IBC2015 Daily D3 Sunday 13 September

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theibcdaily SUNDAY 13.09.2015

THE OFFICIAL NEWSPAPER OF IBC

Premium UHD and HDR UHD Alliance

By Carolyn Giardina

The UHD Alliance – a coalition of Hollywood studios, broadcasters and manufacturers – is closing in on completing quality standards for the next-generation premium audiovisual experience, including 4K, HDR and a wider colour gamut.

This would sit alongside the work of other bodies in that UHD Alliance is format agnostic. It aims to introduce a standard of quality – including brightness and contrast levels – that could be completed

and introduced into the first products (consumer electronics devices as well as content) via a logo programme as early as January, according to Alliance chair Hanno Basse, who is CTO of Twentieth Century Fox. “We’re optimistic about UHD and HDR,� he told The IBC Daily, adding that the spec is aimed at creating “the best experience, and communicating it to the consumer. We are pretty confident that we have come up with a good solution.�

Initially, this quality spec is expected to include parameters for consumer devices, as well as content mastering of movies and

television series. Basse reported that the Alliance is considering a second stage for content that goes through a live broadcast production process.

On getting to live broadcasting, Basse believes the economics are the biggest hurdle. “There’s still some technology questions open, but the big issue is the cost,â€? he said. “For a Hollywood studio, making HDR is fairly straightforward. On the TV side, they don’t have that luxury, especially if it’s 4K. They’ll need new cameras, switchers‌ and that’s a much higher investment.â€?

He and additional representatives from the

Inside

Pixar and ILM

Hanno Basse: “We’re optimistic about UHD and HDR�

Alliance are at IBC talking about the group’s work and urging broadcasters and other stakeholders from around the world to get involved in the effort.

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OTT comes of age Conference Analysis

By Adrian Pennington

OTT services will be in 35 million US households by 2022 representing a quarter of the market, predicted Roger Lynch, CEO of OTT start-up Sling TV, in an IBC conversation with writer and presenter Kate Bulkley. “Long term, over 20 years, I can’t imagine OTT services not being in every home,� he said. “Growth is inexorable.�

Sling TV, owned by satellite pay-TV giant Dish Network,

launched in January targeted squarely at perceived weaknesses in the old pay-TV model. It charges $20 a month for a skinny bundle of channels including ESPN. “The next generation of TV viewers are causing change.

They are younger, more mobile, more educated but the reasons they reject traditional pay-TV are the same pain points of current subscription based pay-TV: long term contracts; channels you don’t watch; hidden costs; and poor customer service.�

Lynch declined to reveal how many subscribers Sling had

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Roger Lynch: “OTT will segment the market�

attracted but said that “almost none� of them had switched from Dish. “Dish understands that OTT is where the market is going and if it cannibalises their core business so be it. It turns out we don’t cannibalise Dish because the demographics of satellite are different to that of OTT.�

Almost 90% of Sling TV subscribers also have Netflix. “It’s

a very complementary service.

We bring live sport to their drama series and we are on a lot of the same devices.�

He said he expected the overall pay-TV market to grow, even while the share of traditional pay-TV declines. “In the US, all pay-TV operators sell the same package of channels but OTT will segment the market.�

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12-09-15 19:07

The world’s best color corrector is now the world’s best editor!

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DaVinci is the world’s most trusted name in color and has been used to grade more Hollywood films, TV shows, and commercials than anything else. Now you can switch between professional editing and Resolve’s legendary color tools with a single click. DaVinci Resolve 12 goes far beyond anything you’ll find in any other editing systems!

Now you can create the perfect mix by adding VST and Audio Unit plugins to entire tracks or individual clips! Resolve’s sample accurate playback and smooth tape style scrubbing let you precisely edit audio in the timeline, or you can record fader automation using the new mixer!

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TICO swells in numbers IABM Awards mirror shift to IP

By George Jarrett

IntoPIX

By George Jarrett

As an industry now built on HEVC struggles to comprehend the rate card published by the HEVC Advance patent pool, the TICO Alliance has swollen to over 20 vendors, with Grass Valley, Imagine, Matrox and EVS the biggest players.

The company intoPIX has spent five years perfecting a mezzanine compression that is fast in software, with good latency values of six lines at the encoder and three lines at the decoder. It is about to submit a first stage draft to SMPTE. “We wanted to make it a standard for enabling interoperability and to be open, so we have been discussing building the spec or using it across the studio IP and SDI sector with the first adopters,” said product marketing manager JeanBaptiste Lorent. “In terms of the alliance we want to work on a really open organisation.

Jean-Baptiste Lorent: “we want to work on a really open organisation”

“We did study to make sure we do not commit any infringements at the technology level, and we did protect it with some patents.

But in the aim to open up adoption we just wanted to protect the technology itself,” he added. “We are not an HEVC provider! We are a technology company at the service of the industry.

“We are now working on a preliminary spec for 8K over 12 Gig SDI or 8K over 10 Gig internet using TICO as well,” he continued. “TICO compression supports three 4K 60p compressed video streams over the same infrastructure as three HD uncompressed streams.”

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The prestigious IABM Design and Innovation Awards, consisting of nine segment contests and a single special recognition prize, reflected the frontline themes of IBC with uncanny accuracy. “We saw a lot more products that are appropriate to the IT/IP transition – a lot more interconnectivity products and stunning levels of innovation and creativity,” said IABM CEO Peter White.

“We always feel that our awards

represent the pinnacle of what’s happening in a fast-changing marketplace.”

The winner of a hot audio category was AATON-Digital, and in another competitive area Ericsson took the storage prize.

The system automation and control winner was Net Insight, and the best in playout and delivery systems proved to be Harmonic. In test, quality control and monitoring Volicon scored, and Conax AS took the services prize.

Despite the show being

Consumers will “embrace” UHD Eutelsat

FieldCast powers up cable

By David Fox

Cable manufacturer Rosenberger OSI and hardware manufacturer Mediamachine have unleashed FieldCast as a standalone brand, which has launched a lower-cost single-mode hybrid fibre cable with power.

“SMPTE cable is for the high-end solutions and is very expensive and very heavy. This [2Core Hybrid] cable is low cost and helps people to feed their equipment in the field up to 300m,” said Ab Vingerling, business development, FieldCast and Rosenberger OSI. It is also making convertors and adapters for the system.

Some of the adapters are rebranded Fiberbrik Adapters, but other FieldCast Adapters are being added, starting with the small Adapter Two Hybrid

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Vingerling points out the small new adapter for Blackmagic’s Studio Camera

for the Blackmagic Design Studio Camera, which brings bi-directional video, full camera control and power to the camera.

(Blackmagic Design is using FieldCast cabling for all of its fibre optic connections at IBC).

There will also be a fibre optic converter range in November, starting with 3G-SDI over fibre, 1-channel, 2-channel and 4-channel over only one fibre strand, and DVI and USB over two fibre strands. These will be followed by serial camera control over fibre.

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Conference Highlights Today at IBC Keynote: Enter the Age of Mobile 09:30 – 10:00, Forum

By Ian McMurray

Rosenberger OSI Consumers in key European TV markets are ready to embrace UHD as a thrilling TV experience and to invest in equipment and content, in a study by Eutelsat.

“Eutelsat has researched consumer awareness and appetite for the UHD experience in order to support our broadcast clients as they evaluate business models and timing for rollingout UHD content,” said Markus Fritz, Eutelsat director of commercial development and marketing. “The stage is set for UHD to be TV’s next big success story and Eutelsat, as a leader in satellite delivery, is ready to accompany clients in this new rendezvous with viewers.”

The consumer qualitative study was carried out in two waves in Italy, France, the UK, Germany, Poland, Russia and Turkey. The objective, in a series of focus groups, was to expose pay-TV subscribers and free-to-

flooded with outstanding new technology, nobody was surprised to see the judges hail the outstanding collaboration effort behind the VRT/EBU Live IP project with a special award (pictured). “Interoperability is the driving theme of the show,” said White, “and the 10 companies supporting the VRT Sandbox+ project reflect how brilliantly it can work.”

Those taking a bow were Axon, Dwesam, EVS, Genelec, Grass Valley, Lawo, LSB, Nevion, Tektronix and Trilogy.

Markus Fritz: “The stage is set for Ultra HD to be TV’s next big success story”

air viewers to an unprompted UHD experience.

The results show common trends across all markets.

Panellists identified sharpness, immersion and vivid colour as outstanding benefits. They indicated a willingness to pay up to €10 a month to benefit from UHD in the home. Their investment threshold for new TV sets also matched current price points of between €1000 and €3000 for screens within the 50-inch range. While pay-TV subscribers showed a strong preference for linear UHD channels, viewers used to free TV expressed a preference to gain their first experience through VoD and event-specific offerings.

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Keynote:TelcosTune in to Broadcasting 10:00 – 11:00, Forum Paper Session: Second Screens - Storytelling across multiple platforms 11:30 – 13:00 , Emerald Room Sports Broadcasting: Playing away from broadcasting’s traditional home 13:30 – 15:00, Forum Breaking the Codec: Are current video compression standards enough?

16:45 – 18:00, Forum Who is EatingYour Lunch?The impact of commoditisation on our industry 13:30 – 15:00, E102 Pervasive Disruption 15:45 – 16:30, Forum The Relentless Rise of Mobile: Opportunity or threat for theTV industry?

11:30 – 13:00, Forum

12-09-15 18:52

For the latest show news and updates follow

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#IBCShow

MENA: Call for more DTT Conference Analysis

By Chris Forrester

Many Middle East nations are still transmitting analogue TV, while those few which have adopted DTT are transmitting channels and programming “which nobody is watching”. So says Dr Riyadh Najm, the former head of Saudi Arabia’s state media authority.

Speaking at IBC on ‘MENA - The Road Ahead’ session, he called for more DTT channels to be carried, “and with programming that doesn’t replace satellite but which gives our nations the chance to obtain broadcast rights on a country-bycountry basis.”

Dr Najm said that DTT is vital for the Gulf states. “I really believe there is room for DTT despite the huge number of satellite

channels on air. Broadcasters are not making use of the spectrum that is allocated to them, while regulation of DTH transmissions is extremely difficult for individual countries.”

Dr Najm is also a former president of the Arab States Broadcasting Union, but said ASBU could not act as the region’s content regulator. He explained that five countries do exercise some control over

broadcast media (Morocco, Saudi Arabia, Tunisia, Jordan and the UAE) but that more regulation is needed.

“We have about 1300 TV channels on satellite, and too

many of them are controlled by or heavily influenced by special interest groups. This has led to chaos in the region as far as broadcast regulation is concerned.”

VSM and more for Fox Sports Control: The VSM system connects and controls products from many vendors at Fox Sports new facility in Hilversum

L-S-B Broadcast Technologies

By Mark Hallinger

Fox Sports playout from a new facility in the Media Park Hilversum has gone live, controlled by VSM broadcasting from L-S-B. Initially Fox will playout and manage six channels of HD and nine online channels, with the capacity for future expansion. Fox Sports is the largest premium TV channel in Holland with live sports coverage of Eredivisie & Jupiler League, Bundesliga, Barclays Premier League, ATP tennis tournaments & Wimbledon, the NFL and MLB. LDM (local Lawo Group representation) alongside UK systems integrator Broadcast Networks worked closely with Fox Sports, which chose VSM as it offered freedom of control to manage resources and allowed complete dynamic assignment of operational positions.

The VSM system connects and controls products from many vendors, including an Imagine Communications Platinum IP3 Router, Axon modular glue equipment, G&D’s DVI Control Centre Digital, and Pebble Beach automation.

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More is more: Raphael Guenon (left) and Francois Manciet (right), two of the contributing authors to ruwido’s paper ‘More is more: investigating attention distribution between the television and second screen applications’ were awarded the IBC Young Professional award for their part in the paper. 1.D69

RTS Intercoms, part of Bosch Security Systems, is 40 years old this year! Celebrating on the stand at the show were (L-R) Shawn Anderson, Josef Penker, Nico Lewis, Anita (hostess), Guido van Pol and Manuel Brico. 10.B48

theibcdaily EDITORIAL Editorial Director Fergal Ringrose

Hungary acquisition for OB SI

Managing Editors Michael Burns, Melanie Dayasena-Lowe, Adrian Pennington Catherine Wright Head of Design Jat Garcha 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

Broadcast Solutions

By David Fox

Photographers James Cumpsty, Sander Ruijg, Chris Taylor

Outside broadcast specialist Broadcast Solutions is expanding into studio facilities with the acquisition of Hungarian systems integrator Somos Broadcast Media.

The new Broadcast Solutions Hungary will also look after Hungary and Eastern Europe.

“We have worked with Somos for four years, and see more possibilities to grow in Hungary now, especially in broadcast facilities, where Somos has mainly worked.

We will also be targeting the studio market more elsewhere in Europe,” said Broadcast Solutions CEO, Stefan Breder, who will also be the CEO of the new company, with Attila Somos becoming general

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

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manager, while Kristóf Tóth becomes sales and project director.

Breder has been driving Broadcast Solutions to go beyond being a normal systems integrator that only works to tenders. “We are creating ideas and bringing them to the customer. We see the OB van and ENG vehicle as a product.”

It has done this in OBs with its Streamline vehicles,

and is showing a technology demonstration of a new ENG/SNG van at IBC called Hyperflex, which provides Satcom On The Move, being able to transmit and receive from its low profile antenna at up to 200kmh. “We have already delivered such systems in the security market and are now bringing it to broadcast,” he said.

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.

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For the latest show news and updates follow

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Friday’sTouch & Connect Leaderboard winner was

Mohammad Sadeghi

HEVC Advance: Who will blink first? WINNER

By George Jarrett

The elephant in the RAI has been the battle to be fought between the HEVC Advance patent pool and the Alliance for Open Media. The frightening thought of losing revenue has occupied a lot of minds, from public service broadcasters to the giant media conglomerates that could lose $100m to licensing codecs.

Show opinion is that the HEVC Advance rate card is a pipe dream in terms of income, and a negotiation gambit.

The industry will have to wait

and see if the pool blinks at the promise of a collective technology and a next generation codec within two years, from the Alliance based on Cisco, Google and Mozilla technologies.

Head of media fundamentals & production technology Hans Hoffman gave the EBU stance on this new challenge: “It is important to recognise that the industry is counting on HEVC. There is not a single UHD distribution compression system that was rolled out with the same popularity,” he said.

“HBBTV 2.0 relies on HEVC. All

the OTT providers rely on HEVC in a certain context,’ he continued.

“HEVC Advance has changed the landscape. When you look at their press release – which the EBU is seriously discussing — it is quite obvious that contentdependent licensing is extremely unfavourable for public service broadcasting,” he added.

“The Alliance is formed by companies with big muscle.

Their charter – to develop next generation media formats, codecs and technologies in the public interest – is seen as a direct response to HEVC Advance.”

Linear Acoustic and Minnetonka Audio unite Linear Acoustic

By Mark Hallinger

Linear Acoustic has announced that Minnetonka Audio Software has joined the Telos Alliance through a merger of the companies. “Efficient broadcast audio workflow is shifting from reliance on function-per-box hardware to integrated software and cloud-based solutions,” said Tim Carroll, Linear Acoustic founder and Telos Alliance CTO. “John Schur, Markus Hintz, Jayson Tomlin, and the entire

Minnetonka Audio team share a keen understanding of this balance. We are proud to finally be working shoulder-to-shoulder to help our industry move forward with better audio today and towards more personalised and immersive next-generation audio.”

“Our goal has always been to offer world-class, industrystandard audio technology in convenient, ready-to-deploy software kits, plug-ins and enterprise level systems,” says John Schur, president of Minnetonka Audio. “This new chapter for our company

HDR for live sports Technicolor

By Adrian Pennington

The next step to delivering a better pixelled UHD live picture is HDR, with outside broadcasters testing workflows to introduce

Mark Turner: “a close proxy to the UHD Alliance open standard for UHD”

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it. At IBC, Technicolor claims to have cracked the problem.

“Pay-TV operators rely on premium movies and live sports and while Hollywood has proved it can make movies in HDR for cinema and the home, no-one is doing HDR for live sports – except us,” said Mark Turner VP, business development and relationships.

The firm is showing a live capture (of table football) at 4K p60 up-converted from standard dynamic range to HDR using Technicolor’s intelligent tone management (ITM) – the same algorithm used by Hollywood colorists and now running in realtime on a server.

The signal output is 1000 NIT P3 in a rec2020 container “which is a close proxy to the UHD

Ear on the ball

Lawo

By Mark Hallinger

Sounds seamless: The merger creates a complete audio content chain from creation to transmission, said John Schur and Tim Carroll

dramatically increases the technology that we can offer our customers to solve critical workflow issues. Look, or rather, listen for big things from this new relationship.”

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Alliance open standard for UHD”, said Turner.

Importantly, the upscaled signal is routed through an Elemental encoder which spits out a single stream which can be received in HDR and SDR; for a broadcaster reaching the mass of households with plain old SDR screens this is a must.

“You can’t justify the cost of running two infrastructures so the distribution system needs to be combined. The cheapest way of implementing HDR live is for the mix to happen as normal with the final mix upscaled.”

To receive HDR viewers will need a STB or TV set fitted with Technicolor’s decoder.

The company is talking with a number of vendors and that its own HDR-enabled STB is being tested by pay-TV operators such as BT Sport and Sky. 13.MS5

from Irib. To participate and be in to win an iPod Nano for yourself, download the IBC Connect App now and start networking!

Visit www.ibc.org/tcapp to download.

KICK automated control for close-ball mixing has debuted.

When interfaced with modern image analysis and tracking systems, KICK’s patent-pending technology guarantees a consistent, fully-automated close-ball audio mix for sports, said Christian Struck, senior product manager for audio production.

KICK’s intuitive graphical user interface allows easy adjustment of all of its parameters, including the placement of microphones, their polar patterns and microphone prioritisation.

“Close-ball mixing is very important, but very demanding when done manually,” he said.

Struck explained that the system ensures transparent sound pickup with an excellent ‘noise-to-kick’ ratio, significantly reducing crowd noise. It also ensures a consistent audio level without noticeable fades for seamless inclusion in a broadcast mix, and delivers a mix that is repeatable from

Scenic rides If you’re looking for history and politics, the Grand Holland South tour has it all. The tour starts with a scenic bus ride to Rotterdam, a city that is renowned for its architecture. After enjoying many of the city’s highlights, it’s time for Delft and its historic ceramics, then onto The Hague, the political capital of the Netherlands and

match to match.

KICK is available as a software-only solution for productions using Lawo mc² mixing consoles, as well as a hardware bundled solution for productions using consoles from other manufacturers. It requires a standard host PC for the host application, and an HTML5 capable browser for the user interface. An optional Lawo mc² Micro Core hardware processing engine is available for interfacing micro core to thirdparty consoles via MADI and RAVENNA/AES67.

The sport theme went beyond the KICK product at the Lawo press event. Citing the fact that the R&D team had been very busy in recent months, Lawo officials covered ‘10 new product launches in 10 minutes,’ in a sprint. Highlights here include the new sapphire compact radio console, the V__remote4 bidirectional video/audio-to-IP interface, and the Nova37 Hybrid RAVENNA/MADI plug and play audio router for applications in live performance, installed sound and houses of worship.

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official home of the royal family.

The last stop before returning to Amsterdam is the Madurodam, a park that showcases all of the Netherlands in miniature!

For those wanting to stay closer to the city, take a bike ride through the Jordaan Fietstour district of Amsterdam. Taste the atmosphere of Johnny Jordaan, Tante Leen and the Wester Tower.

For more information, visit www.iamsterdam.com

12-09-15 18:23

Move to 4K with the Push of a Button Moving to 4K is never an instant change. Legacy signals and archival material need to be integrated into the 4K environment.

FS3 seamlessly takes SD and HD signals and up-converts them to 4K so they’re ready for use anywhere in your workflow.

Starting with the industry-proven features of AJA frame synchronization such as RGB color correction, Region of Interest scaling, extensive audio controls and routing, web UI control and GPI triggers, FS3 adds powerful up, down and cross-conversion enabling not just 4K up-conversion, but SD and HD conversions as well for maximum flexibility in a single unit.

QUALITY High-Quality Conversion

Incredible Connectivity

AJA Quality

AJA’s adaptive scaling algorithms, paired with our well-known conversion technology ensures incredible-looking conversions across the board.

Input SD or HD resolution SDI via BNC or Fiber* and send your converted signal to multiple BNC and Fiber outputs simultaneously.

FS3 is built to AJA’s exacting standards for quality and performance with a 5-year warranty, free AJA technical support and advanced replacement.

Find out more at www.aja.com or visit us at IBC, Stand #7.F11 *Optional feature

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For the latest show news and updates follow

One wire to rule UHD Grass Valley

By David Fox

Ultra HD has now reached critical mass for production use.

“The challenge now is how to get it to the home,” according to Mike Cronk, Grass Valley’s senior VP of strategic marketing.

The company is involved in next year’s launch of terrestrial UHD in South Korea, and he feels that all UHD needs now is the business case to drive it forward.

Grass Valley’s upgradable UHD cameras, which take B4 broadcast lenses and have the deep depth of field required for sports production, are already doing well, and “we are having success with the Dyno Universe, which is the only server that can do 4x 4K inputs and two outputs.

That’s significant because if you look at sports production today, four to six inputs is key.

Others can only do one or two 4K inputs, which impacts rack space and operational budgets,” he claimed.

However, one problem with UHD production has been the need for four wires (4x 3G-SDI), so Grass Valley is introducing one wire IP production using lightweight Tico compression, “which is getting a lot of momentum because it is low latency and can be virtually lossless at 4:1. It is ideal for production”, he said.

It will be introduced as an option for its K-Frame production switcher and the LDX-86 camera system, where it is one of the options for the new XF fibre transmission base station, which uses SMPTE Hybrid fibre and gives one-wire UHD plus

By Will Strauss

A new GUI, additional MAM features and improved VoD/ OTT capabilities are among the enhancements that have been made to Provys’ management and back-office software for media companies.

The new GUI is compressed to a single screen, mirrors Windows 10 with an Office Ribbon and includes both side-

filters for better search and a content segmentation screen.

Among the new features in the company’s MAM module is a graphical content description tool.

Provys has also added VoD/OTT rights and service planning tools that allow a user to “efficiently manage multiplatform rights and publish the content in a non-linear manner”.

Automated production planning for production and resource management has also

By Carolyn Giardina

Mike Cronk: Meeting the challenges of UHD with IP and lossless compression

extended dynamic range.

Cronk believes that high dynamic range is significant because “it doesn’t require a lot of extra bandwidth in the system, but the impact on what the viewer can see is immense.

That’s not to say that the high resolution [of UHD] isn’t important, but HDR 1080p is also becoming a prospect.”

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been included.

At the same time the Czech company is demonstrating its new Stream-Circle software as a service – a cloud-based offering for planning, branding and automating the playout of internet channels.

Provys is currently completing a major installation project at the Hungarian national broadcaster MTVA. Other customers include Norway’s TV 2, Arqiva, OTE and TNT. 2.B49

BKSTS backs IBC Rising Stars IBC’s Rising Stars are continuing their special conference today. This regular event at IBC brings together young professionals starting out in the media industry.

Today’s events include a masterclass in storytelling through editing, led by Scot Barbour, the VP for production technology at Sony Pictures Entertainment. That is followed by a session on immersive entertainment and how to make creative content for the new generation of virtual reality

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headsets like the Oculus Rift and the HTC Vive.

Gold sponsor for the IBC Rising Stars programme is trade body BKSTS. Founded in London in 1931, BKSTS has always seen developing skills and talents as one of its core principles. It runs its own extensive programme of training, lectures and workshops throughout the year.

The organisation declares itself passionate about quality and the highest standards in

AJA continues march to 4K UHD, IP workflows AJA Video Systems

New GUI and MAM features Provys

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content creation and delivery.

BKSTS is the natural partner for the IBC Rising Stars programme.

Find out more at www.ibc.org/risingstars

AJA has unveiled several new technologies, including those based around the company’s goal of continuing to build a 4K UHD infrastructure, and that includes IP workflows.

“Now that they are becoming real, people are finding holes in their workflows and we are giving them tools to bridge the transition,” said product marketing manager Bryce Button.

New technologies on show include Corvid HEVC, a 4K and multi-channel HEVC encoding card, as the latest addition to AJA’s Developer Program.

Cisco, a developer partner of AJA’s, is already demonstrating the integration of Corvid HEVC into the Cisco UCS rack-based server at IBC. Corvid HEVC is a PCIe 2.0 8-lane video encoder card

Bryce Button: Providing “tools to bridge the transition”

providing real time, low-latency HEVC encoding at 4K, 1080p HD and lower resolutions.

Development partners can use AJA’s SDK to integrate Corvid HEVC directly into Windows and Linux applications.

Also at IBC, AJA debuted FS3, the newest product in the company’s line of FS professional frame synchronisers with 4K up-conversion technology, developed to integrate SD and HD signals into 4K workflows.

It will be available in October for $2,995.00.

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World’s widest 2/3-inch UHD lens Canon Europe

By David Fox

The new Canon CJ12ex4.3B zoom lens is claimed to be widest 2/3-inch UHD portable broadcast lens released so far.

The 12x zoom goes as wide as 4.3mm, and is ideal for shooting interviews or live broadcast, including sport and news.

Canon also announced that it is developing a new compact 2/3-inch 4K all-purpose-zoom, which will be optimised for both indoor and outdoor shooting, across a variety of applications including sport, drama and commercials.

The CJ12ex4.3B is claimed to offer ‘firstclass image quality from the very centre to the edge’, and has a built-in 2x extender for greater focal

reach whilst maintaining 4K optical performance.

To provide sharp, high contrast images there is an increased use of fluorite and UD glass, with expert coatings, for greater control over ghosting and flare. A new three group internal focus system reduces focus breathing.

The compact lens weighs 2.1kg, making it similar in size and weight to a comparable 2/3inch HD ENG lens. It includes three 20-pin connectors for integration with existing HD zoom/focus controllers and can be directly connected to an external virtual operation system at the same time.

11.E50 The new CJ12ex4.3B together with Canon’s upcoming 4K all-purpose zoom lens

12-09-15 17:01

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27/08/2015 11:09

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Pixar and ILM keynote at the IBC Big Screen Conference Tomorrow 09:30-11:00, Auditorium

By Adrian Pennington

Disney’s recent release Tomorrowland and Disney/ Pixar’s Inside Out are the first two motion pictures to be released for Dolby Cinema, a new format that offers a high dynamic range (HDR) on presentation.

This means there’s a wider range between the whitest whites and blackest blacks in a picture, along with features including a greater contrast ratio and colour gamut. It can be projected in theatres with a Dolby Vision projection system that use Christie laser projectors and accompanied with Dolby Atmos sound.

The presentation system is pitched at Premium Large Format theatres and is another weapon in the armoury with which studios and cinema exhibitors can fight back against the audio-visual gains of TV. Indeed, HDR is held by some to be creatively superior to higher-resolution, delivering a

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significantly vibrant picture for audiences jaded by the light loss of 3D. “It’s a high impact return for creatives,” asserts Pixar’s senior scientist, Dominic Glynn, who guided Inside Out to its HDR finish. “HDR approaches a range of stimulus that is more naturalistic. It gives a visceral yet subconscious feel to an audience who are not distracted by the limits of the projection system. You don’t need to read a white paper to understand that HDR means higher quality filmmaking.”

In tomorrow morning’s major IBC Big Screen Experience Keynote, film-makers from The Walt Disney Studios’ Tomorrowland and Disney Pixar’s Inside Out present their experiences in creating and distributing these ambitious blockbusters.

Alongside Glynn is Rick Sayre, Pixar’s supervising technical director whose career with Pixar began with founder John Lasseter seven years before Toy Story in 1987.

“For most of the past 30 years in CGI and VFX it was only possible to give

Pixar’s Rick Sayre shares vision for cinema

an absolute value to the blacks in an image,” says Sayre. “Now, with new high dynamic range tools, we can begin to talk about images as a photographer would. In terms of contrast and mid

greys, tonal structure and less absolutes.

“We have yet to explore what it means to not only capture in HDR but to light for HDR,” he adds. “A DP will know instinctively what an audience

is going to see and what dynamic range is appropriate.

But we need to beware of gimmicks. Today, [filmmakers on location] might gel a sunlit window on exteriors to avoid it looking blown out. With HDR you don’t have to do that since you can delay the decision until post production. So now you can show the audience what is outside that window. The question is whether you should in terms of the story.”

They are joined on stage by Jeroen Schulte, Industrial Light and Magic’s Image Pipeline supervisor who played the key role in developing the HDR workflow for Tomorrowland.

All are in the capable hands of chair and digital cinema consultant Julian Pinn.

‘Extending the creative palette - Vision from Pixar and ILM’ (Monday 14, 09:30-11:00; Auditorium) is free to every IBC attendee and is sure to be hugely popular so get there in time to get your seat.

More movies are in the pipeline for a HDR treatment, including Disney’s The Jungle Book, slated for release next April.

26/08/2015 22:57

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27/08/2015 11:10

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BT Sport: Pushing to be first Conference Today Forum 10:00-11:00

By Chris Forrester

Sunday’s IBC 10:00-11:00 Keynote is guaranteed to make headlines way beyond the Forum. Delia Bushell, BT TV and BT Sport’s MD is the star speaker, and such is the interest in BT’s pay-TV plans, not least its determination to highlight Ultra HD in some of its offering, that a full house is guaranteed.

BT has made some spectacular headlines these past few weeks. First up, of course, is its increasingly determined battle with Sky for exclusive TV sports rights. Paying £7.6 million per match for its England Premier League coverage, plus the costs of

covering the event (whether in HD or UHD) and the commensurate commentary and other ancillary costs is not for the faint-hearted!

BT Sport already controls coverage of the Champions League and Europa League action for at least the next three seasons.

Then BT itself offered up a massive £12.5 billion to buy back into cellular and acquire the EE operation (and the UK’s biggest cellular player), and permitting it to capture wireless loyalty – and deliver content to handhelds and tablets. All of its rivals have grumbled about market domination and the hold that BT has over its ‘Openreach’ division.

And as if the soccer deals were not enough, earlier this year BT moved even more cheekily onto Sky’s turf by signing a seven-year

deal with ESPN to show the US broadcaster’s content on BT Sport. The deal sees BT Sport gain access to 5,000 hours of ESPN programming per year, including some very tempting sports content and even documentary shows.

There was worse to come in the form of BT TV’s agreement in June to bring the extremely popular AMC channel to its YouView platform about now. AMC is the home of massively popular shows such as The Walking Dead, Breaking Bad and the critically successful Mad Men. Not all of these shows will appear just yet, but BT/AMC will bring over its Fear the Walking Dead spin-off, and is promising plenty more original content to come. Moreover, this sort of high-profile material once went – almost automatically – onto

What is Delia Bushell cooking up for IBC today?

one or the other Sky channels.

BT TV and BT Sport are themselves changing the British broadcasting paradigm. Not that they have the field totally to themselves. Sky is a seasoned player which has seen off plenty of challengers over the years. And then there are the likes of Netflix, Amazon Prime and any number of other challengers seeking viewer loyalty and disrupting the traditional pay-TV models.

In other words there’s plenty for Bushell to talk about! BT is by any measure beginning to look very much like a ‘full service’ 21st Century telco, operating at multiple levels, capturing and creating content, beginning to produce its own programming especially where sport is concerned.

Bushell’s focus is very much on TV and how the broadcasting pay-TV model fits within its overall business plan.

Cinema 4D creates IBC TV is everywhere a scene with R17 Maxon Computer

By Carolyn Giardina

The newest version of Cinema 4D, R17, is being shown by Maxon, in what the company is billing as a ‘milestone’ release of its 3D animation, graphics, visual effects, visualisation and rendering software.

This includes workflow innovations like the Take System for flexible scene management, connectivity to the Houdini Engine, new sculpting and motion tracking features, and reworked Spline

12 IBC D3 2015 Issue v2MDL.indd 1

tools to streamline production.

Maxon has scheduled artists to speak at IBC about the latest tools and their work on films, TV series, commercials, video games and visualisation projects.They come from companies including Territory, MPC and Aixsponza, Additionally, third-party partners such as Solid Angle, Allegorithmic, Next Limit, NVidia and Ventuz are demonstrating workflows and tools that were developed for Cinema 4D in co-operation with Maxon.

7.K30

IBC TV has been capturing and broadcasting fascinating stories about IBC2015 since Thursday 10 September, and will be live on air until the end of the show on Tuesday afternoon. You can find it at www.ibc-tv.org.

This is a real TV anywhere service: it is streamed for the web and for mobiles so you can see it wherever you are. Remember that IBC has arranged for most of the hotels in the city to provide free Wi-Fi so you can catch up at any time of the day.

Stories and packages from the service can also be seen on some of the giant screens around IBC. IBC TV is shot and posted in HD, and there is a subtitle team on site to create these stories for digital signage as quickly as possible.

Catch IBC TV on your mobile

As well as the streamed service – which includes regular live broadcasting – IBC TV is also a VoD service. All the coverage is stored and archived, and can be accessed at any time.

That does not mean just during IBC: this year’s stories get added to an impressive archive from previous years, all of which is available, free, at any time at www.ibc.org/VOD.

As well as generating its own stories, IBC also covers the major keynote presentations in their entirety, with informed comment afterwards. Today that includes a talk on how telcos are achieving significant advances in taking ground from traditional broadcasters, given by Delia Bushell, managing director of the UK’s BT TV and BT Sport. That is live at 10:00, on www.ibc-tv.org.

26/08/2015 22:58

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27/08/2015 11:11

For the latest show news and updates follow

14

#IBCShow

Virtual Reality: new frontier in media technology The world of virtual reality is poised to enter the area of film and TV, says DTG chief technology officer Simon Gauntlett A new generation of Virtual Reality (VR) hardware has set the gaming world on fire, but can it really be integrated into the film & TV industry?

Ever watchful for emerging technologies, the DTG brought producers and device brands together to find out.

To simply define VR: it’s a three-dimensional virtual world which can be explored and interacted with by a person.

Using a head-mounted device to display video content, the user can manipulate objects or perform a series of actions.

Additional sensory inputs, such as touch, sound or smells, can be used to contribute to the

networks

overall immersive experience.

Many believe that VR is a new technology that has only come into play recently; when Facebook purchased Oculus in 2014, Sony announced Project Morpheus, Google unveiled Cardboard and Samsung announced Gear VR, but in truth VR dates back to the late 1950s when Morton Heilig developed the Sensorama, a device offering an immersive theatre experience and arguably the first VR device.

With renewed interest in VR from these media and technology businesses and consumers, we at the DTG believe VR is on the verge of

taking a major step forward.

So to ensure the creative, technical and commercial challenges are met and the full potential of this exciting new technology is realised, the DTG has already started looking into common standards around the creation, capture and delivery of cinematic VR. It’s vital to ensure that consumers enjoy the best possible initial experiences of VR while the technology works towards maturity, and we must collaborate in order to push this technology forward. Following a Virtual Reality Emerging Tech Seminar in April 2015, attracting over 100 delegates,

we’ve produced an in-depth white paper on the different aspects of VR, from audio and gaming to capturing and editing.

You can pick up a free copy of the white paper from our stand during IBC (5.A17).

The future of VR is still undefined, but the improvements in technology for capture, post production, delivery and display of virtual reality, increasing consumer acceptance and the backing of corporate giants means

this is a technology whose time has come.

For more information about the findings and the ongoing activity of the DTG in VR, and to pick up your free copy of the DTG VR white paper, please visit the DTG stand.

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27/08/2015 11:12

For the latest show news and updates follow

16

Take charge with Touch & Connect The innovative Touch & Connect system that first debuted at last year’s IBC Content Everywhere Europe is now being rolled out to the entire show, meaning that all visitors to Amsterdam will benefit from its smart networking technology and ability to extend your IBC experience online throughout the year.

It works using the same NFC technology that powers contactless payment systems for banks, transport authorities and other organisations around the world. Your visitor pass allows you, when ‘touched’ to a device or tag, to collect a variety of information, everything from contacts to marketing material, white papers and more.

This can all be accessed via the dedicated online Touch &

Connect Portal, meaning an end to carrying around huge volumes of paper and business cards.

All registered visitors automatically have a prepopulated account created for you in the Touch & Connect Portal. Once you log in, you can update your profile, add your contact details and social media links, and begin to network with exhibitors or other delegates in the run up to the show.

Exclusive IBC content will also be available, including conference sessions on VoD, research, articles and more.

To find out more information on Touch & Connect visit www.ibc.org/ touchandconnect.

To log in to your portal, visit www.ibc.org/portal

#IBCShow

EDCF Global Update Conference Today DCPs and developments in 15:45 – 18:15 Rm E102 the Principal Large Format An annual fixture of IBC, the EDCF Global Update session brings you up to speed with the latest business, technology and quality developments in cinema around the world.

Many salient questions will be answered in this crowded and fast moving IBC Big Screen session that promises to keep each presentation short and focused.

Topics covered include the future of cinema presentation in higher dynamic range and wider colour gamut; updates on the migration to SMPTE

sector.

A more expert and authoritative panel you could not wish for. Featuring David Hancock, director head of film and cinema, IHS; John Hurst, CEO, Cinecert; Siegfried Foessel, head of cinema technologies, Fraunhofer Institute; Richard Welsh, CEO, Sundog Media Toolkit and Francois Helt, chief scientific officer, Highland Technologies Solutions, chaired by EDCF CEO Dave Monk. Remember, this and all IBC Big Screen sessions are free to IBC visitors.

Blue sky thinking Conference Tomorrow: What Caught My Eye

By Chris Forrester

IBC’s always-popular Industry Insights sessions includes Monday’s free ‘What Caught My Eye’, which is something of an

early bird wrap-up for this year’s activity (Room E102: 08:3009:30).

Graham Thomas, a senior R&D figure at the BBC, has spent the past few days trawling through the IBC halls so that you don’t have to, and will deliver a portfolio of new ‘blue

sky’ ideas that he and his team believe are truly innovative.

Thomas will also try to measure the impact the selected ideas might have on production and distribution.

IBC’s ‘What Caught My Eye’ sessions help condense days of examination and discussion

Graham Thomas spies the future

of undoubtedly bright ideas and industry innovation into one fact-filled hour.

Simply unmissable, and free to attend.

New capabilities boost DigiLink HD-SDI over IP gateway

DigiLink platform: HD-SDI over IP gateway enhancements debuted at show

Artel Video Systems

By Will Strauss

In-band management and GigE capabilities have been added to the DigiLink media transport platform’s HD-SDI over IP gateway.

The Artel Video Systems module uses SMPTE 2022-5/6 to transport a single channel of uncompressed HD-SDI over managed Ethernet IP networks.

Artel has also debuted a dual-port L-Band demodulator for DigiLink. Capable of receiving up to two L-Band signals and converting them to DVB-ASI for transport, this module also supports ETSI TS 103 129 Carrier ID monitoring.

Both of the new modules can be combined with other transport capabilities in an existing DigiLink chassis.

Also at IBC Artel has introduced the Fiberlink six-channel HD/SDI/ASI multiplexer. The transmitter/ receiver pair of 1-RU chassis aggregates up to six asynchronous HD-SDI, SD-SDI, and DVB-ASI video feeds into a single wavelength for transport across fibre or managed optical networks.

Artel Video Systems acquired the assets of Communications Specialties, the developer of the Fiberlink fibre optic transmission systems, in April this year.

“With our expanding portfolio, Artel enables its customers to consolidate their media transport needs through one of the most reliable vendors in the market,” said Artel Video Systems president Mike Rizzo.

2.A20

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26/08/2015 23:00

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27/08/2015 11:14

18

For the latest show news and updates follow

ARM: 25 years young, and busier than ever Conference Today Forum, 09:30-10:00

By Chris Forrester

ARM is a marvellous success story, and its microprocessors – or IP -- are present on an ever-wider portfolio of products, not least its system-on-a-chip devices in a huge number of smartphones, very ‘smart’ TVs, laptops and Android-equipped tablets. ARM is celebrating its 25th year (founded in 1990) and is the centre-piece of the East of England ‘Silicon Fen’ knowledge base of excellence for all things electronic.

Delivering this morning’s early Keynote (Forum, 09:3010:00) is ARM’s Mark Dickinson (SVP/general manager, media processing group). Dickinson will cover ARM’s latest developments and thinking,

18 IBC D3 2015 Issue v1MDL.indd 1

and how ARM is designing and creating products for today’s fast-moving marketplace, and for some of the best names in the business.

No doubt he will touch on its latest product offering, the already famous ‘Mali’ chipset which, among other benefits, is designed to bring Ultra HD capabilities to mobile devices.

The new chips are designed to straddle the market: the Mali-T820 is for entry-level devices, the Mali-T830 for midrange mass-market products and the Mali-T860 for top-end devices. The first consumertargeted versions are already available for licensing and products will start hitting the market this coming winter.

ARM’s final suite of products adds the core Mali product with its sibling video accelerator, and display processor into an all-in-

Chips with everything: ARM’s Mark Dickinson takes Sunday’s Keynote

one SoC – and ready for Ultra HD. One of the first major clients to sign a long-term agreement covering the new solution was South Korea’s electronics giant Samsung, and the deal incorporates the high-end T860s and a variation on the device will also go into Samsung’s latest Galaxy smartphone products.

#IBCShow

Media assets managed Avid

By Carolyn Giardina

Avid is highlighting its Avid Interplay | MAM 5, a scalable and customisable media asset management system that runs on the Avid MediaCentral platform.

It’s designed to let teams ingest, import, manage, locate, edit, and deliver media in a vendor-agnostic environment.

According to Avid, it can manage any type of digital asset, analyse media usage, and automate processes.

Chris Gahagan, senior vice president of products and technology, Avid, said, “Today’s broadcasters and media enterprises need to manage, process, and store an unprecedented amount of digital

media. Media organisations that have already adopted the Avid MediaCentral platform can easily add Interplay | MAM to their existing Interplay | Production and iNEWS deployments.”

Interplay | MAM uses MediaCentral | UX, a web-based interface, and provides a core set of asset management tools and services that can be deployed for workflows of smaller organisations. It also offers integrations and customisations aimed at larger media enterprises.

7.J20, 7.J14

Central command: Avid’s Interplay | MAM 5

26/08/2015 23:01

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Technologies beyond the transport stream

By Graham Mills, chairman, DVB Commercial Module

At DVB’s one-day workshop in May, around 100 people came together from around the world to share the latest thinking on how best to distribute broadcast and online media content to consumers in the future. Has the MPEG transport stream (TS), at the heart of digital TV distribution including Blu-Ray, Apple HLS and virtually all broadcast TV services, finally had its day? Can some of the IP-based solutions, now being widely adopted for online delivery, gain traction in traditional broadcast networks too?

In the best traditions of DVB, the participants first reviewed the market and its evolving requirements. Content owners and broadcasters are delivering their programme content to ever more devices, from internet-connected Ultra High Definition (UHD) TVs through games consoles and personal computers as well as to tablets and smartphones with their increasingly capable displays and fast mobile network connections.

Some of the market trends that can guide us towards an optimal set of technical solutions include: • Consumers watching much more TV and video content on tablets and smartphones, with broadcasters looking to make their linear and on-demand services available to all devices in cost-effective ways.

• Repurposing broadcast content, to make it available on various browsers and apps across multiple devices has become highly complex and it’s a significant additional cost to

19 IBC D3 2015 Issue v1MDL.indd 1

produce multiple feeds.

• Unlike satellite, terrestrial and cable networks offering fixed, stable distribution costs regardless of the number of viewers, the costs of content distribution networks (CDNs) over mobile and fixed broadband networks are increasing rapidly as user numbers and viewed minutes rise.

• Personalised content and targeted advertising are commercially important and there’s a real need to be able to knit together varied audio and video components into underlying broadcast or broadband streams.

Advocates of the continued use of TS-based broadcasting highlighted its many strengths.

It’s been at the heart of DVB and other digital TV specifications for over 20 years. It’s an efficient way to deliver linear content, enabling viewers to access a stream and start viewing at any time. It has low and predictable latency, with robust ways to detect and correct errors, especially in one-way networks.

The large installed base of TSbased receivers is a major barrier to change.

Those promoting the adoption of an IP-based transport layer for broadcast services point to the need for an integrated approach.

Mobile devices, connected via all-IP mobile data networks and Wi-Fi, are becoming ubiquitous. With larger, higherresolution screens, consumers are spending an increasing proportion of their daily viewing time on those personal devices.

Many within the mobile industry are advocating the wider use of LTE broadcast standards, also known as eMBMS, enabling a content stream to be multicast

to many users simultaneously, in place of a unicast service requiring dedicated network capacity for each additional user.

The USA is adopting an all-IP approach in its new ATSC 3.0 broadcast TV standard.

In Japan, NHK has chosen the MMT framework for new UHD services. Others are also advocating the ISOBMFF file format, an IP-based technology suitable for both streaming and file download.

Some conclusions can be drawn from the workshop’s wide-ranging, high quality presentations and panel sessions. Firstly, the MPEG transport stream will continue to offer an efficient solution to the needs of many broadcasters for years to come. With such a large installed base of receivers, any change to core broadcast networks is likely to be an evolutionary journey, not a step change.

Secondly, transport technologies based on IP can now offer equally efficient delivery of linear TV and video content, with a range of features especially well suited to the needs of users with mobile and broadband-connected devices.

For new entrants to the market, IP-based technology over mobile and fixed broadband networks can offer a compelling solution to their distribution needs,

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despite many legacy receivers remaining unconnected to the IP world. However, some challenges are still to be resolved if IP networks are to deliver the consistently high picture quality that consumers can expect from broadcast networks.

What does this all mean for DVB? The continuing strengths and support for TS-based broadcasting will require DVB to maintain and enhance its existing transport-layer specifications for many years to come. However, the market need for a more

integrated approach to content distribution to a much wider range of devices will require some radical new thinking.

How can traditional broadcast networks evolve to support personal devices as well as larger TV screens? Can the mobile and broadcast industries work together, following the initial adoption of broadcast technology in some mobile networks, to define new specifications that incorporate the best of DVB’s, 3GPP’s, ATSC’s and others’ know-how into a converged global standard for terrestrial broadcast and mobile content distribution?

DVB is ready to play its part in setting the standards needed for the future, using the best of the IP and TS technologies.

This would need to be delivered in a collaborative way, working with the mobile, broadband and broadcast industries.

26/08/2015 23:03

20

For the latest show news and updates follow

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Quality Control: more than keeping up appearances!

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With modern file-based production, content is subjected to a wide variety of post production and format conversion steps, often passing through external companies. The path from the camera and microphone to the playout server is all but transparent. And it is not stable either, as software upgrades are continuously being applied throughout the chain, often without any central coordination.

Files certainly offer flexibility, they can be endlessly updated, copied, versioned, etc., with multiple audio and language tracks. As one producer

20-21 IBC D3 2015 Issue v3.indd 1

proudly said, “Files can be edited and changed even while they’re being transmitted. This is brilliant; I can use Twitter to change the end of my programme!”

But one erroneous bit is enough to make a playout server fail during tonight’s beautiful documentary and a recent update to a video encoder could well be the reason why the highvalue drama series suddenly looks awful on the catch-up platform, etc.

Aside from their different flavours, it is the sheer number of files used in current operations that makes manual verification impractical.

The result is a growing desire for powerful QC products that can complement our human eyes, which are still unsurpassed for subjective QC operations such as spotting wrongly focused shots, but which have a hard

time looking at the more abstract parts of files.

EBU initiative The EBU, recognising there was a growing problem for its members and the industry at large, set up the Strategic Programme on QC to allow its members to share their experiences of QC tools and how they integrate these devices into their own production processes. The work is chaired by industry veteran Andy Quested (BBC), who has seen the need for and the use of QC from all angles, ranging from his work as video editor for ‘quality comedy’, such as Keeping up Appearances, to head of technology for the BBC’s HD and UHD services.

Together with many experts from broadcasters and the leading QC tool

manufacturers, the EBU initiative has defined a set of over 200 QC test items that help achieve consistency

26/08/2015 23:04

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validation tools in complex production facilities by specifying a baseline common format, without constraining the creation of more ‘filtered’ versions for specific purposes.

A playout operator may, for example, want to see only very specific information where errors could cause

the server to fail to play the programme, while a centralised logging tool may benefit from being passed the most detailed report available.

The reporting approach is being defined in tight cooperation with the FIMS QA experts.

A key outcome of this work

will be an exchangeable trusted QC report, where someone receiving a programme from a production company or a distributor or even just another programme area, will be able to trust the supplied QC report as if they carried out the QC themselves. Broadcasters in

several European countries are already experimenting with this concept.

The availability of the EBU QC items and related test material will help them to improve the efficiency of their QC processes. Visit the EBU stand (10.F20) to find out more or go to EBU.IO/QC.

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in the implementation of QC. The EBU.IO/QC tool offers users an online shopping list allowing them to ‘tick off’ the tests they’d like to see applied. To assist vendors and broadcasters alike, the EBU also provides access to a library of QC test files named ‘Bronze Files’ by the group, as they demonstrate many of the issues and problems the QC tools are designed to identify.

The EBU’s QC work has become a valuable reference for other groups, both at national and international level. In the UK, for example, the Digital Production Partnership (DPP) is aligning its work with the EBU’s QC items list; the German broadcasters’ Quality Management group is doing something similar.

And the North American Broadcasters Association (NABA) is very interested to be inspired by the EBU QC programme, as well.

EBU.IO/QC can export the selected QC items and their user parameters in the XML format defined in the FIMS Quality Assurance programme, allowing for direct implementation in FIMS compliant QC devices. This feature is being demonstrated at IBC this year for the first time. Users can go to the EBU stand (10.

F20) and load a QC Template with selected QC Items onto a USB key and visit QC vendors to import their test plan.

We are actually seeing the implementation of a hierarchical approach to Quality Control, where broadcasters and distributors can work with EBU harmonised QC Items. This helps improve not only clarity of ‘what is being checked’, but also interoperability, as products can be built with the same target values and tolerances in mind.

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It’s time to send smarter subtitles

By Frans de Jong, EBU

I have to say, it’s not a topic that everybody wants to hear about – sending subtitles to improve content accessibility is not even in the same category as, let’s say announcing the next Eurovision Song Contest winner to most people. But it’s important. And to those who rely on the services, a vital piece of their everyday information and entertainment.

So why not improve them more?

There are multiple reasons, but typically it comes down to costs: creating high quality descriptions is not free. While some tech giants may want you to believe that you could keep your phone next to the screen to show you the audio, the reality is that serious content producers still employ or hire professional subtitlers for transforming sounds and spoken words into screen text.

This part of the process is not new but, the formats that are used to create and distribute the subtitles are changing and

22-23 IBC D3 2015 Issue v3.indd 1

opening up a business that used to rely on floppy disks and Teletext specifications to multi-platform repurposing and automatic quality improvers for (live) subtitles.

For the European Broadcasting Union (EBU) exchanging content is something very close to our heart and one that is not limited to the yearly Eurovision Song Contest.

Roughly 25 years ago, the EBU introduced EBU Tech 3264: Subtitling data exchange format, which specifies up to – literally – the bit level how to exchange subtitle files in production facilities using a floppy disc.

Like the Eurovision Song Contest, the subtitling data exchange format (.STL) became a hit. And over time, it became criticised too. The feature set was not flexible enough for new applications, such as higher framerates or extended character sets. Despite this, .STL remains a popular choice as is reflected in the millions of files that exist in broadcasters’

archives around the world. Its bit-tied definition turned out to be both its strength and its weakness.

Transition to Timed Text About 10 years ago, the EBU decided .STL could do with a follow-up and it joined the W3C Timed Text (TTML) effort, which was working on a format to distribute text in a predictable way, both in terms of timing and presentation styles. Paradoxically, the timing of that work was not ideal.

Although technically a more than valid exercise, many of the EBU’s Members were not at all interested in changing their subtitling practices.

There simply was no business justification for it. Subtitles kept flowing and in many countries Teletext kept itself in the picture as well. The new features of ‘Timed Text’ appeared to be over the top for those members…

The EBU addressed the feature-size concerns of TTML by deriving a much smaller

subset: EBU Tech 3350: EBU-TT. Although the specification does not exclude its use for

distribution, it focuses on the production side of things, like .STL. But as .STL originated in a world where production and distribution had a one-to-one mapping, EBU-TT exists in a different context. Nowadays the mapping is one-to-many, with content being distributed to a wide variety of platforms, and it is, perhaps unexpectedly, the streaming side of things that is driving the interest in new subtitling formats. That includes the EBU’s easy-to-implement distribution profile: EBU Tech 3380: EBU-TT-D. The new text-based formats allow for relatively straightforward and, above all, automatic transformations to different platforms, such as the open internet, HbbTV and vendor-specific devices, such as

The EBU-TT family in a nutshell EBU Tech 3350: EBU-TT Part 1 • Core subtitling format • Focus: Production, archive and B2B exchange • Simple profile of W3C TTML • Includes additional broadcast features and workflow metadata EBU Tech 3360: EBU-TT Part 2 • Guidance for converting STL to EBU-TT Part 1 • Focus: Transition from legacy • Defines a grid similar to Teletext (40 32 chars) EBU Tech 3380: EBU-TT-D • Distribution version of EBU-TT Part 1 • Even simpler profile of TTML • Focus: Online/OTT distribution • Used in Germany as EBU-TT-D-Basic-DE and specified for DVB DASH, HbbTV 2 and Freeview Play EBU Tech 3370: EBU-TT Live • Specifies how to use EBU-TT in live operations • Includes a complete system model (e.g. ‘nodes’) • Focus: Live and broadcaster-side streaming • Can also be used in mixed modes

26/08/2015 23:05

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smartphones. It is this â&#x20AC;&#x2DC;author once, publish manyâ&#x20AC;&#x2122; principle that makes it attractive for users to switch to a â&#x20AC;&#x2DC;smarterâ&#x20AC;&#x2122; subtitling format like EBU-TT in the coming years.

Internationally in-sync As weâ&#x20AC;&#x2122;ve seen, it is not only in Europe â&#x20AC;&#x201C; known for its dual use of subtitling for both accessibility and translation purposes â&#x20AC;&#x201C; that streaming subtitles are leading a transformation. The demanding FCC Regulations in the United States have driven a similar interest across the Atlantic. With content and subtitling being global markets, it is not strange that the EBU-TT family and several of the related specifications have thus ended up being very similar, too, and derived from a common source, TTML. Subtitle regulation in Europe is probably toughest in the United Kingdom, where media regulator OFCOM requires broadcasters to provide up to 100% of their (live!) output with subtitles. This demand is often met by using respeaking technology, a technology that the BBC pioneered many years ago. Although quite good, speech recognition technology is not perfect, requiring broadcasters to strike a subtle balance between the amount, speed and quality (in terms of timing and word accuracy) of subtitles. While subtitle volumes are approaching or have reached 100%, the focus of regulators and the audience alike is shifting to quality.

let alone one in which it is easy to achieve interoperability between vendors. The newest specification of the EBU-TT family is meant to change exactly this: EBU Tech 3370: EBU-TT Live was released for industry preview this summer.

The goal is to provide a standard, transport-agnostic

22-23 IBC D3 2015 Issue v3.indd 2

timing re-aligners that transform a stream of subtitles at their input into an even better one at their output.

The EBU-TT Live format supports such scenarios by allowing detailed timing parameters to be retained from the authoring station.

The EBUâ&#x20AC;&#x2122;s work on subtitling

technology is jointly chaired

by Andreas Tai (IRT) and Nigel Megitt (BBC), both of whom will provide an update on the state of play of subtitling in the industry at the EBU stand (10.

F20).

Join us at the stand or follow the groupâ&#x20AC;&#x2122;s work at: tech.ebu. ch for more information.

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Live quality improvers After publishing both the core EBU-TT format and its distribution brother, EBUTT-D, the EBU decided to focus back on the production domain to find the missing piece of the live puzzle: how to contribute â&#x20AC;&#x2DC;liveâ&#x20AC;&#x2122; subtitles from author (or respeaker, or even automated playout of prepared subtitles) to the playout, encoding and distribution facilities.

In current set ups this has typically been addressed by modifying .STL in ad-hoc, sometimes undocumented, ways or by embedding teletext in video data. This practice has worked, but has not resulted in a very futureproof set up,

way to deliver subtitles from its origination to the point where they will be improved, encoded and distributed and/or archived.

An interesting application of the new format will be the use of modular â&#x20AC;&#x2DC;improversâ&#x20AC;&#x2122; that can increase the quality of the live subtitles on the fly.

Think of speech correctors or

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OPINION

Win video, win all!

For the industry and especially telecom carriers, the explosion of video content creates special challenges and huge opportunities, observes Yang Tao, chief strategy and marketing officer of WEU, Huawei Technologies A friend from the police recently told me that about 50% of their cases are closed using footage from video surveillance. This percentage will likely rise over the next 2-3 years to almost 90%, as more and more cameras are installed.

Why is this so? 70% of the information we process comes from our eyes.

Information delivered by video is thousands of times more effective and impactful than information by voice or text only.

Now, while some may feel uncomfortable with the example I’ve chosen with associations of the surveillance state lingering, the field of video applications in

vertical markets has only just begun. What role will video play in the realisation of Smart Cities? Would the success of social media in the interaction of people be the same without the sharing of video? How will my shopping experience on e-commerce sites be enhanced through video?

Even established applications such as video conferencing have not reached their peak, with more and more people globally setting up home offices and connecting with colleagues and customers through conferencing apps.

And what about the emerging landscape of the Internet of Things, where millions of cameras will be

used to capture and process data for applications we can’t even imagine today? What about the new generations of smartphones, of wearables, of drones and robots. Video will be everywhere, affecting all aspects of life, and becoming part of everybody’s lifestyle and life experience.

For the industry, and especially the telecom carriers, this explosion of video content creates special challenges, but also huge opportunities. Carrier networks are of course the platforms to transport video streams and applications. This fact remains true even if the video is hosted by one of the many OTT players.

While it’s fair to say that

OTT players have changed the video market dramatically, their biggest hurdle to overcome is still the quality of the video experience. Even if codecs and apps have significantly improved over the years, in the end it all comes down to the quality of the underlying networks. This is where carriers continue to play the most important role.

Most carriers around the world have started to realise the potential of video as a future growth driver. Huawei works closely with these carriers, steadily improving the quality of the video experience for the end users, whilst helping to define advanced business models for operators that allow significant

returns on their investment.

Three business models have emerged: 1.Traffic monetisation to maximising pipe value.

2. Content monetisation as media operators.

3. Building ecosystems to lead the digital landscape.

Needless to say, that we offer this quality/ROI paradigm for mobile networks as well.

Our take on this new era of customer video experience is called ROADS: Real-time, Ondemand, All-online, DIY, and Social. Welcome to Huawei stand to discuss with us how ROADS can improve your user experience, and exchange viewpoints on video business application and strategies.

4.C70

A fully 4K-enabled playout Veset

By Mark Hallinger

Announcing support for realtime HEVC in full HD, Veset is showcasing its Nimbus cloud-based playout offering.

The company also said that in recent months it had been working with a notable international broadcaster to

test its 4K infrastructure. It has developed a fully 4K-enabled playout that incorporates HEVC encoding to support the ingest, storage, playout and delivery of 4K content.

Veset said its softwarebased solution is optimised for cloud resources, and it provides users with a fully 4K-ready broadcast grade SLA. The Veset Nimbus solution is built from the

ground up for use in the cloud.

It allows users to fully benefit from fundamental features of the cloud and also offers critical benefits, such as redundancy, scalability, remote access and an easy-to-use client interface. In partnership with providers of IP transport, Veset delivers end-to-end services to clients seeking to increase their operational flexibility while maintaining high

Pandora’s Box for Broadcast Christie

By Heather McLean

Pandora’s Box adds another dimension to Christie’s range of

24 IBC D3 2015 Issue v1MDL.indd 1

media processors for broadcast, offering realtime rendering and interactive applications, An unlimited number of servers can be mixed and matched, centrally controlled

and synchronised, to ensure maximum project flexibility, said the company. Dedicated Pandora’s Box 3G Broadcast Server systems allow changes on the fly, up to and beyond 4K. This

Cloud-based: Veset has been working with an international broadcaster to test its 4K infrastructure

standards of reliability.

The Veset playout services are now being used to play out 10 linear channels with a combined audience of more

includes 4K live input capability.

Additionally, Pandora’s Box systems can be integrated for studio design and playout scenarios, as well as playing central roles inside control rooms.

According to the company, using Pandora’s Box technology allows for the realisation of

than 250 million viewers in more than 25 countries, delivered by satellite, cable and CDN. 8.A21

interactive scenarios, live 3D compositing and keying or advanced virtual studio camera tracking. All of these individual elements can be combined in a unified workflow, in order to maximise system compatibility, claimed Christie.

9.D15

26/08/2015 23:06

Get inspired by our hardware.

Get to work with our powerful SDK.

Developer Products Matrox offers a family of cutting-edge 4K, HD and SD hardware and software development tools for digital video and audio applications. Including a new hardware based multi-channel 4:2:2 10 bit H.264 encoder for up to 4K resolution. These products have the reliability and flexibility that OEMs need to build high quality broadcast applications. Designed for 24/7 on-air reliability, this hardware and software is ideal for broadcast applications.

IBC Stand 7.B29 www.matrox.com/video/oem/ibcdaily

Matrox and Matrox product names are registered trademarks and/or trademarks of Matrox Electronic Systems, Ltd. and/or Matrox Graphics Inc. in Canada and/or other countries.

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OPINION

Cloud TV is on the horizon Cloud TV remains a big theme for IBC and the industry this year, says Alticast EMEA president Tiaan Schutte The infrastructure is finally in place and we are starting to see pay-TV operators leveraging cloud delivery for highquality video on all devices.

Multiscreen, cloud PVR, catch-up, and start-over TV are features made possible through cloud storage as well as intelligent software solutions for indexing, archiving and serving the content to any device.

Cloud DVR deployments, led by IPTV operators, are appearing across Europe.

The delivery of these ondemand services to STBs is causing pay-TV operators to rethink their delivery infrastructure. Where they previously had separate platforms for OTT devices, they are now looking to consolidate them into a single cloud-based, multiscreen service delivery platform.

A single delivery platform improves operational

efficiency allowing operators to consolidate and enhance service features across different devices as well as delivering cost optimisation. This factor can be further extended through the migration from dedicated hardware platforms to scalable software instances in the cloud.

At the Alticast booth, we are demonstrating services from pay-TV operators who are using, and capitalising on, the AltiPlex Cloud Services Platform (CSP) to deliver cloud DVR and multiscreen services.

Another cloud-driven trend is STB virtualisation which lowers the STB BoM costs and the TCO through reduced overhead in software release cycles, fault detection and resolution.

Alticast is supporting these efforts with AltiPlex Cloud UI where the UI is executed in the cloud freeing up compute cycles on STBs and other

devices. This radically changes the UI delivery model as interfaces can be defined on a per user per device basis allowing the delivery and test cycle to be shortened dramatically.

This is a win-win for both operators and consumers as new, innovative features can be introduced quickly and at lower cost without impacting quality. Alticast is presenting a case study about Korean Telecom and their success with the Alticast Cloud UI solution at the IBC Technology In Action Theatre.

IoT services in the smart home rely on the cloud and TV can play a critical role by acting as a control device for the IoT infrastructure. There are a lot of things to consider around the securability and usability of collected IoT data. Pay-TV operators can provide a robust HW interface to sensors with

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a single point for securing IoT interactions and the network while providing the necessary cloud platform for connecting the subscriber to their IoT services while away from home. This presents a great opportunity for operators to

provide the central hub in IoT infrastructures in the home.

IBC2015 will definitely have clouds, but hopefully these will only be in the conference centre and not in the sky outside!

1.F36

Keeping kit protected inďŹ&#x201A;ight ProCase

By Heather McLean

At IBC for the first time are ProCaseâ&#x20AC;&#x2122;s 19-inch stack-racks, modular flight case racks which

can be firmly joined together using concealed latches. The units are fitted with IT compatible rack rails, and are also fitted with vibration dampers. The company said this was especially important for an enormous range of sensitive electronic equipment such as AV recorders, intercom systems or transmission paths, said the company.

ProCase is also demonstrating Screen Flexcases, universal flight cases for transporting flat screens. The screen is held by two adjustable rails, which offer an advantage where, by using additional fixing rails, two or three screens can be easily transported together.

This feature makes the cases extremely flexible in use, according to the company, which added that ProCase cases can be supplied in more than 20 different colours.

10.F29 Magic box: ProCase aims to wrap up even the biggest screens

26 IBC D3 2015 Issue v1MDL.indd 1

26/08/2015 23:06

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Andra

By David Fox

A motion-tracking system that automatically maintains sharp focus on any subject in a shot, even if both the subject and the camera are moving, is the promise of Andra Motion Focus. It can track multiple subjects and quickly switch focus between them with an App or Hand Unit. It should be particularly useful for making reality or documentary shows look cinematic without marks to hit or a focus puller.

The subject wears a transmitter, while the camera has a receiver attached, and while prototype versions of the system were designed for studio use, the latest release can be used on location, with either an oncamera set up for single shooter use or a boom system for more complex requirements. The system also has more natural, smoother focus pulling and tighter tracking of fastmoving objects.

The new Arc Elite Hand Unit has a 6-inch 1080p touchscreen and allows users to do everything a traditional manual wireless follow focus does, as well as control the Motion Focus system.

The whole system has also been made easier and more efficient to use, with users easily able to override any focus point by eye, plus internal dual band Wi-Fi for improved stability, and rapid lens calibration. The latter allows for virtual witness marks that compensate for poor back focus. All component weights have also been substantially reduced.

Meet us at IBC Stand #10.D29

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11.C36

27 IBC D3 2015 Issue v1MDL.indd 1

26/08/2015 23:08

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OPINION

SDI: The known quantity IP transport infrastructure needs time to mature and overcome broadcast timing requirements and latency expectations, says David Ackroyd, vice president business development, Omnitek One of the key opportunities for customers in the current market environment is to seize on the standardisation of 4K SDI transport enabling them to develop products that address customer demand for 4K production technology.

SDI continues to be the known quantity for 4K systems design and is growing in use, mainly in the production environment. This is supported with the recent introduction of high-speed 6G and 12G-SDI standards.

At the emergence of transformational technologies such as UHD, equipment manufacturers and early broadcast adopters have a need for new test equipment that measures and generates signals to test designs

and systems. The major enabling technologies for this transformation are the speed increases of 28nm FPGA and line driver/receiver devices, that allow SDI data rates at 12Gbps.

Omnitek has identified three main requirements for a successful UHD-1 workflow: connectivity, data division and data integrity: The first of these – how to transfer uncompressed signals from camera, to router, to switcher, to editor, to storage, to transmission -- is possible at present over SDI using quad-link 3G, 6G, dual link 6G and single-link 12G-SDI standards. Display connections are also possible via DisplayPort 1.2 and HDMI 1.4 & 2.0. With no clear

Adding online personal touch Rovi

By Anne Morris

Visitors to the IBC Content Everywhere exhibition this week are presented with an opportunity to trial the new Rovi Conversation Services technology. This is designed to learn user preferences in order to provide a more personalised entertainment experience.

Rovi, which specialises in guides, metadata, and recommendations to drive programme discovery, search and navigation on devices, is also showcasing the expanded capabilities of its dynamic

28 IBC D3 2015 Issue v1MDL.indd 1

metadata product, Rovi Metadata, which covers more than 7 million programmes.

The Rovi Knowledge Graph also contains more than 100 million entities and is augmented with detail from 100,000 online sources linking entertainment to the real world, to provide dynamic, rich information and up-to-date recommendations based on the latest trends.

Rovi is also showing the latest versions of its guidance technology, as well as Fan TV, a next-generation device to bring live TV, VoD and streaming services together in one place, with a button-free touch remote.

14.G01

preferences yet being adopted there is a need for equipment to manage signals from all of these standards.

To maintain compatibility with legacy SDI infrastructure, 4K material can be transported using either ‘2-Sample Interleave’ or ‘Square Division’ formats (the former being officially adopted as an SMPTE standard) which need to be automatically handled by products and systems.

Each has its merits and the combination of these datapacking formats in systems, alongside the single and multilink transport standards make it necessary to check and test the formats throughout the signal chain. So we can see how important it is for equipment to be able to handle

both SQ and 2SI formats.

Thirdly, when designers are dealing with new highspeed SDI standards eg.

12Gbps, the issue of signal integrity presents itself. On a given system, SDI waveform timebase jitter needs to be four times lower at 12Gbps than 3Gbps when measured in picoseconds. This presents a considerable challenge for receiver chips to be able to lock to a signal and for transmitter chips to generate low-Jitter output.The challenge in overcoming this issue is to understand where output jitter sources lie and to be vigilant in removing them.

Omnitek’s deep experience in these engineering issues led to the design of the Ultra 4K Tool Box which provides an

SD-SDI up to 12G-SDI toolset to help with these challenges and offer a rapid development route for broadcast engineers and systems integrators to build, test and commission UHD and 4K systems.

At IBC, Omnitek is seeing an increasing number of manufacturers announcing 4K SDI products and therefore an increase in demand for our high speed test equipment both from manufacturers and system designers as well as a clearer indication of the direction customers are moving with regard to SDI vs.

IP debate through the maturity of related products and infrastructure. This gives us a reference point for what’s real and what’s virtual.

10.F30

Illumina S35 lenses go anamorphic Luma Tech

By David Fox

To extend the usefulness of its seven Illumina S35 prime lenses, Luma Tech has a new anamorphic adapter, so that users don’t have to buy a complete set up new lenses to shoot anamorphic.

It offers a maximum aperture with a T1.3 lens (as five of the S35 lenses are) of a still fast T1.9 and has a squeeze factor of 1.3x, which is specifically designed to make a 2.39:1 image fit a 16:9 sensor. The adapter will be available for lenses with a focal length of 35mm and above (which only leaves out the 14mm T1.8 S35 lens).

Go wide: Luma Tech’s new anamorphic HKHW[LY Ä [[LK [V HU 0SS\TPUH : WYPTL SLUZ

The adapter does add an extra 2kg to the weight of the lens, and has an outside front diameter of 120mm.

Luma Tech also offers uncoated front elements for the basic set (18, 25, 35, 50 and 85mm) of Illumina S35 lenses, for users who want a

dreamy vintage look associated with old lenses made before the advent of modern antireflection coatings. Any experienced lens technician can adapt the lenses, which can be changed back again afterwards.

11.A54

26/08/2015 23:08

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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New openGear cards for SDI/Fiber conversions and 3G-SDI Distribution.

The new FS3 combines AJA’s industry-proven frame synchronization with high-quality 4K up-conversion technology to seamlessly integrate SD and HD signals into your 4K workflows.

Find out more at www.aja.com or visit us at IBC, Stand #7.F11

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27/08/2015 16:42

30

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Q&A Michel Bais, managing director, Mobile Viewpoint Has IBC come at a good time for the electronic media industry? Why? IBC presents an opportune location to share and showcase our latest innovations across IP and live video production. We believe that with the push on technologies on IP in video production that IBC is perfectly timed to highlight the latest developments in these technologies including our own. The ability to meet and interact with industry professionals in person is very important in this rapidly developing business. It is great that IBC offers a platform to make this possible.

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

30 IBC D3 2015 Issue v2MDL.indd 1

In today’s fast paced media environment the ability to deliver news fast is more important than ever before.

Using IP technology enables broadcasters now to be live fast and from almost every corner of the world. The deployment of our solutions by major broadcasters such as the BBC shows that this technology is now widely accepted as the major tool for cost effective and fast newsgathering. Using our web-based IP MCR customers are now also able to also share live feeds with other broadcasters and receive feeds from around the world.

However, we still experience that low cost solutions sometime affect the image of the current professional wireless broadcast market by offering low cost solutions

but with poor quality.

Why should delegates visit your stand at IBC? Mobile Viewpoint, Europe’s number one company, is developing IP contribution solutions for major broadcasters such as BBC, Sky Sports News, TVP, RTL and many other media companies worldwide. In meeting our customers’ needs in enhancing mobile newsgathering facilities, we keep innovating and developing new products and solutions which we launch on every big broadcast event. At IBC2015 we are showcasing our WMT Store & Forward solution for wireless fast uploading of camera feeds from the field to post production facilities.

14.F21

26/08/2015 23:09

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Q&A Tony Taylor, Chief Executive Officer, TMD Has IBC come at a good time for the electronic media industry?

We are at a real tipping point at the moment. The traditional broadcast industry was always defined by its technology â&#x20AC;&#x201C; it was the engineers who drove it forward. Now we are in an industry that is liberated by its technology. Softwaredefined networks in filebased environments free us to develop sophisticated, automated workflows which allow media companies to be more cost-efficient and at the same time engage better with consumers.

What are the key developments in your market sector?

Asset management is no

longer a science project, it is a proven, fully functional and extremely powerful tool which uses and enriches metadata to deliver quantifiable benefits for all media companies.

Solutions can be easily tailored to deliver real workflow efficiencies, using Content Intelligence logic to drive automated workflows to achieve levels of operational efficiency previously considered unattainable.

To help smaller enterprises gain the same benefits, we now offer a range of pre-configured, packaged workflow solutions including.

OnPoint designed for post houses and creative service departments who need to plan and create media campaigns for multiple clients; Transform built

to prepare, package and deliver content for online and mobile devices; and Paragon that uses the power of the LTFS data standard to provide a scalable, deviceindependent, future-proofed archive storage management platform.

Why should delegates visit your stand at IBC? TMD has a better track record than anyone in delivering asset and workflow management solutions for broadcasters around the world, like Irish national broadcaster RTĂ&#x2030; and international media organisations Modern Times Group (MTG), Discovery Communications and Astro in Malaysia â&#x20AC;&#x201C; who incidentally, are in the final

stages of deploying their Mediaflex system as we speak. The future architecture of a broadcast or media installation will be softwaredefined and metadata-driven.

The TMD team can talk with authority on how deployment can be practically de risked and bring real tangible benefits to your facility.

2.B59

YES WE CAN!

#

&$%'!

!

! " !

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OPINION

The Evolution of MAM Broadcasters require media tools with continuous access to content throughout their business, says Julian Fernandez, solutions director, Tedial Traditional linear playout and viewing on-demand has evolved more quickly than many expected into the concept of ‘content everywhere’ via smart TVs, tablets, smartphones and PCs, at least in digitally maturing markets. To keep up with the pace of this consumer behaviour, broadcasters need to have a number of key processes in place including multi-site, multi-format (4K is becoming a reality now), multi-platform delivery, and increasingly media business reporting.

In turn, MAM systems have evolved to manage users as well as large amounts of content and related media and data such as audio languages, subtitles and all the additional metadata, images and attachments needed for non-linear distribution.

Removing the unnecessary,

and at times, overwhelming complexity caused by multiple workflow states, wrappers and codecs etc. enables easier discovery of related media. By providing improved tools, this complexity is replaced by a logical view of the content and workflow with direct access to the different components for validation: forms to easily select audio; metadata enrichment for packaging and delivery of content in the correct format.

The launch of Tedial’s award-winning Evolution MAM earlier this spring has driven media management to a new level by presenting a suite of scalable and flexible Media IT software modules that automates the preparation, movement and distribution of media internally and externally. Built as a modern workflow engine with a world-class MAM tightly coupled to it, Evolution makes

media ‘workflow aware’, enabling customers to costeffectively increase their media throughput to meet the needs of the market where the consumption of content is growing year-on-year at an unprecedented speed.

Providing advanced, highperformance search and indexing tools as standard, Tedial Evolution users can easily surf and explore archives. They also benefit from improved integration between third-party business systems, driving workflow for linear, VoD and OTT services via a collaborative working environment.

The platform incorporates new GUI controls for any surface: MAC or PC browser, tablet or smartphone, and dramatically speeds up both manual and automated workflows. The new HTML5based GUI keeps frequently used tools accessible to

easily manage tasks, validate media or monitor workflow status remotely. The interface is fully customisable for individual preferences or work assignments, including metadata views and screen configurations, with an integrated activity monitor and unified view of archives, workflows and business processes.

Tedial’s clients are able to continuously expand and easily re-configure their core media IT to improve their overall media business performance. They are adding multi-site working and continuously tuning their media workflows using open industry standard BPM tools. Working with Tedial,

customers are rapidly taking control to proactively manage their increasing content enrichment workload and the media throughput that is required to drive their multi-platform packaging for multiscreen distribution and success.

Tedial continues to embrace global industry trends with support for media initiatives such as the UK Digital Production Partnership DPP. Tedial Evolution ensures that customers can advance and develop their media businesses by evolving with the changes in media consumption and providing real operational efficiency and bottom line savings.

8.B41

THE FUTURE OF TV SIMPLIFIED • Cloud Services Platform

• Advanced UX

• Mix and Match Software

• Multi-Device/TV Everywhere • IoT Solutions

Cloud UI, DVR, & Systems SW RDK, Android, Java

• Security

HTML5, Native, Java

Visit Alticast at Booth 36, Hall 1

34 IBC D3 2015 Issue v1MDL.indd 1

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Our world.

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

Meet us at IBC September 11-15, 2015 Hall: 1 Stand: 1.B38 www.arabsat.com

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Q&A Kyungkook Lee, CEO, TVLogic Has IBC come at a good time for the electronic media industry? Why? Yes, absolutely. These days, 4K contents supply and Ultra HD broadcast adoption have increased gradually. But, from a global perspective, 4K and Ultra HD are only the tip of the iceberg and still the HD digital broadcast switchover is implementing in most areas.

Thus, it is an important time for us to observe the expanded and various spectrum of the broadcast technology through this IBC2015.

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

12G-SDI or IP technology for Ultra HD broadcast give us new possibilities and challenges.

We believe that the production environments based on IP will be created eventually. But, in the case of South Korea, many broadcasters are looking through the 12G-SDI first that can realistically be available.

TVLogic, as a broadcast monitor manufacturer, will develop and supply the best

Putting ultra slo-mo on a Polecam crane I-Movix

By David Fox

Polecam and I-Movix have developed a new addition to the X10 ultra slow motion range, putting a 1,500-frames-persecond camera (at 1920x1080) on the end of a lightweight crane.

The system is already in use by Logo2 Producciones for behind-the-goal action at Spanish football matches, and uses a lightweight configuration of the I-Movix X10 system optimised for use with the Polecam, to give ‘an unbeatable sense of intimacy and insight into the action’, according to Polecam director, Steffan Hewitt.

It combines the I-Movix X10 Spine with a compact Vision Research Miro 320 high-speed

camera, with instant replay, to create a system that can integrate fully with live OB production.

“It’s a stunning camera, integrated with the Spine system to make it a multi-camera tool,” said Hewitt, adding that it allows for one-person operation, and is easy to rig and de-rig.

“It’s another extension of creativity for directors and camera operators, and one more step towards making ultra slow motion a ubiquitous tool in sports coverage,” added Laurent Renard, CEO of I-Movix.

Hewitt said the system has to be operated differently to conventional cameras to get the most out of it.

“You have to pan and tilt and boom really fast, which is totally alien to anything you’d normally do, but you get stunning shots,” explained Hewitt.

Why should delegates visit your stand at IBC? The biggest news from TVLogic is the 4K 12G-SDI monitor (17-inch: LUM-170G, 24-inch: LUM-240G) that supports maximum 2160p 60 frames per second on a Single Link.

TVLogic has the full line-up for broadcast monitors including small field monitor for cameras, popular monitor for HD broadcast, reference monitor and the latest model, 12G-SDI

monitor.

TVLogic is a trusted company that provides reliable quality and sincere service and never

sacrifices picture quality or performance to lower the production cost.

10.D26

Savings on Recoil rig Zacuto

By David Fox

The recently updated Recoil camera rigs from Zacuto were designed to place the balance point directly over your shoulder, pushing focus and monitoring further forward, to create a lighter and shorter rig. To encourage users to buy its high-end Gratical HD Micro-OLED EVF with the rig, Zacuto is now offering bundles that can cut $1,000 off the combined cost of the two.

Recoil less: The Gratical HD/ 9LJVPS Ä [[LK [V H :VU` -:

Anyone buying a Gratical HD viewfinder can add a modular Recoil rig for $200 more. The Recoil can be put together to fit

almost any large sensor camera on the market.

The bundles on offer range from the Sony FS7 kit at $3,300 through rigs for Blackmagic, AJA and Red cine-style cameras, the Canon C100/C100 MkII, Sony F5/F55, Canon C300/C300 MkII/ C500 and a fully flexible Indie Recoil Bundle that can be configured to fit almost any camera, including mirrorless and DSLR models, for $4,050.

11.G64

Website for mobile newsgathering bookings goes live Aviwest

By Will Strauss

11.E43

The I-Movix X10 Spine system on a Polecam used by Logo2 Producciones

36 IBC D3 2015 Issue v1MDL.indd 1

monitor for any technology and any production environment.

A new website designed to connect broadcasters with video service providers that have Digital Mobile News Gathering (DMNG) systems available to rent has been launched by Aviwest.

The DMNG system allows users to capture and broadcast live HD or SD video over multiple networks, including bonded 3G/4G mobile, Wi-Fi, Ethernet,

and satellite. It is frequently used for breaking news and live events coverage.

At IBC attendees are being shown how to navigate the website (www.aviwest-booking. com), which is free to use for all Aviwest customers and partners.

In addition to connecting broadcasters and video service providers, the website also includes a Q&A forum for discussing the DMNG system as well as other related topics, and receiving feedback from a community of users.

Also at IBC Aviwest is

launching IP Bridge functionality for the DMNG Pro video uplink system and DMNG Studio.

This functionality allows broadcasters to establish an IP bridge between the LAN on which the receiver is connected and the IP devices connected over Ethernet to the DMNG Pro. Working this way enables IP-based products, such as video mixers or PTZ cameras, to be controlled directly from the DMNG Studio site, allowing for remote video production on the fly.

2.A29

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38

#IBCShow

Q&A Ivan Dulguerian, chief marketing officer, Arkena Has IBC come at a good time for the electronic media industry? Why? Absolutely. Those last years, we’ve assisted to a tremendous evolution on the broadcast industry: UHD, OTT solutions emerging quickly, cloud services becoming mainstream, security challenges to address multiscreen, etc. Arkena is highly focused on all those hot topics and IBC is really the place for technology providers to tackle

these challenges together.

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

The media consumption is booming: millennials watch multiscreen, linear TV goes on-demand...Therefore, new content-management challenges are rising.

Operational teams are facing new workflow complexity.

They need to manage formats, rights and scheduling for different territories, security for all devices, keep a track of all steps and, obviously, optimise resources and costs.

The key is to propose a unique solution to manage this growing complexity.

Why should delegates visit your stand at IBC? This year, we’ll present our innovative solution Harmony,

a SaaS platform enabling centralised management of operational workflows for live and on-demand multiscreen services. Based on a Service Oriented Architecture, Harmony is an agile BPM solution dedicated to the media industry.

This independent layer can integrate any service provider for transcoding, archiving, file transfer, quality check, asset management, security...

We consider Harmony as

the answer for broadcasters, telcos and distributors to easily manage their workflow complexity.

1.B79 Geared up: Thirteen openGear options are available from Apantac

Expanding openGear options Apantac

By Mark Hallinger

A full range of openGear solutions are available and being showcased at IBC2015. Apantac said that

38 IBC D3 2015 Issue v1MDL.indd 1

the openGear platform, first introduced by Ross Video, is an ideal architecture for its products.

The concept allows equipment users to install modular gear from several manufacturers in a single card tray, saving both rack space

and money.

Thirteen openGear options are available from Apantac.

These include the OG-MicroQ compact quad-split, the OG-MiniQ cascadable 4-input multiviewers, the OG-Micro4K 4K/UHD down

converter, and the OG-MicroSingle SDI to HDMI converter with Tally and UMD, and several more.

Thomas Tang, president of Apantac, said, “The openGear program from Ross Video enables a higher density of Apantac

solutions in a compact, costefficient space. This platform is a perfect fit for Apantac’s new solutions, which are modular and interoperable with other openGear products.”

8.E37

26/08/2015 23:11

39

Published on behalf of the IBC Partnership by

Q&A Achim Gleissner, head of commercial management broadcast & media, Sennheiser Has IBC come at a good time for the electronic media industry? Why? The annual IBC is always the ideal place to showcase the latest solutions in this dramatically changing business environment, which is marked by the democratisation of content and such technical trends as surround audio in broadcast productions.

While systems are becoming

increasingly networked, networking between people remains equally important.

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

Being an industry leader in audio for traditional TV broadcast production, Sennheiser is faced with the same challenges as our

customers. OTT broadcast and content shared through social media currently is complementary to traditional TV, but will increasingly gain importance and finally overtake classical TV. This new content category provided to mainly younger customer groups is often both produced and watched on smart devices, and therefore also requires different tools.

Integrated workďŹ&#x201A;ows for all Datavideo

By Carolyn Giardina

On the occasion of its 30th anniversary, Datavideo is showing products to support integrated

workflows, including its latest virtual studio technology, the TVS-1200. This two-channel SDI studio system is aimed at AV professionals, for uses including digitising business presentations or offering online education.

Valentijn Diemel, global

marketing coordinator for Datavideo Technologies Europe, said, â&#x20AC;&#x153;This results in a very easy to operate system; with basic AV knowledge you can work with it directly out of the box. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve seen it myself,â&#x20AC;? he added. â&#x20AC;&#x153;My client opens the box, stares

Why should delegates visit your stand at IBC? Sennheiser is showing typical user scenarios, from TV broadcast studios to Vloggers, from ENG to intuitive surround sound productions in a real life environment. Product features are becoming less relevant.

Users want to know â&#x20AC;&#x2DC;whatâ&#x20AC;&#x2122;s in for me, what does this solution do for me, how does it make my daily

work more efficient?â&#x20AC;&#x2122; At IBC, we provide answers.

8.D50

Birthday box: The TVS-1200 with the RMC-220 control panel

at the GUI for a couple of minutes, and off [the client] goes. â&#x20AC;&#x153;With a simple, yet powerful, chromakeying interface, this system is suitable for all markets.

Weâ&#x20AC;&#x2122;ve designed it with educational use in mind, so you donâ&#x20AC;&#x2122;t have to be tech savvy to understand [how to operate the system].â&#x20AC;?

7.D39

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" 39 IBC D3 2015 Issue v1MDL.indd 1

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40

For the latest show news and updates follow

#IBCShow

OPINION

Advanced compression drives future media delivery Media enterprises need to create a unified video delivery environment that integrates nonlinear and traditional broadcasting, explains Christophe Delahousse, president, Thomson Video Networks These are challenging times for media companies, video service providers, and broadcasters who have built their business on traditional, linear services and content delivery channels.

In order to stay profitable and compete effectively against new pure-play OTT providers, these companies face tremendous pressure to launch new multiscreen services that can provide additional revenue streams and attract new audiences.

Compounding the pressure is the rapid emergence of 4K broadcasting, driven by growing consumer demand for content on Ultra HD (UHD) televisions, digital cinema, and streaming video services. Migrating to 4K broadcasting will require

fundamental infrastructure changes to accommodate the necessary bandwidth, which can be up to eight times that required by HD. Of critical importance are solutions that can deliver maximum compression efficiency across all current and emerging standards including MPEG-2, MPEG-4, high dynamic range (HDR), and highefficiency video coding (HEVC).

To be successful, media enterprises need to create a unified video delivery environment that smoothly integrates both nonlinear and traditional broadcasting while optimising operational costs.

This requires broadcast-grade, highly reliable and futureproof multiscreen delivery solutions

that can deliver superior picture quality at the highest density and lowest bandwidth.

Thomson Video Networks has addressed these requirements with its Behind Every Screen approach. Behind Every Screen combines both on-premises and cloud-based resources to create an all-encompassing video infrastructure for ingest/ playout, branding, ad insertion, encoding/transcoding, and packaging technologies.

With Behind Every Screen, media companies no longer have to compromise on video quality and density, and they’re able to choose the mix of cloud or on-premises technologies that is most appropriate for a given project or service.

At IBC2015, key themes

centre around ongoing strategies for multiplatform delivery and the relentless drive to adopt 4K broadcasting technologies.

Thomson Video Networks is showcasing its Behind Every Screen approach with an emphasis on new innovations and product advances in support of the emerging broadcast standards of today and tomorrow.

One example is our ViBE line of encoders, which has set the industry standard for compression technology by offering the ideal balance of video quality and bandwidth efficiency.

IBC2015 sees the launch of several new software releases in the ViBE family, designed to deliver outstanding compression

efficiency gains for traditional and multiscreen delivery.

The Thomson Video Networks ViBE encoding and transcoding family reinforces the Behind Every Screen strategy to provide the best compression technologies for any deployment — whether our customers select a hardware- or software-based solution for delivery on premises or in the cloud, and whether they’re delivering turnaround or premium content for SD, HD, or UHD television.

Media enterprises now have every key capability they need to raise video quality and reduce cost of ownership not just for broadcast, but also for multiscreen services on every device and platform.

14.A10

Watt’s up for Block buster LEDs in the spotlight Beijing Lightstar Electronic

Block Battery

By David Fox

By David Fox

First-time exhibitor Block Battery engineers systems for high current applications to power high-end cameras and portable video or lighting equipment.

Its 2F1-S-Box battery system can be mounted directly on a light stand with a mafer clamp, and is capable of powering a wide range of 14v or 28v lighting systems, including the latest high power LED or 200W HMI. There is also a 2F1-D-Box for regulated 24v output applications, such as the KinoFlo Celeb. The similar 2F1-MAF-MT-28 battery system powers 28v lighting systems, while its 2F1-MAF-MT-14 offers 14v output.

The 600-INV-E (or 600-INV) is

Lightstar has launched a new line of LED adjustable spotlights, the LEDLite 40, 120, 180 and 300 models, which come with “an optimised LED light source and enhanced LED spotlight luminance and light spot effect,” and substantially improved colour rendering. It also uses an optimised head

More power: Block Battery’s new 2F1-S-Box for 14v or 28v lighting systems

a portable AC power system that provides 220v AC pure sine wave power from four 2F1 batteries (2F1 batteries and chargers sold separately) with a combined capacity of 480 to 600 Watt hours.

BlockBattery has also expanded its range of block systems with

conduction and dissipation design that helps to improve the heat dissipation performance of the light. The optical system, easy and convenient operation and installation have obtained several Chinese patents.

There are currently four models: 40W (which is a bicolour model), 120W, 180W and 300W, 3200K and 5600K, focusable using Fresnel lenses, with the ability to spot or flood the beam as needed, with dimming and DMX control.

11.A63

new 560Whr blocks that charge in the half the time, compared to competitive products such as the VCLX. The new 600 Series blocks come in three configurations to suit varying equipment applications and voltage requirements.

11.C36 On the spot: Lightstar’s new LEDLite 120 (top left)

40 IBC D3 2015 Issue v1MDL.indd 1

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WE'VE BOOKED YOUR SEAT Now experience the journey, lens to screen, live with Canonâ&#x20AC;&#x2122;s end to end solutions.

See 4K at its best.

Extend your horizons for dynamic range, exceptional image quality and complete output control.

It's all here - showcased for the ďŹ rst time in Europe.

Come and be part of the future today.

Visit us on Stand 11.E50

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43

Published on behalf of the IBC Partnership by

Accelerated file transfer platform Net Insight

eliminates the need for software installation and maintenance for broadcasters, and requires

no IT environment for service providers to manage.

1.B40

Beam out: FileTeleport is a File-Acceleration-as-a-Service managed platform from Net Insight

By Ian McMurray

Receiving its public announcement at IBC is FileTeleport, a FileAcceleration-as-a-Service managed platform from Net Insight. Developed using FileCatalyst, an accelerated file transfer solution created by Unlimi-Tech Software, the joint solution is claimed to provide significant acceleration of file transfers for broadcasters and content owners over managed media networks.

According to Net Insight, FileTeleport enables service providers to help broadcasters exchange file-based content quickly and efficiently using on-demand network capacity.

Expanding on the concept of Net Insight’s Customer Provisioned Networks, application provisioned networks use software defined networking (SDN) technology to instantly provision ondemand network services.

Through a self-service portal, content owners and broadcasters can exchange file-based content with guaranteed time of arrival and have the option to pay for higher speeds to match the urgency of the transfer.

Martin Karlsson, CTO and vice president product portfolio, at Net Insight, said, “Today more and more time sensitive media production is going file-based, and with this, the timely exchange of broadcast quality content is key. Expedited file transfers with guaranteed time of arrival using instant and on-demand network capacity is the solution. It gives broadcasters the predictability they need to focus on media production rather than content exchange and acquisition.”

FileTeleport integrates FileCatalyst software on Net Insight’s Nimbra platform to enable accelerated, reliable and secure file transfers. This, according to the company,

43 IBC D3 2015 Issue v1MDL.indd 1

transforming video delivery

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OPINION

New graphics fire power 4K workflow confidence is backed by dedicated onboard graphics memory and high precision compute performance, says Melanie Ball, senior industry executive, media & entertainment, AMD FirePro Professional Graphics AMD powers technology around us on a daily basis – from the next generation consoles such as Xbox One and PS4, to world recognised Mac Pro and MacBook Pro computers, to the largest digital display in Times Square and to the world’s most energy efficient super computer, AMD technologies take advantage of innovation advances to power more and more customer solutions.

For example, in the broadcast space, our hardware and software partners recognise the forward thinking efforts from AMD supporting open source

OpenCL to help generate faster results for applications such as Adobe Premiere, Avid Media Composer, Blackmagic Design DaVinci Resolve, and many others.

In the past, computer processors were the mainstay for application support. With the advent of next generation AMD professional graphics that provide even greater processor support, customers are also taking advantage of the AMD graphics compute power to deliver faster and more efficient results.

At IBC2015, attendees have

the opportunity experience production pipelines in 4K accelerated by OpenCL powered by AMD FirePro professional graphics.

Customers are integrating more and more 4K in their workflows.

The current generation of AMD professional graphics delivers technology innovation to confidently support 4K workflows backed by dedicated onboard graphics memory, high precision compute performance and certified driver performance when working with leading applications.

Although no one can predict

the future of broadcast, AMD has made technology investments in both hardware and software support to facilitate new advances for the marketplace. With onboard graphics memory, the AMD FirePro professional graphics line has the ability to integrate into a variety of broadcast workflow scenarios. AMD’s support for upcoming open source software developments such as OpenCL

paves the wave for more software application innovations.

AMD is dedicated to providing the broadcast market with industry leading graphics solutions to power the top hardware and software partners.

The ultimate goal is to enable customers with the right tools to accomplish successful workflows for creative results in broadcast and media markets.

7.H35

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We think globally and act locally

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Q&A Philippe Wetzel, CEO, Vitec Has IBC come at a good time for the electronic media industry? Why?

changing technology. Users are already experiencing data efficiencies of 40% with greater savings to come as 4K breaks through the market.

IBC chimes in at a turning point this year, as everyone across the industry looks to adopt portable High-Efficiency Video Encoding (HEVC).

We’re seeing a huge uptake in the compression standard as vendors begin equipping their solutions with this game-

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

The demand continues to increase for solutions that

can meet anywhere, anytime live broadcasting. In-thefield solutions also face the challenge of shedding large servers traditionally needed for processing video. With portable HEVC encoding, we’re creating technology that’s no longer bound by big server rooms or inefficient delivery methods.

Why should delegates visit your stand at IBC? At IBC2015, Vitec is demonstrating the all-new

MGW Ace — the industry’s first 100% hardware-based HEVC portable device for encoding and streaming video. Supporting HEVC, the unit brings bandwidthefficient compression to any off-premises streaming application while eliminating server requirements. Also new for IBC is the MGW D265 Portable H.265 and H.264 IP decoder for IPTV and full-motion-video applications.

7.G16

microDDP storage introduced Dynamic Drive Pool

By Carolyn Giardina

Ardis Technologies has introduced its microDDP series of its DDP shared storage systems. There are two versions, each are 1U, 6kg and 7TB raid-protected SSD

storage.

MicroDDP1GbE has seven 1GbE/RJ45 ports built-in with a bandwidth up to 400 MB/s.

MicroDDP10GbE comes with two 1GbE and two 10GbE/RJ45 and has a bandwidth up to 1GB/s.

The systems are recommended for outside recording, ingest,

editing and playout on location.

According to the company, 7TB of storage is enough to hold more than 70 hours of ProRes HQ or DNxHD185 material or about 300 hours of DNxHD45 or more than 100 hours of Pro Tools 100 track sessions. Up to 40 streams of ProRes HQ/DNxHD185 can be

)PN IV_! ;OL TPJYV++7 ZLYPLZ VɈ LYZ up to 7TB of shared storage

sustained for example with the microDDP10GbE. At IBC, it has also introduced version 4 software for its DDP Ethernet SAN shared storage systems. Enhancements include caching; capacity scaling, meaning

that the DDP16EX and DDP60EXR can be added on the fly; and load balancing, meaning that files for folder volumes can be ingested or copied to different groups of drives within one DDP Volume.

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Acquisition & Accessories

Media Asset Management

Broadcast Solutions

Audio & Radio Displays

Playout Automation & Server Applications

Cable & Satellite

Content Production

Post Production & New Media

Home Systems & Broadband

Studio Systems

System Integration & Consultancy

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Telecine & Film

Transmitters

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Wall

Evertz

IBC Content Everywhere Technology In Action Theatre

China

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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

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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

47-58 IBC D3 2015 Centre Section v4.indd 4

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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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47-58 IBC D3 2015 Centre Section v4.indd 5

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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

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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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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

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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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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 11:44

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OPINION

The UAV race into space As UAVs continue to rapidly evolve they will impact more conventional video and movie production devices and techniques, says Ram Ofir, president & CEO, Amimon From Amimon’s perspective the broadcast industry has made a very rapid change with the swift advent of new drone technology and hardware, both of which are the prime drivers for the business right now.

The global UAV/drone market continues to change dramatically as a result of two core drivers: 1) New technologies that deliver high performance drone/UAV capabilities at a wide range of price points; 2) The increased demand for UAV/drones from entrepreneurs, enthusiasts, consumers and professional users. The latter driven by the potential for UAV/drones to help professionals generate new sources of revenue in myriad

vertical markets such as the broadcast and commercial production arenas, and as a new creative and cost-efficient platform for video capture and production.

On the new technology front, there are the UAV/drones themselves which continue to deliver better in-flight performance, and are now offered in a multitude of models and styles to accommodate a very broad range of applications and price points. Then there are the tools that enable advanced video capture such as new gimbals and image capture devices, as well as innovative video transmission solutions like CONNEX from Amimon that enables realtime

transmission of full stream HD video over extended distances.

As UAV/drones continue to rapidly evolve, they will continue to impact more conventional video and movie production devices and techniques. For example, UAV/drones equipped with new lightweight HD cameras mounted on remotely controlled gimbals deliver far superior mobility and performance than traditional camera dollies. UAV/ drones enable innovative and exciting camera angles by literally freeing cameras from being tethered to large bulky devices, and mobilising them on an aerial platform that can be deployed almost anywhere with little effort.

These same benefits apply

to using UAV/drones in lieu of camera cranes and helicopters with camera pads. Once again, UAV/drones are not just replacing these devices, they are providing a new and better platform to create more engaging visual content.

For broadcast applications, UAV/drones deliver a significant breakthrough in newsgathering capabilities. One conventional ENG vehicle can be replaced by several UAV/drones equipped with HD cameras and realtime transmission solutions enabling multiple news crews in conventional automobiles (even compact cars) to dramatically increase a news coverage.

For movie and commercial video production, shots can be accomplished almost anywhere without the need to deploy expensive and bulky camera support equipment – and UAV/drones can be used in remote or difficult locations where traditional camera support devices simply can’t be

deployed. The possibilities are almost limitless and open up a whole new world of creative opportunities.

This year at IBC, visitors can expect to see a heightened presence of UAV/drone technologies on display with live demonstrations and testimonials as to how these solutions are changing the broadcast and production industries. In fact, I think many IBC attendees will be surprised at the level of exposure for UAV/drones as we witnessed firsthand at NAB earlier this year.

11.C75

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UHD lenses go wide and long Fujinon

By David Fox

Two new Ultra HD lenses for 2/3inch UHD/4K cameras have been introduced by Fujinon: an 80x box lens and a 22x ENG-style lens.

The UA80x9BESM uses the latest optical simulation technology to achieve an 80x zoom with advanced optical performance, such as high image resolution, contrast and colour reproduction.

Covering the focal length from 9mm in wide angle to 720mm in telephoto, it uses a new optical stabilisation mechanism providing

optimum adjustment to reduce image shake caused by vibrations and wind. Its floating focus system, which controls multiple lens groups according to the shooting distance, delivers high-resolution and high-contrast images from close-up to infinity. As UHD demands particularly accurate focusing there is also a new focus position demand unit, the EPD31A, which has been uprated from 12-bit to 16-bit encoding.

The portable UA22x8BERD covers the focal length from 8mm to 176mm, is lightweight and compact.

Stefan Czich of Pyser-SGI, Fujinonâ&#x20AC;&#x2122;s distributor in the UK,

said, â&#x20AC;&#x153;These two Fujinon lenses are perfectly matched to the new 2/3-inch 4K cameras. The key benefit is that these lenses give the camera operator the same zoom range that they have with HD lenses. Until now you could go wide or go long, with 4K lenses.

With these two new lenses from Fujinon you can do both and give directors the dramatic images that they expect with fabulous 4K image quality.â&#x20AC;?

The 2/3-inch lenses expand on Fujifilmâ&#x20AC;&#x2122;s line-up of UHD-capable cine lenses, including the HK series, which can cope with the demands of 8K production.

Fujinonâ&#x20AC;&#x2122;s new 22x and 80x lenses for Ultra HD 2/3-inch cameras

11.C20

Media Factory gets working Globecast

By Ian McMurray

Media Factory breaks down the traditional siloes related to separate content preparation workflows for different distribution approaches or different regions, according to Globecast.

The company said that it allows customers to provide content to Globecast once and

then deliver to linear playout, OTT and video on demand platforms. It also said the system enables Globecastâ&#x20AC;&#x2122;s three media centres in London, Singapore and Los Angeles to seamlessly work as a single operation.

As well as demonstrating Media Factory at IBC2015, Globecast is also featuring localisation and edge playout.

Localisation, according to the company, enables broadcasters to increase revenues and get

more value from their existing content and channels by localising them on the edge for different regions or platforms.

Globecastâ&#x20AC;&#x2122;s VoD packaging offering is also on show. It is said to allow broadcasters to deliver VoD content to some of the biggest TV platforms across Europe and Asia.

The company claimed that it also removes the complexity in the broadcaster caused by the different metadata and technical

Screen scene: Globecast claims its three media centres work seamlessly as a single operation

standards required by VoD platforms globally.

According to Globecast, its creative and compliance services â&#x20AC;&#x201C; which are also a focus on its IBC stand â&#x20AC;&#x201C; offer an

unparalleled range of creative, production and post production services for broadcasters, content creators and clients with post production needs.

1.A29

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Videssence

By David Fox

The Vidnel 080 is an 80 Watt LED Fresnel light boasting a CRI of 96+.

The new 3200K fixture â&#x20AC;&#x201C; 5600K is an option â&#x20AC;&#x201C; delivers flicker-free dimming without a colour shift, said Videssence. The company added that the optical design provides the single shadow and focusing characteristics essential to Fresnel fixtures while using a fraction of the power of traditional tungsten units.

It should deliver a

soft directional beam of adjustable light, while in spot focus position it can output more than 1797 Lux at 3.66m. A manual slide bar at the side of the fixture focuses the beam and locks in place. A dual copper pipe heat sink with integrated ultra-quiet axial fan maximises LED light output, while a magnetic stabiliser ensures smooth fan operation in any position.

A simple touch pad on the side of the 27cm x 28cm housing allows easy programming for DMX control and onboard dimming, said the company.

Additional control is achieved with standard 4-inch Gel Frame and Barn Door accessory options.

Power is shut off to the driver and LED when dimmed to zero with DMX so no external relay or power cut off is required.

11.B12

Focusable Fresnel: The new Videssence Vidnel VN080 LED light

26/08/2015 23:15

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SDI, MADI are matrix-switchable

The I/O-Card-Multi enables independent devices to be transparently switched

Guntermann & Drunck

By Ian McMurray

The progressive convergence between broadcast applications and IT technologies is a phenomenon that Guntermann & Drunck (G&D) sees clearly, and its stand at IBC reflects this awareness.

Among the products being demonstrated is what the company calls an I/O-CardMulti for its modular matrix systems.

Until recently, I/O cards for G&D’s ControlCenter-Digital supported only the wide spectrum of signals provided by G&D’s portfolio. However, the company said the IT landscape and especially common broadcast applications, use many more standards. As such, the I/O-Card-Multi is designed to enable independent devices to be connected and their signals to be switched and transmitted transparently. This way, claimed G&D, SDI and multi-channel audio (MADI) can be easily switched together with KVM signals.

The ControlCenter-Digital is a KVM matrix switch, which helps users operate multiple computers via multiple consoles. With its modular setup, the new ControlCenterDigital is said to be highly flexible and ready to adapt to any surrounding conditions.

The matrix switch enables the remote access of large, distributed IT installations in control rooms and is, says G&D, ready for any future IT requirements.

Depending on the chosen variation, the available 288, 160 or 80 dynamic ports can be connected either as computer or as user port: which type of module is connected is automatically detected by the ControlCenter-Digital.

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Camcorder and D-SLR market in saturation mode

By Douglas I. Sheer

It used to be that what you were shooting determined what capture tool was appropriate.

Cameras came in three flavors: studio, field (essentially a studio camera that could record and go outdoors) and camcorder.

That was all we knew until Digital Single Lens still cameras came along that could capture video.

They changed the game.

The market was put into upheaval and by the arrival a few decades ago of the D-SLR. It was Eastman Kodak who introduced the first D-SLR in 1991, but since then it has been largely a Canon market that Nikon has also done quite well in. Those cameras that were able to bridge stills and video in one body overcame preferences for camcorders and dominated the last decade. For a considerable time D-SLRs seemed to be capturing everybody interested in portable shooting. Now, that domination has slowed substantially, according to the latest report from DIS Consulting Corporation called Professional Camcorders World 2015, published in July.

The study, covers seven market segments, worldwide, and was based on 1525 enduser responses. The segments included: broadcast/cable, production/post, mobile/OB, event video, independent video, institutional and rental house.

A glut of camcorders and D-SLRs had flooded the market in the past few years and we have now arrived at a highly saturated market where, despite very low prices, end-users are loathe to replace them just yet.

There are pockets of growth, but overall, things have slowed.

In the past few years, camcorders have had to become more competitive and they had to become less expensive to hold their own against D-SLRs and the attractiveness of digital cinematography cameras as they offered an easy transition to 4K (or other versions of UHD).

This has been happening and companies like JVC, Panasonic, Canon, Sony, Ikegami and Blackmagic have all offered inexpensive camcorder solutions for everything from news to general programme production. Blackmagic calls everything they make a camera, but several models incorporate SD or other memory card recording options in situ, which for all intents and purposes means ‘camcorder.’

D-SLRs are being strongly challenged by mirror-less models and by one main provider, Sony, whose A7 series has attracted a lot of attention and a growing market share. Yes, there are other mirror-less brands, such as Olympus, but for video, Sony has dominated and enhanced their share through marketing

their own complimentary line of lenses.

But, as nature abhors a vacuum, we expect to see the Canon and Nikon series of mirror-less systems (both introduced earlier this year) to help them avoid being further threatened by Sony. Both are D-SLR-like. But, we shouldn’t count D-SLRs out. This year, the 4K versions of D-SLRs are gaining share and that could help sustain them, especially among diehard D-SLR fans, and there are many of them.

Cameras and camcorders are becoming almost

interchangeable today, as they both tend to permit recording with solid state media, something that had been the exclusive territory of camcorders in the past. D-SLRs, of course, record to the media as well.

The popularity of flash media is also central to the popularity of all these field-centric capture devices. Flash media use – ranging from SD cards to P2 and SXS as well as other specialised packaging – is found to be in almost every corner of the industry and it gets utilised at stages of post production workflows.

And, the numbers are huge.

Whether in use in cameras, camcorders or D-SLRs during capture, or later in the workflow, flash has become the dominant media in field recording and temporary storage, before laying off to hard drives.

Douglas I. Sheer is CEO and chief analyst of DIS Consulting Corporation located in Woodstock, New York. He may be reached at dougsheer@gmail.com

All the Elements: iPro lenses on an iPhone 6 and 6 Plus

iPro Lenses for iPhone 6 Schneider Optics

By David Fox

The iPro lens system for smartphones is now compatible with Apple’s iPhone 6 and 6 Plus, thanks to new cases made by Element Case.

The new case has a rugged bayonet stainless steel mount to attach any of the iPro lenses

62 IBC D3 2015 Issue v1MDL.indd 1

and offers a leather texture surface for a soft grip feel similar to that of SLR cameras, plus a pair of 1/4-20 taps for attachment to a tripod or other camera support. Buttons on the case allow the iPhone to be powered on and off, volume to be increased or decreased, and the camera shutter to be activated. iPro lenses are built to the same standards as Schneider

Optics’ professional lines of still and cinematography lenses and provide users with Super Wide, Wide Angle, Fisheye, Telephoto and Macro lenses, which are quickly mounted via the bayonet mount on the case.

Don Shafer, director, sales and marketing, photo/video, Schneider Optics, said, “The new custom-made Element cases for the iPhone6/6 Plus fit the tight

tolerances the iPro Lens system requires, while also providing the incredible level of protection

for which their cases are known.”

11.A41

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OPINION

Too much money floating around IP as the replacement for Serial Digital Interface is accompanied by a heavy marketing push, says Pavel Potuzak, managing director, Aveco People used to be admired for what they knew and what they were able to do. Nowadays, the most admired people are those who can raise maximum subsidies or investments.

Governments print money.

Loans have negative interest rates and investors throw money at risky opportunities. Stock indexes rise with no logic. It is not economics anymore. The relationship between value and cost is disappearing.

You can see it in our industry, too. Companies provide their goods and services for prices with no bottom, and new products and standards come at a fast pace.

Also, there is a big fight in the market area of frequencies, and for the new fuel of the industry – personal information.

On a technical note, the intensive search for the Next Big Thing brought us IP as the replacement for SDI. As usual, the trend is accompanied by a heavy marketing push. We’ve all heard about the inevitable end of SDI. I feel like some of us have already found it challenging to keep pace with all the new trends in this hyped up atmosphere and tend to accept new technology without much technical thinking.

I’ve heard opinions like ‘I love IP as it allows me to stay in a

compressed domain.’

Really? Even logo insertion or passing the stream to a distribution network means getting to baseband and encoding again. With SDI, the distribution encoder is a well reputed quality device. With the ‘All IP/IT’ solutions the encoding is done by a small piece of software inside a PC that also does the playout, signal switching and all other things. And I am not yet talking about long latency, lack of synchronisation concepts, reliability, security and other IP shortcomings.

Please do not take this as my argument against IP. Aveco

studies the SDI to IP transition, evaluate the optimum use of it, interfacing to various products with IP I/O and test prototypes of our future products that use IP. However, we want to defend ourselves and our customers against hard marketing pushes.

There is a common understanding that the IT/IP solutions reduce cost. Is it true?

Not necessarily. When choosing a new solution for your facility, do not think about purchase price. Think about total cost of ownership for several years of operation.

And do not forget about evaluating quality. Do you operate on the internet? Then the ‘ina-box’ or cloud solutions are probably the right choice. Are you a well recognised broadcaster?

Then the quality of your services is one of the key differentiators and must be one of the criteria when choosing equipment.

Introducing MetaScanner, Metaweaver and Digital Air iMetaFilm

By Heather McLean

Scottish startup iMetaFilm has introduced a range of what it described as radical new products to transform the film archive industry. Three products

– MetaScanner, Metaweaver, and Digital Air are claimed to work together to take archive film and make it usable forever.

The company, headed up

by CEO Mike Howell with over 30 years’ experience in film software and innovation, claimed the MetaScanner is a uniquely designed 4K, or 6K, scanner that

Want to move from baseband to IP, but not sure how?

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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).

We are assisting our customers to optimise the Aveco news production and playout solutions as well as the connected technologies to meet the technical expectations as well as budget, to maximise revenues and minimise operating cost.

Yes, it is important to keep our heads in the sky. But please stay firmly on the ground. And enjoy IBC. 3.B67

is fast, film-friendly and highly affordable. The MetaScanner is suitable for a wide range of film gauges, including eight, 16 and 35mm film. Metaweaver software assembles MetaScanner output and enhances the output of conventional scanners to ‘software pin registration’. Meanwhile, Digital Air technology rationalises storage and manages metadata.

“The process starts with digitisation,” said Howell. “To be sure that nothing is lost, an archive must scan at a resolution in excess of the content. This scanning process has to be very high quality, yet still affordable and futureproof.

“The second task is to manage storage and metadata, including languages, subtitles and narrative.

The third and final task is to make content accessible, and to provide the means to bring hidden treasures out to the right people.

Used together, MetaScanner, Metaweaver, and Digital Air provide the means to accomplish these three tasks. In short, scan once, stream forever.”

9.B30a

Visit our stand at IBC #1.B71

nevion.com Big reels keep on turning with MetaScanner

64 IBC D3 2015 Issue v1MDL.indd 1

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Black leads the Carbonite pack

65

Back in black: the new 2RU frame provides 36 x 22 I/O as standard

Ross Video

By Heather McLean

Carbonite Black, billed as a ‘production powerhouse’

by Ross Video, is being showcased along with the latest enhancements to the Carbonite family.

Carbonite Black is based on the original Carbonite, but with more I/O choices and production power, said the company. The 3ME Carbonite Black was unveiled at NAB 2015 to strong reception and orders, and here at IBC2015 the entire Carbonite family is being relaunched with new panels and features, while retaining an affordable price point.

Nigel Spratling, marketing product manager at Ross Video, said, “The new Carbonite Black family includes those processing engines that users are already familiar with, but adds choices for additional I/O and production power. In addition, we have completely redesigned the entire control panel range to combine the ease of use and operational familiarity with a sexy and stylish new look that users will be proud of.”

There are six new Carbonite Black panels in one, two and three ME row layouts with 16, 24 and 32 source buttons.

The new Carbonite Black 2RU frame provides 36 x 22 I/O as standard and can be equipped with two or three MEs. Ross said Carbonite Black fully integrates with the new XPression Trackless Studio virtual set system as the control surface for trackless virtual sets.

It fully controls the XPression Clips production server for instant video playback. Also, the new Ultrix compact routing platform provides seamless integration of HD and 4K quad link or 12G single links with the Carbonite I/O. 9.C10

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OPINION

Smart video infrastructure upgrade Low-complexity compression enables 4K and even 8K upgrades without heavy investment in new infrastructure explains Jean-Marie Cloquet, manager of Barco Silex video division High quality video formats offer a better viewing experience, so they will take a growing share of the market. But they also threaten to make part of the current infrastructure obsolete and force you to invest in more bandwidth in your IP network or more expensive SDI cabling in the studios. Unless you can make clever use of video compression.

Take the production infrastructure, for example. There is a trend towards transporting video over IP networks, and IP is gaining ground in the SDIdominated contribution channels.

The Joint Task Force on Networked Media (JT-NM) also aims to build future production environments based on Ethernet/ IP networks.

But Ultra HD video at 60Hz requires up to 12 Gbit/s – too much even for the widely supported 10 Gbit/s Ethernet. So should you consider deploying even higher bandwidth network infrastructure such as 40Gbit/s?

Or postpone your Ultra HD plans?

Not necessarily. Adding a lightweight, low-cost compression to your equipment can save the day. With a 4:1 compression, it would even become possible to transport up to three channels of 4k60 video in parallel over a 10 Gbps link. Likewise, a mezzanine compression can also upgrade legacy SDI infrastructure. It would allow, eg. to transport 4k60 video over 3G-SDI, or 1080p60 video

over a common HD-SDI. At Barco Silex, we have been comparing compression codecs, looking for the one that is best suited to upgrade the installed video hardware. A clear champion is SMPTE 2042, also known as VC-2, and more precisely to the High Quality Low Delay profile.

VC-2 LD was originally conceived at the research labs of the BBC. As a line-based intraframe codec, it achieves latencies down to a few image lines. And it uses the same mathematical wizardry – wavelets – also used in JPEG2000, ensuring the highest quality compression available.

But as VC-2 targets low compression rates, it avoids the complexity associated with

Pedestal rises to occasion Shotoku Broadcast Systems

By David Fox

Shotoku’s new TP500 compact and lightweight pneumatic pedestal is making its European debut at IBC. It can support camera payloads of up to 55kg, ranges from 66.5cm to 148.5cm in height, and is suitable for multi-location use such as OB, studio or event production.

The company said the robust modular design allows simple transportation between locations. It has an integrated inflation pump for added flexibility and freedom, and can be paired with Shotoku’s SX300 or SH100/120 pan & tilt heads.

Also on show is the SmartTrack smart rail camera system, a fully integrated product based on the core track-based technology of MAT,

66 IBC D3 2015 Issue v1MDL.indd 1

Germany. Since its launch at IBC2014, Shotoku said it has proved popular and is in use seven days a week at a major Scandinavian broadcaster as part of a very large upgrade project completed this year.

The adaptable system supports floor or ceiling operation and a range of column height configurations, in both upright and inverted modes.

It is robust and stable, for long-term use in demanding applications such as 24-hour news.

The company is celebrating its 70th year in business, with a full range of advanced and highperforming control systems, pan and tilt heads, robotic and manual pedestals, and virtual reality products for OB, studio, field production and legislative applications.

There is also a range of

manual and robotic camera support systems, including its TP-200 lightweight pedestal, advanced SX300 EFP pan and tilt head and new developments covering control systems and fully robotic pedestals.

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JPEG2000. The codec also allows setting a wide number of parameters to find the best trade-off between compression efficiency and complexity for any given application.

A key distinguishing feature of VC-2 is that it is a standardised and open technology, designed to avoid patent infringements.

So it can be easily included in video production equipment as a hardware or software solution, without the potential costs, legal uncertainties, and practical difficulties of including other comparable codecs. Also

the transport of VC-2 is under standardisation and will ease interoperability of the broadcast equipment.

So for those in the AV industry that are confronted with the choice between an expensive bandwidth upgrade or postponing to offer Ultra HD, there is a middle way: a light upgrade of your equipment to add low-complexity compression. VC-2 LD has all that it takes for a smooth transition to 4K, whether on IP networks or over SDI links.

10.D31a

Solid-state shortwave transmitters launch Ampegon

By Mark Hallinger

A fully solid-state shortwave transmitter line with integrated DRM is being launched.

Ampegon’s low power solidstate transmitter line ranges from 1.5 kW to 25 kW AM carrier power, and the company said the transmitters are designed and built with solid-state technology in mind from the beginning.

Central to the design is a class E push-pull amplifier concept, which is based on the in-and-out phasing method. The modular combining of amplifiers allows customers to specify transmitters for any power class.

The new Ampegon Unified Control System platform (UCS) is used to oversee operation of the transmitter with all the known advantages of a single common interface and in-house platform development, said the company.

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Pumped up: Shotoku’s compact, new lightweight TP500 pneumatic pedestal at max height

Solid-state: The low power line ranges from 1.5 kW to 25 kW AM carrier power

26/08/2015 23:17

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Q&A Paul Shen, Chief Executive Officer, TVU Networks Has IBC come at a good time for the electronic media industry? Why? Yes it has. There are so many new and interesting technological developments recently that it feels like the industry is experiencing a bit of a renaissance in broadcast.

Some of the key ones that we see at TVU include transitioning to IP infrastructure and workflows, the use of unmanned aerial vehicles

including drones for ENG and remote reporting using mobile smartphones.

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

The transition to IP video infrastructure is a key development. The benefits and advantages of using IP to replace or augment traditional infrastructure technologies

are hard to ignore for anyone working with video content.

At TVU, we are increasingly engaged with our customers about the best way to integrate IP into existing workflows for acquisition, distribution, switching and routing video.

Why should delegates visit your stand at IBC? We will be demonstrating a number of new IP-based live video solutions. This includes

TVU One, our new ultracompact mobile cellular live HD video transmitter, and our Aerial Newsgathering Pack that features drone-based live transmission. We will also

Holding out for a multiscreen Hero Media Excel

By Anne Morris

Pay-TV operators, telcos and broadcasters worldwide are increasingly deploying high-

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profile multiscreen services with 4K and HEVC next generation technologies, according to Media Excel.

The company is showcasing its multiscreen transcoding standard under the Hero

product line, offering a software-based live and VoD encoding/transcoding solution for the contribution and distribution of adaptive multiscreen video.

Hero natively supports

all major adaptive delivery technologies, as well as conditional access and ad-insertion workflows.

Furthermore, Hero HEVC encoder/decoder products provide realtime HEVC

showcase our entire line of products, including our awardwinning TVU Grid IP-based video routing, switching and distribution solution.

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compression up to UHD/4K60p.

Media Excel can already count companies such as AT&T, Verizon, Telus, RTL, Orange, NFL, NBA, MTV, VevoTV, Korea Telecom, Level3, QuickPlay Media, MobiTV and more as customers for the Hero product range.

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OPINION

Moving towards OTT Video consumption and business model for OTT is the new mainstream, says Jacques Le Mancq, president and CEO, Broadpeak The pay-TV industry is changing rapidly. Research from Park Associates found that 57% of consumers in US broadband households subscribe to an OTT video service, and the recent growth in OTT video consumption isn’t just a phenomenon in the United States. All over the world people are demonstrating a growing appetite for viewing content anytime, anywhere, on a wide range of IP-connected devices. As consumer demand for OTT viewing continues to increase, traditional television operators are adapting their business models to reflect these changes.

A major challenge facing the industry is whether

content providers and operators can work together to deliver a compelling video service while improving their bottom lines. Clearly, content providers and operators need to create a relationship that is beneficial for both parties.

At Broadpeak, we think that the successful approach taken by big players like Netflix can be reproduced at a local level with regional content providers. By putting local caches directly in the network of operators that generate the highest audience, content providers can greatly reduce their fee toward CDN service providers, while improving the quality of experience (QoE) for the network operator’s subscribers.

The caches can be dedicated to one single content provider or be shared among several, in order to keep the operational complexity low in the data centres. This service can be monetised by the network operator, at a fraction of the cost that was previously charged by CDN service providers. Operators paying transit fees for content coming from outside their network will also see their costs decrease since the most popular content is cached.

Another way content

providers can have more control over the delivery of their content is subscribing to a multi-CDN approach through the use of a CDN selection solution. Employing a multi-CDN approach is highly beneficial for OTT multiscreen delivery compared with relying on a single CDN. There are several reasons for this. Oftentimes, the best CDN for delivering video content in one country may not be the same for another region in the world.

Additionally, some CDNs

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perform better with certain subscribers, and some are more expensive than others but provide a better quality of service, which is critical for delivering premium content.

Enabling operators and content providers to balance traffic between multiple CDNs ultimately makes sense from both a QoE and cost standpoint.

A combination of both methods is ideal: a well configured CDN selector can elect the local cache of an operator when the content is available there for an on-net subscriber, and the best CDN service providers can be selected dynamically when it comes to delivering content off-net, ie. outside of the operator footprint.

The rising consumer demand for OTT multiscreen services is making a big impact on the industry. Operators and content providers that work together, deploying advanced CDN technologies that are capable of delivering video content anytime, anywhere, on any device and over any network while providing a superior QoE to customers, will ultimately be successful in driving new revenue and increasing subscriber satisfaction.

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www.intopix.com - sales@intopix.com

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Speed to Lead

he added. “Customer demand for high quality, live content across different platforms is now the norm. 4K broadcasting, increased network bandwidth and quick turnaround is making it possible to meet these demands and is changing the role that technology plays”.

Three years of innovation with Formula 1

13.MS23

Tata Communications

By Adrian Pennington

If you were the official connectivity provider to Formula 1, you’d be keen to make hay out of it too. Tata Communications started working with Formula One Management (FOM) to deliver connectivity to all F1 race locations in 2013 and is still going strong.

It also provides hosting and content delivery services for Formula1.com, which is accessed by tens of millions of fans during the race season.

Since 2003, Tata claimed it has increased connectivity speeds at each race by a factor of 10. This is possible thanks to its own subsea cable network, the largest in the world, providing connectivity to more than 240 countries and territories.

Mehul Kapadia, Tata’s MD F1 Business, said, “For FOM, there is no such thing as service level agreement – coverage must be 100% at all times. A vast amount of realtime data is consumed by up to seven million fans simultaneously in 188 countries and the Formula1. com website typically sees as much as 100 times more traffic than normal over a race weekend, from a multitude of devices.”

This connectivity has also been used to the advantage of race teams. Tata has a deal with the Mercedes AMG Patronas F1 team to ensure track connectivity from the Silver Arrow cars to its UK headquarters. Kapadia said Tata is able to deliver this three times faster, which allows the engineers back at the factory to make data-led decisions much quicker.

“4K sports broadcasting will likely become increasingly prevalent in the near future,”

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BYOD multi-channel production intercom Vortex Communications

By David Fox

Multi-channel production intercom on the devices you already own is the promise of Unity Intercom, an IP intercom system that allows you to use smartphones as intercom stations. According to distributors, Vortex, it is now possible to have a complete intercom system ‘for about the price of a couple of conventional belt packs’.

It connects over Wi-Fi or via a mobile network to a Mac running Unity Server, which provides Talk and Listen on multiple independent channels, as well as an independent programme audio feed. The free iOS or Android apps convert smartphones into wireless intercom stations from which the Talk and Listen channels can be selected. It works in both 4-wire

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(broadcast) and 2-wire (user to those sitting in front of a computer, user) mode with a large Push-Torunning lights, computer graphics, Talk button that can be momentary etc., who also need intercom or latched. Unity can also display communication. The Unity Client camera On-Air Tally and integrates can be set to float on top of other with hard-wired communication windows where a click gives systems like Clear-Com or RTS, access to all of the features of letting you use Unity as a wireless Unity – including Tally which can station. show when the workstation is The Unity Server software On-Air. 11.G11 handles the audio and user permissions for each connected Unity client.

Any number of users can be created with as many enabled at once as licences purchased.

Permissions are assigned to users so that when the mobile device logs on, different users can see and use different parts of the Unity system.

There is also a Unity Vox pop: The free Unity Intercom Client App runs on Android and iPhone Desktop Client for

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A new kind of OTT revolution Technicolor

By Adrian Pennington

Pay-TV providers and MSOs are well used to hearing about new OTT market entrants creating increased competition for audiences. By leveraging incumbent players key assets, Technicolor believes OTT offers incredible opportunities.

At IBC today, Technicolor is showcasing a very different offering in the OTT space with LEA, the company’s OTT software plug-in and user interface combo.

LEA is a user-centric cloudbased software video solution.

Built for faster, easier and more scalable deployment into operator’s existing video

User-centric: Technicolor’s smart interface LEA

infrastructure, the plug-in supports high quality video content delivery across multiple devices in the home.

It aggregates all available broadcast, internet, on-demand and user content into a single view, enabling the user to search across the full content selection.

In addition, a powerful recommendations engine provides a fully personalised experience, selecting suggested programmes based on a family profile.

Benoit Joly, SVP marketing, connected home, Technicolor, explained, “The LEA plug-in allows operators to quickly offer large amounts of OTT differentiated, premium content and services.”

“We think this will be particularly valuable to new and fast growing operators that are looking for ways to compete aggressively in their markets,” he added.

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OPINION

Faster and smaller shared storage is handy on location The solid state disk revolution has delivered portable, extremely fast ethernet SAN solutions, explains Jan de Wit, chief executive, Dynamic Drive Pool Sports events, news, festivals, presentations, movies; there are more and more outside registrations with more and more cameras with more and more content to be handled and judged before it can be released. Therefore facilities companies and departments are always on the look out to improve their offerings.

The ability to ingest and edit material (edit while ingesting) on location with the smallest and fastest setup against the best rental price in the shortest time with the highest picture quality is a key decision factor.

High picture quality requires high bandwidth.

SAN systems deliver the highest bandwidth. As the ethernet SAN-based DDP (Dynamic Drive Pool) manufacturer, we therefore have been involved in this market for years now.

These DDPs use spinning disks. Higher picture quality, more cameras, more Ethernet connections, more editors and more ingesting stations, means more spinning disks thus bigger systems. How come? It is the seek time.

Spinning disk must seek the content on the disks during streaming.

Nowadays laptops, small desktops and cameras, lightweight cabling and\or having

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an outside vehicle as small as possible are becoming more and more important. Nobody wants it big.

Will Solid State Disk (SSDs) instead of spinning disks be the solution? SSDs used to be expensive with limited capacity.

Not so long ago however 1TB SSDs came on the market with a price much better then the price of fast rotating (10K) spinning disks. SSDs are small and hardly produce any heat but most importantly there is no seek time. Using these SSDs in microDDPs created a perfect solution for outside broadcast.

MicroDDPs are hand carriable, 1U, 19-inch w x 10-

inch d (48 x 25 cm), weighing 13 lbs (6 kg) with currently 7 TB raid 5 protected usable SSD storage on board.

So what can they deliver?

The microDDP1GbE comes with 7 x 1GbE Ethernet ports and has a practical bandwidth of 400 MBps. The microDDP10GbE comes with 2 x1GbE and 2 x10GbE/RJ45 ports and has a maximum bandwidth of 1GBps. What do these figures mean in practice? 7TB of storage

is enough to hold more than 70 hours of ProRes HQ or DNxHD185 video material or approximately 300 hours of DNxHD45 or more than 100 hours of Pro Tools 100 track sessions.

The bandwidth of the microDDP1GbE is enough to stream close to 20 streams of ProRes HQ/DNxHD185 or some 80 streams of DNxHD45 or some 12 streams of red R3D material. These are some streaming examples.

Transcoding equipment generating large numbers of IOâ&#x20AC;&#x2122;s or push/pull stations can be connected just as well. Because of 10GbE ports and faster CPU the microDDP10GbE delivers much higher numbers.

More about audio, video and film formats and numbers can be found on www.ddpsan.com.

MicroDDPs and other DDPs are up for demonstration at our stand at IBC. 7.H15

26/08/2015 23:20

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Cine zoom capabilities widened Zeiss

By David Fox

The third member of the Compact Zoom range has been released, taking the cine zoom line-up in to the wideangle range. The new Zeiss Compact Zoom CZ.2 15-30/ T2.9 is claimed to stand out for its ‘optical brilliance, as well as its distortion-free images,’ and is available for €17,900 or US$ 23,900 (plus VAT). It complements the existing CZ.2 28-80/T2.9 and CZ.2 70-200/

T2.9 lenses, each of which cost €14,900.

Zeiss maintains that three zoom lenses will allow cinematographers to master ‘an enormous range of shooting situations without having to resort to frequent timeconsuming lens switches’.

The company also claimed that the lenses ‘are the only cine-style zooms in the world with full-frame coverage’. They comply with 4K production standards and, like the Compact Prime CP.2 lenses, are ideal for cameras with sensors measuring up to 36x24mm, where the

sweet-spot effect ensures the highest quality in terms of sharpness, light and contrast.

However, they also work with larger 8K-sensors, such as the Red Weapon, with an image circle diameter of about 46mm (with minimal limitations at certain focal lengths and aperture settings).

The lenses use an interchangeable mount system (IMS), making them suitable for cameras with EF-, F-mount and professional HD video and movie cameras with E-, MFT- and PLmount.

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Waging war on piracy Viaccess-Orca

By Ian McMurray

Today’s pay-TV operators have high expectations when it comes to fighting piracy, according to Viaccess-Orca, particularly on live sports broadcasting. At IBC, Viaccess-Orca is showcasing Eye on Piracy, which the company said helps content owners and operators track, fight, and prove various types of piracy, such as web streaming and peer-to-peer content redistribution. Links, it says, can be removed within the first few minutes of broadcast.

A new ‘Snapshots’ feature has been added to the Eye on Piracy service to capture illegally redistributed video streams. This new capability enables rights owners to collect evidence on

piracy, in realtime, in order to highest standard of chipset and build legal cases in the most smartcard security alongside efficient manner possible. During a rich set of card-less security a live demo at IBC, attendees are and preventive services. With seeing how Eye on Piracy helps Adaptive Sentinel, operators no operators rapidly take down TV longer need to wait 6-12 months content from illegal sites and to deploy new STBs, according eliminate the redistribution of live to the company. events, such as major sports Viaccess-Orca is also showing matches. how Italian operator Mediaset, The company is also unveiling Israeli satellite provider yes, and its Adaptive Sentinel solution, Norwegian operator TV2 were which it describes as a unified, able to get TV Everywhere apps end-to-end card and card-less up and running within a matter of Conditional Access system a few weeks with the Connected that is secure, flexible, and Sentinel Player.

1.A51 cost-effective. Adaptive Sentinel combines Viaccess-Orca’s Prime Sentinel and Dynamic Sentinel, offering service providers what Viaccess-Orca claimed was the (SS HJ[PVU! ,`L VU 7PYHJ` OLSWZ JVU[LU[ V^ULYZ HUK VWLYH[VYZ Ä NO[ IHJR

The new Zeiss CZ.2 15-30mm Compact Zoom broadens the lenses’ appeal

Video and audio splicing Starfish Technologies

around for a while, but were often hampered by issues with channel counts, propagation delays, and GOP boundary limitations.

TS Splicer resolves those issues.”

The product runs on generic, enterprise-grade hardware and provides simultaneous splicing of more than 20 HD or SD video services on a single sever, with support for MPEG-2 and H.264 encoded media. Its frame-accurate approach to splicing preserves the quality of video input signals, said Starfish.

Audio splicing is also catered for, with the ability to splice AC-3 and MPEG-1 Layer II streams.

By Mark Hallinger

TS Splicer has been launched at IBC2015.

TS Splicer is a complete media insertion system that combines multiple-channel, frame-accurate transport stream media splicing with media storage and SCTE 35 opt-out signal decoding.

“As the momentum of broadcasters moving away from traditional distribution toward OTT and IP delivery gathers pace, so too does the inertia away from SDI toward IPbased infrastructures,” said Peter Blatchford, Starfish marketing director. “Splicing technologies have been

8.D88

EFFICIENCY COMES FROM THE PERFORMANCE OF YOUR BUSINESS MANAGEMENT SOLUTION An integrated and centralized Business Management Solution which manages, in real time, all the metadata needed for operating Media Groups, whatever their broadcast platforms, be they linear and/or non-linear (Web, VOD, CatchUp TV, SmartPhone...).

A comprehensive Ad Sales Management Solution, for managing all TV and radio advertising sales operations for linear and/or non-linear environments (Web, VOD, CatchUp TV, Podcast, SmartPhone, etc.)

See us at IBC 2015 Stand 2.B21 ProConsultant Informatique, the partner of Media Groups worldwide Europe Office Metz, France - USA Office Atlanta, Georgia www.proconsultant.net

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26/08/2015 23:21

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Cloud4Media BPM evolves to Harmony Arkena

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By Ian McMurray

Harmony is described as the evolution of its Cloud4Media platform by Arkena, and the company has chosen IBC to place it front and centre. A new media BPM (Business Process Management) solution, Harmony is a Software as a Service platform that enables centralised management of all operational workflows for live and on-demand multiscreen content production and distribution, from a single interface. It is said to enable the organisation of all the processes of a media companyâ&#x20AC;&#x2122;s business and their automated execution through an easy to use web interface.

As an independent layer from any hardware provider, Arkena said it offers a high number of connectors to integrate with any transcoding, archiving, file transfer, quality check, asset management, security or watermarking solution provider. Its Service Oriented Architecture provides easy integration with all the leading vendors through Application Programming Interfaces.

The platform also offers advanced monitoring features, including realtime tracking of every step of the workflow for every asset to keep the business and deadlines under control.

According to Arkena, Harmony is a futureproof solution that offers endless flexibility to media companies who can choose their preferred partner for each of the services they need and match it to their infrastructure policy. Furthermore, as Harmony integrates Arkenaâ&#x20AC;&#x2122;s Cloud4Media services, the solution is said to be already IMF compliant, making it easy to transform content into any requested format.

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OPINION

Improving broadcast experience Fibre optic is the technology of the future, says Dominique Glauser, CEO, Fischer Connectors Broadcasting is increasingly driven by consumers’ demand for engaging content served upon demand across multiple platforms and devices. Just as premium quality, ease of use, and value for money drive end users’ choice of content channel, they also determine broadcasters’ choice of enabling technology.

The current media environment offers exciting new opportunities to improve both the user and provider experience at all stages of the media supply chain. The time is right to embrace these opportunities.

The transition from SDI (Serial Digital Interface) to TCP-IP (Transmission Control Protocol/ Internet Protocol) is creating a

74 IBC D3 2015 Issue v1MDL.indd 1

revolution in the media industry by making content directly accessible for consumers, thanks to VoD (video on demand) and OTT (over-the-top) streaming services, for example.

The trend towards Ultra HD TV is raising quality expectations too.

The media industry is therefore under great pressure to adapt to these rapid changes in consumer behaviour and technology.

However, using TCP-IP together with SDI offers great advantages, as production costs can be reduced by taking advantage of existing telecom systems and hardware. The abstraction layer offered by TCP-IP protocols improves control over content creation and delivery.

Following the increase in content quality and availability, the natural next step is to use fibre, since lots of telecom network equipment already uses fibre optic interfaces for data transfer.

Fibre optic is the technology of the future, offering opportunities to increase capacity, streamline supply chains and simplify production and delivery. However, broadcasters face the challenge of finding the right solution in terms of costs and maintenance, since the average cost of content creation is dropping due to an ever broader public getting involved in producing online content.

Fischer Connectors has decades of experience in

providing connectivity solutions to players in the broadcast market.

We’ve been working closely with our customers to develop ready-to-use fibre optic cabling solutions for field broadcasting activities that maintain the stability you need for a high-quality optical link, plus are safe, easy to use, fast to deploy and good value for money.

At IBC this year, we are showcasing our new highperformance FiberOptic connectors and accessories that are ideally suited for multiple connections both indoors and outdoors. IP67 sealing unmated (IP68 mated) provides unmatched device protection, making these

connectors suitable for harsh environments. Their removable sleeve holder and push-pull locking system make them easy to connect, disconnect, and disassemble so you can clean and maintain them easily.

The new accessories (daisy chaining and loopback) simplify your technical support teams’ lives by facilitating fibre optic deployment and transmission testing in the field. Our goal is to help broadcasters make this big leap to new fibre optic technologies that will become tomorrow’s standards, so they can focus more on creating compelling content.

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‘Stress-free’ wireless mic

Modular approach to digital turnaround Thomson Video Networks

Sennheiser

By Mark Hallinger

By Anne Morris

The AVX wireless microphone system for video cameras is being showcased. The compact AVX receiver unit plugs directly into the XLR of a camera, where it automatically pairs with the microphone and switches on with the camera.

The system automatically adjusts the correct audio levels between transmitter and receiver and transmits using a specially protected link in the licensefree 1.9 GHz range. Sennheiser said that the system has been designed so that setting up and recording high-quality audio for video is fast, convenient, and stress-free.

AVX comes in ready-to-use systems that contain everything required to immediately go live. Alternatively, tailor-made systems can be put together from a wide choice of individual components.

Thomson Video Networks is demonstrating its new MD Series for the first time, along with the company’s newly HEVCenhanced RD6000. The MD Series is available for purchase, and the upgraded RD4000 and RD6000 will be commercially available in Q4 2015.

With its new MD Series, Thomson Video Networks has repackaged advanced features from its RD1100, RD4000, and RD6000 IRDs into a modular and flexible form factor – making the series ideal for digital turnaround, monitoring, and contribution applications in terrestrial, DTH, cable, and IPTV/OTT systems.

The foundation for the MD series is the MD9000, a modular 2-RU platform that accommodates up to 10 hotpluggable MD modules.

Each MD module can behave

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Sounding complementary : The AVX camera receiver plugs directly into a camera’s XLR input

The plug-on receiver automatically switches on with the phantom powering of the camera, and automatically pairs with the transmitter.

The system immediately sets the correct audio level for the microphone transmitter, matching it to the receiver, and selects a free frequency. If a source of interference appears, AVX will inaudibly shift to a new frequency.

AVX is equipped with adaptive transmitting power, meaning that the system always uses the power that is required to maintain a reliable connection

between the microphone and the camera receiver. Sennheiser said this ensures a stable link, and reduces battery consumption.

The AVX receiver and transmitter are powered by special lithiumion batteries, which can be recharged via a USB port. The transmitters display the amount of battery life remaining.

For DSLRs with a jack audio input, the AVX systems include an XLR-3/mini-jack adapter cable and the mounting accessories needed to attach the receiver to the camera hotshoe.

as a standalone IRD with its own Web GUI for configuration and supervision, and the modules can be used in any environment thanks to a rich set of interfaces, including dual IP Gigabit Ethernet and satellite DVB-S/S2.

Each module also provides scalable video decoding capacity up to 4:2:2 10-bit compression, and up to eight channels of audio decoding, including support for Dolby Digital Plus and AAC. Stéphane Cloirec, director of product management at Thomson Video Networks, said, “With our new modular MD Series, operators now have a dense and scalable decoding/ descrambling solution that can help them launch and grow new turnaround services rapidly and cost-effectively. When the channel line-up is growing, they can simply add a new module — and they can use any combination of descrambler or decoder modules for all use cases.”

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OPINION

The new resolution revolution Gearhouse Broadcast is on the verge of implementing new technology to create more efficiency across the entire workflow, says Kevin Fitzgerald, head of systems and product sales The broadcast industry is one that’s constantly evolving. Trends and technology requirements are always changing depending on broadcasters’ and producers’ needs. Sitting where we do in the industry Gearhouse sees how these trends develop, through the requests we receive in our systems installation, sales, projects and rental departments.

Clearly 4K is an important topic but we’re seeing everyone in the production process taking smaller steps towards full implementation of this technology. Camera technology appears to be moving toward the benefits that high dynamic range can offer production, before full 4K adoption happens in acquisition. A number of manufacturers are also highlighting the licensing feature

on their new cameras to meet these needs.

One of the steps broadcasters will make before the full adoption of the new resolution is the inclusion of 4K glass into its workflow. Earlier this year we saw Fujinon launch a 4K box lens primarily aimed at sports production, and there were rumours that we’ll see a UHD barrel lens from Fujinon here at IBC2015. Canon, I am positive, will be responding with their own 4K lenses soon. These lenses are a positive signpost on the road to 4K adoption but as is true with any new technology, the last mile is always the longest.

We’re looking forward to the integration of IP around the industry in the coming months and again I think we’re going to see some interesting steps

towards its full integration.

However content producers have huge installation projects to undertake before we see entire workflows operating via IP and I believe that the hybrid route will evolve over time to full integration of IP infrastructure. It’s already very widely used for a number of functions within workflows but we’re going to need to see an evolution in vision mixers and cameras and processors before entire infrastructures lean entirely on IP. The end result of IP adoption is going to be hugely beneficial to the industry as the ability for truly remote production will be accessible. There’s already the functionality to produce a sports or entertainment programme from the other side of the world but we need to see a more

proactive approach from telcos before this can be done with lossless transmission.

Gearhouse recently demonstrated the functionality of remote production at our London HQ. Once the connectivity infrastructure is in place and as reliable as it needs to be, there are huge financial and operational benefits to be had by content producers and broadcasters.

In the area of OB builds we’ve also seen that bigger doesn’t always mean better.

The entire industry is constantly expected to produce more with less and that doesn’t exclude outside broadcast operations.

We are seeing less demand for

supertrucks and more requests for small to medium OB facilities.

That was the idea behind the design of OBLite. We wanted to pack a smaller unit with the power to do the job of a larger facility while saving rigging time and CAPEX from our customers.

This is an exciting juncture for the industry – Gearhouse is on the verge of implementing brand new technology that’s going to create more efficiency across the entire workflow. This year at IBC we’ve got our latest offerings in SI, equipment sales and rental to show how Gearhouse is leading the industry with this, the latest technology.

10.B39

UltraDecoder unveiled Satellite fleet for South Africa Vislink

By Ian McMurray

Avanti Communications 4K wireless video transmission is now a reality, according to Vislink, thanks to pairing its UltraCoder hardware encoder with the new UltraDecoder.

The UltraCoder is claimed to be the industry’s first H.265 and 4K capable video compression encoder purpose-built for content contribution. It is designed to allow broadcasters to transmit HEVC encoded live video at half the bandwidth of H.264, offering 50% cost saving.

Simon Derry, CEO, Vislink, said, “By introducing an HD H.265 and 4K encoder and decoder package to meet future broadcaster needs, Vislink is ensuring its global user base stays at the forefront of what’s possible with live video

76 IBC D3 2015 Issue v1MDL.indd 1

By Adrian Pennington

The UltraCoder and UltraDecoder are designed for use at sports events

encoding in broadcast technology.

Providing astonishing H.265 capabilities now, Vislink is offering a futureproof solution to enable the evolution to Ultra HD without the need for new equipment”.

The UltraCoder is housed in a compact half-width 1RU chassis.

This makes it suitable for situations where weight and space are

critical and gives broadcasters the ability to transmit video in HD and 4K quality from the field. The UltraCoder and UltraDecoder are designed for satellite and electronic newsgathering or for use at sports events, enabling users to encode and compress footage from challenging locations.

1.A69

South African state owned enterprise Sentech delivers satellite broadband connectivity to the public sector across hundreds of public state institutions and government sites. It has now partnered with UK-based satellite operator Avanti to extend broadband infrastructure to the most remote sections of the country. Service will be supplied using Avanti’s HYLAS 2 Ka-band satellite, which has 100% coverage of South Africa.

Avanti’s HYLAS satellite fleet provides internet service to 27% of the world’s population. It has rights to orbital slots and Ka-band spectrum that cover a market of over 1.5bn people.

The group has invested $1.2bn in a network that incorporates satellites, ground stations, datacentres and a fibre ring. It also claims a patent-protected cloud-based customer interface.

Avanti currently has three satellites in orbit with a further two fully funded satellites under construction.

13.MS48

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77

Wireless live streaming from XDCAM

Going live: Some PXWseries models can now automatically upload footage to the cloud

Sony

By Adrian Pennington

Newsgatherers can now stream live footage directly from XDCAM camcorders, via a new wireless adapter.

Specifically, several of the PXW-series XDCAMs will now be capable of streaming footage live, while Sony’s CBK-series wireless adapters will be able to unlock live streaming for any camera with an SDI connection via 3G, 4G, LTE, or Wi-Fi to the PWS-100RX1 Network RX Station.

The solution is said to prevent packet loss during the streaming process.

Users will also be able to upload their content directly to cloud solutions, such as Sony’s Ci, through constant automatic uploading. What’s more, Sony’s Catalyst suite of production tools can be used to prepare footage before it reaches editors, including reviewing, logging and transcoding directly from the camera.

The technology was developed in consultation with news camera-operators and broadcasters including ITV News, which has already trialled the adapters.

Sony product marketing manager, Lucie Wendremaire, said, “We are helping to make ENG as efficient and nimble as possible. Using this technology, a solo newsgatherer could capture events as they unfold and deliver footage ready for broadcast within 1.5 seconds.”

The PWS-100RX1 Network RX station has a recommended price of €6,000. The wireless adapters cost €1,000.

Vantage Media Processing Platform Built for tomorrow – solving real world challenges today Telestream Vantage is the premiere software-enabled media processing platform for managing all media services – from the camera to the point of distribution.

With Vantage, you can quickly, easily, and cost-effectively ingest, edit, transform, package, monetize, and distribute your multiformat media.

NEW at IBC: z VOD Producer DAI simplifies and automates the creation of cable VOD assets and provisions them for Dynamic Ad Insertion, expanding revenue potential z Tempo offers a complete solution for intelligently re-timing file-based media while preserving quality, enabling revenue expansion and substantial ROI z New for Vantage Cloud: instant scalability for every Vantage User z New camera ingest formats for Vantage, and more!

See for yourself: IBC Stand 7.G30 www.telestream.net

Bringing Vision to Life

12.A10

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78

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OPINION

CDNs that prove their value Performance is great but an affordable cost is what makes a viable business argues Julien Lehmann, CDN manager, LeaseWeb Global Services In today’s industry, reduced waiting times and buffering for (streaming) media are reasons why CDN has become more and more important for broadcasters and media publishers. In fact, today about half of the internet traffic is delivered by CDNs and more than half of the top 1000 Alexa ranking websites are CDN users.

However, another important reason for the popularity of CDN is the reduction of infrastructure cost that it can bring. Everything taken into account, CDN has proven its value in delivering performance while reducing the infrastructure cost.

However, many

professionals whom I speak with in the broadcasting industry are shocked about the cost differences between the different CDN providers. When you have large cost differences between proposals, the reflex is usually to go for the offer in the middle, in other words neither the most expensive option nor the cheapest option.

Our experience shows that the cost of CDN bandwidth is actually highly proportional to the provider’s brand recognition and marketing budget, rather than the factual features and performance levels the solution offers. We at LeaseWeb witnessed this trend taking place, which

in our opinion goes against the interest of the content publishers, and noticed a stagnation of the bandwidth price between the Tier 1 players. This is why we decided in 2014 to go into a different direction by providing all the services a CDN customer is entitled to, without having to pay the prohibitive fee Tier 1 providers are asking for.

LeaseWeb’s service offerings include dedicated servers, co-location services, cloud hosting and hybrid solutions. We run more than 65,000 physical servers over a global network of 5 Tbps, so using our expertise to add a new CDN solution to our

25 million devices enabled SoftAtHome

portfolio was a strategic move. For CDN services, open-source technology is used to keep the costs down, while SSDs (Solid State Drive) improve data handling speeds, both of which are key elements to delivering the best performance.

We believe that today’s trend in high-performance CDN solutions provides the opportunity for publishers to bring their media to their audiences in a more costefficient way – and blazing fast. The large amount of CDN providers with highly varied pricing means that

customers can benefit by picking a lean, efficient and high-performance solution that’s right for their needs, for an affordable price.

To conclude, before you opt for a high cost Tier 1 CDN, first wonder if your budget should be allocated to a solution based on brandrecognition or if another solution should be used that focuses both on high performance and low cost.

Because that’s what really adds value to your company and enables you to run a sustainable business.

14.K18

By Ian McMurray

Celebrating a milestone at IBC of more than 25 million devices equipped with its SOP embedded software platform is exhibitor SoftAtHome.

This year, the company – a provider of operating platforms enabling convergent services for the digital home – is demonstrating how virtualisation, the split between software and hardware and the power coming from the mix between the cloud and its SOP platform, provides innovative ways for operators to shorten time-to-market and satisfy end-users’ need for advanced features. Among the innovations it is showcasing is the Swisscom Top Speed Media Smart Home solution it developed.

Michel Degland, CEO, SoftAtHome, said, “Since our creation, we have been working as a real ‘club of operators’, aiming

78 IBC D3 2015 Issue v2MDL.indd 1

Optimising media production flows Degland: “Introducing radically new ways to consume video content”

to help operators innovate. With our 25 million software licenses, we facilitate operators’ product roadmaps, introducing radically new ways to consume video content. Our HDR implementation, our agnosticism between Android and Linux application universes, and MediaCloud, the NAS for operators, are some great examples of the agility virtualisation brings to operators.”

Degland noted the significant, disruptive, impact that HDR is having on the broadcast industry and, in response, is demonstrating at IBC a user interface specifically

designed for HDR. Also on show is ScreenAtHome, which runs on either Android or on Linux. Traditional features such as Live TV, EPG and VoD can, says the company, be complemented with the Android Lollipop application universe. With Linux, operators will also be able to add convergent home screen, controlling home environment, PodcastTV, profiling and other features, enabling traditional settop box services to be mixed with gateway services, such as digital home control.

4.A51

Limecraft

By Heather McLean

Multi-language speech-totext functionality has been added to Limecraft’s existing production platform, Flow.

This timecode-based technology assists editorial staff and archivists by enabling searchability, textbased editing and selecting of video to transcribe and pre-cut factual or fictional digital content.

Using the new functionality on Flow, during transcription

the user has access to correct the result at anytime, and then prepare scenes into shots that can be directly imported into any video editing software.

Dieter Van Rijsselbergen, Limecraft CTO and founder, said, “IBC provides a unique setting where innovative minds come together to build partnerships to further advance cutting edge technology. We are confident that our media management and collaboration system will duly impress.”

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26/08/2015 23:24

79

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PCA steps up to plate for Canon Arri

Big resolution line up at IBC Plura Broadcast

By Mark Hallinger

By David Fox

Canonâ&#x20AC;&#x2122;s Cinema EOS cameras have gained a new range of Arri Pro Camera Accessories, including a new cine plate for film set use, an adjustable broadcast plate for documentary-style filming and a handy topmounted support plate.

The accessories are designed for the C300, C300 Mk II, and C500, with the Broadcast Plate and Cine Plate fitting all three cameras.

The Broadcast Plate enables quick changes from tripod to shoulder and perfect balance when handheld, and is compatible with VCT-style plates such as the Arri QRP-1. It also offers a wide range of shoulder

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adjustments without affecting the placement of accessories fitted to the integrated 15mm LWS rod system, making lastminute balance adjustments straightforward and comfortable.

The Cine Plate offers front and rear 15mm LWS integrated rod consoles, a pair of sturdy Arri rosettes and direct compatibility

with studio bridge plates such as the Arri BP-8 and BP-9.

The Top Plate is designed specifically for the new C300 MkII, and the low-mode plate has an integrated 15mm LWS rod console that provides room for both a handle and accessories.

A variety of monitors and other equipment is being showcased at IBC, including a massive new 4K unit and smaller HD monitors.

The LCM-4K Series supports up to 3840 x 2160 and is available in sizes up to 84-inch. The series also adopts a slim form factor, said Plura, which ensures that even the largest 4K monitors in the portfolio demand a modest slice of real estate.

A new mobile app that allows the control and display of timers on smartphones provides the capability to use Plura timers with third party applications and allows multiviewers to interface

with third party automation systems.

Also on show are new 7and 9-inch versions of the Plura LCM-3G, a multiformat 3G HD-SDI broadcast monitor family with dual display capability. The LCM Series consists of high quality HD LCD monitors, specifically designed for use in broadcast environment ensuring accurate colour reproduction in accordance with SMPTE, EBU, REC 709 broadcast standards.

The standard calibration feature enables gamma, colour temperature and white luminance level adjustments to meet all broadcast and medical standards. The LCM series calibration tool provides a 10bit LUT with 1024 steps of grayscale.

8.B73

11.F21

CANFORD OVER 4000 PRODUCTS INSPIRED,

DESIGNED & MANUFACTURED in the UK ALL WITH A TWO YEAR GUARANTEE

Visit us on Stand 9.C01 11-15 September 2015

canford.co.uk 79 IBC D3 2015 Issue v1MDL.indd 1

27/08/2015 11:43

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Licence-free Compact 4K video transcoding and HD capture ClearView Imaging VersAtivePro promises a hassle-free approach to transcoding and encoding

By Mark Hallinger

ATX Networks

By Anne Morris

The VersAtivePro licence-free transcoding platform is a key feature of the digital video products being showcased by ATX Networks at IBC this week.

The company said a major point of pride for VersAtivePro was that it was not licencebased, and as a result eliminates

the many hassles involved with those licences. It enables capacities from a single channel up to more than 100 channels on a single unit.

ATX is also showcasing the Video Management System (VMS), which provides centralised management and control of multiple VersAtivePro units.

VMS optimises video operations by providing a single user interface for configuring

multiple units. It also features advanced monitoring with live previews and enables the operator to implement multiple redundancy schemas.

A third part of the solution is the DigiVu II Micro broadcast quality encoder, designed for local insertion and backhaul applications. This encoder provides best-in-class video quality and support for multiple output profiles, says ATX. 14.G16

Providing a 4K backbone

The new CIS 4K compact broadcast camera range and the VCC-HD2 and HD cameras with integrated zoom lenses are being debuted.

The new 4K compact broadcast camera range from ClearView Imaging (CIS) incorporates a high-quality 4K global shutter CMOS sensor and the CIS Clairvu ISP engine, which brings together advanced colour correction, 3D noise reduction and a host of other sophisticated ISP algorithms, including shading and lens distortion correction, gamma correction, high dynamic range, auto exposure and auto white balancing features.

The CIS VCC-HD2 camera, which follows on from the highly successful VCC-HD1 range, uses the latest Sony Pregius global shutter CMOS sensors. The technology within the Pregius sensor produces stunning HD images, with high dynamic range and low noise. When combined with the CIS Clairvu ISP engine, the VCC-HD2 becomes a high quality compact broadcast camera.

The CIS VCC-HD10ZM and VCC-HD30ZM are also on show. These cameras offer HD resolution along with integrated x18 and x30 zoom lenses, CIS Clairvu ISP, and 3G-SDI interface, all within a highly compact enclosure, said the company.

8.E17

EditShare

By Carolyn Giardina

EditShare is highlighting its ability to manage 4K resolution productions with its collaborative workflow platform.

The company emphasised that it has aimed to maintain the integrity of all media, whether ProRes 4444 XQ, Sony XAVC or RED (.R3D) files, or single-fileper-frame formats such as DPX, CinemaDNG, ARRIRAW, PNG or TIFF, throughout the entire production pipeline.

Its production asset management system, Flow,

80 IBC D3 2015 Issue v1MDL.indd 1

ISP engine: The compact 4K and HD cameras ILULĂ&#x201E; [ MYVT [OL ZHTL JVYL [LJOUVSVN`

Start engines: Flow takes care of asset management

provides integrated production and automation tools that let facilities tag and index content and automate tasks such as transcoding and media migration from one XStream media space

to another. The new Flow Watch Folder, distributed transcoding and FTP delivery options alleviate the need for third-party transcoding and file delivery tools. With the AirFlow web client,

remote users can access media on an XStream shared storage system.

EditShare related that the final piece to make this platform the backbone to a high-resolution workflow is integration with EditShare Ark. It said editors can

search the Flow database, which contains proxies for all archived assets, and migrate the original content back onto the main online XStream storage, regardless of if the content is stored nearline in Ark Disk or offline in Ark Tape.

7.G37

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STB makes TV personal

TV supports Bluetooth 4 Low-Energy for the advanced connectivity with other elements of the system.

The company is also showcasing a new OTT TV advertisement service called SPB TV Advertising. The service allows the substitution of the commercial broadcast

based on the userâ&#x20AC;&#x2122;s location, gender and age. â&#x20AC;&#x153;OTT TV providers can deliver very narrowly targeted and even personal ads,â&#x20AC;? added Filippov. â&#x20AC;&#x153;This solution provides targeting parameters for highly effective promotional campaigns.â&#x20AC;?

14.E17

SPB TV

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.

-PSPWWV]! ¸7LYZVUHS WYVĂ&#x201E; SLZ JHU IL H\[VTH[PJHSS` YLJVNUPZLK HUK SVHKLK ^OLU H \ZLY HWWYVHJOLZ [OL ;= ZL[š

By Anne Morris

SPB TV is showcasing a next generation set-top box and an OTT TV advertisement solution in Hall 14 at IBC this week.

Kirill Filippov, CEO, explained that SPB TV Home is designed as a comprehensive and affordable solution for creating a new TV viewing experience at home.

This set-top box features an ARM Quad Core processor and 450 GPU, as well as Ethernet, Wi-Fi and Bluetooth connectivity.

The set-top box comes with an exclusively designed remote for personal viewing, a customisable notification system and hardware profile buttons. â&#x20AC;&#x153;Personal profiles can be automatically recognised and loaded when a user approaches the TV set with SPB TV Home carrying his or her mobile device,â&#x20AC;? said Filippov.

The box also comes with a â&#x20AC;&#x2DC;Magic Wheelâ&#x20AC;&#x2122; to ease channel browsing and switching, based on a capacity sensor. The VoIP client is integrated in the interface of the box. SPB

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

EDCF: Global update

81 IBC D3 2015 Issue v1MDL.indd 1

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.

26/08/2015 23:26

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OPINION

Broadcasters go all-in with AoIP Audio over IP connectivity and signal transport in radio is commonplace, but TV broadcasters have been slow to catch up – until now, says Martin Dyster, VP, business development/TV, Linear Acoustic, part of Telos Alliance Anybody involved in broadcast technology will have noticed the subject of media-over-IP emerge as the ‘next big thing’.

IBC2015 looks set to be dominated by IP and while the video side of the business wrestles with formats and protocols, standards based audio-over-IP is already here.

Mature, proven and in the case of radio, AoIP has been around since the early 00’s.

Linear Acoustic is a company that many readers will recognise as having set the ‘gold standard’ for loudness control and measurement, upmix/downmix processing, metadata transport and signal transcoding. What you might not know is that Linear Acoustic is part of Telos

Alliance, a strategic merger of five co-operating technology companies whose membership includes Omnia, Telos and Axia, who between them, invented AoIP back in 2002 with the Livewire protocol.

These companies have subsequently gone on to dominate the American radio market with audio and voice IP products. With the broadcast television industry starting to sit up and take notice of both video and audio over IP, the TV arm of Telos Alliance, Linear Acoustic, is ideally placed to bring the mature technology already established in radio to television markets. Together with an unparalleled depth of group-wide broadcast experience, aiding the

customers’ transition to IP is built on support and mutual co-operation rather than strong-arm selling.

Making good on that promise, IBC2015 marks the European debut of the next generation of ‘On Air’ audio signal processors. Combining the market leading and Emmy award winning processing engines of the Linear Acoustic AERO rackmount products with Livewire+/ AES67 standards based connectivity, AERO.soft is the first processor in its class to be offered as an application rather than a traditional rackmount or cardframe-based solution.

Running on a dedicated server as part of an IP Enterprise Network, AERO.soft

offers up to eight simultaneous multi-program audio processing streams capable of delivering loudness compliant sound, complete with Upmix/ Downmix transitions and Dolby transcoding in realtime for live transmissions. As a standalone processor, AERO.soft fits seamlessly into a wider IPbased system.

However, by using the Linear Acoustic SDI xNode, an AES67 compliant SDI to AoIP mux/demux hardware product, AERO.soft integrates into a ‘traditional’ baseband environment as an IP island or as the first step towards an IP future.

Many TV broadcasters have stated their intent to move towards all-IP workflows

during their next technology refresh, however others are sceptical of current solutions and simply not ready to change. Linear Acoustic and Telos Alliance systems are designed to make the transition to IP painless.

Whether a complete station rebuild or a partial upgrade, the proven technology, demonstrable savings in ownership and installation costs, plus improved ROI combined with the benefit of an infinitely scalable platform (unrestricted by a maximum port or DSP count), all mean that the argument for standards-based AoIP is too compelling to ignore for much longer.

8.D47

Flexible and portable LED lighting OMNEO-based keypanel family RTS

LEDIXIS/EXALUX

By Heather McLean

By Mark Hallinger

Two LED products for broadcasting are being showcased, BRIKS and an allterrain lighting product. LEDIXIS said that both of these EXALUX branded products are made in France and are energy-efficient.

They offer a full spectrum colour reproduction and are precisely tunable from 2900K to 6000K (factory calibrated).

The BRIKS is a 9x9 cm square ultraportable and intense LED lighting system created for tricky shots, small spaces and awkward angles. LEDIXIS said this product has been called the Lego of lights, by users, as several BRIKS can be connected in a variety of ways (4x1, 3x2, 2x2, and so

82 IBC D3 2015 Issue v1MDL.indd 1

Lego of lights: Several BRIKS squares can be connected for illuminating tricky shots

on) to create a bespoke lighting shape. One BRIK provides 800 lumens, and is powered via a battery pack or AC adapter.

A new accessory for the system is the Splitter control system. Specifically designed for BRIKS, this allows a user to place several BRIKS in the corners of a room with each group controlled separately (CCT and intensity) from a single

controller and a tablet.

A new product on display is the all-terrain, which provides up to 5000 lumen on a 27x27cm square weathersealed LED panel. The allterrain is powered with a V-lock battery for up to five hours with no colour shift, or with an AC adapter. It can be controlled by DMX or Bluetooth.

8.B36

Coinciding with its 40th anniversary, RTS has introduced its first keypanel series with OMNEO onboard at IBC2015.

OMNEO is based on two key technologies, Audinate’s media transmission component Dante, and the Open Control Architecture system control component.

The KP-5032 is a two-rack unit keypanel with 32 operation keys, while the KP-4016 is a one-rack unit keypanel which sports 16 operation keys, as does the EKP-4016, a onerack unit extension panel.

The KP-Series keypanels combine HD colour displays, improved single key operation and full

compatibility with all existing RTS matrices in a modern design.

The company said KP-Series keypanels are suitable for a wide range of intercom product customers such as broadcast production studios, theatre and sport venues, houses of worship, and OB vans.

The family is backwards compatible with existing RTS analogue matrices and forward compatible with OMNEO open IP architecture using Dante.

10.B48

1\TWPUN [OL +HU[L ;YHPU! 27 PZ [OL Ä YZ[ 9;: keypanel with OMNEO IP technology onboard

26/08/2015 23:26

83

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V-Raw recording for VariCam Codex Digital

By David Fox

Codex has started shipping its V-Raw Recorder for Panasonic’s VariCam 35 camera, allowing users to capture uncompressed Raw images and enabling the recording of 4K Raw at up to

120 frames per second.

It records to the new Codex Capture Drive 2.0, which has a bandwidth of 20Gbps, which can easily handle the bandwidth required for uncompressed 4K Raw at high frame rates, claimed Codex.

The V-Raw Recorder module attaches directly to the VariCam 35, eliminating the need for cables and simplifying

operation, said the company.

It also powers the camera and has three 24v accessory power outputs.

The recorder fits into a streamlined Codex workflow from production to post and archive, via the Codex Vault platform, Vault Review, Review Live and Media Vault systems.

VariCam 35 with Codex V-Raw Recorder and Codex Capture Drive 2.0

11.G54

Live sound interface Soundcraft

By Mark Hallinger

A wider range of options for the Vi series digital mixing consoles is now available. Harman’s Soundcraft has introduced the Vi5000 and Vi7000 models, which offer optional 96kHz processing, upgraded channel counts and improved hardware

83 IBC D3 2015 Issue v1MDL.indd 1

reliability to the established live sound mixing interface. The Vi5000 and Vi7000 replace Soundcraft’s Vi4 and Vi6 consoles, offering what the company said are significant technology and feature set improvements.

The Vi5000 and Vi7000 provide a choice of compact control surfaces with new local rack and active breakout box hardware, delivering simultaneous mixing of

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up to 128 inputs and 32 mono/ stereo busses with up to 384 I/O allowing unlimited record feeds from all channels. Sound quality is assured with ultra-low noise microphone amplifier designs and enhanced 96kHz 40-bit floating point digital audio

processing, with the first ever digital implementation of the classic BSS DPR901ii Dynamic EQ adding to the channel processing armoury. Effects contain eight independent Lexicon multi-FX units, and a BSS graphic EQ on every bus

output. Both consoles also feature an additional dedicated 64ch MADI interface for Realtime Rack; a collaboration with Universal Audio that gives users access to industry-standard UA studio plugins.

8.D60

26/08/2015 23:27

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Ghost busting HDR Disney Research Zurich

By Adrian Pennington

A new image processing technique could make HDR video look better when shown on consumer-quality displays by preserving much of the rich visual detail while eliminating â&#x20AC;&#x2DC;ghostingâ&#x20AC;&#x2122; and other unwanted visual artefacts.

The combination of HDR acquisition and the new technique, developed by Disney Research Zurich, enables video effects such as showing the detail of an actorâ&#x20AC;&#x2122;s face even as lighting shifts from shadow to direct sunlight and back to shadow.

HDR currently outstrips the dynamic range that most televisions and video monitors can display, so HDR video must go through a process called tone mapping to adapt those images to the limitations of displays.

Local tone mapping developed by Disney Research

A number of such techniques, or tone mapping operators (TMO), exist. Tunc Aydin, an associate research scientist at Disney Research Zurich, explained that though they reduce the dynamic range of the video, they either lose some of the visual details or they introduce unwanted effects, such as brightness flickering, or amplify camera noise to create ghosting.

The local tone mapping method developed by Disney Research uses an approach taken with many TMOs: decomposing the signal into a base and a detail layer. In that way, the dynamic range of the base layer can be reduced while preserving a great amount of detail and fine scale contrast. â&#x20AC;&#x153;The main difference is that we are using a temporal filter on the

detail layer and a spatiotemporal filter on the base layer,â&#x20AC;? explained Aydin. â&#x20AC;&#x153;We have also developed a simple interface that enables a user to perform tone mapping interactively once the base and detail layers have been precomputed.â&#x20AC;?

The researchers found that the Disney tone mapping technique was capable of tone mapping

video sequences with complex motion and lighting changes and was worked particularly well in lowlight situations where camera noise was high.

It introduced the technology last December, but Disney Research has since come up with a realtime version. This is being shown for the first time at the IBC Future Zone.

8.F05

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It’s Behind You! Two Big Ears

Vortex paves the way for ATSC 3.0

By Adrian Pennington

Imagine being able to hear a monster growling right behind your ears, or watching a music video where the singer’s voice reacts to where you are looking.

360 VR films allow you to look all around, not just in front, and Two Big Ears’ technology aims to ensure that the audio is equally interactive.

The Scottish developer is in the IBC Future Zone showcasing some cutting edge VR games and 360 films using 3Dception, a cross-platform SDK that allows the user to hear sounds coming from any point in space, whether above, below, front or even behind them, all over a normal pair of headphones.

Abesh Thakur, CEO, Two Big Ears, explained that the core technology is targeted

TeamCast

By Will Strauss

Sounds astounding: a demo of 3Dception, a cross-platform SDK for immersive audio

at immersive application developers in the emerging VR and AR industries.

“We have products which simplify the workflow and implementation of immensely efficient and advanced 3D audio algorithms, whether it’s for 360 videos, VR games on PC or mobile,” he added. “We not only do spatial positioning of sounds, but also recreate important acoustic cues to give a better idea of the space the user is in, as well as other

effects such as occlusion using geometry analysis of a virtual environment.”

Two Big Ears has already launched game technology plug-ins and is currently working with partners on bringing an advanced workflow to post production of audio.

“We are working on features to ensure that 3Dception is the easiest to use and most effective product in the market,” said Thakur.

8.F20a

At IBC TeamCast is showing Vortex, a rack-mounted modulator/exciter for DTT that supports both ATSC 1.0 and ATSC 3.0 modulation waveforms.

Features include a Digital Adaptive Pre-correction mechanism, Automatic Gain Control (AGC) and the monitoring of key transmitting performance figures such as Forward

Transmitted Power, Reflected Power, Shoulder levels and MER. Based on TeamCast’s third generation ATSC 1.0 modulation core, VORTEX provides a potential upgrade path to ATSC 3.0, when the standard is approved, via the installation of a software license.

Vortex was shown earlier in 2015 working in preATSC 3.0 environments in collaboration with Samsung, OneMedia and Comark.

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TeamCast Vortex: Rack-mounted module provides upgrade path to ATSC 3.0

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85 IBC D3 2015 Issue v1MDL.indd 1

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OPINION

Future of VSAT is multiservice As bandwidth demand skyrockets, economies of scale will become the primary competitive advantage explains Kevin McCarthy, VP of Market Development, Newtec The global VSAT market has traditionally consisted of specialised service providers, each focused on specific vertical markets and regions. Until now, specialisation and customer intimacy have been the key differentiators for most vendors.

However, as the industry consolidates and bandwidth demand skyrockets, economies of scale will become the primary competitive advantage. In addition, with the advent of High Throughput Satellites (HTS), satellite operators will be compelled to start offering managed services (in Mbps) across multiple spot beams and vertical markets.

Supporting a wide range of applications, while maximising economies of scale, requires a flexible, efficient and scalable multiservice VSAT platform, with five key characteristics: 1. Shared Outbound Carriers: Support for wideband carriers

shared across multiple markets.

2. Wide Range of Modems: Modems designed to meet diverse technical requirements and price points.

3. Multiple Return Technologies: Multiple return technologies optimised for various traffic patterns and data rates.

4. Rich APIs: Application programming interfaces to allow automation and customisation.

5. Market-Specifics: A feature set supporting dedicated markets via one platform (like mobility, cellular backhaul, broadcast and government).

Newtec’s unique Dialog multiservice platform offers these key enablers and supports an unparalleled range of applications. Everything from business to consumer to highend cellular backhaul and mobility

can be supported on this single platform.

It is key to offer a range of modems that meet diverse technical requirements and price points. At Newtec, we provide: • For the lower-end, the Newtec MDM2000 line of modems (like the Newtec MDM2200 IP Satellite Modem).

• For the mid-range enterprise market, the MDM3000 series of modems, coupled with

Newtec’s patented MxDMA return technology (Cross Dimensional Multiple Access), provides the perfect balance of cost and performance.

• Our MDM6000 was the first modem on the market to support the new DVB-S2X standard. It incorporates Newtec’s Bandwidth Cancellation (BWC) technology that allows two carriers to be transmitted in an overlay fashion, providing record-breaking spectral efficiencies.

In order to address the highend backhaul and mobility markets, we are developing next-generation Newtec Dialog modems that will offer industryleading performance and efficiency. Supporting the latest DVB-S2X waveform, wideband carriers and unprecedented throughput, Newtec Dialog will maximise the capabilities of

VR’s VIP view LiveLike

By Adrian Pennington

One of the reasons that stereo 3D live broadcasting didn’t take off was the need for an entirely separate workflow including camera positions which took prime seats at the venue out of action.

The concept from start-up LiveLike is to ease all the worries sceptical broadcasters might have in transitioning to live virtual reality production.

Its technology works with cameras already in place at a venue to provide viewers with

86 IBC D3 2015 Issue v1MDL.indd 1

If you can’t get to Roland Garros, is LiveLike the next best thing?

a best seat in the house VR experience.

CEO and founder Andre Lorenceau explained, “We are showing our exclusive virtual reality prototype developed

with major international football teams. Our product gives broadcasters the ability to broadcast in virtual reality using an app that is complete and comfortable enough for

viewers to want to spend a full game inside.

“It is an easy-to-adopt solution that requires no special equipment at all, simply one fish-eye lensed

upcoming HTS satellites.

From a commercial perspective, it is key to offer a flexible licensing model and a modular hub architecture, that enables service providers and satellite operators to start small and ‘pay-as-they grow’. With a simple upgrade path, Newtec customers can add outbound carriers, return technologies and throughput capabilities to efficiently address new opportunities and markets.

The VSAT industry is undergoing a radical transformation, both from a commercial and technical perspective. The next generation of service providers will be required to address an unprecedented range of applications while driving massive economies of scale. Having the right multiservice platform will be the key to success in this new VSAT paradigm.

1.A49

camera,” he added. “We are interested in providing our solution to hundreds of broadcasters around the world to give their fans the ability to feel like they can attend every game, no matter the physical barriers.”

Visitors to the IBC Future Zone are the first to view new features which allow multiple ‘friends’ to hang out and interact within the virtual world.

Lorenceau said the company is currently developing a way to deliver 360 video angles, as well as building live streaming capabilities.

“If any broadcasters or league is interested in having their events broadcast in VR, LiveLike is the first, and only complete solution coming to market in early 2016,” he added.

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Medium-wave radio transmission and renewable power on show Thomson Broadcast

By Mark Hallinger

The new high-power mediumwave S7HP neo transmitter range, based on design and technologies developed for the defence market, is being debuted.

The range is the latest generation of Thomson radio transmitters and results from years of R&D, said the company. Amplifier modules

are fed by optical fibre links, while the implementation of the latest generation of Silicium Carbide SiC junction transistors allows higher circuit efficiencies for excellent reliability, according to Thomson.

Also new is a compact offgrid power system based on renewable energy sources.

Thomson Broadcast said these units can help a broadcaster save money while guaranteeing continuous operations.

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87 IBC D3 2015 Issue v1MDL.indd 1

Multiscreen TV, single application TIE Kinetix

By Adrian Pennington

Create your own TV show about the Spanish district elections and manage its publication across multiple screens by heading over to the MediaScape EU in the IBC Future Zone.

Using web libraries developed by the research project, the user can personalise views across multiple devices, with different cameras in the political parties’ headquarters, realtime district information, interact through social networks and manage the multi-device application across any kind of connected device.

The MediaScape EU project, which runs until March 2016, intends to help broadcasters deliver a socially engaging experience across multiple screens for broadcast and streamed content.

The need for the creation and maintenance of totally different services and applications in order to be compatible with all approaches to market – such as iOS, Android, HbbTV – will be eliminated, resulting in the creation and provision of a single application that serves all target environments.

The idea is that MediaScape will make it as easy to create multiscreen applications as it is to create an HTML web page.

Applications will automatically

adapt to specific target devices. The R&D team helping to coordinate the project, TIE Kinetix, said it is working on helping broadcasters to provide ‘a socially engaging experience across multiple screens for broadcast and streamed content, and associated applications’ in order to provide a more consistent multi-device and multi-user media service.

Juan Vicente Vidagany, CTO, TIE Kinetix, explained, “TIE Kinetix is the manager and promoter of the minicluster as a result of a EU initiative to engage the research projects in a more collaborative environment.”

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OB trailer takes the heat Aret video and audio engineering

By David Fox

Broadcast systems integrator Aret has a new demo OB trailer on show, AR-7, which was coach built in-house. AR-7 benefits from everything Aret has learned building more than 400 OBs already in use, said the company, in terms of space, robustness, safety, easy operation, time to operation, heat and acoustic insulation, long life durability, ergonomics, easy maintenance and delivery time.

The 14m long, triple expanding trailer is suitable for very hot countries and designed

Triple play: ARET’s new AR-7 triple expanding outside broadcast trailer

to be able to cope with major productions, such as premier league football.

Aret has also just completed three DSNG vans, plus a four-to-

eight camera van, for a Middle East customer. Based on the Mercedes Sprinter they include a double redundant transmission chain, full production facilities,

diesel generator and a special air conditioning system suitable for very hot countries.

It has also recently completed a 12-camera OB Shelter with full

Pocket-sized wireless mic transmitter Wisycom

By Mark Hallinger

The MTP41S pocket wireless transmitter has being unveiled.

This extremely small and light pocket transmitter was specially designed for professional wireless microphone applications, including broadcast, film, location sound and live sound reinforcement.

Massimo Polo, sales and marketing director, Wisycom, said, “The newly updated

MTP41S now incorporates all of the features of its big brother, the MTP40S in a compact frame.”

The biggest feature added to the MTP41S is the integrated hardware limiter. The limiter acts as a variable attenuator maintaining a distortion less than 3%, without lost quality. These features have been added to standardise performance in Wisycom’s body-pack transmitter product line.

“The 100mW output power

will now offer top in-class performance in the tough environments of today’s RF spectrum,” Polo added. “Peak audio levels are controlled better with the advancement of the hardware limiter, while the device transmits a digitally modulated sub-carrier, suitable for tone-squelch operating, remote battery monitoring and optional PTT [push to talk] operation.”

The MTP41S presents users with up to 232 MHz bandwidth in 470/798 MHz range, offering

Bluefish444 updates Epoch | 4K Neutron Bluefish444

By Carolyn Giardina

A free firmware update is being offered by Bluefish444 for its Epoch | 4K Neutron video card. This allows input and output of UHD video in the two sample interleaved (SMPTE ST425-¬5)image format, adding to the existing

88 IBC D3 2015 Issue v1MDL.indd 1

quad split image format.

The two sample Interleaved image format arranges pixels such that each of the four 3G-SDI links carries a 1/4 resolution version of the complete UHDTV image, allowing cost effective HD monitoring, said the company.

This format has been adopted by various camera manufacturers, represents

the image format suggested

by SMPTE in ST425-¬5 and will allow Bluefish444 customers to integrate with next generation UHDTV video equipment.

The free update to Epoch | 4K Neutron, which also offers 4K HDMI preview support, is available for download from the Bluefish444 website.

7.J07

a wide range of frequency options. Setup is fast via an OLED display, a gain/frequency button and a ‘joggle’ selector.

The miniature design of the MTP41S features flexible PCB (no connectors) for extended reliability, and an ultra-light metal alloy body. It also offers userselectable multi-companding systems: ENR (noise optimised) or ENC (voice optimised).

Power options include one AA Alkaline or rechargeable NiMH or Lithium battery.

production facilities designed for easy marine transportation for an African customer, as well as a Command Vehicle for a south east Asian government that is able to shoot audio and video, link to base via satellite, and has a meeting room and a kitchen.

It is currently completing one of its most powerful 16-camera OB trailers for the Middle East market, including a grip truck with diesel generator and two uplink support vans, and has just signed a contract for OB vans for south east Asia.

It also has two OB trailers ready built, for turnkey projects.

One is a double expansion unit, while the other is triple expansion.

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Mini Me: An integrated hardware limiter acts as a variable attenuator

8.D78

Back-up and restore added to Indigo Crystal Vision

By Will Strauss

The Indigo frame system has been enhanced with the ability to back-up and restore settings.

Especially useful for big systems, the new feature makes it possible to duplicate installations, put replacement boards into the correct state and return an installation to a recorded state.

When a change is made to the live frame settings the changes are automatically backed up to the frame CPU and can also be

copied to a file on a PC, with the option of restoring settings either manually or automatically.

Designed to be an affordable higher quality alternative to using a studio mixer, Safire 3 Xpress is intended for weather, news bureaus and other single static camera 3Gb/s, HD or SD live applications that require high quality chroma keying combined with easy control.

Features include tools to eliminate key noise and transparency, tune the backdrop key colour, manage colour spill and compensate for uneven studio lighting.

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Making the jump to Lightspeed Telestream

V-Nova

By Carolyn Giardina

Telestreamâ&#x20AC;&#x2122;s Lightspeed K80 server offers speed and productivity improvements over previous Lightspeed servers for products built on its Vantage media processing platform, according to the company.

The K80 server integrates IT technologies from vendors including NVidia and Intel. It combines NVidia K80 GPU technology and twin 12-core

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CPU, and it includes 2TB of media storage.

Describing it as environmentally friendly, Telestream added that it consumes less power and so requires less cooling than previous Lightspeed servers.

According to Telestream, Lightspeed technology accelerates its H.264 transcoding and video processing, including image

scaling, de-interlacing, frame rate conversion, motion vector calculation, compositing and other computer-intensive tasks for Vantage products.

Paul Turner, vice president of enterprise product management at Telestream, said, â&#x20AC;&#x153;As file-based workflows evolve in terms of complexity and sophistication to accommodate new processes and

Addressing the need for MAM speed Square Box Systems

By Carolyn Giardina

CatDV Archive To Cloud, a new capability enabling users to

Shifting the quality curve

archive their assets to cloudbased services directly from CatDV, is on display.

Launching at IBC are CatDVâ&#x20AC;&#x2122;s Advanced Panel 2.1 for Adobe Premier Pro CC, supporting

mixed Windows/Mac editorial environments, and full roundtrip metadata, plus CatDV Web 2.1, an update to the companyâ&#x20AC;&#x2122;s web client, featuring browserbased tools.

Your

multiple delivery platforms, so too they inevitably require additional processing power. â&#x20AC;&#x153;The Lightspeed K80 represents a quantum progression in media processing resources, offering up to five times the previous Lightspeed server without compromising the quality of the processed media.â&#x20AC;?

By Anne Morris

It is also showing new functions to its workflow workhorse systems â&#x20AC;&#x201C; Worker 6.1, Server 7 and Pegasus Server â&#x20AC;&#x201C; supporting the deployment of CatDV systems in MAM operations by multi-national organisations.

Making its debut at IBC is V-Nova, which is demonstrating its Perseus compression software in the IBC Content Everywhere zone this week.

The software is designed to shift the entire video bitrate-quality curve to enable UHD quality video at HD bitrates, HD at SD bitrates, and SD video at sub-audio bitrates.

Visitors can experience Perseus demonstrations on a number of partner booths to see the impact the technology is having on broadcast and OTT video businesses.

7.J15C

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OPINION

Solving remote live broadcast Remote live production can be used by broadcasters to fight back against OTT, says Tracey J W Ford, chief sales and marketing officer, Norwia The emergence of higher quality standards such as 4K means that live production systems are required to do more than ever before.

Production, TV and broadcast companies are looking for the best ways to efficiently supply heavy content loads to viewers without degradation in quality and with solutions that are futureproofed and provide operational efficiency while reducing operational costs.

Live production is increasingly important as it plays a key role in a broadcasters fight against the OTT competition. With the right production tools, broadcast companies can increase their brand value and customer base and monetise their service better, and greater

efficiency and flexibility is especially helpful in a time when many broadcasters are facing pressure on production budgets.

One solution for broadcasters is to move to remote live production, which saves costs through utilising existing in-house production equipment and staff. This enables the broadcaster to remove the necessity for location equipment for live event production and meet the complex challenges of signal distribution through the requirement of new standards such as 4K. To be able to move efficiently to remote production, broadcasters need solutions that can contribute video, audio and control signals from the OB

site to studio, cutting down production costs and ensuring a greater return on investment in studio equipment.

Norwia miniHUB addresses these needs, enabling broadcasters to take advantage of their optical distribution platform to ensure that video and audio quality remains pristine while there is no adverse affect to the control of cameras and lighting, regardless of the distance between the studio and production location. It also allows clear communication channels to be maintained so that the programme can be made just as well as when the production staff is kilometres rather than metres from the camera-ops and the live action. miniHUB

provides a seamless workflow for remote productions that is indistinguishable from an onsite production suite.

Our unique AutoSFP technology enables the miniHUB platform to solve all the issues surrounding live broadcast and the emergence of higher standards and achieves all the functionality of a multi-card system in a single card, helping reduce both cost and the complexity of optical signal distribution.

It is configurable as a multiple fibre solution or a multiplexed backbone structure that provides redundancy in both main and back-up fibre paths ensuring content can be

contributed in either direction while maintaining signal integrity.

Visitors to our stand at IBC can see the miniHUB live production platform in action. The Norwia stand will have two identical miniHUBs demonstrating the power of its AutoSFP functionality and a three-node ring structure set up utilising the miniHUB. Visitors will be able to see the redundancy of the system, as Norwia breaks the fibre ring to simulate the redundancy and remove power from a site to see how the signal passes uninterrupted through the location.

9.C19

Cerebrum helps CTV get on course at The Open Axon Digital Design

By Heather McLean

Cerebrum, Axon Digital Design’s customisable control and monitoring system, played a significant part in helping CTV Outside Broadcast deliver a smooth service to its broadcast customers during this year’s Open Golf Championship in St. Andrew’s, Scotland.

Speaking about the event here at IBC, Axon said for the second year running, CTV was responsible for live mobile production services for both IMG Media/ESPN and The Golf Channel. To meet the demands for wider coverage, the team established Cerebrum as the nerve centre for routing control for this year’s event.

Hamish Greig, CTV OB’s technical director, commented, “Due to the scale of this production and the increased

90 IBC D3 2015 Issue v1MDL.indd 1

number of sources and destinations, particularly on the ESPN side, we needed to simplify the operation and make it more manageable.

We worked hard to improve the flow of information on the technical front, and brought Axon’s Cerebrum into the heart of the workflow to support us. It’s perfectly suited to this complex production environment and gave us much smoother control over elements such as tally, UMD and cameras. It truly was the nerve centre of the production.”

By linking together all the main broadcast equipment from major manufacturers, Cerebrum’s advanced functionality and broad range of features simplifies multi device control onto one easy-to-use interface, claimed the company.

It supports a wide range of devices including routers, production switchers, servers, audio desks, camera control

Green light: CTV at The Open 2015 with Cerebrum in control

units, receiver decoders, multiviewers and waveform monitors, using either Simple Network Management Protocol (SNMP) or third party protocols.

CTV has equipped two of its OB trucks with Cerebrum and both of these vehicles were integral to the production of the championship at St Andrew’s.

“Primarily, we used Cerebrum for tally, UMD and multi-viewer control and monitoring, remote colour balance and the control of both the bunker cameras and the Panasonic pan and tilt cameras,” Greig explained. “In total, the system supported 80 external sources, each individually pre-set on the panel.

This meant that just one operator was able to manage set-ups, signal routes, QC, tally and multi viewers in a very smooth and efficient way. Cerebrum enabled our engineer to achieve tasks in minutes that previously would have taken hours to complete; that’s impressive.”

10.A21

26/08/2015 23:30

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Direct feedback demo BBC R&D

By Adrian Pennington

A demo in the IBC Future Zone is showcasing some of the pilots of BBC Taster, which allow audiences to sample the sort of personal, interactive, pervasive and immersive content that they could expect as mainstream in an IP enabled broadcast environment.

Taster enables the BBC to release its ideas early, get direct feedback from audiences

and improve them if it spies potential.

The BBC launched the public facing audience testing platform, developed by BBC R&D’s Connected Studio, in January this year.

Ralph Rivera, director, BBC Future Media, said, “We want to reach the international broadcast industry with all of our demos, but at IBC2015 we are featuring BBC Taster for the first time. This is an audience facing platform specifically aimed at younger audiences (16-34 year olds) but is of

course open to everyone to try, rate and share.”

“Taster is a place for the BBC to try new ways of telling stories, develop new talent, and put new technology through its paces,” Rivera added.

“It also allows the BBC to showcase a range of editorial and technology projects that may have previously remained behind closed doors.”

Among the initiatives are BBC iPlayer Shuffle, a continuous video player that learns from what users click on. Your Story enables users to access the

BBC Taster delivers direct feedback

BBC News archive to create a personalised and shareable timeline of the big, funny or quirky stories making the headlines from a person’s birth

year. KneeJerk showcases fresh comedy talent using social media platforms as a comedy stage.

8.G08

Silk soft skin Bright future for LED Fresnel LED treatment Canara Lighting

By David Fox

Rosco Laboratories

By David Fox

A ‘no-compromise’ tuneable LED soft light has been launched by Rosco. The new Silk 210 is claimed to offer ‘a unique combination of precise colour quality and powerful output in an efficient, ergonomic form factor.’ Independent tests have measured its colour quality at a TLCI rating of 97, and a CRI of 98 at 3200K, which should result in excellent skin tones and vibrant colours.

The lightweight Silk 210 is suitable for broadcast studios, film sets or for location lighting, and uses broad-spectrum daylight and tungsten balanced LEDs, which are tuneable from 2800K-6500K. It operates either under mains power or can

be used with Anton Bauer or V-Lock batteries.

It outputs 2400 lux at 1m (at 5600K), offers smooth, flicker-free dimming, has DMX and local control, and can be fitted with a wide range of accessories.

“In developing Silk 210, I wanted to deliver a luminaire for Rosco that cinematographers and broadcast lighting specifiers would call on time and time again,” said David Amphlett, Rosco’s product development manager for broadcast lighting.

“We’ve worked tirelessly to develop a fixture with unsurpassed colour quality, and importantly, a light that’s robust and easy to deploy. With the introduction of this luminaire, lighting professionals no longer need to choose between colour quality and output in a soft light.”

11.G21

Canara’s new 400W LED Fresnel is designed to replace existing 2kW Halogen Fresnel’s in broadcast studios. This has been a long-standing request from lighting designers, but it has taken time to develop a light source with consistent colour temperature and CRI above 90, according to the company.

Ajeet Khare, Canara MD, said, “Our efforts with LED vendors over the last two years have finally resulted in the desired LED light source. Next challenge was to design an efficient thermal management

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Canara’s 400W LED Fresnel rivals the performance of traditional 2kW Halogen

Making connections Cambridge Electronic Industries

By Heather McLean

Soft but strong: Rosco’s new Silk 210 tuneable LED soft light

system and the driver to achieve the final requirements of lighting designers.”

The Fresnel delivers 31,000 Lux at 2m in spot and 5400 Lux at 2m in flood with a CRI above 90, and is available in both daylight and tungsten colour temperatures.

It is available both in 3200K and 5600K versions, and delivers a uniform field across the entire beam from spot to flood. It has an inbuilt dimmer with 0 to 100% dimming, the beam angle can be adjusted from 15° to 50°, and the temperature is controlled by an active cooling system.

The fixture body is built out of aluminium extrusion.

New at IBC this year are specialist high speed, high definition connectors from Cambridge Electronic Industries.

A two-part Changeable Interface Connector allows BNC, DIN 1.0/2.3, Mini-BNC, and Micro-BNC interfaces to

be swapped without removing the connector body from the PCB. There is also a new Dual Port DIN 1.0/2.3 Multi Connector system. According to the company, the design of this lean profile die cast dual port connector allows an enhanced packing density of connections on a standard PCI card. This is made possible by combining the small format of DIN 1.0/2.3 style connectors with a diagonal mounting style.

A new stackable Multiport Connector system provides an array of connector ports with precise high density pitch separations of 9mm and 11mm. The array comprises two connector body widths secured together with precision press fit links. The secure latching mechanism, compatible with standard 1.0/2.3 connectors, provides high connection integrity with a simple push/pull operation.

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New data analysis technology Bridge Technologies

By Ian McMurray

A new graphical data analysis technology has just been unveiled by Bridge Technologies. It allows users to play through recorded data in an NLE-style timeline display to observe correlations and patterns of errors occurring over any time period.

The Bridge Technologies Archive Server provides the data recording capacity in what the company described as a simple connect-andforget form, with each Archive Server module retaining two years’ recorded data for up to 25 services. When connected to the Bridge Technologies VBC controller and configured through a simple setup routine, the Archive Server automatically activates the

VBC’s Timeline analysis capability for a new way to analyse historical data in depth.

Users can scrub through the data at any point in the recorded archive, opening and collapsing data tracks, and zooming in to observe fine detail on all the visible tracks.

The Timeline shows content thumbnails, alarm markers and all the metrics familiar from the MediaWindow displays, making visual navigation through the

data simple and quick.

Simen Frostad, chairman of Bridge Technologies, said, “The timeline functionality enables operators without a high degree of technical knowledge to go back and explore, understand, verify and document in complete detail what happened at any given time, or look for patterns over longer periods of time - a year say, or more - to identify and eliminate problems.”

“During service operations, when an error or failure occurs, engineers prioritise fixing the fault, and often in the heat of the moment there is not time for them to understand the root causes. Now, the timeline feature makes it easy to review the data after the event in a completely transparent and graphical way, to gain unprecedented insight into service errors.”

1.F68

First showing of solaRR Room service RRMedia

By Ian McMurray

IBC2015 has witnessed the first public showcasing of RRMedia’s solar open media service platform, solaRR. The solaRR platform unifies RR Media’s technological infrastructure and operations to provide what the company claimed was a seamless service and user experience, while supporting the changing market dynamics of the media industry across the world. solaRR is said to provide a robust, high performance and innovative solution for the broadcast and media industry, with the ability to optimise content management and delivery across the entire media supply chain as well as utilise a variety of value added services

Easel TV

and applications. It is designed to handle the complexities of RR Media’s client requirements, providing the flexibility, efficiency and capability to take on any project, of any size.

At the show, RR Media is demonstrating solaRR’s range of value-added applications that are integrated into the platform.

From a single place, RRMedia says that customers can manage all their media assets, assign and seamlessly track workflows related to linear channel playout, and delivery to online video platforms as well as other content destinations. They also have new methods to engage viewers and monetise content in diverse ways for broadcasters and content owners.

Elad Manishviz, CMO of RR Media, said, “To have all aspects of the media supply chain such as content preparation,

management, playout and delivery within one centralised platform offers huge benefits to the media industry. Now, we have a solution that can create cost efficiency across the entire media supply chain as well as a robust and flexible platform to enable our customers to further monetise their content.”

1.B24

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Multiviewer control on steroids L-S-B

By Mark Hallinger

‘theWALL’, a software tool for easily and intelligently setting up and controlling multiviewers, has been debuted at IBC2015. With theWALL users can configure monitor walls, route signals, change monitor layouts or save and load their own presets.

L-S-B claimed theWALL was the ideal solution for operators

94 IBC D3 2015 Issue v1MDL.indd 1

or engineers-in-charge (EIC) to configure monitor walls in OBs or studios. The company said it would prove very helpful in frantic live production environments with fast changing production and workflow setups. In these situations, theWALL could enable production teams to change monitor wall layouts fast and onthe-fly. theWALL can integrate with the most common multiviewers found on the market, said the company.

Instead of learning several specific multiviewer softwares or asking the EIC to change a layout, users of theWALL can change all kinds of multiviewers with just one tool. The product consists of a software that talks directly to the multiviewers and a GUI for mobile control.

The GUI runs on a HTML5 basis, thus being independent from any mobile device manufacturer. Users can run the software app on any device.

8.B35

By Anne Morris

Multiscreen video software company Easel TV has partnered with Airwave to create the Airtime video-on demand platform for the hospitality smart TV market.

The service, based on Easel TV’s Suggested TV platform and delivered to Samsung Hospitality TVs, will be made available in selected hotels across the UK now and globally from 2016, giving guests the freedom and choice to search and find programmes and movies to watch on demand in their hotel room on the hospitality TV. Suggested TV is Easel TV’s cloud-based softwareas-a-service solution for multiscreen content delivery with a televisual user experience. The latest version, launched at IBC, gives more control to content owners with improved analytics, enhanced reporting, enhanced

security and the ability to run promotional campaigns.

Airwave is a European supplier, installer and integrator of digital hotel televisions, signage and audio visual equipment, providing digital ready televisions to hotels, hospitals, student accommodations and commercial buildings.

Bill Scott, chief operating and commercial officer of Easel TV, said the service gives Airwave a cloud-based alternative to traditional hotel TV systems that makes it easier for hotels to install and removes operational and support issues.

“Airwave now has the tools to provide a valuable service to hotel guests for in-room entertainment with flexible pricing and promotional tools for multiple global markets,” Scott noted. “At IBC this year we are showcasing this service on our stand along with other services we have built such as the awardwinning Curzon Home Cinema platform.”

14.M25

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26/08/2015 23:31

95

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Immersive 3D audio tools Jünger Audio

By Heather McLean

Jünger Audio is showing its audio monitoring system working with the Fraunhofer IIS MPEG-H TV Audio System.

The integration of Jünger Audio’s loudness control features into MPEG-H means that broadcasters can easily identify content that has already been processed or levelled for loudness control. This enables them to avoid multiple levelling passes that can affect the overall quality of the audio.

Robert Bleidt, division general manager at Fraunhofer USA, said, “We are excited to work with Jünger Audio on this product as it will enable broadcasters to offer better audio quality while satisfying their viewer’s desire for consistent loudness. It is an example of how working with an open standard such as MPEG-H allows rapid innovation.

“One application we see for this is control of loudness at network affiliates,” continued Bleidt. “The network signal may be levelled prior to distribution, and not touched by the Jünger Audio processing. Only the local ads and programming inserted by the affiliate will be processed, preventing double compression of the audio.”

Peter Poers, Jünger Audio’s managing director, added, “Our solution is truly agnostic in terms of encoding format. It will be positioned between the mixing console and the transmission chain and at any point where real audio must be monitored again. At the push of a button, users will be able to configure it to work with any codec on the market.”

Poers added that integrating effective loudness control with the new immersive audio formats will be a vital requirement right from the outset because it will allow broadcasters to maximise audio quality and ensure that loudness is consistent and compliant with existing regulations and recommendations.

“Our years of experience in developing the Level

95 IBC D3 2015 Issue v1MDL.indd 1

Magic loudness management algorithm meant that we were perfectly placed to provide high performance products for this developing market,” he added.

“Our technology will enable broadcasters to transition to the

new emerging audio formats with confidence and minimal workflow changes, while ensuring that end users benefit from the enhanced listening experience with predictable and reliable results.”

10.A49

This codec-agnostic product allows broadcasters to comply with existing loudness regulations and deliver high quality, natural sound

26/08/2015 23:31

For the latest show news and updates follow

96

#IBCShow

Portal 2.1 arrives at IBC Cantemo

By Carolyn Giardina

Media asset management system provider Cantemo is presenting the latest version of its flagship Cantemo Portal.

New features include a customisable dashboard, which provides live monitoring of assets, jobs, work lists, and

other activity. Users can build their own dashboard apps, giving them control over what information is displayed in the dashboard view.

The latest version also includes a Transcoder Framework, allowing integration with existing transcoders.

Telestream Vantage or Episode transcoders can be used as part of the Cantemo Portal transcoder farm.

The Cantemo Archive Framework means Portal can now use the StorNext Application Program Interface (API) natively to manage and archive assets in the StorNext tiered storage and archive system.

Parham Azimi, CEO, Cantemo, said, “As the demands of media delivery are continually evolving, there is a growing need for media

Open sesame: Portal 2.1 features a customisable dashboard

asset management systems to evolve to meet those changing demands. We are continually evaluating the needs of our customers and this latest

update responds to the way in which Portal is being used and the features our customers need to get even more efficient.”

7.K01a

Loudness Films selects Draco tera KVM matrix switch IHSE

By Carolyn Giardina

Lisbon-based post facility Loudness Films reports that it is making the most of its space by deploying small Draco tera compact KVM matrix switch from IHSE to enable operators

to access computers housed tens of metres away in a central server room. Each workstation can be instantly connected to any source device.

Branko Neskov, founder of Loudness Films, said, “Working on the sound for a film, a sound engineer can operate the main mixing desk while viewing audio monitoring setup on a monitor,

or can access the ProTools systems or Dolby RMU settings using the same monitor.

“This reduces the number of screens in the dubbing theatre.

Individuals can select what they want to see in front of them, rather than interrupt a colleague or move to see a different screen.”

7.B30

;LYH Ä YT! PUZPKL 3V\KULZZ -PSTZ PU 3PZIVU

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

f Powerful Linear Acoustic AEROMAX® loudness and dynamics control f UPMAX® II automatic upmixing and down mixing f Exclusive Linear Acoustic Intelligent Dynamics™ with Advanced ITU (AI) Limiter f Single processing instance (5.1+2+2 or 2+2+2)

Learn more: LinearAcoustic.com/aero10

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

96 IBC D3 2015 Issue v1MDL.indd 1

26/08/2015 23:32

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â&#x20AC;&#x153;The BBC has to changeâ&#x20AC;? says Dobbs Conference Analysis

By Ann-Marie Corvin

House of Cards creator Lord Michael Dobbs has fallen out with both Margaret Thatcher and the BBC but during an IBC keynote he described working with online streaming giant Netflix as a delight.

During the session, â&#x20AC;&#x2DC;Chaos and Quality: The foundations of TVs new world orderâ&#x20AC;&#x2122;, the Tory peer admitted that he was initially blasĂŠ when he received another call from a US company wanting to remake the hit 1980s BBC TV series House of Cards, based on his best-selling novel. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;d heard it all before. But then they mentioned that David Fincher

and Kevin Spacey were on board â&#x20AC;&#x201C; what did I think?â&#x20AC;?

Dobbs removed his name from the final BBC series, citing creative differences, and he has admitted that his previous dealings with Hollywood involved â&#x20AC;&#x153;getting chewed up and spat outâ&#x20AC;? â&#x20AC;&#x201C; yet he has nothing but praise for the online streaming giant. â&#x20AC;&#x153;Netflix basically bought my house. I thought it would take over and redecorate but I was willing to sell when I heard that Spacey and Fincher were involved. I thought that would be my last contact. â&#x20AC;&#x153;But Netflix said â&#x20AC;&#x2DC;No, this is your house. You built it, you designed it, you should be hereâ&#x20AC;&#x2122; and the company took me on board as executive producer and I can honestly say that it has been

the happiest experience of my professional life. â&#x20AC;&#x153; Dobbs said he is a keen proponent of â&#x20AC;&#x153;watching what you want, when you wantâ&#x20AC;? and discussed the issue in the House of Lords recently during a debate on the future of the BBC. â&#x20AC;&#x153;The BBC has to change how it is going to deliver content. I watch a great deal of BBC output but this [he points to his laptop] is how Iâ&#x20AC;&#x2122;m doing it while Iâ&#x20AC;&#x2122;m travelling or on the train. I donâ&#x20AC;&#x2122;t have time to sit down at a certain time so I store it up and binge watch The Killing or The Bridge.â&#x20AC;?

A keen Nordic Noir fan, Dobbs is currently collaborating with friend Adam Price, the creator of Borgen, on another political drama. â&#x20AC;&#x153;Danish television doesnâ&#x20AC;&#x2122;t have

Huge questions over HDR+ Conference Analysis

By Chris Forrester

A jam-packed, standing room only gathering of IBC delegates heard the UHD Forum panel of experts discuss and review the likely road-map for the next developments in Ultra HD. The news was generally good, but they urged caution in expecting too much too soon.

Nandhu Nandhakumar, SVP at LG Technology, said the success of 4K, whether LCD or now in OLED sales in the retail sector has caught the industry by surprise. â&#x20AC;&#x153;The studios, networks, infrastructure vendorsâ&#x20AC;Śthey have all been caught out. Last weekâ&#x20AC;&#x2122;s IFA show in Berlin proved that HDR and UHD in general were the hottest of hot topics.

Dolby Labsâ&#x20AC;&#x2122; executive director Pat Griffis agreed, saying that at CES there would be another slew of high-end displays showcased which would add another set of parameters to the mix and claim â&#x20AC;&#x2DC;compatibilityâ&#x20AC;&#x2122; with HDR, Wider Colour Gamut and possibly even High Frame Rates despite a lack of agreed standards for most aspects.

The EBUâ&#x20AC;&#x2122;s David Wood also cautioned delegates saying that broadcasters wanted to know three key facts: â&#x20AC;&#x153;What differences can I see? Will this boost my audience, and how much will it all cost?â&#x20AC;? He said that today it was extremely difficult to give any positive answers to these questions. â&#x20AC;&#x153;Most of Europeâ&#x20AC;&#x2122;s public broadcasters want a whopping step-change for UHD.â&#x20AC;?

Matthew Goldman (SVP

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vast budgets but they understand quality and the importance of good writing,â&#x20AC;? he said.

The writer, who was Margaret Thatcherâ&#x20AC;&#x2122;s chief of staff during the period after the 1987 election

Interop across platforms DVB/BBC R&D

By George Jarrett

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technology, TV compression at Ericsson) said there was now a body of opinion that suggested that HDR+, a catch-all description for HDR and Wide Colour Gamut would not see implementation much before 2017-18, and even 2019-2020 when 100/120Hz frame rates were to be included.

â&#x20AC;&#x153;when her world was starting to crumbleâ&#x20AC;?, added that the trick to writing good political drama was to â&#x20AC;&#x153;take reality and then water it down â&#x20AC;&#x201C; just to make it credibleâ&#x20AC;?.

BBC and Dolby have given the demo of DVB-CSS a boost, along with the news that it is the underlying spec for inter-device synchronisation in HBBTV 2.0.

First up, Peter Siebert, the executive director of the DVB, tackled the issue of existing solutions that are not standardised or interoperable. â&#x20AC;&#x153;It is a challenge that we have those big eco systems like Android and Apple, and in Android you have the sub systems of Samsung and other vendors. We would like to secure our standardâ&#x20AC;&#x2122;s interoperability across all platforms,â&#x20AC;? he said. â&#x20AC;&#x153;A good example is our DASH demo. We started with several proprietary solutions and MPEG decided to create one standard in MPEG-DASH,â&#x20AC;? he continued.

That work is done. DVB is here to prove it works. Phase one is two blocks â&#x20AC;&#x201C; synchronisation in time so both devices can deliver frame accurate content, and content detection, so both devices know which content is active. â&#x20AC;&#x153;It is up to the industry to implement the hooks and mechanisms in their systems.

Broadcasters have to provide the necessary metadata, and the manufacturers have to implement our protocol stacks,â&#x20AC;? said Siebert.

Matt Hammond, senior research engineer, BBC R&D, added: â&#x20AC;&#x153;We were involved from the writing of the specs, and we have also worked in parallel with some of the groups downstream from the DVB that are taking this spec and working to incorporate it into TV platforms.â&#x20AC;?

1.D81 (DVB), 8.G08 (BBC R&D)

Patent-free VC-2 LD video codec released Barco Silex

By Heather McLean

The new VC-2 Low Delay codec

by Barco Silex is now available for licensing to broadcast equipment manufacturers. The VC-2 Low Delay codec is a patent-free lightweight compression codec

97 IBC D3 2015 Issue v2 MDL.indd 1

suited to encode HD video content. VC-2 LD has ultra low latency and compresses video streams by a compression ratio of four times visually lossless.

Originally developed by BBC Research as Dirac Pro and later standardised as SMPTE 2042, the VC-2 LD codec is patentfree, which will facilitate market adoption and interoperability.

The SMPTE ST-2047 standard already defines the carriage of high-resolution video (up to 1080p60) over HD-SDI using VC-2 LD as a mezzanine compression algorithm. The RTP mapping of the codec is also currently being standardised as an IETF RFC in order to maximise interoperability of the transport over IP networks.

10.D31A

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12-09-15 16:55

IBC Content Everywhere Europe RAI Amsterdam 11-15 September 2015

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09/09/2015 13:28

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New news: streetwise and streaming

Pushing the limits of live EVS

Conference Analysis

By Mark Hallinger

By Adrian Pennington

â&#x20AC;&#x153;The new battleground for news is authenticity,â&#x20AC;? declared Kevin Sutciffe, Head of News Programming Europe at Vice. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re not shying away from the difficulties of reporting and weâ&#x20AC;&#x2122;re prepared to show the harsher realities of events in a way that many regulated terrestrial broadcasters cannot.â&#x20AC;?

The battleground is also over viewers, in particular the Millennial generation, which the online upstart believes have been excluded from mainstream TV news agendas. â&#x20AC;&#x153;We launched Vice News 18 months ago to turn the commonly held misconception â&#x20AC;&#x201C; that 18-35 year olds are not interested in news and current affairs â&#x20AC;&#x201C; on its head,â&#x20AC;? Sutcliffe told delegates to â&#x20AC;&#x2DC;How Vice

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is changing the paradigmâ&#x20AC;&#x2122;. â&#x20AC;&#x153;Vice is a response to serving a part of the audience which is mobile, online and wants a fresh approach.â&#x20AC;?

Vice News has become the fastest growing such channel on YouTube since launch 18 months ago, gaining 1.45 million subscribers, 350 million video views and high engagement on Facebook. â&#x20AC;&#x153;News doesnâ&#x20AC;&#x2122;t break in the newsroom, it breaks on Twitter,â&#x20AC;? says Sutcliffe. â&#x20AC;&#x153;Our films are

made by journalists the same age as our audience and they are all switched onto social media to engage more deeply with stories.â&#x20AC;?

WPP, Fox and Disney/Hearstowned network A+E Networks have taken stakes in the group valuing it over $2.5 billion and fuelling speculation of an IPO. Recently, Vice extended a deal with HBO to produce a daily news programme and have its own branded channel carried on the HBO Now streaming service.

Worldâ&#x20AC;&#x2122;s ďŹ rst live aerial 4K video camera Broadcast RF

By Heather McLean

Broadcast RF, specialist rental equipment provider of radio cameras for live broadcast, has announced the first ever UHD radio camera system packaged for hire, and available now.

The 4KRF system comprises of a Sony F55 camera to which Broadcast RF has added a full transmit and receive system for professional live broadcast. It is offered with technical support if required for live events.

Scoring another first, it has also used the 4KRF system on a live helicopter downlink, working with Aerial Camera Systems (ACS) to obtain the worldâ&#x20AC;&#x2122;s first live 4K

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video from the air.

Broadcast RF tested the 4KRF system from a helicopter circling over London to obtain the worldâ&#x20AC;&#x2122;s first live aerial video in 4K. Footage from the tests is available to view at IBC, along with the Sony F55 4KRF handheld camera system.

Chris Brandrick, sales director

MoU sees OTT development: At IBC a Memorandum of Understanding has been signed between Huawei and NetRange who agreed to cooperate in driving the OTT ecosystem. The companies said that the collaboration will enable Huawei and NetRange to create added value for the next generation of OTT services for telco operators and end users. The two companies agreed to cooperate with a view to providing content-rich OTT ecosystem services, including linear TV streaming, video on demand and cloud gaming.

The creation of this joint OTT ecosystem will, they said, especially benefit telco operators, who will be able to seamlessly integrate the high value OTT services on offer with their products. Pictured, He Weijie, VP Western Europe of Huawei and Jan Wendt, CEO of Netrange. â&#x20AC;&#x201C; Ian McMurray 4.C70

99 IBC D3 2015 Issue v2 MDL.indd 1

at Broadcast RF, commented: â&#x20AC;&#x153;We are a hire company so we have to be at the forefront of any technology that manufacturers are bringing out, so we can integrate that into a workable solution that can be used in live OBs. That is what we have done with 4KRF.â&#x20AC;?

9.D14

A multi-vendor approach to â&#x20AC;&#x2DC;getting more out of liveâ&#x20AC;&#x2122; is one of the cornerstones of EVSâ&#x20AC;&#x2122; IP4Live initiative. The IP future envisioned by EVS is not proprietary: IP infrastructures should be open and standards-based. â&#x20AC;&#x153;What weâ&#x20AC;&#x2122;re talking about now is really the last frontier for IP,â&#x20AC;? said Johan Vounckx, SVP innovation and technology for EVS. â&#x20AC;&#x153;Our IP4Live initiative is a strategic programme to lead and guide customers in a smart way with real cost and flexibility benefits.â&#x20AC;?

One key example of collaboration is a demonstration of new IP-based live remote production alongside Cisco at stand 1.A71.

Using EVSâ&#x20AC;&#x2122; new XiP gateway enabling in/out IP links to its live video server, EVS is demonstrating multi-feed live remote production â&#x20AC;&#x201C; via SMPTE 2022 uncompressed video â&#x20AC;&#x201C; over an IP network using Ciscoâ&#x20AC;&#x2122;s standard IP switches and software defined networking.

EVS also is part of an IPrelated announcement that goes beyond a show demo;

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The EBU and Belgian public broadcasting company VRT have recently unveiled the LiveIP Project, a multi-vendor system integration of a live TV production studio at VRTâ&#x20AC;&#x2122;s premises in Brussels.

A scaled-down version of the studio is being shown on the EBU stand (10.F20).

Another IP-related show demo sees EVSâ&#x20AC;&#x2122; DYVI switcher cutting together 4K camera signals delivered via an IP infrastructure.

The demonstration features the transport of UHD footage from a Hitachi 4K camera on the Hitachi stand (11.D39). Feeds from this and a HD unit will be sent via fibre to the Gearhouse Broadcast stand (10.B39), where they will be cut together using the DYVI production switcher.

8.B90

Schleifer steps up Primestream

By Carolyn Giardina

Primestream announced that David Schleifer has been named COO as IBC got underway. He will report directly to president and CEO Claudio Lisman. â&#x20AC;&#x153;I have tremendous confidence in Davidâ&#x20AC;&#x2122;s ability to align Primestreamâ&#x20AC;&#x2122;s world-class innovation with industry-leading operational practices in order to continue growing Primestreamâ&#x20AC;&#x2122;s market leadership,â&#x20AC;? said Lisman.

An alum of companies such as Avid, Schleifer brings more than 25 years of experience including business planning for broadcast, storage, 3D animation, video editing and

asset management products across broadcast, government and education markets. â&#x20AC;&#x153;Primestream is poised for growth, and I am excited to be joining the company with the opportunity to help it realise its potential,â&#x20AC;? said Schleifer. â&#x20AC;&#x153;The combination of marquee customers and an innovative refreshed product line are the core foundation we will build on to extend and expand the companyâ&#x20AC;&#x2122;s market share.â&#x20AC;?

At IBC, Primestream announcements include Xchange v4.5, which includes enhanced integration with Adobe Premiere Pro CC; FORK v5.5; and support between the Matrox DSX LE4 LP video I/O card and FORK. 7.D21

12-09-15 13:18

For the latest show news and updates follow

100

Lego for broadcasters Norwia

By Heather McLean

Solving distribution challenges for higher bandwidth signals, Norwia

is showcasing the latest addition to its miniHUB platform, a flexible 4K/12G UHD-SDI system. The company has made advances to provide a 4K/UHD 12G-SDI solution for next generation standards, which is already

benefitting operators with its cost saving architecture.

Using interchangeable small form pluggable (SFP) modules, the miniHUB platform, which Tracey Ford, chief sales and marketing officer at Norwia, described as, â&#x20AC;&#x153;Lego for broadcasters,â&#x20AC;? can deliver projects with different requirements: while one outside

#IBCShow

broadcast can demand 16 channels of HD-SDI video, the next may require 12 channels of HD-SDI plus a Gigabit Ethernet channel.

With Norwiaâ&#x20AC;&#x2122;s AutoSFP functionality, cards are automatically configured when the SFPâ&#x20AC;&#x2122;s are inserted into the miniHUB. One card can solve

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Tracey Ford brings 4K to Norwiaâ&#x20AC;&#x2122;s miniHUB

a multitude of problems and cancel the need for the user to carry an additional card for each system, so reducing cost and increasing hardware ROI. By combining the 4K/UHD 12G-SDI solution with AutoSFP technology, Norwia has created a flexible and cost saving market alternative. The new product can be incorporated into existing miniHUB systems, including its CWDM multiplexed solutions.

Said Ford: â&#x20AC;&#x153;4K production is well on the way to being the standard and live TV productions, especially sport, will become increasingly dependent on it. 10.A12

Sitting on a gold mine Alticast

By Ian McMurray

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100 IBC D3 2015 Issue v2CW.indd 1

According to Alticast EMEA president Tiaan Schutte, the Internet of Things is a significant opportunity, supported by his companyâ&#x20AC;&#x2122;s agile and flexible tools for delivering cloud-based services. â&#x20AC;&#x153;Broadband companies are ideally placed to take advantage of this opportunity. Typically, they are trusted by their customers and the IoT provides them with natural evolution,â&#x20AC;? said Susan Crouse, director of product management. â&#x20AC;&#x153;They are sitting on a gold mine and they donâ&#x20AC;&#x2122;t even know it. â&#x20AC;&#x2DC;Extending into the IoT makes sense on so many levels,â&#x20AC;? she added.

Alticast is also showing its AltiPlex Cloud Services Platform (CSP) which allows service providers to virtually deliver, operate and manage multiscreen services.

1.F36

12-09-15 12:37

101

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Queue forms for SkyPanel LEDs Arri

End of TV as we know it?

Conference Analysis

By David Fox

By Ann-Marie Corvin

The new SkyPanel range of LED soft lights will ship after IBC and already has “a tremendous amount of pre-orders”, said Markus Zeiler, Arri’s general manager, lighting.

The full colour-tuneable C models are currently the most popular (with about 80% of orders), “because of their versatility”, especially for the rental business, but Zeiler believes the remote phosphor (RP) models will probably be popular with studios, who will generally only want one colour temperature and will be attracted by their 30% cost saving – users can slide in different panels to change the colour temperature.

There are two sizes: 60cm (400W) and 30cm (200W) panels, in both C and RP versions, with prices ranging from €2190 for the S30 RP to €4690 for the S60 C. The C models are DMX tuneable from 2800K to 10,000K, and are fully RGB colour variable.

Content owners must embrace opportunities offered by OTT and online TV services but also ensure that investment in quality content and creativity is safeguarded: this was the key message from ‘Breaking the Bundle: The end of TV as we know it?’

Arnd Benninghoff, deputy CEO of The Modern Times Group stressed the importance of continuing to serve the demographics no longer watching TV by providing niche channels services that fuel their interest.

“What we are recognising is that Millenials are leaving TV with only 14% watching shows in catch up mode. They are migrating to niche channels that fuel their interests such as ESports.”

He added that one ESports channel saw 1.7m users click in to watch the final of a gaming competition. “Esports enthusiasts will tune in (or log on) generally 19 times per month for more than two hours,” he added.

The stars of online channels, he

Zeiler with the S30 C and (in the background) S60 RP SkyPanels

The panels can be optionally fitted with Anton/Bauer or V-Mount plates that can each take two batteries. There are also a wide range of accessories available, which are stackable and can be swapped out without having to take off the other accessories, which include a new intensifier that gives 50% more light in the centre while maintaining a soft, even beam of light.

Arri has also introduced two new high-speed ballasts for high-speed recording. The EB 12/18 HS and EB 6/9 HS AutoScan ballasts, enable flickerfree extreme slow-motion with discharge lamps in the 9kW, 12kW and 18kW power classes (such as the Arrimax or M90).

11.F21

JVC and Bradley are remote partners JVC/Bradley Engineering

By David Fox

JVC signed an agreement at IBC to sell a range of Bradley products, including pan/tilt cameras and studio components. “It is giving JVC access to remote cameras, which they don’t have, and it’s opening up their markets to us,” said David Bradley, CEO of Bradley Engineering.

Bradley has also developed some products specifically for JVC cameras, including the new U4_J remote camera head with full CCU control for the GY-HM600/650 camcorders and the Z-Head remote camera head for GYHM170/200 camcorders.

It is also using JVC protocols for LANC controlled cameras, and is working with JVC to extend the capability of the LANC control to include white balance, iris, gain and other functions, “so it does give full remote control,” he said.

JVC is also demonstrating Bradley’s Multi-Function Controller

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Image matters Sony

By Adrian Pennington Bradley and Kikuchi signed the deal at IBC and have side-by-side stands

and Remote Camera Panel Mk3, along with the RD_11 multichannel radio data transceiver and RD_12 miniature wireless CCU controller.

Bradley has been working with JVC Kenwood’s sensor manufacturer, AltaSens, for more than a year, using its Super 35 4K sensor in its new fibre-based 4K PTZ (3840x2160 50p) remote camera.

“We wanted to have PTZ cameras for the future, and JVC doesn’t do them, but it is an important trend in broadcasting,” said Hisao Kikuchi, president, European professional business, JVC Kenwood. “We will work together to expand the PTZ systems, especially in Europe.”

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added, have a different relationship with their audience. “If a gamer produces a song it makes the download charts. Fans consider them like friends and follow them.”

MTG has invested in a talent division to form direct relationships with these hugely influential digital stars who, according to a Variety survey, are more popular among 15-25 year olds than mainstream celebs.

“As broadcasters we need access to digital influencers in order to reach the data of when is best to publish and on what platform. We need to connect these influencers with advertisers and create engaging content,” he added.

Production giant All3Media has similarly invested in YouTube

For all the talk of virtualisation the one thing the industry can’t yet translate into software is the physics of light hitting a sensor.

Refreshing then to hear Sony get back to basics and declare that ‘everything begins with the image’.

“The images are the focal point of the audiences attention,”

Michael Harrit launching the PXW-FS7

said Katsunori Yamanouchi, VP, Sony Europe. Backing up its live 4K productions earlier this year of the Moto GP (with HDR) and the UEFA Champions League Final, Sony has added two further cameras to its 4K inventory.

The PXW-FS5 is claimed as the world’s first Super35mm camcorder to feature built-in electronic variable ND filters.

The model is sister to the firm’s PXW-FS7 shooter – claimed as the fastest selling camera in its category.

talent through its Little Dot Studios — although Gary Woolf, EVP business and development, Digital Insight added that quality content produced by cable channels needed to be protected in the new OTT landscape.

“Several cable channels have reinvented themselves with top quality content: AMC with Breaking Bad and Mad Men but also TNT with Legends and A&E TV with shows like Storage Wars.

“Netflix is investing in content now but it was off the back of these hits shows that it made a name for itself. Could such creativity happen in an unbundled world? Does the unbundling of TV make it harder to take risks?

We have to safeguard content investment and creativity.”

The unit’s Exmor CMOS sensor sports 11.6 million pixels and High Frame Rate cache recording at 10bit 4:2:2 Full HD plus the ability to capture 240fps in eight second bursts. This feature makes 1/10 times Super Slow Motion possible, said the company, without sacrificing bit depth or loss of image quality.

“Last year at IBC we launched the PXW-FS7, which changed the way broadcast programmes and documentaries were made,” said Michael Harrit, MD, media solutions, Sony. “We’re building on the success of the PXW-FS7 by introducing a lighter more compact camcorder.”

The electronic variable ND filters are designed to expand the depth of field and enable “flexible exposure control” of the unit’s 14 stops.

The camera’s 0.8kg body has a 3.5-inch LCD panel; interfaces for 3G-SDI, HDMI output and SD dual card slots; and an E-mount to take SLR lenses via an adaptor, as well as Sony’s A-mount lenses.

Hall 12

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Mobile game-changer for OTT HDR: UHD’s wow factor Conference Analysis

Thomson Video Networks

By Adrian Pennington

OTT is a means of survival, a huge business opportunity or a weapon to stall churn, depending on where you stand. Either way, not having OTT is not an option.

“To survive, traditional broadcasters must adapt,” said Dave Pendleton, COO of Australian pubcaster ABC at the conference session ‘Is OTT Simply Broadcast Rebooted?’

“Many organisations have failed trying.”

He declared, “We’re losing control of our distribution paths and the arrival of new aggregators has fragmented our audiences.

When the likes of Amazon host our content we do not get brand recognition for it. This has forced us to shift away from being a distributor and acquirer of content back to being a creator and controller of ideas.”

The platform for that is ABC’s OTT service iView. “It

By Anne Morris

is strategically important for broadcasters to fade away from the schedule,” he said. “Ultimately demand will be connectiondriven, not schedule-served.”

In the Middle East OTT represents less than 1% of TV revenues, yet STARZ Play Arabia’s is expected to grow to $700 million by 2020, of which the company hopes to collect 30%.

“The global saturation of connected mobile devices is the single event which will define OTT and broadcast by 2020,” declared Maaz Sheikh, CEO. “The growth in broadband in MENA, especially

on mobile, will drive OTT.” Gidon Katz, director of Sky’s OTT service Now TV, said, “In Europe OTT is not just a reboot.

It is a strategic opportunity for pay-TV to grow the market by opening up new routes to market provided the OTT proposition is distinct and that it keeps pace with change.”

Referring to HBO Now, which MLB Advanced Media (MLBAM) powers, Joe Inzerillo, CTO, said: “I’d be surprised if you don’t see us expand very soon into Europe.

We hope to get an anchor tenant and expand.”

Quality assurance services reduce churn IneoQuest Technologies

By Will Strauss

Helping broadcasters and other video distributors to reduce subscriber churn is the IBC focus for IneoQuest Technologies.

End-to-end video assurance services and innovations for both linear and OTT/adaptive infrastructures are on show at the RAI, as is new technology for linear network Quality of Service (QoS) management.

“The tools and technologies we are demonstrating at this year’s IBC show are critical to the effective operation of any video distribution business,” said Kurt Michel, senior marketing director at IneoQuest.

“The industry is scrambling to meet the demands of today’s always-on viewers, and this is driving complexity to levels never before seen. At the same time, viewer quality expectations continue to increase, and subscriber churn is often a reflection of quality issues. Our

Rebranded T3Media eyes expansion Wazee Digital

By Anne Morris

Content licensing and management specialist T3Media recently changed its name to Wazee Digital and is now looking to expand outside the US market.

The company, which is showcasing its rebranded products at IBC, is in the

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process of assessing which markets to target, with the UK a strong contender along with other large European markets and Australia. At the same time, as the company’s service is software-as-a-service (SaaS) based, it does not require too many feet on the ground.

CEO Harris Morris said the company intended to grow through organic and inorganic means as well as via collaborations with other

comprehensive set of services and solutions offer the focus and visibility that our customers must have to manage both their traditional and emerging video-based businesses, and reduce churn.”

IneoQuest’s video intelligence technology measures and aggregates metrics in real time from several key points within the video distribution chain — including content preparation, network delivery and device playback.

3.A23

companies, and would be open to strategic and opportunistic acquisitions when suitable candidates emerged. The US currently accounts for around 90% of Wazee Digital’s business.

“We realised we had a technology platform we could use to help companies manage their content. That’s now the faster growing business,” making up 50% of its business overall.

14.M12

Technology companies are this week showcasing how high-dynamic-range (HDR) content can be added to UHD broadcasting to bring what many believe is the missing ‘wow’ factor for the second generation (phase 2) of UHD services.

HDR is a new standard for the contrast between the lighter and darker colours on a digital display screen like a TV. Some in the industry regard it as more important than enhancements in resolution like 4K. Thomson Video Networks is demonstrating the encoding of a live UHD TV signal to distribute HDR content. At IBC it is showing two examples of its technology using proprietary services from Dolby and Technicolor.

The ViBE 4K realtime compression solution for UHD enables media enterprises to make use of HEVC to provide a better video experience to consumers through live compression of UHD sources at

Eric Gallier: “It depends on the will of all of the players to work together”

up to 60fps and in 10-bit colour.

ViBE 4K with HDR support will be commercially available in early 2016.

Eric Gallier, VP marketing at Thomson Video Networks, said the goal is to make the same leap from HD to UHD that was achieved with the move from SD to HD. Gallier noted that both the EBU and Japanese standards authorities will soon begin requiring HDR for UHD broadcasts, adding that the first HDR-compatible TV sets are already on the market. He expects the standardisation process to start in 2016, also raising the possibility that the industry could end up with two standards for UHD with HDR. 14.A10

IoT: an operator opportunity?

Neotion

By Ian McMurray

He believes that operators are viewed as a trusted source to whom consumers will happily turn for a range of connected home services including, perhaps, monitoring – and that connected homes are a natural extension of an operator’s business. This could be via an existing set-top box or a second box.

He notes that security in an IoT world is an issue that needs to be addressed – but points out that this is a core competency for Neotion that can give the company competitive advantage in a crowded market.

Will the Internet of Things become an everyday reality?

And: can anyone make money from it? Gregory Wieczorek, president and general director of Neotion, believes the answer to both is “yes”. Wieczorek believes the so-called ‘smart home’ is an opportunity for operators.

“We have innovative technologies that can provide operators with new ways of driving new revenue streams 4.B53 from subscribers,” he said.

“Pay-TV on its own is unlikely to allow operators to achieve their desires in terms of monetising the user base – but becoming the preferred provider of other in-home Wieczorek: IoT can enable operators to drive systems can help new revenue streams from subscribers them do that.”

12-09-15 12:35

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