordura fabric with double (blue) YKK zippers that open the top flap in one easy pull, revealing compartments for camera, accessories, batteries, chargers, cables and tools. It has also added to its

range of protection covers with new body protectors (camRade camSuits) and rain covers (camRade wetSuits), with wetSuits for the JVC GYHM170/200 and GY-LS300, the Panasonic Varicam 35/HS, Canon EOS C300 MkII and the Arri Alexa Mini, plus a camSuit being for the Sony PXW-X320.

Got your back: The new run&gunBackpacks from camRade

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Tactile control panel for automixers Dan Dugan Sound Design By Mark Hallinger

The Model K tactile control panel for all networkable Dugans is being introduced. It offers the user a physical interface for controlling a system, so that operators can have their eyes on the production and their fingers on

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the keys. The Model K includes manual, automatic, and mute keys for each channel, plus

rotary encoders for setting weights and other values, and LCD displays for the channel names and parameter values.

The brightness of indicators and displays can be adjusted for dark or bright environments. The Model K offers controls

for eight channels and three groups. Like the software Dugan control panels, the eight channels can be bank-shifted over any number of channels in a system. The panel can select and load stored scenes. The Model K can be linked to a particular instance of a Dugan control panel so the tactile panel and computer display complement each other. 8.C94

02/09/2015 21:16


Virtualisation is the focus Cisco By Ian McMurray

Among the highlights of Cisco’s IBC presence are its virtualised video processing (V2P) solutions, consolidating multiple separate infrastructures into a single, cloudbased, virtualised solution. Also on show is the company’s offering in security for the virtualised video environment across the entire attack continuum, including video streaming, end point, network, data centre, web and email security. Demonstrations of broadcast video production over IP

are likewise featured, as are programmable private and hybrid cloud infrastructures for the media data centre to support secure, elastic, scalable and flexible workflow requirements. New business and monetisation models with Video Everywhere delivered as a service are also on show, together with advertising substitution and advanced viewer analytics. The latest in home CPE leveraging HEVC/4K UHD, WiFi, RDK-B, and Gateway architecture, providing seamless in-home video and data distribution are also a focus for Cisco at IBC. 1.A71

Virtualisation is the focus for Cisco at IBC

HEVC support leads QuickPlayer 6.0 feature set Squadeo

By Will Strauss

A host of new capabilities, including support for HEVC on Android, are included in the latest version of Squadeo’s OTT video software package QuickPlayer. Version 6.0 includes ‘Player for PC’, a browser-agnostic development that allows one streaming protocol and one digital rights management mechanism to be used across Android, iOS and PC platforms. It also includes Android support for HEVC software decoding. “We believe that in the end hardware decoding is mandatory

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to provide the best video playback experience, lower battery consumption, and relieving the CPU resource for additional video processing capacity or other applications running in the background,” the company said. “In the near future, we will leverage HEVC hardware decoding in keeping with more devices supporting HEVC hardware decoding in the market.” Other new features include scrubbing and fast zapping for a “living room-type experience” as well as adaptive bitrate streaming functionality and compatibility with Android M preview. Squadeo is a creation of NXP and Philips. 2.B39

03/09/2015 15:54


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HDR and media management for Mistika SGO

By Carolyn Giardina

Hosting sessions at its stand for colourists, compositors and editors, SGO is doing something a little bit different this IBC. Topics include how to succeed in a competitive post market, opportunities for small and mediumsized commercial facilities, challenges of delivering high production-value long-form drama and documentaries, as well as workflows used in some blockbusters. SGO is also addressing emerging technologies such as high frame rates, high dynamic range and virtual reality. In addition, the company is demonstrating the latest tools

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in its Mistika post production system for colour grading, compositing and delivery, as well as Mamba FX compositing software for Mac, Windows or Linux. SGO emphasised that both are resolution, colour-space and frame-rate independent, and offer realtime performance in formats such as 4K/60p. Latest developments on show include colour grading features aimed at working to the Mistika Precision

control surface. A new media management sub-system is also being launched, along with new features that allow transparent migration between colour spaces. SGO noted that it continues to develop Mistika and Mamba FX with the guidance and feedback of its customers. It also offers a one-to-one bespoke support service. 6.A11 Colour star: SGO said Mistika is resolution, colour-space and frame-rate independent

Super fast storage is served up Object Matrix By Carolyn Giardina

A beta version of MatrixStore Vision is on show, a new webbased browser application that enables users to search for, examine, add metadata and restore content that is protected in MatrixStore object storage. The company is also featuring MatrixStore as a Service, deployed as a hosted service only, or as a hybrid mix of on premises and hosted. The service will initially launch in the UK but will be offered in Europe, Canada, Brazil and the wider global market based on demand. An Amazon S3 interface to the MatrixStore

object storage platform is in the works. Jonathan Morgan, managing director, Object Matrix claimed the new MatrixStore performance provides 100 percent improvement in bandwidth. “The last 6 months has been the most exciting period of time in Object Matrix history,” he added. “The development team has doubled in size and today we are seeing the very impressive results of that investment. Our object storage not only allows you to securely store assets at the full speed of your network bandwidth but now also provides simple, effective and robust options to move data off premises and onto hosted storage.” 6.C28b

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OPINION

Keys to multi-channel platform business growth Content providers need to take a unified, asset-centric approach to reduce errors and capitalise on new opportunities, says Hervé Obed, CEO and founder, ProConsultant Informatique What was once a linear business model — sending multiple channels of programming to TV screens — has evolved into a complex mix of linear and nonlinear video services, such as Video on Demand, catch-up TV, mobile apps, web streaming and Overthe-Top (OTT) services like YouTube. While these new media platforms offer exciting new opportunities to grow the audience, enhance the entertainment experience and add revenue streams, many content providers are finding that, as they add or expand services, the volume of operational tasks

to be managed increases exponentially. Since this growth happened quickly, many content providers now find themselves running separate linear and nonlinear workflows in parallel, with each of these islands responsible for processing and managing programme content destined for a different platform, like the web, podcasts, mobile devices or an OTT service. Whenever a new nonlinear service needs to be added, content providers either build a new workflow or expand one of their other workflows to handle those responsibilities. They might dedicate new equipment such as servers, transcoders

and archival storage to the workflow, or interface it with existing resources to maximise their capital investment. But without a global solution that can manage and coordinate all of the interrelated tasks along those different linear and nonlinear workflows, losses can result from duplicative effort, wasted resources and costly mistakes. This inefficiency can erode ad revenue, quality of service, partner relationships, brand equity and ultimately profit margins. That’s why we designed our flagship Business Management Solution (BMS), Louise, with a powerful task manager and a unified asset-centric

environment that takes the helm, sending out precise and comprehensive instructions that manage every aspect of daily multi-platform operations. With hundreds of tools and features accessible from a single, user-friendly interface, Louise manages digital rights, media assets, royalties, resources and a myriad of mission critical tasks from end to end for both linear and nonlinear workflows. Everything takes place in the most accurate and efficient way possible so redundant effort and mistakes are eliminated. While many content providers may be reluctant to put a single software solution in charge of managing their multi-platform workflows, we believe there is no better way to ensure reliable, streamlined and precise operations than to reorganise all of the facility’s disparate activities within Louise’s intelligent, global ecosystem. Considering that competition is mounting while budgets are tightening, adopting a unified

BMS is vital to managing the dramatically escalating complexity of multi-platform operations while holding the line on costs. With close to 20 years on the market, Louise has proven that its high-level view of all interrelated operations increases efficiency, productivity and asset value for media companies worldwide. Yet, it’s scalable, modular and adaptable so that it can be phased in to meet evolving operational needs. Visit our IBC2015 booth to learn how Louise can help you manage your growing multi-platform operation more efficiently for greater productivity and higher profitability. 2.B21

Universal cage in the frame Walimex Pro

By David Fox

The flexible new Walimex Pro Aptaris Universal Frame cage system can be combined with almost any DSLR, mirrorless camera or small form-factor camcorder as it is adjustable in height and width. The cage allows easy

mounting of accessory monitors and recorders, such as the Atomos Shogun, and is the first Aptaris cage allowing for adjustment not only in height (from 78mm to 130mm), but also in width (160-252mm). An optional Aptaris Universal XXL Adapter can then provide a further extension of 25mm. The €479 Universal Frame weighs 500g and has numerous 1/4-inch and 3/8-

inch threaded holes on both its Top Plate and Side Supports, allowing considerable flexibility in mounting such accessories as lights or microphones. The Frame also has a bubble level, while precisely machined interfaces on the Top Plate allow for the simultaneous use of up to two optional Aptaris L Brackets, and a new integrated Quick-Release interface on the Base Plate provides simple

Supporting expansion to OTT Volicon

By Carolyn Giardina

A new Distribution Monitoring system that uses Volicon’s Media Intelligence Platform

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will enable end-to-end path monitoring for every point across both linear broadcast and OTT service delivery. It’s designed to provide a unified compliance and monitoring interface for content being distributed in any format, on any platform, to any

geographic location. Gary Learner, chief technology officer, Volicon, said, “More and more content is being distributed on an increasing number of specialty channels and services across a growing array of platforms – linear and

attachment to the Aptaris Rod Module. All important camera operational points, such as memory card slot, battery compartment and connector sockets, remain free and accessible. The included Aptaris Large Handgrip can be mounted via Minirail either on the Top Plate or Side Supports – the Handgrip provides additional

internet-delivered – to an expanding global marketplace, and with this expansion comes a host of new challenges in maintaining the integrity of content and the consumer experience. “Broadcasters need a convenient, flexible, and affordable way to make sure that all of these channels

Expansion joint: The new Walimex Pro Aptaris Universal Frame

1/4-inch and 3/8-inch threaded mounting points. 11.G87

and programmes are being delivered properly,” added Learner. “With our new Distribution Monitoring system, we provide a complete system that extends monitoring from ingest to the set-top box output and to OTT devices such as smartphones and tablets.” 7.G23

02/09/2015 21:17


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Defying expectations Conax

By Ian McMurray

Morten Solbakken, president and CEO of Conax, said his company has defied predictions by industry players to make the past year a fruitful one, in the wake of an acquisition by the Kudelski Group “With the solid backing of the Kudelski Group, Conax is now very favourably positioned

and part of a complementary constellation of companies serving the same industry,” he added. “We are energised and stronger than ever, and have already begun tapping the unique opportunities and synergies now available to us by the Group.” According to Solbakken, key highlights of the past year have included the signing of 15 new customer contracts in Europe, Africa, the Americas and APAC.

The company also launched three new solutions, enabling what it claims are sustainable, low risk business models for secure entry to OTT, based on fresh new developments to its flagship Conax Contego unified broadcast/OTT back-end. “With a continual commitment to product and development, over 35% of Conax’s human capital is already dedicated to R&D,” Solbakken continued. “Backed by Kudelski Group synergies, our total R&D strength

Backup on the cards Nexto DI

Copy taker: Nexto DI’s Media Storage ND2901 is ideal for GoPros

copy on a USB Drive without needing a computer. It has incremental copy support, so that only files or folders that have changed since the last backup will be copied. The ND2901 weighs 250g including a hard drive and has a rechargeable (Li-polymer)

battery built in that lasts up to 90 minutes, transferring up to 300GB of data from a CF card, or 200GB from an SD card. There is also an optional external battery (sold separately) that can extend power up to three hours.

Solbakken: “our key competitors simply do not have access to this magnitude of R&D capacity”

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Big sound on stand HHB Communications By Mark Hallinger

By David Fox

The Nexto Media Storage ND2901 can safely back up video and other files from Compact Flash and SD/SDHC/ SDXC memory cards, on location. It can also be used with micro P2 cards and micro SD (using an adapter). The company claimed it takes 14 minutes to copy and verify data from a 32GB CF card. Users can also check the video or still images on the built-in LCD screen. Besides copying to the internal 2.5-inch SATA hard drive (users add their own choice of drive), it can also sync and create a second

is in the forefront of the content security/DRM industry. The majority of our key competitors simply do not have access to this magnitude of R&D capacity. “Not only is Conax continuing to cultivate its portfolio of futureready solutions and services together with a rapidly growing portfolio of open ecosystem partners over the last year, we are now starting to include crossKudelski Group technologies and developments,” he concluded.

Several pro audio manufacturers are using the big HHB stand located at the entrance of Hall 8 for product launches. Companies on the stand include Roland, TC Electronic, NUGEN Audio, Dynaudio Professional and Mogami. HHB claimed that this is its biggest-ever showing of professional broadcast audio product debuts. Key co-exhibitor Roland is highlighting the M-5000, a new digital mixing console built on a high-resolution open architecture with 128

freely definable audio paths, expandable protocols, multiformat I/O options and more. The latest loudness metering and correction technologies in hardware and software for acquisition, production and transmission are on display from loudness vendors TC Electronic and NUGEN Audio. New product launches from RØDE Microphones and other launches are also being shown, and HHB staff are on hand to discuss developments in loudness, AoIP, ATMOS, Mogami pro audio cables, digital consoles, MADI, microphones, loudspeakers, Avid Pro Tools. 8.D56

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Slimline, high-density battery PAG

By David Fox

The new L90 Slim Battery is designed for use with smaller cameras, such as the Arri Mini Alexa, and offers a low-profile form factor, using a lightweight construction that makes it ideal for use with compact cameras, especially when mounted to gimbals or drones. Its dimensions are

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140x85x35mm, it weighs 500g, and has a capacity of 90Wh, which is claimed to give it the highest energy density of any V-Mount Li-Ion battery on the market. The PAG L90 Slim is also an intelligent battery that manages its own charge and discharge safely. It provides a continuous currentdraw of 10A and can be charged using any reputable V-Mount LiIon charger. A new feature is its orientationsensing numeric Run-Time &

Hi-res: HHB’s stand featuring Roland’s M-5000 console

Weight watcher: PAG’s lightweight new L90 Slim Battery

Capacity Display on the side of the battery. The display adjusts automatically according to the battery’s orientation to ensure legibility. Run-time is displayed to a resolution of one minute, while capacity is displayed in 1% increments. The battery also communicates automatically with multiple camera data systems and displays its remaining capacity in the camera viewfinder/LCD.

As with all PAG Li-Ion batteries, the L90 Slim has been independently tested to UN standards, in compliance with air transport safety regulations. A capacity below 100Wh (14.8v 6.1Ah, 90Wh) ensures its suitability for transport on passenger aircraft without quantity restriction. It should ship later this year. 11.C36

02/09/2015 21:18


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OPINION

Fibre over fear of flying Fibre optic technology is as straightforward as traditional cable technologies and deserves to become mainstream, argues Theo Stals, managing director of the Fieldcast project, an initiative of Rosenberger OSI Image resolutions and frame rates are increasing rapidly, and the cabling solutions necessarily have to keep pace. Cable manufacturers try to boost performance as much as possible, but they have to face the inevitable: there always will be an impedance tolerance threshold beyond which a digital signal suddenly collapses and cannot be restored. In other words, there’s a maximum to cable lengths. Current 4K technology already asks for data rates of 12Gb, and when using highest quality copper

cable we can’t do more than 100 metres at best. The answer to these challenges, from a technical point of view, is fibre optics. With fibre optic cable there’s no impedance tolerance to consider, and longest distances can be bridged with ease. Moreover, no rocket science is needed to go from electromagnetic signal to optic signal and back: the very same sequences of zeros and ones are traveling from A to B and nothing changes to the information as such, at all. So why haven’t we all

welcomed fibre optics as the obvious successor of copper cable? There are several reasons for this, some of which are technical, others are economical, but there’s emotions involved too. We tend to stick to what we know and what we are used to, and we do not jump immediately to a new technology if we are still in doubt about the state of the art. Even if a new technology seems to be able to effectively solve our problem, we still are reluctant to break with tradition. It’s fear of flying, it’s anxiety. But let’s face it. Today’s

cameras and switchers can do 4K at highest quality levels, yet come to market at a revolutionary low price point — so there’s a new and growing generation eagerly embracing this new gear, including fibre optic connectivity. These young people do not have the burden of tradition, they judge technology on what it brings to them, and they dare to fly and are prepared to take the risks that come with it. With the FieldCast we deliberately want to offer robust fibre optic connectivity at a price level that is in concordance with all this wonderful new technology. But we also want it to be simple, easy to use and recognisable, because we want to take away all residues of fear and anxiety, if still existing. We think that fibre optic technology is as straightforward as traditional cable technologies, and more than deserves to

become mainstream and be widely accepted as a standard. In order to facilitate this process we now have broadened our FieldCast product line with low cost sturdy boxes — adapters, converters, multiplexers, etcetera — that directly connect to the cable, fast and easy. Fibre optic connectivity is here to stay. More and more products will have fibre connectors built in, as an extra, or even as a standard. In the near future we won’t have to ‘convert’ to fibre optics any more, it will just be there. Needless to say, we want FieldCast to be part of this future, we want to fly, with you. 11.E39

VMXpress IP launched to connect studios

Connectivity box: VMXpress IP extends the networking capabilities of the VistaMax portfolio

GatesAir

By Mark Hallinger

VMXpress IP is being launched at IBC2015, aiming to extend GatesAir networking architectures into an interoperable AoIP environment. VMXpress IP is an AES67compliant audio and logic device that establishes a

standards-based AoIP gateway for radio studios. Leveraging the non-proprietary nature of ALC NetworX’s Ravenna networking technology, VMXpress IP enables interoperability across a studio and signal transport architecture. VMXpress IP evolves the networking architecture of GatesAir audio distribution and consoles, integrating with existing and emerging AES67-

compliant devices to help broadcasters build the optimal connected studio facility, said the company. The company said it simplifies connectivity with audio processors, satellite receivers, phone systems and studio support equipment, including program delays, among other key systems. With GatesAir’s existing networkbased, minimally-wired studio networking architecture at the

core, Ravenna’s networking technology fortifies the overall infrastructure through lowlatency distribution and full signal transparency. Beyond the studio, VMXpress IP extends networking to leading IP transport solutions, including GatesAir Intraplex

IP Link codecs, for lowlatency audio contribution and distribution. This expands connectivity to transmitter facilities (STL), live remote broadcast sites, and the internet for streaming content to other studios and the web. 8.B20

Motion control in your pocket Syrp By David Fox

The new Genie Mini is an appcontrolled miniature motion control device that can handle a wide range of cameras from GoPros up to professional DSLRs or mirror-less cameras. The Genie Mini is around a quarter of the size of the original Genie and is controlled using the Syrp Genie App available on

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iOS and Android and connected wirelessly via Bluetooth. The app uses graphical movement displays and dials that are easy to follow. The Genie Mini can also be synced to the Genie using a cable to create two-axis control for video and time-lapse, something current Genie owners had requested. Chris Thomson, co-founder, Syrp, said, “We’re really excited about what’s in store for the future with the app and updates will include time-lapse image

processing on smartphones the development of a pan tilt bracket to sync two Genie Minis together as well as an online user account platform for sharing presets and time-lapses.” The $249/£200 Genie Mini can be used to shoot smooth panning time-lapse moves, or accurate realtime pans, and is claimed to be “incredibly simple” to use. The app includes pre-sets so that no technical expertise is required. An ‘ease in, ease out’ feature

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allows users to ramp the movement at the beginning and end of the time-lapse or move, for soft starts/stops. It can do a full 360º revolution in 31 seconds, carry up to 8kg

for panning (or 5kg for tilting), and weighs 230g. The built-in rechargeable battery can do more than 40 hours of timelapse or five+ hours of video. 11.A71

02/09/2015 21:18


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Extend CDN into the home

Q&A

Broadpeak

Nick Rashby, president, AJA Video Systems Has IBC come at a good time for the electronic media industry? Why? Yes, the electronic media industry has evolved significantly as more and more of our customers are adding non-traditional content delivery platforms into their workflows whether they’re internet streaming companies, live event staging groups, filmmakers or networks. IBC is also a great bookend to NAB in April — the conference provides an opportunity to see what new trends remain top of mind in the industry and gives insight into new ones that are emerging.

What do you think are the key developments in, or threats to, your market

By Ian McMurray

sector at the current time? Key developments continue to be in the build-out of 4K and Ultra HD infrastructure products along with a demand for better streaming solutions and IP-based workflows for broadcast and A/V. Change is opportunity for our company, and at this IBC we will introduce even more technology to further enable these workflows.

Why should delegates visit your stand at IBC? Every IBC AJA has several new product announcements and this year is no exception. Our focus at this IBC is delivering products and technologies related to streaming, video over Ethernet and fibre-based infrastructure,

and bridging HD pipelines into new UHD and 4K delivery needs. We are also showing our CION camera, KONA and IO desktop devices, converters and much more. At our dynamic stand, our products are shown in working configurations so delegates can get a real sense of how they work and perform. 7.F11

nanoCDN technology, on show from Broadpeak, enables operators to extend their CDN into the home network. The company said the technology can make use of equipment such as broadband gateways and set-top boxes. It now supports four applications, which are being demonstrated at IBC. One such is Multicast ABR, now available on Android STBs for live multiscreen delivery. According to Broadpeak, nanoCDN makes live OTT video delivery to any device truly scalable by turning millions of broadband gateways, cable modems, Wi-Fi routers, or STBs into active components of an operator’s content delivery infrastructure. The company said that by leveraging home networks, the 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. This is done by implementing multicast support for most popular ABR formats. Also being demonstrated is video transparent caching. This application of nanoCDN is said to allow operators to handle the growing volume of unmanaged video content on their backbones efficiently. Through nanoCDN, Broadpeak said that operators can reduce peering costs for ISPs while optimising their network resources and improving the QoE for end users. The application is claimed to pave the way for new business models, enabling operators to monetise the caching capability with content owners, without the latter needing to modify their setup. The VoD precaching application of nanoCDN is designed to optimise streaming capacity and end users’ QoE for VoD services. VoD precaching is able to leverage customer-premises equipment (CPE) and multicast technology. 4.B78

Plugging into CatDV Tango Remote on a roll and LTO integration Prosup

By David Fox

GB Labs

By Carolyn Giardina

Integration between the CatDV media asset management system and GB Labs’ LTO system is now possible using a plug-in called QLS Archive, which links CatDV with Space storage devices. The middleware was developed by QLS Distribution and uses the GB Labs Space API. The Space API was developed to enable media technicians to move content to and from tape archives, in order to enable fast project and asset searching, retrieval and offlining. Automated

processes systematically transfer completed projects and aged files onto LTO tape, securing assets for the long term and freeing up space on shared tier 1 and tier 2 storage. The new plug-in also includes the ability to report on the status of archiving jobs and enables users to track tapes for fast data retrieval. Ben Pearce, sales and marketing director of GB Labs, said, “This powerful integration makes data and project management significantly more efficient. It gives CatDV users full control over the movement of media between Space online and offline platforms and facilitates routine data management tasks.”

The Tango Roller, a smoother, quieter alternative to a camera slider or glider, is now available as a motorised system. It has some neat touches, such as magnetic end stops that ensure a smooth end of rail stop. The new Tango Remote is the result of co-operation between Prosup and the Vitec

group. Prosup previously worked on the Q-Ball 3 for Camera Corps, and this relationship has been continued for the Tango Remote project. The Tango, which can carry payloads of up to15kg, runs on Prosup-developed rubber rolls (unlike most sliders running on ball bearings that make them noisy and slightly rough to move), and was ideal for what Camera Corps was looking for: a movable small camera base that can remotely travel longer

distances for covering sports and entertainment events. Prosup also created its own extrusion rods, which fit seamlessly together, to provide this. Some of these motorised Tango units are scheduled to be used on next year’s Olympics. A standard Tango Remote can be seen on the Camera Corps/Vitec stand (11.E55) and an underslung remote version on the Prosup/CaSu stand.

11.E73

7.J15B

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02/09/2015 21:19


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OPINION

Radio workflow automation: Transformative technology Thierry Gandilhon, president and CEO of NETIA, sheds light on tools to aid mobile news reporting Modes of media consumption continue to evolve, and this demands innovation on the part of radio broadcasters, who must adopt transformative technologies if they wish to strengthen their market share and increase their listener pools. Specifically, broadcasters must identify and deploy solutions that can help them to offer extended services and generate greater revenues while reducing their costs. Radio automation technology can be one such transformative technology. When engineered to support mobility, it can give the broadcaster a new degree of agility in responding to timely and important events. Supporting contribution by news reporters and freelance

journalists scattered all around the globe, mobile capabilities enable remote users to tackle a breaking story and very quickly provide unique coverage as it unfolds. NETIA’s radio automation software is one example of a powerful solution now giving broadcasters the mobile tools they need to deliver rich field reports, ready to broadcast, quickly and easily. By making user interfaces available via thin clients, robust automation solutions are readily accessible from a multitude of connected devices. In addition to enhancing fieldproduction capabilities, this technology is reducing overall time to market. This benefit comes from the integration of

New compact L-band matrix switch unveiled DEV Systemtechnik By Michael Burns

The new 8² (Eight Squared) Distributing Matrix is being unveiled at IBC2015 by the Quintech company, DEV Systemtechnik. With the launch of the 1RU matrix switch, its Matrix product family now offers a full range of next generation RF matrix switches designed to meet a variety of sizes, from small to extremely large. For small configuration environments such as SNG vehicles, the 8² Distributing Matrix offers an ideal mix of cost and performance plus unique advantages, claimed the company. The new 82 Matrix features optical inputs, unique redundancy options, LNB powering, full colour display user interface, and dual

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redundant field replaceable power supplies. The 8² is available in sizes 4x4, 4x8, 8x4 or 8x8, and is field-upgradeable to the maximum size of 8x8, without any disruption of service. Various connector types, 50 or 75 Ohm, optical inputs, redundancy options, TRAC and field replaceable power supplies let customers equip the device to their needs. A 9th output comes as a standard feature for monitoring purposes. Jörg Schmidt, managing director of DEV Systemtechnik, said, “Our new 8² L-Band Matrix Switch offers stronger RF performance with the best cost-performance ratio in the smallest form factor, making it stronger, smaller and smarter than any comparable matrices on the market.” 1.B31

publishing capabilities into radio automation solutions. The radio broadcaster can now use a single ecosystem and interface to drive content delivery across numerous channel and platform types, providing the ‘anytime, anywhere’ access to content that can help to grow its audience. Additional technology advances are driving further benefits for users of sophisticated radio automation solutions. For example, the use of a service-oriented architecture (SOA) and its API enables the broadcaster to perform various types of thirdparty integration. In addition to speeding deployment, the absence of a heavy client reduces the need for

training and makes for faster incorporation of freelancers into the production team. The integration of cloudbased processing into radio automation solutions is also transforming the way journalists and reporters work. In transferring computationally demanding tasks to serverbased engines in the cloud, the automation solution facilitates triggering and management of key operations from the field. As a result, newsgathering staff working remotely can now perform the transcoding, rendering, mastering, encryption, quality control, and proxy generation processes once limited to the broadcast facility. With a dramatic increase in the capabilities available to them, these contributors can play a far more valuable role in the timely creation and delivery of unique content. During IBC2015, NETIA is shedding light on these developments by showcasing new product features that

enhance the flexibility and reliability of multichannel radio playout and new capabilities that enrich multimedia production, as well as mobile and remote production workflows. One highlight is the AES67- and audio-overIP-compliant AirPlayList 2.0 module, which facilitates automated playout of multiple radio channels simultaneously — from a traditional physical sound card or using IP-based virtual drivers — and with guaranteed redundancy. NETIA will also demonstrate its ability to integrate complex production ecosystems and simplify the publishing of content and data to the second screen. 1.A29 (with Globecast) & 8.B36b (French Pavilion)

Adaptable lightweight dolly mixture Egripment Support Systems By David Fox

Two new dollies are amongst the introductions on the Egripment stand. Its Universal Dolly uses a new method of steering, comes with both two- and four-wheel steering, and can be manoeuvred from either the back or front. It can be folded down to 50x75x12.5cm, carries up to 200kg, and is adaptable to any production requirement using any Egripment accessory (seat supports, columns, bazookas and jib arms), and operates with pneumatic, hard rubber or track wheels. Egripment’s new Focus Dolly Light is based on the company’s original Focus Dolly, but has an entirely new design, built from aluminium, making it lighter and more durable. The strong anodized Aluminium Pack Track Kit replaces the original Polymer

Pack Track. Also on show is: Egripment’s TDT Remote Crane System, a lightweight, modular (easily transportable), remote crane, dolly and remote head, suitable for most ENG-sized broadcast and

smaller digital film cameras, with controls located at the back of the crane, for comfortable handling; and the ProTraveller crane/jib/ remote head system for use with smaller cameras. 11.A21

Ready to rock and roll: Egripment’s TDT Encoded Crane System

02/09/2015 21:19


117

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Lightweight codec points apps at IP Fraunhofer IIS

SES

By George Jarrett

For applications requiring a lightweight image coding system for inside cameras, video over IP and KVM extension, Fraunhofer IIS has developed a clever codec offering compression ratios of 1.2 to 1.6. Its single project partner was IHSE for the KVM extender developer. â&#x20AC;&#x153;We saw that the implementation of JPEG 2000 was rather complex, and thought to develop an application for minimal compression ratios, with low hardware complexity and low latency,â&#x20AC;? said Wolfgang Heppner, head of systems and devices group Fraunhofer IIS. â&#x20AC;&#x153;It is actually a niche market. You have to think that the field of image compression has JPEG 2000 and H.264 and that they are special applications that have other requirements,â&#x20AC;? he added. The booth demo had the KVM application live. â&#x20AC;&#x153;You have a box

By Chris Forrester

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you connect to the PC and the output of the graphic card and on the other side you have your video stream, and there you are dependent on very low latency because you want to move the mouse and see it immediately,â&#x20AC;? said Heppner. â&#x20AC;&#x153;We are seeing a change in the workflow, as everyone is moving to IP. There you have the 10 Gigabit bandwidth ceiling, so for apps that just want to go with a light codec under this limit, this is a perfect solution,â&#x20AC;? he added. â&#x20AC;&#x153;You do not have to do it with

An EYE on Amsterdam: If youâ&#x20AC;&#x2122;re interested in museums, the EYE film museum is already one of Amsterdamâ&#x20AC;&#x2122;s modern icons. EYE showcases the very best of cinematic history â&#x20AC;&#x201C; often in newly restored versions. Alongside the classics, it also screens new independent releases and hosts special evenings dedicated to experimental film

ASICS or with big computational power, and you get your content with about 1.4 compression under the bandwidth limit.â&#x20AC;? Users could transfer LICI compressed camera rushes from a venue to the studio and then do the post-processing and transcoding. The codec then does the transcoding for delivery. â&#x20AC;&#x153;Normally we do that transcode in live workflow,â&#x20AC;? said Heppner. â&#x20AC;&#x153;It is a fully transparent technology that enables you to move to IP.â&#x20AC;? 8.B80

and other genres. Or if you fancy an excursion, why not try out Soundtrackcity where you can rediscover the city on foot while listening to soundtracks created by artists specifically for the route. No audiotours but soundwalks. For more information, visit www.iamsterdam.com

First transmission in full HD Globecast

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Ferdinand Kayser, CCO at Luxembourg-based SES, speaking at IBC, said the satellite operator sees â&#x20AC;&#x153;steady momentumâ&#x20AC;? and an accelerated uptake of Ultra-HD broadcasts leading to an expected 220 UHD channels over Europe by 2025. Kayser was launching an SES white paper on UHD which confirmed that 2015 has seen significant breakthrough with the number of channels either on air or about to launch. â&#x20AC;&#x153;Demos, content, high-technical standards, devices and the delivery infrastructure are now falling into place,â&#x20AC;? he added. Kayser said that UHD display sales were happily being bought by consumers, helped by rapidly falling prices, and would reach some 200 million units globally by 2018. â&#x20AC;&#x153;Buyers are already exposed to UHD content from the internet and movies, and we expect there

will be more than 1000 channels on air by 2025.â&#x20AC;? He quoted data that stated the US would have some 300 UHD channels by 2025, and around 220 over Europe. As to display sales, the white paper confirms that UHD units already account for 13% of all TV shipments in 2015 (31 million units) and nearly half of all 50inch and larger sets. By 2017 more than 90% of all UHD unit sales will be 50-inch or above. Kayser highlighted â&#x20AC;&#x2DC;Fashion Oneâ&#x20AC;&#x2122; which went on air on 1 September over Europe and North America, but also noted â&#x20AC;&#x2DC;pearl tvâ&#x20AC;&#x2122;, an all-UHD shopping channel now broadcasting over Europe, and the upcoming launch for North America of â&#x20AC;&#x2DC;High 4Kâ&#x20AC;&#x2122; that goes live next week. SES is also about to broadcast â&#x20AC;&#x2DC;Insightâ&#x20AC;&#x2122;, a new UHD channel from TV Entertainment Reality Network, which goes live in October, as well as SESâ&#x20AC;&#x2122; own HD+ demo channel already on air. 1.B51

UHD lenses given a sporting chance Canon Europe By David Fox

By Ian McMurray

Ten broadcasters covering the recent South East Asian Games used distribution services from Globecast, who were contracted by HBS to provide distribution. The 28th occurrence of the Games saw this major sporting event return to Singapore after a 22-year gap. Thirty-six sports and 402 events featured in the elevenday spectacle, including more unusual sports such as wushu, sepak takraw and wakeboarding. Globecast facilitated the distribution of 10 channels to regional host broadcasters across Asia, creating two multiplexes onsite at the International Broadcasting Centre (IBC), one

SES in â&#x20AC;&#x2DC;pole positionâ&#x20AC;&#x2122; for Ultra High Def

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with six channels (in 36 MHz) and one with four (in 24 MHz). These were then uplinked via a 4.5m dish at the IBC dish farm using NS3 modulation. â&#x20AC;&#x153;We initiated the discussions with Globecast with a very open scope, due to our lack of reference in the requirements for this type of event. But we managed, during the development of the project, to

design with them an operation that met the technical and operational constraints while offering sufficient flexibility to cater for latecomers. The satellite set-up put in place offers, for the first time at the SEA Games, full HD transmissions through a cost-effective approach,â&#x20AC;? said HBS project director Daniel Wlochovski. 1.A29

Two new high-performance 2/3-inch lenses that are claimed to surpass even 4K resolution have been launched by Canon. The UHD Digisuper 90 (UJ90x9B) and UHD Digisuper 86 (UJ86x9.3B) join the new CJ12ex4.3B wide-angle lens in Canonâ&#x20AC;&#x2122;s range of 2/3-inch Ultra HD lenses. The 86x (focal range 9.3800mm) and 90x (9-810mm) lenses offer improved resolution from the image centre to the edges, at both telephoto and wide angle, thanks to advanced optical construction, an increased use of fluorite and UD glass, and appropriate coatings. This is claimed to result in â&#x20AC;&#x153;exceptional control over

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ghosting and flare with sharp, high contrast images supporting a large number of tonesâ&#x20AC;?. Both also have a built-in 2x extender to double the telephoto power, while maintaining 4K resolution, and have a minimum object distance of 3m. To track moving subjects at sports matches and events they have optical image stabilisation, including compensation for swing-back. 11.E50

10-09-15 16:05


For the latest show news and updates follow

118

Responsive Subtitles delivered BBC R&D

By Adrian Pennington

Responsive Subtitles are media constructed from separate objects

delivered alongside a recipe for assembly tailored to an individual audience memberâ&#x20AC;&#x2122;s personal and device requirements. And because everything is sent via IP it can be scaled to millions of users. Thatâ&#x20AC;&#x2122;s the goal of BBC R&D

and something you can see in the IBC Future Zone. â&#x20AC;&#x153;Responsive Subtitles shows subtitles being formatted in the client to provide personalisation to the individual requirements of subtitle users and their chosen device,â&#x20AC;? explained

#IBCShow

Jon Page, head of operations. The research division began by looking into ways in which language models for individual programme topics might be used to improve the performance of speech to text engines and to detect errors in existing subtitles. It examined iPlayer statistics on subtitle use and started to build

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Better than predictive text?

an automatic subtitle monitoring tool to permit long term trend tracking alongside measurable issues, such as subtitle position. Further work included making the experience more immersive by placing the subtitles closer to the speaker and looking at how subtitles can be avoided being placed over important parts of the scene. It investigated how live subtitles could be realigned and reformatted during streaming and developed a way of matching up video clips on BBC web pages to the same piece of video in the BBC broadcast archive in order to locate matching subtitles for the web video. 8.G08

Simplifying interconnections Cambridge Electronic Industries By Heather McLean

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System Connections, the assembly and sub-contract division of Cambridge Electronic Industries, simplifies interconnections across different connector styles used in broadcast equipment. It has introduced a wide range of standard and custom built coaxial cabling system that simplify interconnecting the different connector styles now used in high speed, HD broadcast equipment, and products are being shown here at IBC. Available for use in 3G, 6G and 12G-SDI environments these inter-series cabling systems allow traditional bayonet locking connectors such as BNC to be connected to other styles such as small format pushpull locking DIN 1.0/2.3 or micro BNC bayonet; cable types include Belden 1505A, 1694A, and 1855A. 9.A36

10-09-15 13:16


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V-Nova cracks EE with 4K New Tools By Chris Forrester

Compression technology company V-Nova has trialled UHD transmissions over EE’s network in the UK. EE is the UK’s largest mobile operator, and V-Nova’s Perseus-branded solution undertook a “highly successful” trial of Ultra HD at 6 Mb/s. “EE and V-Nova tested the boundaries of mobile video and showed how building in Perseus video

compression technology to the EE 4G network enables high quality video streaming at a significantly reduced bitrate,” said a joint statement released at IBC. Matt Stagg, head of video strategy at EE, said: “We have built in a massive amount of capacity to our network because we know that our customers are demanding more and more video – it’s growing at a phenomenal rate. As well as adding more bandwidth,

we’re looking at intelligent, cost-effective ways of delivering video more efficiently, and more reliably in challenging environments such as densely populated urban areas and high speed travel in a car or on a train.”

EE’s Matt Stagg and V-Nova’s Eric Achtmann are among the panellists on a special IBC session ‘Breaking the Codec’ in the Forum at 16:45 on Sunday.

Compact high-speed 4K camera For-A

By Will Strauss

The first showing of the FTONE-S compact 4K high-speed camera, an updated version of the HVS-2000 vision mixer and a new multi-channel studio server are among the For-A highlights at IBC. The FT-ONE-S is the newest version of the company’s 4K variable frame rate camera. Shooting up to 360fps, it is smaller and lighter than the FTONE and features a removable camera head to allow for different shooting positions and angles. As the camera links operators both optically and via an intercom system, users can shoot in the field with up to 1km

FT-ONE-S: the camera head can be separated from the body

distance between the unit and base station. Also at IBC, the HVS-2000 vision mixer is being introduced with a three-row control panel for the first time. The HVS-2000 has up to 48 inputs and 23 outputs, 12 DVEs, 12 keyers and four multi-viewers, and can be used for SD, HD, 3G and 4K productions. It is considered to be well suited to a variety of scenarios including OB trucks and studios. Other vision mixers on display include the HVS-390HS 1-2.5 M/E unit, as well as the HVS-100 and HVS-110 portable vision mixers.

Making its IBC debut is Insight, a multi-channel video server that supports a range of wrappers and codecs. Designed for studio and OBs, it supports up to four SD or HD channels and can be configured as a single 4K channel. Insight has a full web interface that allows control of the server from any device. A flexible event processor allows operators to connect to multiple devices and interact with other studio equipment for file sharing, event synchronisation and streaming. 2.A51

Cloud in the driver’s seat Tata Communications

By Adrian Pennington

While still in its infancy, the cloud is an opportunity for forwardthinking broadcasters to pave the way to the future of broadcasting. That’s the message from Tata Communications which already has a high-profile case study in its bag, having transmitted 4K live from the Singapore GP last year for Formula One. “It’s now possible to construct a temporary MPLS [Multiprotocol Label Switching] circuit and 14km of fibre optic cable – the

119 IBC D1 2015 v2 MDL.indd 1

equivalent of a whole city’s infrastructure – at each new F1 race location in just a few days,” said Richard Craig-McFeely, business development director, media services. F1 broadcaster Chello DMC worked with Tata to deliver six live video feeds from 19 F1 races on Dutch channel Sport1 last season, viewable on multiple devices. “While there are naturally some security concerns around protecting highly valuable content from competitors, it’s important to keep security in perspective. Storing content in a data centre is far more secure

Craig-McFeely: ‘forward-looking’

than sending off a tape for review via a courier,” he said. Cloud-based software allows media companies to scale capacity as required and the pay-as-you-go nature of cloud services makes it possible to make significant cost savings. 13.MS23

for production ToolsOnAir By Carolyn Giardina

ToolsOnAir Broadcast Engineering is introducing new features for its ‘TV station in a Mac’ just: Broadcast Suite and flow: rage Network Appliances. The new just: in multi 2.0 GUI has been redesigned to allow simultaneously viewing of up to 32 ingest channels from a single monitor. Individual channels can be automatically scaled and via drag-and-drop freely repositioned. The company also reported that performance and core stability improvements have been made to the engine, allowing support for up to eight channels of simultaneous HD ingest on a MacPro. Codec support has also been expanded to include AVC-I and XAVC. ToolsOnAir’s playout engine

is also redesigned in just: play/ live version 2.0, which is in beta and now supports live video signal in- and output, providing users with some new benefits. Among them, use of a downstream-keyer is no longer required to handle live video output expanding hardware compatibility to include support for Blackmagic Design video cards; live video signals can now be part of a graphic element and/or IP stream, and the live video signal can now be seen in the on-air window of the UI. Additionally, the company reported that users of Blackmagic Design ATEM switchers are now able to execute transitions in addition to hard switches from one live source to another. With just: play/live version 2.0, Tools on Air is also announcing 4K support. 7.G45

Post it notes Autopost Project By Adrian Pennington

Improving the efficiency of labourintensive visual effects tasks is the aim of this industry collaboration project which is midway through its 18-month trajectory. AutoPost or ‘Deformable Surface Tracking and Alpha Matting for the Automation of Post Production Workflows’ is a project funded by the EC under H2020 which started in January 2015 and runs until June 2016. Project partners (Eurecat, Fraunhofer HHI, imcube labs, Moto and Digital Graphics) are at the IBC Future Zone presenting the objectives and expected results of AutoPost compared with commercially available software tools. This includes a breakdown of visual effects where matting and tracking are commonly used and a demonstration of the limitations of existing workflows and tools. “We are also presenting a new

dataset which has been created to evaluate and compare matting and tracking techniques under varying real-world conditions,” explained Eurecat’s R&D technical project manager, Monica Caballero. The aim of AutoPost is to improve the efficiency of labourintensive vfx tasks by integrating “state-of-the-art” algorithms for natural video matting and deformable surface tracking into plug-ins for established post production platforms. The matting and tracking plugins developed within the AutoPost project can be used in 2D and 3D post production workflows for a variety of vfx including object manipulation, scene extension and appearance modification. “We are especially targeting small and medium-sized facilities which may not have the resources to either develop their own in-house solutions or use very specialised and expensive green screen, motion capture or rotomation techniques,” she said. 8.F13

10-09-15 14:21


Studiotech Stand

Hall No. 1 / Stand No. 1.A03a / Info +36 20 999 9129

zLense

STUDIO

features

www.zlense.com

zLense DEPTH

IBC template.indd 1

10/09/2015 11:31


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Integrating RAVENNA and AES67 ALC NetworX By Mark Hallinger

A full range of OEM solutions for integrating RAVENNA and AES67 into products and systems is on display, with demos running throughout IBC. Modules and cards for OEM development currently

exist from a number of manufacturers including ALC NetworX, Archwave, Digigram and Coveloz, whilst many more are already manufacturing RAVENNA/AES67-enabled products of their own, said ALC. The demos show connectivity via RAVENNA and AES67. Recent projects utilising RAVENNA technology which include AES67 interoperability

are also being showcased. ALC said that almost every current RAVENNA partner is exhibiting at the show, and will be clearly identified as such, and most are located in Hall 8. Several partners such as Lawo, Merging Technologies, Digigram, Riedel and others are showcasing their latest RAVENNA-enabled products.

Demos: Hall 8 is home to RAVENNA demos on several stands

8.F57

Enhanced Connex makes drone connection 8K decoder goes beyond Spin Digital Amimon By David Fox

The recently-introduced Connex zero-latency wireless video link for drones has received software and hardware upgrades at IBC, including support for a greater variety of gimbals, remote controllers and flight controller telemetry devices as well as improvements to the on-screen display and compatibility with

other 5GHz transmitters on the drone. A newly implemented configurable Fail-Safe mechanism further adds to the system’s safety and reliability. The enhanced Connex is being demonstrated by pilots flying a variety of drones in a specially designed flying cage on the Amimon stand, and Connex will also be exhibiting in the IBC Drone Zone (0.CS1) at 14.30 on Saturday and at 11.00 on Monday.

“We developed Connex to increase content creation capabilities for broadcasters and other drone users, and these enhancements build on that mission, giving creative and production professions more options than ever before,” said Ram Ofir, CEO, Amimon. “With the fast growth of drone use, we are extremely aware of safety concerns and continue to address these with new safety features as well.” 11.C75

Next gen VR/AR tracking Shotoku Broadcast Systems

By David Fox

Shotoku’s new Free-d2 is its next generation virtual reality and augmented reality tracking system, which does not require physical encoder devices attached to the camera support’s moving axes. It is based on advanced algorithms developed by BBC Research and Development, and uses simple ceiling markers to precisely determine the exact position and orientation of the studio camera. Shotoku said it provides highly accurate and constantly referenced (absolute) position tracking. No concept of a home or reference point exists for Free-d2 – regardless of where the camera is positioned – the system instantly knows its exact location and orientation in all eight axes. The

121 IBC D1 2015 v2 MDL.indd 1

By Ian McMurray

Supporting 8K resolution at 60fps, a new HEVC/H.265 video decoding system is being demonstrated at IBC. With 4:4:4/10-bit colour, the codec is said to be highly scalable with an advanced multithreaded architecture and to be optimised for Intel and ARM processors. Mauricio Álvarez-Mesa, CEO of Spin Digital, said, “8K/UHD 2, with its four times higher resolution than 4K UHD, is the ultimate format for high quality video. Promoters and critics alike have widely recognised the advantages of 4K UHD over FHD, as 4K truly brings a new video experience. 8K will go far beyond 4K by delivering immersive and absorbing experiences that are currently not possible with 4K. Beyond increases in resolution, 8K and also the so-called UHD-1

Álvarez-Mesa: “8K/UHD2 is the ultimate format”

phase-2 will bring significant image quality improvements such as HDR, HFR and wide colour gamuts. Spin Digital’s HEVC/H.265 8K decoder is a critical component for making 8K a reality.” Alvarez-Mesa said the codec must provide the highest compression, and at the same time be able to process 8K data rates. Spin Digital has solved this by creating the most optimised HEVC/H.265 decoder implementation, the only one in the market able to provide high-quality 8K in real time. 1.F13

Three streams of uncompressed 4K 60fps Reality check: Shotoku’s new Free-d2 camera and ceiling-mounted markers

position tracking data never drifts, no matter how many complex moves or hours of operation the camera has. It uses a small Free-d2 camera attached to the broadcast camera in such a way that it does not interfere in any manner, and constantly views the lighting grid area where markers are positioned. Being attached directly to the camera means that any type of support can be used, including Steadicam or handheld cameras. The low-cost markers are

made of simple reflective material and can be placed anywhere within the studio lighting grid or ceiling area. Once an initial studio calibration is carried out, the system will typically never require calibration again. In use, the Free-d2 camera only needs to see a handful of markers to calculate the precise position of the broadcast camera, so obstructions such as lights or other ceiling-mounted equipment don’t hinder its operation. 11.F40

AV Stumpfl

By Mark Hallinger

A demonstration of what is claimed to be the world’s first 3-stream uncompressed 4K60 media server is taking place at IBC2015. Its Wings Engine Raw product is the first and only triple-stream 4K uncompressed media server. Sales manager Horst Damoser said, “With Wings Engine Raw, we’ve delivered on user requests for the smoothest possible uncompressed

playback system with full timeline control. Built to support a range of applications requiring high-quality image sources matched to particular display requirements, user benefits include faster and unrivalled installation functionality.” Damoser said Wings Engine Raw is based on professional server technology derived from IT data centre equipment, and AV Stumpfl has begun shipping the product to projects worldwide including visitor attraction sites in Europe and the Middle East. 8.B15

10-09-15 12:39


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#IBCShow

Clever thinking with Cerebrum Axon Digital Design

By Heather McLean

Supplier of broadcast infrastructure Axon Digital Design has returned to IBC this September to showcase its latest 4K products and highlight the success of Cerebrum, its broadcast control and monitoring software. With IP and the next generation of standards a critical industry focus, Axon is also using the event to

discuss its work in S2022 and deliver a proof of concept to demonstrate an Ethernet AVB backbone working effectively in a production environment. Axon is showcasing Cerebrum, its customisable control and monitoring system, designed for mobile production, news and studio live production, master control and remote production. Cerebrum’s advanced functionality and broad range of features simplifies multidevice monitoring and control onto one easy to use interface,

Axon stated. It supports a wide range of devices from different manufacturers – including routers, production switchers, servers, receiver decoders, multiviewers and waveform monitors – using either simple network management protocol (SNMP) or third party protocols. At IBC, the Axon team is also highlighting recent installs of Cerebrum such as News UK’s broadcast facilities in London, as well as Metro TV, Indonesia’s first 24-hour news channel. The team are also showing how Cerebrum supported mobile production

Highlighting recent installs of Cerebrum at the Axon stand

for last summer’s major sporting events. These included The Open golf, The US Open tennis at Flushing Meadows and

Timeline’s 4K production of BT Sports UEFA Champions League coverage. 10.A21/B21

HDR and Session sees action Hero halved UHD, automatic remixing GoPro

By David Fox

The new Hero4 Session is half the size than GoPro’s best-selling Hero4 Black and Silver cameras, and 40% lighter, partly due to not requiring a separate housing for underwater use. It is also very simple to use, with one-button control. It can record 1080p 50/60, 720p up to 100fps and 1920x1440 25/30p video along with eight megapixel photos in single, burst and time lapse modes. It lacks many of the features found in the Hero4 Black and Silver models, but does have SuperView, Protune and Auto Low Light recording

Underwater housing: GoPro’s new Hero4 Session looks set to make a splash

modes, although they don’t offer the complete range of options (such as higher bitrates, white balance adjustments, EV compensation or colour profiles). An expanded set of controls and settings can be accessed using the GoPro App or Smart Remote, via WiFi and Bluetooth. The Hero4 Session is waterproof to 10m and is compatible with existing GoPro

mounts (it comes with a new Ball Joint Buckle mount). Because its waterproof design avoids having a separate housing, which can often muffle sounds, it offers better audio during water sports. It also has a new dual microphone system that dynamically switches sound recording between microphones to reduce wind noise. However, it doesn’t have a separate microphone input, or a removable battery. Nicholas Woodman, GoPro’s founder and CEO, said, “At GoPro, sound quality is as important as image quality, and we’re very excited about the stunning audio advancements we’ve made with Hero4 Session during water-based and windy activities.”

By Mark Hallinger

The V-1200HD 2ME video switcher is being debuted at IBC. It features a new ‘hybrid’ engine that combines a 4:2:2 2ME switcher with a 4:4:4 10-bit multi-format processor presentation switcher. Offering multi-format flexibility with a choice of additional audio and video options using the Roland XI Expansion cards, Roland said the V-1200HD was designed for live production and broadcast. Both M/E modes are selectable and

122 IBC D1 2015 v2 MDL.indd 1

the configurable bussing structure allows up to six video layers of composition and two independent auxiliary video outputs, making the V-1200HD ideal for live production and broadcast applications. Roland said the multi-format processor of the V-1200HD enables RGB 4:4:4 10-bit processing best suited for computer formats, with full scaling that allows for splitting content across two screens. A 4K switching mode simulates a routing switcher by combining four SDI inputs or outputs to achieve a single 4K source. Installing the Roland XI-SDI expansion card

By Carolyn Giardina

As well as a big focus on Ultra HD, Adobe is previewing a range of technology in Audition, including an ‘automatic remix’ capability, which allows the duration of a song to be changed, without changing the song. Adobe is also offering an early look at optical flow time remapping algorithms in Premiere Pro. There are 3D improvements in After Effects, including a Cineware plug-in, and extended capabilities for its Creative Cloud Libraries.

Bill Roberts, senior director of professional video product management, Adobe, added, “We’re all about Ultra HD. That includes three attributes, frame sizes, frame rates and most interesting is high dynamic range.” This theme is underscored in the latest updates and technology previews for its tools including Premiere Pro, After Effects and Audition. The company is showing support for HEVC compression, and work towards an HDR framework that includes P3 colour space. It’s presenting a Dolby Vision HDR format demonstration with Dolby. 7.G27

9.C40

Live production and broadcast switching Roland

Adobe

Depth-enabled workflow 3Flex Project By Adrian Pennington

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enables 4K routing of up to three inputs and two outputs. The V-1200HD can be controlled by the V-1200HDR control surface; a dedicated controller with touchscreen and T-bar. The XI-Cards allow the V-1200HD to be flexible in both audio and video configurations for live production and broadcasting applications, said Roland. 8.D56

Improving the efficiency of 2D and 3D production workflows by using depth information is the task set by the R&D bodies behind 3FLEX. Project partners (Eurecat, imcube labs, SGO, Imagineer Systems, Fraunhofer HHI) are presenting the latest results of the EC-funded project or ‘Depth-enabled workflow for 2D and multiview video production’. Greater flexibility is hoped to be achieved by extending

existing post platforms with a set of plug-ins based on new computer vision techniques covering the whole chain. In the IBC Future Zone, the latest results are being shown on the post platforms, Mocha and Mamba/Mistika. “We are showing the extraction and preparation of depth information from different inputs and its use within common post production tasks such as compositing, filtering and colour grading,” explains Eurecat’s R&D technical project manager, Monica Caballero. 8.F13

10-09-15 12:42


Evolve With Us T3Media is now Wazee Digital

Eleven years ago, we had a vision to transform how major studios, networks and leading stock footage licensors manage, transform, distribute and monetize their content. We built T3Mediaâ&#x20AC;&#x2122;s business, technology and customer success around a belief that a turn-key media platform empowers our customers to focus on what they do best: their content. Todayâ&#x20AC;&#x2122;s media landscape continues to evolve. So do we. With an array of capabilities at the cutting edge of media management, transformation, delivery and monetization, we are laser focused on helping our customers make smart content simple as they engage their audiences and revolutionize their brands in this new media and entertainment ecosystem.

Thatâ&#x20AC;&#x2122;s why we are excited to announce our new name. T3Media is now Wazee Digital. Evolve with us.

wazeedigital.com

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02/09/2015 07:10


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09/09/2015 12:05

Profile for Future PLC

IBC2015 Daily D1 Friday 11 September  

The official newspaper of IBC2015

IBC2015 Daily D1 Friday 11 September  

The official newspaper of IBC2015

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