IBC2016 Daily D2 Saturday 10 September by Future PLC

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SATURDAY 10.09.2016

Sir Martin Sorrell: “Privatise C4; Trump could win” Inside By Chris Forrester Sir Martin Sorrell, delivering IBC’s ‘Global View’ Keynote in his position as CEO of creative giant WPP, gave a barnstorming speech and explained WPP’s impressive record (194,000 employees, 113 countries) and how recent openings in Cuba and more recently Iran (“83 million people and our biggest opportunity since Vietnam”) would further expand WPP’s global presence. Sir Martin continually amused delegates, but also issued a handful of cautionary warnings; that Donald Trump has a real chance of winning the US presidential election; that the UK’s Channel 4 should be privatised (“the market should decide”); and that Google and Facebook needed

to be more transparent in how they counted advertising impacts. He was blunt, saying that Google and Facebook were not technology companies, but media players. “They have advertising inventory which they monetise. These two cannot be both referee and player. If you believe time spent [engaged with media] is the correct metric, then how do you equate a typical 40 minutes spent reading a newspaper, with the 3 seconds spent ‘watching’ an online ad which perhaps has the audio turned down? This cannot equate with a 15- or 30-second ad on TV.” Sir Martin also argued that the retail brands that currently dominate could be under considerable pressure, as the likes of Amazon, Alibaba and

Sir Martin Sorrell, engaging as ever, in his IBC Keynote with Ray Snoddy

Tencent continue to grow. “Just a few years ago Amazon was 15 per cent of the British Post Office’s delivery business, now it delivers its own parcels. While we might focus on the duopoly of Google and Facebook, the real ‘big one’ coming is Amazon. Amazon is going to produce private-label packages, they are already

the second-biggest clothing platform in the USA. He said that while the USA maintained its top position in the ad-world in terms of spend and value, he suggested that China and India (“India has supplanted Brazil, for us”) were still his hot favourites for growth, as were other fast-growing emerging markets such as Indonesia.

IBC brings together the IP history makers By George Jarrett Never, in 49 IBC shows, have we seen the like. The move from analogue to digital was immense, but the eradication of the serial digital interface (SDI) in favour of our IP future has summoned the unprecedented gathering of the EBU, AMWA, the VSF, SMPTE, AIMS, the AES and the IABM to support the IBC Interoperability Zone, and user demands for a common set of protocols.

Broadcasters from China, India and many other nations jumped on planes to come and witness the VRT IP Live studio in action, and talk to VRT project manager Karel De Bondt and project founder Michel De Wolf. Asked about what is coming, De Wolf said: “Auto discovery is one thing, but for me the big challenge is virtualisation. This move to IP is only a way to enable virtualisation.” De Bondt said: “Much like the

IBC CEO, Michael Crimp, hosted the interoperability zone celebration featureing, from left to right: Felix Poulin, topic leader Live and IP Production for the EBU; VRT-EBU LiveIP co-founder Michel De Wolf; Richard Friedel, president of VSF; Karel De Bondt, project manager for VRT; Peter White, CEO of the IABM; Brad Gilmer, executive director of AMWA; Mike Cronk, chairman of the board of directors AIMS; and Peter Symes, director of standards and engineering, SMPTE

transition from tape to digital editing, which enabled a whole new way of programme creation, something similar will happen

when going from SDI to IP. You will see emerging computer cards and normal people will start programming their own devices.”

Multiple acquisitions for Blackmagic Design The Australian manufacturer enters the world of audio with the addition of Fairlight, while Ultimatte also joins the fold Page 3 IABM breakfast reveals the state of the industry The broadcast market is under stress, while personalisation and data are key issues Page 8 IBC Hackfest IBC tests the skills of code breakers, developers and programmers with a series of challenges set by sponsors including Google and Avid Page 16 IP revolution takes centre stage Today’s conference agenda is dedicated to IP and the cloud and will debate whether ITand IP-ready workﬂows are ready to replace the broadcast chain Page 32

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09/09/2016 19:22

The Blackmagic URSA Studio Viewfinder turns your URSA Mini into the ultimate live studio camera! Now you can turn URSA Mini into a professional live production camera by adding the URSA Studio Viewfinder! Featuring a large 7” screen with variable tension mounting points, tally and external controls, the URSA Studio Viewfinder integrates perfectly with URSA Mini. You get live production features and true digital film quality images with incredible texture, detail and color that are far superior to standard broadcast cameras!

Studio or On Location Operating a camera at live concerts, sports, and long events can be back breaking if you have to look through a tiny eyepiece all day! The URSA Studio Viewfinder has a large display with handles and external controls that let you comfortably stand behind the camera and follow the action for hours on end! The rugged external controls let you adjust settings without taking your eyes off the action, plus tally lights make it easy to identify which camera is live!

Designed for Live Production The all metal design of the URSA Studio Viewfinder features the highest quality variable tension mounting points and an articulated arm that lets you adjust the position and angle of the viewfinder. You can set the perfect amount of resistance, allowing you to move the viewfinder independent of the camera! This lets you keep the viewfinder still and your eyes on the screen, while quickly panning the camera to follow things like fast action sports!

Control at Your Fingertips The URSA Studio Viewfinder features extremely high quality buttons and dials that are perfectly positioned so you can quickly display frame guides, focus overlays and change settings! The menu dial lets you fly through options as well as magnify the image to check detail and focus. You also get dedicated brightness, contrast and focus peaking knobs, along with three customizable function buttons for zebra displays, custom LUTs, edge focus detection and more!

Advanced SDI Control Protocol URSA Mini can be controlled remotely using Blackmagic Design’s advanced SDI control protocol which uses available space in the SDI stream for talkback and to send camera commands, data and video back to the camera on its program input. ATEM Switchers can use the protocol to automatically turn on the Studio Viewfinder’s tally light, balance camera color, adjust focus and more, right from the switcher and without having to run any additional control cables!

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06/09/2016 11:58

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Blackmagic acquires Fairlight, Ultimatte Party perfection! OUTLINED

Blackmagic Design By Carolyn Giardina Blackmagic Design has entered the audio business and is extending its reach in the broadcast, commercial and feature film businesses via the acquisitions of Fairlight and Ultimatte. The value of the deals, announced as IBC opened, was not disclosed. Fairlight is an Australia-based maker of professional digital audio products used in live production, film and TV post production and for immersive sound experiences. Californiaheadquartered Ultimatte develops blue and green screen removal technology for the broadcast, commercial and feature film industries. “The exciting part about [the Fairlight] acquisition is that it will add incredibly high-end professional audio technology

the brating a great first day at S and Stream Circle are cele Friends from Provys, RTV va, project manager at jako Hop mka Zde y. part ed IBC show at the Olympic-them k tonight! We dance here : “We’re intending to get drun Stream Circle [far right], said and we are party anmals!” , akia Slov and Czech Republic every year; we’re from the

Ultimatte president Lynne Sauvé and Bob Caniglia, senior key accounts manager at Blackmagic

to Blackmagic Design’s amazing video products,” said Blackmagic CEO Grant Petty. “We look forward to working with the Fairlight team to build even more exciting new products for our customers.” Added Petty: “Ultimatte has been used by virtually every major broadcast network in the world. We are thrilled to bring Ultimatte and Blackmagic Design together and are excited about continuing to build innovative products.”

With the acquisitions, the staffs of the companies will also join Blackmagic, the company said. As to the brand names, Blackmagic senior key accounts manager Bob Caniglia reported: “We haven’t structured the details, but if you look at what we have done in the past (with acquisitions such as DaVinci and Teranex), we retain the well-known, respected names.” 7.H20 (Blackmagic), 8.B20 (Fairlight), 7.C27 (Ultimatte)

Here at IBC for the first time is the team from South Korea’s Genmix Technology, a satellite comms company, and they are already looking forward to IBC2017. “Europe is a new region for us and this exhibition is the best way for us to access it,” said Stephanie Han, director of administration and marketing [second from right]. “We are very interested in this region and are already planning for next year’s IBC.”

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SMPTE 2110 points VRT to the promised land of IP By George Jarrett Used for four interview elements per day by the IBC TV News, the VRT Live IP studio has been a focal point for the world’s broadcasters. Just before IBC, it was used to make 60 live programmes and 200 clips went on air. The two people associated with the success of the Sandbox project – founder Michel De Wolf and lead instigator Karel De Bondt of VRT – have offered

visitors a first phase in which SDI over IP is the norm, but things are moving fast. “Today in SDI we have video and audio embedded, but we will separate them and have elementary streams, and very important is the auto discovery that will happen. Finally, I hope we will get there in virtualisation,” said De Wolf. “With SMPTE 2110, we finally have a good standard for intercommunication and transporting our live scenes. The whole industry should

embrace virtualisation.” De Bondt said: “We have reached a milestone where we can have a fully operational TV studio. We can do sharing of equipment. As a broadcaster we now know that this technology is mature enough to use in dayto-day production. “To transform broadcasters into the internet age, we will need IP. If you want to make TV but you want to deliver all your signals and your metadata to the end-user so that he can compile

UHD takes off for UMG ATG Danmon UK By Mark Hallinger Completing the first stage of a global strategy to equip the world leader in music-based entertainment with advanced video production capabilities, ATG Danmon UK has formally commissioned the first of an international network of five-

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camera UHD flyaways for Universal Music Group (UMG). Beginning at Capitol Studios, Los Angeles, the project centred on the design, configuration and testing of a complete 4K production system housed in flight cases which can be deployed rapidly anywhere in the world. A second installation, at Abbey Road Studios in London, is now under way and

Flyaway: Ray Mia of Universal Music Group with Russell Peirson-Hagger and Jonathan Hughes of ATG Danmon

Conference Highlights Today at IBC Keynote: Online Broadcasting Evolves: Big audiences and music 15:00, Forum Keynote: Building a Global Digital Media Powerhouse 15:45, Forum

Michel De Wolf and Karel De Bondt

his own TV show ‘a la carte’, you want to interact with the end users. Or you may want to use many kinds of camera sources in many formats and mix in VR; I think you need IP,” he added.

will be completed later this year. The flyaway includes five Sony PMW-F55 compact camcorders capturing 16-bit RAW 4K direct to solid-state memory cards. Grass Valley fibre optic links connect via SMPTE fibre from each camera to a power unit. The multichannel feed is then combined into singlemode fibre for easy connection to a production control gallery. One of the cameras mounts onto a Ross robotic pan and tilt head, the other four being configured for manual operation. 8.B51

Paper Sessions: Novel Technologies for Assisting Sensory-Impaired Viewers 08:45, Emerald Are IT and IP Ready to Replace the Entire Broadcast Chain? 09:30, E102 What Do Audiences Really Want? The Truth About Changing TV Consumption 09:45, Forum The Battle for Eyeballs: Winning Viewers in the Connected World 10:00, G102/3 Can Audience Measurement Catch Up to Catch Up? 13:30, Forum Virtual Sets and Virtual Production: A masterclass describing the production of ‘The Walk’ with Special Effects Supervisor Kevin Baillie and recorded commentary from Director Robert Zemeckis 16:15, Auditorium

09/09/2016 19:38

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theibcdaily Discovery: Adding to the Olympic mix OUTLINED

By Chris Forrester Gerry O’Sullivan, who again moderated IBC’s now regular CTO session of industry experts, said that back in 2014 the key debating points concerned 4K or 8K, the threat of Netflix and OTT in general. “Last year we agreed it was no longer just about the pixels but the importance of HDR, WCG and HFR. We also discussed the cloud and IP.” Discovery’s CTO, John Honeycutt, said he was reluctant to play technology bingo, but that

what’s important to Discovery is the supply chain and the eco-system. “The cloud, and data of course, and virtualisation, are all important,” he said. “We are continually asking ourselves how we can use technology in a different way. We ask ourselves to re-imagine how the future could be and how we can use this piece of code in a different way. Could we tap into it for ad sales, or marketing? A year ago we would not have been discussing Snapchat. It is now

important to us.” Honeycutt said Discovery was already preparing for the 2018 Winter Games in Pyeongchang. “We are looking at the Games, including the 2020 Tokyo event, as to how different it might be. Might it use remote production, for example, which is already capable of handling the tasks. We also believe that the next few years will see some revolutionary developments affecting event production. Some of us were at Rio and it is quite incredible to see what happens for the

John Honeycutt, CTO, Discovery Communications, and moderator Gerry O’Sullivan

three weeks of the Games. “We see real opportunities for us because we are starting fresh and don’t have to drag things from the past. We’ll bring our knowledge, add that

Selenio One gets ABR transcoding Imagine Communications By Ian McMurray A high density adaptive bitrate (ABR) transcoding product built on Selenio One, the company’s software-defined linear transcoding platform, has been introduced by

Imagine Communications. “The high density transcoding instantiation of Selenio One was designed to relieve a particularly acute pain point for today’s content distributors, who have been steadily increasing the cost and complexity of their networks to accommodate shifting video consumption patterns,” said Brick Eksten,

fluid in operations while providing the ability to create chief product officer, Imagine new services on demand.” Communications. “Selenio The new addition to One redefines the operational the Selenio One platform environment for transcoding, supports HEVC/H.265 and offering cloud-like control of AVC/H.264 encoding, and mixed services with the ability is said to enable VSPs and to define and redefine those other media companies to services on the fly. Combining realise significant space centralised control with and power savings. The first dynamic service provisioning release of the product is allows the operator to be more capable of supporting up to

The UHD Alliance targets broadcast and mobiles By George Jarrett The UHD Alliance has certified 2,000 products since it launched its logo programme at CES in January. Its 50 members follow the mantra of defining what the premium experience is, be it for home displays and packaged media with Ultra HD Blu-ray. “We all know what standards are coming out and what we need to do. We create the best audio-visual experience,” said Dan Schinasi, director of

In Brief Louise and Woody combine The Business Management Solution (BMS) Louise can now be used together with video and audio processing software from Woody Technologies, it has been announced. The integration allows Louise to control Woody Outgest to trigger media and metadata

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consumer electronics product planning with Samsung Electronics America. IBC is the launch of a phasetwo programme involving television and mobile tool aspirations. “The standards for packaged media are complete, and we have that behind us now, so our focus going forward is really broadcast. We are here to define the programme experience for broadcasts and there are a lot of pieces to the puzzle. In trying to put that together, the most

important thing is to ensure that the content is delivered through the broadcast pipeline to the TV and maintains that full UHDTV clarity,” said Schinasi. “We are also trying to do something similar with batteryoperated devices – laptops, tablets and mobiles. We will look at all the attributes and performance criteria that will make a mobile experience of 4K a premium experience.” Asked if the wide European interest in upgrading 1080p with HDR, if the workflow

extraction from Avid Interplay Production and deliver to playout servers or a non-linear publishing environment. Woody Outgest handles all the steps in the process including MXFOpAtom to MXF Op1a rewrapping, renaming operations and FTP delivery. Louise, developed by ProConsultant Informatique (PCI), is used to optimise business processes from

content acquisition and rights management to distribution, in either a linear or digital multiplatform environment, and provides for centralised media and metadata management. 2.B21 4K playout on the radar For the first time, Pebble Beach Systems is demonstrating 4K playout from its Dolphin integrated channel system.

into our OBS partners and continue to improve and we’ll include VR and see how these new technologies will boost coverage of the overall Games.”

180 HD ABR or 360 HD linear channels per 4RU server, establishing, claims Imagine, new cost-per-channel benchmarks for high-quality video transcoding. Source formats supported in the first release are MPEG-2 or H.264 and HEVC/H.265 or H.264 on the output. 4.A01

theibcdaily EDITORIAL Editorial Director James McKeown Managing Editors Michael Burns, Jo Ruddock Front of House Editors Holly Ashford, Monica Heck Head of Design Jat Garcha Head of Production Alistair Taylor

Dan Schinasi: “We are going to deﬁne the program experience”

issues can be resolved, is on the alliance radar, Schinasi said: “That’s a matter of concern, and we are quite aware of it.”

“We are excited to show Dolphin playing out at 4K at this year’s IBC show,” said Ian Cockett, CTO. “It’s the perfect proof point that our software architecture is truly built to scale. Ideally suited to clipbased channels requiring static or animated logos for branding, Dolphin is a reliable, costeffective solution for 4K playout.” 8.C71

Reporters Ann-Marie Corvin, Chris Forrester, David Fox, Carolyn Giardina, Mark Hallinger, George Jarrett, Heather McLean, Ian McMurray, Anne Morris, Adrian Pennington, Will Strauss, David Wood, Catherine Wright Photographers James Cumpsty, Sander Ruijg, Chris Taylor IBC Chief Executive Officer Michael Crimp SALES Sales Manager Pete McCarthy Tel: +44 (0)20 7354 6000 Email: pmccarthy@nbmedia.com Account Manager Richard Carr Tel: +44 (0)20 7354 6000 Email: rcarr@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, Emerson Building, 4-8 Emerson Street, London, SE1 9DU England © The International Broadcasting Convention 2016. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Published on behalf of the IBC Partnership by

09/09/2016 18:43

Pure Creativity.

SkyPanel now speaks gel. Already able to create a vast number of colors, the SkyPanel can now, from SkyPanel Firmware 2.0, emulate over 270 well-known lighting gels. The SkyPanelâ&#x20AC;&#x2122;s calibrated light engine reproduces color filters precisely and enables users to select industry-standard gels in seconds via the on-board controls or through a new DMX protocol. This familiar way of selecting colors makes SkyPanel more versatile than ever before.

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Ericsson: “5G will definitely be disruptive” OUTLINED

Ulf Ewaldsson

Ericsson By Chris Forrester Ulf Ewaldsson, VP and group CTO at Ericsson, is a firm believer in the benefits that 5G wireless technology will offer. However, along with the advantages come

risks for established media businesses. “Bandwidth is going to increasingly become abundant. 5G, which will be endorsed by the ITU in 2020, is already making its presence felt. The whole industry is working towards that date, and companies which would never have thought about wireless are now readying for the technology “But for existing operators which already have relationships with subscribers, the changes will be incremental. For new industries which want to make use of 5G, it could be very disruptive. It is the same for broadcasters, where we believe it could also be disruptive. 5G is a

hugely powerful technology, and services which currently depend almost wholly on fibre can now tap into 5G. The next step is that we, as consumers, can also start to enjoy real benefits from 5G, moving content wirelessly around the home. It could be broadcast content, of course, but it might also be virtual reality goggles, or 360-degree content. “Some existing wireless operators are looking to 5G and enhancing their full service offerings. At the same time, the existing suppliers of content, telephony and OTT, which have tended to stay separated, could be very different.” 1.D61

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Proximus football launches IP remote production Lawo By Mark Hallinger Belgium’s Proximus has announced the successful launch of IP remote production for live broadcasts of the Proximus Football League in Belgium. To realise the project, SiA, the production company of the Proximus group, Lawo, NEP Belgium and Videohouse

established a joint ‘dream team’. Proximus delivered the network, Lawo provided its VSM control, mc2 audio and V__remote4 IP technology, and SIA its TV facilities. NEP Belgium and Videohouse provided the expertise on the field. This is the first time the technology is deployed on such a scale for a football competition in Belgium, said Lawo. 8.B50

Avid graphics deal Avid

By Carolyn Giardina NEP Group worked with design firm DD8 to implement Avid graphics systems as part of a broadcast production infrastructure for Seven Network’s coverage of the Rio Olympics, Avid announced. For coverage of the Games, NEP built a three-channel broadcast centre in Sydney. This included an Avid graphics system comprising Maestro, TD Control, RealSet and PowerWall, to deliver live graphics and real-

time AR content. This included an AR system with three cameras outputting AR data so that directors could cut to any of the cameras and maintain the audience’s view of the graphics. “An event as large and complex as the Rio games can be very challenging and demanding,” Angus Millar, head of production, NEP Australia. “We spent a year assessing possible graphics systems for the Rio games, and demoed systems from several vendors. Only Avid offered a complete integrated system with the power and reliability we

On stand: Massimo D’Amario, managing director of Skynet iMotion Activities, and Philipp Lawo, CEO of Lawo

DD8 managing director Adam Duncombe (right) with Joel Lamdani, Avid senior director of strategic market development

needed.” NEP Group also used Avid post and newsroom systems to deliver content for three Seven Network channels. Eleven Media Composer suites and a Pro Tools suite were managed via Interplay Production. 7.J20

ImmediaTV acquired for IP product line growth Cobalt Digital By Heather McLean

Bob McAlpine (left) of Cobalt Digital and ImmediaTV’s director of technology, compression division, Ciro Noronha, shake on the deal

In a deal struck late Thursday night in Amsterdam, Cobalt Digital has announced its acquisition of ImmediaTV, a Silicon Valley company focused

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on IP-centric video-processing solutions in both openGear and standalone formats for broadcast, live event, streaming and IPTV applications. The two companies have worked together closely for five years, creating bundled solutions for mutual customers. By acquiring ImmediaTV’s products and videocompression expertise, Cobalt said it can accelerate the growth of its IP product line. Said Bob McAlpine, executive vice president of sales and marketing at Cobalt Digital: “ImmediaTV is a respected broadcast industry brand and a well established

openGear vendor with a large and happy customer base. Sharing our customers and using the same platform will help increase sales, grow revenue and reduce costs as we cross-pollinate. “We have great admiration for ImmediaTV’s engineering talent, who are veterans in the broadcast and networkequipment industries. They are brainiacs; brilliant men. We’ll be able to develop compression products more quickly and with superior features and benefits in order to meet demand as the industry transitions to IP-based signal transport.” 10.B44

TV brands and their future plans By Catherine Wright “We believe many mobile operators are on the cusp of becoming fully-fledged TV platforms,” said James Currell, the COO of Viacom for the UK, northern and eastern Europe, speaking during a panel on the importance of brands for the consumer experience on Friday. “In response we are investing heavily in musthave long- and short-form content and making our content and brands available everywhere. We are looking at new opportunities with mobile operators and making our apps directly available to consumers.” The company has recently signed a deal with Singtel in the Asia Pacific region making its Play Plex apps available to Singtel’s OTT subscriber and is looking to sign up similar deals in the Asia Pacific region as well as in Europe, including in the UK, Italy and the Netherlands.

“Mobile can be the new growth path for TV generally”, he added. Virgin Media has built its reputation in providing broadband connectivity to its users, but the company is looking to invest more in TV entertainment, revealed Kerris Bright, the CMO for Virgin Media in the UK. “This is the beginning of a revitalisation for us in TV and entertainment,” she said. The company will be launching new set-top later this year, so watch this space. Spotify’s VP of global business development in the US Jorge Espinel said the company was focusing on data. “Data analytics is critical because music can be interpreted in so many ways: it’s much more than pop or rock, it’s music you might like to listen to when you take a shower, for instance, or while having dinner… Don’t forget that we have a catalogue of 30 million songs that need to be served.”

09/09/2016 17:57

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“Broadcasters must scale up” OUTLINED

By Anne-Marie Corvin Forming vertical partnerships with social media platforms and joining forces with other broadcasters to create scale will be strategies that broadcasters adopt to compete with the might of Apple and Facebook. During the Thursday evening sessions ‘Business Models and Breaking into the Future’, chaired by broadcaster Andrew Neil, his panel dusted off their crystal balls to reveal their business models for the future. “There’s going to be more vertical integration with social media channels,” said Phillip Luff, MD of Scripps UK and EMEA. “In the US we are doing this already, working with Snapchat and

Facebook Live across both advertising and creative editorial content.” Tom Toumazis, chairman of social media network TheLADbible, who has previously held senior positions at ITV, Sky and Endemol thinks that scale is going to become increasingly important for broadcasters. “Google dwarfs even the major operators, and partnerships between TV companies are going to be important. Broadcasters will need to scale up and come together. If antitrust legislation doesn’t allow this, then major tech companies will take over and there isn’t going to be a game left to play.” However, according to Susanna Dinnage, executive VP

By David Wood

and MD Discovery UK, there is room in the market for all players. “Broadcasters are going to see a lot of change as we become more familiar with data sets but there is room for all of us. With applications such as Facebook Live, broadcasters can reach new audiences – it doesn’t have to be an either/or.”

IABM stats are as unnerving as the IP transition IABM

Gearhouse Avid’s Louis Hernandez, Jr, addresses the IABM breakfast attendees

dedicated broadcast vendors.” He sized the market at $49 billion. Amazingly 85 per cent of users see interoperability as important, but 59 per cent are unfamiliar with the standard bodies that assure it. Asked about key trends and issues, Steve Canepa, GM global telecoms, media and entertainment, IBM, nominated the age of personalisation and the fact that data is now the

57 UHD channels now on air By Chris Forrester The launch rate of UHD/4K channels is picking up pace, said satellite operator SES’s Ferdinand Kayser, chief commercial officer, at a press conference at IBC. He said various SES satellites were carrying 26 out of the 57 commercial UHD channels now broadcasting, “and more than any other operator, and outpacing the rest of the industry”.

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Japanese public broadcaster NHK has unveiled plans to develop a new ‘ultra-thin’ OLED-based 8K display technology at IBC. The broadcaster is showing a 1mm-thick lightweight OLED display on its stand which it said would ultimately be developed as a plastic rollable screen designed for consumers to pull down and watch 8K images in the home. An NHK spokeswoman described large, ultra-thin lightweight displays as “the key to 8K in the home” with plans to offer the public pull-down 8K OLEDs, which differ from regular screens by being based on emissive

organic light-emitting diode technology with light created by electrical current. The plastic OLED technology is still in development, with the broadcaster showing 8K footage of this year’s Rio OIympics on a 130-inch display composed of 4x65-inch 4K ultra-thin glass OLED panels. NHK has also fastforwarded its plans for 8K broadcasting to 2018 with the PSB currently trialling 8K broadcasts via satellite between 10:00 and 17:00, available in NHK local bureaux, which are open to the public. The aim is for the 8K satellite broadcast technology from acquisition to post to be rock solid in time for the 2020 Tokyo Olympics. 8.G20

Fresh investment for global growth

By George Jarrett At the IABM breakfast event the base for discussion was set by CEO Peter White, caretaker of the broadcast industry’s vital organs. The first indicator of his usual stats attack was that the role of live sports – 14 per cent of top programmes in 2005, and 93 per cent in 2015 – is ever increasing. The surprise was that vendor revenues for hardware still stand at 54 per cent, with software at 26 per cent. “The market is under a lot of stress as we go through transition. The overall figure is a real slow down,” said White. “Users are moving to traditional IT vendors, and less so to

NHK reveals plans for ultra-thin 8K displays NHK

Phillip Luﬀ and Tom Toumazis

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Kayser said that the industry had revised its UHD expectations in view of 2016’s growth and, quoting data from analysts at Euroconsult, said SES expected rapid UHD channel expansion to take place among the planet’s emerging markets (expanding from 2015’s 16 UHD channels on air to more than 465 by 2025 (a 29-times growth-rate), while the ‘developed’ world would grow from 2015’s 23

centre of the business model in media as fundamental trends. “You can have great content but if you are not marketing it precisely you might lose elements of your audience. There is a lot of compelling content out there: $140 billion was spent on digital content this year, and it will be $180 billion next year,” he said. “The question is: is it the right content, the right experience and sent to the right person at the right time.”

channels to more than 282 by 2025. “Consumers around the world are buying into large screens, of 49-inches and more. More than 25 per cent of all new sets sold in Germany are now UHDequipped,” he added. SES says analysts expect further strong satellite channel growth – in SD and HDTV – in emerging markets, where the channel count is likely to grow from a 2015 position of about 25,300 by some 35 per cent to 34,200 by 2025.

By Heather McLean Gravity Media Group (GMG), the owner of worldwide broadcast services specialists Gearhouse Broadcast and Hyperactive Broadcast, has secured a substantial investment to fund future global growth by selling a minority stake in its business to investment management firm TowerBrook Capital Partners. Growth, said GMG founder and CEO John Newton, will be through strategically targeted acquisitions in the two regions, as well as organically, through the expansion into less wellserved markets and increasing of product lines globally, where

markets need it. Under the terms of the deal, Newton and his management team will remain in position and retain majority control of the group. They will be supported by two additional non-executive directors, Gordon Holmes of TowerBrook and Dave Checketts, former president and CEO of Madison Square Garden, who has extensive experience operating US sports franchises. Newton stated the experience of Holmes and Checketts will be instrumental in helping the company grow within North America. He said the business will also be looking for growth in Europe as, “we’re quite small in those two areas”. 10.B39

GMG is targeting growth in North America

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Blurred lines As digital video competition intensifies, collaboration becomes paramount, argues Sef Tuma, chief strategy officer, Accenture Digital Video A seismic upheaval is happening in the home entertainment, broadcast and pay-TV markets. Traditional cable TV and TV network broadcasters need to position themselves differently to capture new growth. They are becoming digital providers using their own streaming platforms to compete against new super platforms. One provider cannot offer all the content and technologies needed to deliver competitive digital offerings. By broadcasters and TV operators working together it is possible to generate growth opportunities for both types of companies: digital content distributors and digital content aggregators. Traditional content distributors produce original content and acquire content for distribution on several platforms. These companies are transitioning into digital content distributors.

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By offering a platform for broadcast and cable networks to broadcast their content on, aggregators own the customer relationships, packaging and viewing mediums. Through their own networks they can market, sell, and offer video services to consumers. With companies transitioning, lines continue to blur between digital distributors and aggregators. As traditional TV companies seek to capture growth in digital business-toconsumer markets, they must invest in digital technologies, and adjust their operating models to provide their services at speed and scale. Some companies will diversify by driving towards both direct distributor and syndicator roles. Ultimately, each must decide which business they intend to operate and build the capabilities to support them. A new type of collaboration between aggregators and distributors will

be key to deliver new growth. To better serve consumers wherever they are, promote loyalty and build trust across digital and traditional businesses, TV networks need to provide a consistent and personalised content experience across all digital platforms. Digital content distributors who require scale on digital channels in order to make their business models stack up can be enabled by digital platforms provided either by traditional or digital aggregators. Accenture has identified strategies traditional aggregators aspiring to be digital content aggregators can use to evolve their businesses. Treat content as king: it is the most decisive factor in a customerâ&#x20AC;&#x2122;s choice of provider, so the quality and relevance of an aggregatorâ&#x20AC;&#x2122;s digital content is paramount. Strong content propositions depend on aggregators establishing

broader relationships with traditional providers and multichannel networks. Becoming the gateway that consolidates a wide range of content in a consistent experience will attract and engage customers. Scaling to succeed: aggregators should scale digital services. This underpins advertising- and subscriptionbased business models. A large viewer base attracts content providers. In the digital world with the potential for global scale, it enhances an aggregatorâ&#x20AC;&#x2122;s ability to segment its customers accurately and deliver more relevant content while monetising the digital footprint. Aggregating insights: aggregators should use

analytics to drill down further, penetrating beyond a household view to an individual view. Better insights drive more relevant and engaging business services, which generate higher revenues for distributors and aggregators. It is time for traditional distributors and aggregators to become digital providers. To succeed, they must work together. Executed effectively, expect a wave of innovative digital products and services that will excite digital video consumers and drive revenues for the companies that create and deliver the products and services. 3.B39

30/08/2016 14:40

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OUTLINED

Q&A with IBC CEO Michael Crimp

ADB

What are your expectations for this year’s IBC?

By Ian McMurray

I think IBC is a unique event. As we move towards our 50th year in 2017, we remain willing to change and adapt to the evolving needs of the industry and strive to be a trusted voice. We are constantly looking for ways to grow and develop the event, in terms of physical space, market segments and technological innovation. It’s not just about extra space; we’ve also been working with exhibitors to find out how they want to grow, how we can provide them with added value and how we can help them to reinvent the way they exhibit. The overarching theme for IBC2016 is ‘Transformation in the Digital Era’, and we are going to see some exciting new ideas as

well as the consolidation of emerging technologies that are already changing the media landscape.

What’s on the agenda regarding IP? IP will be a big driver at this year’s show and will unlock a lot of sales on the show floor as manufacturers can demonstrate a glass-to-glass workflow that works, and works simply. There will be many IP-related conference sessions and demos all over the show floor, and we are launching a special IP Interoperability Zone in Hall 8 where content will be created and delivered live. IP truly permeates everything and people will leave IBC2016 saying that this was the year that IP became a reality.

What about virtual reality? Virtual reality (VR) also continues to grow as a major topic for our industry. Our Future Zone will see leading-edge technology including 360 degree cameras and headsets on display, while the conference hosts a series of VR-related speakers as part of a carefully curated programme linked to technology and content. What’s interesting is the way in which VR allows people to tell stories in different ways – this is a big opportunity.

IBC Rising Stars This year’s IBC Rising Stars programme starts today. This is an IBC initiative to create opportunities for young people looking to establish themselves in the industry, whether their interest is creative, commercial or technical. From 09:00 this morning the group will have a concentrated programme of presentations and talks on the hot issues of today and looking into the future. Speakers come from organisations like NBC Sports and Roku; Cisco and Adobe; GoPro and Intel. Between the presentations are opportunities to network with

Rising Stars delegates have the opportunity to explore the exhibition

each other and with some of the industry experts who are giving their time to boost the next generation. These include Alex Pettit from Alex.Live, Oisin Lunny from OpenMarket, and Naomi Climer who, as president of IET (and chair of the IBC Council) is now focused on bringing young people, particularly women, into the technology industries.

Tomorrow the Rising Stars delegates will have the opportunity to visit the exhibition and have free access to the whole of the conference. IBC would like to thank the sponsors of Rising Stars, Kakadu Software and Filmstro, and Media Partner, RedShark News. Find out more at IBC.org/ risingstars

Receiving its public debut at IBC2016 is graphyne2, which ADB describes as its nextgeneration, end-to-end personal TV software platform. According to ADB, the new platform is a feature-rich client device and backend software suite that provides a fully personalised, intuitive and user-friendly UX, enabling quick and easy access to the content viewer’s desire. The suite is a standards-based platform that the company says provides the components required to achieve a ‘one-stopsolution’ that allows customers to go to market extremely quickly. According to ADB, the launch extends its portfolio of connected solutions that drive fast, easy and risk-free deployment of value-added services with no upfront investment.

Balchin: “Cloud-optimised solution for next-generation pay-TV and OTT”

The graphyne2 platform is claimed to enable both pay-TV and OTT operators to deliver personalised user interfaces and second-screen applications, allowing consumers to quickly and easily browse and select content and services. Peter Balchin, CEO, ADB, said: “The new platform leverages our deep expertise in software design to deliver a cloud-optimised solution for next-generation pay-TV and OTT.” 5.B60

Content Everywhere Hub Today there is a packed programme in the IBC Content Everywhere Hub, the free theatre sponsored by Leaseweb, in Hall 14. Presentations start at 09:30 this morning, and continue right through until 17:00. The big debate at 13:00 looks at issues around global, regional and local OTT services. The discussion includes speakers from nScreen Media, TFI Digital Media, uniqCast and Verizon Digital Media. The second hour-long session, starting

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at 15:30, considers OTT opportunities for mainstream and minority sports. Filling the rest of the day are a series of 20-minute presentations by vendors including Beenius, Yospace, uniqCast, Hexaglobe, CSG, TMG and Norigin. RSG Media closes the afternoon with a 16:30 presentation on rights management, then hosts a drinks reception in the Hub. All events in the IBC Content Everywhere Hub are free to all IBC visitors. Full details are available at IBCCE.org/hub

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Dynamic approach to ad insertion

Path monitoring highlighted Volicon

By Carolyn Giardina Enhancements to Volicon’s Multiviewer option for its

Observer Media Intelligence Platform are on display at IBC. The features are created to let users keep an eye on every channel in the broadcast

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delivery chain, including OTT feeds, through a new OUTLINED graphical interface. This includes Multiviewer option’s new Traffic Light dashboard. This gives each user red-light and green-light status indicators for a customisable

grouping of select channels, OTT streams, and renditions of OTT streams, or user-defined sets of channels and/or streams. This is shown in a configurable window within the Multiviewer display. 7.G23

Springall: “Broadcasters have a tremendous opportunity to place themselves ahead of the curve”

Yospace By Anne Morris Yospace is demonstrating its dynamic ad insertion platform in the Content Everywhere area of IBC this week. The system allows serverside ad replacement in live simulcast. Full one-to-one addressability is supported and has contributed to viewthrough rates of ad breaks surpassing 98 per cent across Yospace’s customer base – a figure Yospace claims is significantly higher than the average for traditional linear television. Yospace added that it has proved, through a succession of major live events, that personalisation can be combined with reliability at scale to support audiences counted in millions, the most recent being Channel 4’s coverage of the 2016 Paralympic Games. David Springall, CTO, Yospace, said: “In a world where online-only providers are posing a significant threat, broadcasters have a tremendous opportunity to place themselves ahead of the curve when it comes to monetising live simulcast.” 14.C18

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The IBC Future Zone OUTLINED

Each year IBC seeks out ideas which will become the star products not this year but in years to come. The IBC Future Zone is the domain of cutting-edge projects and prototypes, liberated by IBC from the world’s leading R&D labs and universities. These projects are brought to IBC precisely because they are works in progress. This is your chance to influence their further development. The people manning the stands and running the demonstrations in the Future Zone are the scientists and engineers who are working on the project, so your conversations with them go directly into the project’s thinking.

They welcome your opinions: it could be the idea that takes the work in a whole new direction. This year’s exhibitors include Sphericam and Swissaudec; BBC R&D and ETRI, the Korean Electronics and Telecommunications Research Institute. The power of the IBC Future Zone can be seen in success stories from previous years. In 2011 and 2013 goHDR demonstrated the first complete high dynamic range systems. Today it has developed a camera with an 18 f-stop range, and is actively selling a complete pipeline to help other research bodies

continue the development. In 2011 Group 47 showed the concept of bit-plane imagery, a non-magnetic, chemically inert, electromagnetic immune method for long-term storage of digital files. Today it is working on a proof of concept contract from the US government. The 2012 prototype from the Technische Universität Berlin was hugely popular. It looked like a beach ball, but when you threw it up it took a 360˚ image at the precise moment the ball was perfectly stationary at the top of its flight. Today the ball is half the size, creates 108 megapixel images and is sold as the Panono for €549.

VR experiences are a feature of this year’s Future Zone

Alongside these glimpses of the future you will also find the technical posters from the IBC Conference. These are ideas that, in the opinion of the technical papers committee, are better presented as interactive posters. Again, the benefit is that visitors can talk with the authors, sharing thoughts and ideas.

The IBC Future Zone is where your preconceptions will be challenged and your imagination startled. It really is an unmissable part of IBC2016. You will find it in the Park Foyer near Hall 8. You can visit the Future Zone at any time during exhibition hours, and it is of course free to all visitors.

‘French Apéro’ drinks event French Pavilion/ CCI Paris Ile-de-France

By Mark Hallinger Anyone who wants to meet the more than 25 companies on

the French Pavilion is invited to attend a ‘French Apéro’ on Saturday 10 September at 16:00

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The transformative power of video in the cloud Never before has it been so easy to ‘stand up’ an OTT service, from the simplest workflow to the most complex, says Matt Smith of Anvato The cloud is transforming the way video content is created and distributed to a growing universe of connected devices, all the while changing and adapting to the way users engage with this content. In recent years, the adoption of OTT technologies has emerged as a critical platform for delivering rich audio, video and other media via the internet. It is no news to IBC attendees that OTT adoption is rapidly accelerating. Many programmers, broadcasters and service providers are looking to the cloud and its powerful workflows to better understand how they can help. These platforms help businesses in the media and entertainment

industry (among others) to scale their video infrastructure efforts and deliver high-quality, live video and on-demand content to consumers on any device; be it their smartphone, tablet or connected television. Those audiences are growing and are reshaping the ways in which they (and others) consume content; perhaps faster than any other delivery method in history. This means that organisations of all shapes and sizes are sprinting to deliver their video to every screen and need transformative workflows that enable them to be more flexible, adaptive and nimble. Since we last saw many of you at IBC, Anvato has become part

of Google Cloud Platform. This is exciting on a variety of fronts, and helps strengthen the vision we’ve long had about building powerful end-to-end workflows that reduce complexity, enable monetisation and enhance the viewing experience with audiences. Anvato customers will continue to enjoy the same platform as always, with increased flexibility and choice of cloud platform provider. While we are excited about the road ahead, we remain focused on providing today’s video customers with a world of features, functionality and flexibility. One very transformative change we continue to see this year at IBC is the departure from

legacy, on-premise hardware dependent solutions to modular, cloud-based ones. Just a few years ago, the on-premise approach was the only game in town. If you needed to process a library of VOD content to deliver to your audience, or had several live channels to stand up as OTT offerings, old iron hardware was the way to go. But today, you can launch a new OTT channel by pushing a contribution stream into the cloud in mere minutes. Need eight renditions from that source to reach Roku, Apple TV, Chromecast as well as Android and iOS? No problem. Similarly, those ten thousand VOD titles that need to be prepared for the same screens with the ad breaks automatically recognised, marked and ready for VoD monetisation via ad insertion are easily accommodated with this approach.

Never before has it been so easy to stand up an OTT service, from the simplest workflow to the most complex. Whether you’re seeking a robust, reliable platform to deliver a single live, linear stream or if your needs are much more complex and you have a subscription package with thousands of titles, various price points and optics into subscription revenue, churn and user consumption, solutions exist to meet your requirements. 14.L24

Brainstorm at IBC Hackfest today The world’s media is in a state of constant flux and the rules are being rewritten. Defending the status quo is no longer an option. Faced with unprecedented disruption the best tactic may be to break with convention and innovate a path to the future. Hackfest is IBC’s call to action and it starts today. The event pits the code-breaking and programming skills of 100 UI designers, developers, data scientists and entrepreneurs on challenges set by forwardthinking sponsors.

The hackers are competing for a grand prize of €4,000 cash, while sponsors including Avid and Google get the chance to generate entirely new IP, solve uncrackable software problems, and test the boundaries of their brand on industry outsiders. Each of the challenges at IBC Hackfest centres on smart cities and how we will work, live, travel and play in the city of the near future using AI, VR and IoT. IBC has partnered with AngelHack, the world’s largest

Hackers don’t sleep

hackathon organiser, which has enticed the crème of international talent to take part. The event kicks off today at 07:00 in the

Diamond Lounge with the hackers getting down to serious coding business from 11:00. Hackers don’t sleep – indeed

the best work is often done in the dead of night, so while you get some rest they will be hard at work fuelled by refreshments and adrenalin until submissions close tomorrow afternoon. The winners will be announced at 15:30 on Sunday in the Diamond Lounge. Everyone is welcome to learn more about the Hackfest and its participants so come to the Diamond Lounge and cheer them on. This could be the place to think your way out of a problem.

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The state of the industry Our main mission is to make certain the delivery chain can support every emerging technology, says Carl Walter Holst, CEO, Appear TV Our industry is in a state of rapid transformation, maybe more so than ever. The technology advances force traditional players into novel thinking in order to capture an audience characterised by changing behaviour. There is much talk about 4K, and eventually 8K, to improve picture quality, but we are also seeing huge technological advances in other consumer technologies, such as VR technology. Our main mission is to make certain the delivery chain can support all these new technologies.

OTT has been evident for some time, challenging traditional broadcast models. There is now a lot of talk of cord-cutters and even cord-nevers. Usually, these fractions make up the younger part of the demographic. This makes operators reflect on how the broadcast landscape will look down the road. It will be interesting to see how these developments affect the industry, bearing in mind the current uncertainty. At the same time, this is an opportunity for both new and current players to shape an exciting new future.

At Appear TV, we firmly believe these rapid changes are an opportunity to capitalise on our large R&D efforts. At the end of the day, people will still want quality content delivered to their home. It could be that habitual behaviour will change going forward. Making sure that the content is delivered with high quality and availability is imperative no matter how it is transported or to which screen. Appear TV has, among others, developed a new enhanced dedicated ABR packager to this end.

4K and 8K dramatically improves the viewing experience for larger screens. For the best possible viewing satisfaction, compression algorithms need to take advantage of the best optimised hardware to provide the best possible result. Appear TV recently launched its X20 Video Firewall, which will support both uncompressed and compressed transportation of among other UHD signals. Identifying new trends is always a challenge, but Appear TV has a great tradition of working closely with its customers to take advantage of new opportunities. We always aspire to make great, agile solutions so operators are equipped to meet new technology developments head on. IBC is one of the busiest and most important shows we do each year. Every year we try

to bring new ground-breaking products that are being launched for the first time at the show. Not only is this important from a marketing perspective, but also for customer feedback at an early stage. Visitors to our stand this year can expect to get a demonstration of our innovative modular ecosystems, covering all parts of the media delivery chain. This includes new products such as the Video Firewall, the extended ABR packager and our offline encoding solution. We look forward to another successful show. 1.C61

Launching into the IBC Community Our industry is changing fast. New businesses start up with bright ideas, and companies which previously did not think of themselves as broadcast manufacturers now find themselves a part of the electronic media revolution. To help these businesses

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ease their way into the IBC community, there is a dedicated area in which first-time exhibitors can stake their place. The IBC Launch Pad this year can be found in the newly built Hall 9. The companies on the Launch Pad this year each bring innovation and fresh

thinking, across a broad range of application areas and product categories. Some names will be familiar; all are exhibiting at IBC for the first time. The IBC Launch Pad in Hall 9 is part of the exhibition, and open to all visitors until the show closes on Tuesday afternoon.

Baba Entertainment, BenQ and Epiphan Video are on the Launch Pad, this year in Hall 9

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Q&A

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Dan McQuillin, MD, Broadcast Bionics Has IBC come at a good time for the electronic media industry? Why? IBC2016 coincides with a true step change in technology to meet increasingly complex production requirements. Advertisers and consumers are looking for an experience that is tailored to their needs and content that is shareable with their friends. This IBC, Broadcast Bionics is introducing the tools, technology and production techniques to deliver these services and leverage exciting new opportunities.

What are the key developments in, or threats to, your market sector currently? Rather than a threat we see exciting new opportunities,

helping to generate compelling, interactive, original programming and providing the tools to readily repurpose, publish and share content making ‘radio’ deliverable, shareable and discoverable across a whole range of platforms. We are focused on keeping the radio workflow simple, fast and affordable while delivering all these additional objectives.

Why should delegates visit your stand at IBC? Visitors come to IBC looking for ground-breaking new ideas so we have designed the Broadcast Bionics stand as an exciting, fully functioning vision of how radio can adapt and thrive in the years ahead. Our ‘social’

studio demonstrates both innovative live studio tools and production workflows to make content hugely more discoverable, shareable and rapidly repurposed across multiple platforms. 8.D71

Today sees a series of exciting presentations on the Technology in Action stage, looking at key issues which are likely to be of interest to many IBC visitors. Presentations at the Technology in Action Theatre in Hall 3 are free to all. At 11:00 this morning is a case study presented by Sky Italia and Imagine Communications. Sky’s Milan facility needed to expand its routing switchers and took the decision to start the migration to live IP working. The new installation includes a number of COTS IP switches creating a virtual matrix. This is a rare opportunity to hear from a major broadcaster which has made the move, and quiz them on the benefits and the pitfalls. The 14:00 presentation is equally compelling and

relevant, but in a very different area. Where news used to mean an appointment to view at 18:00 or 22:00, for many broadcasters and news organisations today it means publish digital first. As well as changing editorial priorities this means making editing and packaging of stories much slicker, and the cloud is a natural solution. Calkins Media has been working with remote editing specialist Forscene on a new approach to news creation and distribution, which it will discuss this afternoon. These two events are set to pack a lot of practical information and experience into 20 minutes. More information is available at IBC. org/techinaction, and all are welcome at the Technology in Action Theatre in Hall 3.

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Watch The Jungle Book in HDR

OUTLINED

Bob Boster, president, Clear-Com Has IBC come at a good time for the electronic media industry? Why? The broadcast industry is at a pivotal point in its overall transformation, and IBC comes at an exciting time for the industry as a whole and for Clear-Com specifically to present communications solutions to help broadcasters be more agile, dynamic and real time with their activities.

What do you think are the key developments in, or threats to, your market sector at the current time? Today, broadcasters’ production footprint is growing increasingly broader. This is driving production teams to look for communication solutions that are far-reaching, more flexible and elegant to extend their intercom reach and expand their coverage

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area. Clear-Com’s new wireless solution FreeSpeak II and our industry-leading IP interfaces, LQ, have gained tremendous enthusiasm and wide acceptance for delivering these capabilities. Flexibility in both LQ and FreeSpeak II provide the kind of fast, dynamic and ‘all over the place’ production that is demanded in the broadcast industry. These products allow people to do things with production communication and co-ordination that they could never do before. The other part of the broadcast transformation comes in the explosion of different ways to get content to viewers.

Why should delegates visit your stand at IBC? We see an exceptional interest in Clear-Com solutions, particularly in Eclipse HX and Production

Maestro Pro, as the means to enabling people working in the broadcast studio and especially master control rooms, to coordinate and collaborate on moving and managing content quickly, efficiently and in ways that respond to real-time events. Again, operational flexibility and broad choices in system architecture (wired, wireless, IP, across different manufacturers’ systems, etc) are driving the needs of these customers. We are pleased that our products are setting the standard for both. We would love to discuss any or all of these solutions at our stand. We look forward to meeting you there. 10.D29

Each year the IBC technical team takes the RAI Auditorium and converts it into The IBC Big Screen Experience. With the help of industry leaders including Christie, Dolby, QSC and Harkness Screens, for five days it is the state of the art in cinema technology. The IBC Big Screen Experience is home to conference sessions – including Ang Lee’s keynote address on Monday 12 September – demonstrations, and the IBC Awards Ceremony on Sunday. It also gives us the chance to show a couple of the year’s hot movies. These special screenings give IBC visitors a chance to experience both the best in cinema projection and sound, while watching the latest in creativity, production techniques and post production technology. This year’s Saturday night movie is the special high dynamic range version of Jon Favreau’s stunning new adaptation of The Jungle Book, thanks to the support of the Walt Disney Company. Despite being set entirely in the Indian

Grab your popcorn for the Bare Necessities

jungle, the live action was shot on a stage in downtown Los Angeles. Everything else, including the cast of animals like Baloo the bear and Shere Khan the tiger, is created in computer graphics. The IBC screening will feature Dolby Vision laser projection on the specially made Harkness screen and with Dolby Atmos immersive audio via the QSC sound system. The Jungle Book is a free screening for all IBC visitors. It starts at 18:30 tonight in the Auditorium, but demand for seats is sure to be huge. Doors open at 18:15.

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Panasonic’s latest UC3000 live UHD system camera with HVF100 viewfinder

Panasonic By David Fox The new AK-UC3000 4K live camera system, and the HD AK-HC5000, which outputs 1080p at up to 240fps, are now shipping. The cameras were previewed by Panasonic at IBC last year. The single MOS sensor AKUC3000 outputs an Ultra HD signal at up to 50p, delivers improved HD picture quality, and uses a B4 mount to accommodate 2/3-inch lenses. It also boasts high sensitivity (F10/2000lx), low noise (S/N 60dB+), high resolution (1800 TV lines/UHD) and a wide dynamic range of 600 per cent (-6dB~36dB). The AK-HC5000 is Panasonic’s flagship studio model, offering high-speed output up 1080/240p, and incorporates new 2/3-inch, 2.2M, 3-CMOS sensors, with high sensitivity (F11/2000lx), low noise (S/N 60dB+), and resolution measured at 1100 TV lines. The two models share many functions, including advanced focus assist, shockless gain (-3~36dB), a user gamma setting, black gamma correction tracking pedestal, multi-step Digital Noise Reduction, reduced skew and Dynamic Range Stretch. The HC5000’s flash band compensation corrects for the banding effect that flash guns have on most MOSbased sensors. A new camera control unit, the AK-UCU500, provides power over 2000m using hybrid fibre, and outputs simultaneous UHD and HD signals. Two new remote operation panels, the AKHRP1000 and AK-HRP1005, both with colour LCD readout displays, provide IP controls. A new 9-inch HD LCD viewfinder (AK-HVF100) is also available. 11.C45

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See us at IBC booth 10.A31

CONTROL COMMUNICATE

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SMARTPANEL RSP-2318

RIEDEL widens its SMARTPANEL app portfolio with the new MEDIORNET CONTROL app. Switch video, audio or combine in macros… all while using your intercom.

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30/08/2016 14:48

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OTT video delivery strategies Jacques Le Mancq, president and CEO, Broadpeak, explains how content providers can gain more control, optimise QoE and control CDN costs Global OTT TV and video revenues for 100 countries will reach $64.78 billion in 2021, according to the latest report from Digital TV Research. That’s a staggering increase from $4.47 billion in 2010 and $29.41 billion in 2015. Given the growing appetite for OTT video content, today’s content providers are looking for ways to gain more control over the delivery of their video content and optimise video content to provide a better quality of experience (QoE) to customers, while controlling costs, especially those related to CDN services. As an expert in CDN solutions that have been deployed by more than 50 network operators worldwide, Broadpeak has developed a set of solutions to help content providers address these issues. One of those solutions is CDN Diversity, the latest enhancement to Broadpeak’s award-winning umbrellaCDN CDN selection solution. CDN Diversity dynamically takes into account the instantaneous quality of several CDNs in order to request more from the best performing CDNs. Leveraging real-time information and analytics, such as geographical area, quality of service (QoS) and price, content providers can

choose the CDN that matches the exact requirements of subscribers or regions. Ultimately this solution enables content providers to improve QoE and QoS for end users in a manner that is cost effective. Unlike other systems on the market, the data utilised is never old; feedback is instantaneous and according to the actual behaviour of each end-user device. We’re also supporting content providers by enabling them to deploy local caches directly into telecom or cable operators’ networks, where the most popular content is stored. Since the content is streamed from a location closer to end-users, latency and network congestion are reduced, resulting in higher video bitrates, faster start times and uninterrupted viewing sessions, which in turn optimises end users’ QoE. As the most popular content can represent over 80 per cent of the video traffic, caching at the ISP level largely lowers CDN service costs. Another solution Broadpeak offers content providers is hosting an origin server. This approach allows content providers to gain more control over the quality of content, protect content through a DRM solution of their choice,

and work with several CDN as a service providers. The origin server is a key component in the OTT delivery chain. By packaging content together in multiple adaptive bitrate formats (eg, HLS, HSS, MPEGDASH, HDS), origin servers make it easy to address any player or device. Processing the content on-the-fly, upon user requests, also reduces the need for storage space. What’s more, origin servers like

Broadpeak’s BkS350 enable content providers to support advanced recording capabilities for cloud-PVR, catch-up TV, and network time-shifting applications to maximise monetisation opportunities. At IBC2016, Broadpeak will demonstrate a complete range of solutions for content

providers, including CDN selection, local cache and origin server technologies. Using a combination of Broadpeak’s solutions, content providers can offer a dramatically improved user experience over managed networks as well as pure OTT. 5.B72

The Battle for Eyeballs: Reaching connected viewers RISING STARS Room: G102/G103, 10:00-11:30 By Chris Forrester Winning – and holding onto – viewers is undoubtedly the Holy Grail for broadcasters and programme makers. But disruption is everywhere. This IBC session, part of the Rising Stars stream, has brought together established brands and broadcasters as well as some of the disruptors. It will be chaired by Oisin Lunny from OpenMarket, who looks at new verticals and strategic business and technology opportunities for the company.

Lunny’s overview of the media and entertainment landscape includes the latest disruptive developments around the world. He will be asking his panelists how do companies reach new audiences in a meaningful way? How do data insights and personalisation transform connected experiences? What business models and platforms are emerging along the way? What are the new approaches to creating and delivering content in a multi-platform world? Lunny’s panel is impressive and features Dean Johnson, head of innovation at Brandwidth, which is helping shape the connected future

for content owners. Also on the panel is Eric Black, CTO at broadcasting giant NBC’s Sports Group Digital, and Michael Shagoury, executive producer/editorial at AJ+ which describes itself as a global news community for the connected generation. Shagoury has a long history of working with some of the best-known names in news, not least Al Jazeera, CNN, BBC and ITN Consulting. Roku, already well-established with its streaming media services, and which is constantly adding new content relationships with some well-regarded broadcasting names, is represented by Steve Shannon, GM/SVP for content and services.

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30/08/2016 14:49

Why choose Matrox when moving from SDI to IP? Multi-channel video I/O over 10 GbE Multiple IP transport protocols Genlock (blackburst & ST 2059) Onboard up/down/cross scaler & compositor

Matrox X.mio3 IP

Multi-channel video I/O over 10 GbE plus onboard video processing Packed into a single half-height, half-length PCIe card, you get multi-channel, IP-encapsulated HD, 3G and 4K video I/O; support for all IP transport protocols including ST 2022-6/7, ASPEN, VSF TR-04, VSF TR-03, ST 2110, NMOS, Sony IP, TICO, VC2 and J2K, plus onboard deinterlacing and scaling to free up your CPU. Use the feature-rich, field-proven Matrox DSX SDK, including time-saving prototyping tools to speed your development.

Booth: 7.B29 www.matrox.com/x.mio3/ibcdaily Matrox is a registered trademark and Matrox X.mio3 is a trademark of Matrox Electronic Systems Ltd. All other company and product names are registered trademarks and/or trademarks of their respective owners.

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2016-08-03 09:21:37 30/08/2016 16:42

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High efficiency transmission and encoding OUTLINED

NEC Corporation By Mark Hallinger A newly designed liquid-cooled ultra-high efficiency digital TV transmitter series is being showcased. NEC said the transmitters in this range are a direct response to increasing worldwide demand for electrical cost savings. The transmitters feature ultra-high efficiency on both the VHF and UHF bands, enabling broadcasters and network provider to dramatically reduce operational costs. One new feature found on this series of transmitters is a lightweight wideband power amplifier. This newly designed PA weighs about half of what the

previous models weigh, making it possible to be lifted by one person, claimed NEC. The wideband design allows for common usage among transmitters, reducing the need to stock a large number of spares. Other featured products include 2K and 4K H.265 codecs. The VC-800/VD-800 is a hardware-based H.265 (MPEG-H/HEVC) codec which was developed to initiate optimum real-time coding of ordinary video resources. The VC-800/VD-800 provides better quality video than H.264 or MPEG-2 coding and can contribute toward saving transmission bit rate for a more cost-effective operation, said NEC. 8.B37

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Q&A JP van Welsem, vice president sales and marketing, EMEA, Grass Valley Has IBC come at a good time for the electronic media industry? Why? This is a good time for IBC because the industry is going through one of the most significant transitions in recent memory. The way viewers consume content today is changing, so creators and broadcasters must find ways to create, control and connect content wherever, however and whenever it is consumed. New technologies are making workflows more efficient and enabling the creation and delivery of higher quality content that will keep viewersâ&#x20AC;&#x2122; attention. At the same time, new tools are making it easier to monetise that content by delivering it along with more relevant, targeted advertising.

What do you think are the key developments in, or threats to, your market sector at the current time? There are many exciting developments today in live production, news, content delivery and networking that represent the future of our industry. Leading the way are the increasing adoption of 4K/UHD and HDR as well as advances in open standardsbased IP networking. The rate at which image quality improves continues to accelerate, which places heavy demands on the infrastructure to edit, move, store and distribute larger files. By leveraging a broadcast data centre approach to IP, those demands are easier to meet.

Why should delegates visit your stand at IBC? At IBC, visitors to the Grass Valley stand will see innovative, integrated solutions that help professionals meet their needs today while preparing for the opportunities of tomorrow. At Grass Valley, we understand that every customerâ&#x20AC;&#x2122;s needs are different, which is why we take the time to listen and get to know their businesses. With a broad portfolio that includes cameras, replay, editing, switchers, routers, servers, automated production, playout, multiviewers and much more, we are able to put together a solution specifically tailored to any creative, production or broadcast environment. 1.D11

4K60p 4:2:2 10-bit

DEC HEV OD C ER

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HDR Inferno blazes trail for 4K 60p theibcdaily

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So dynamic: The Shogun Inferno can display and output HDR images

Atomos

Meet us at IBC Stand #10.D29

By David Fox The Shogun Inferno is Atomos’ new flagship monitor/recorder that can record 4K and UHD at up to 60p over Quad-SDI, as well as 240p HD. It also displays high dynamic range output on its 7.1-inch 10-bit, 1500 Nit 1920x1200 IPS display. It records to Apple’s ProRes or Avid’s DNxHR and DNxHD formats, as well as Raw to Cinema DNG (only for certain Canon, Panasonic and Sony cameras initially – and not at the higher frame rates). Users can apply a custom look to recordings by uploading and applying custom 3D LUTs and view in full/half mode on screen, output it to another monitor or record it. It has SMPTE ST-2084 PQ (Perceptual Quantisation) I/O that allows it to be used as a grading monitor in post and to output standard HDR to compatible TVs or monitors. The system also allows rough edits, as users can create playlists of either entire clips or tagged parts of clips, for playback. The unit’s power system automatically swaps to the second battery when power is low for uninterrupted recording in the field, so the first battery can be replaced for continuous power. The €1,995 Shogun Inferno ships with a hard case, a sun hood, fast battery charger, control cable, two NP-F750 4-cell batteries, USB 3.0 docking station, D-Tap cable, five master caddy cases, break-out XLR cable and a 12v 3A AC-DC power adapter. 11.D25

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Intercom Without Boundaries

LQ Series: Connect Your Intercom & Audio Signals from Anywhere Create your broadcast intercom solution with communication between audio devices from anywhere in the world. The new LQ-R IP interface devices can bridge your central Eclipse HX matrix intercom network* to multiple remote industry-standard 2-wire or 4-wire intercom systems, audio sources, and even 2-way radio systems—completely over the IP network or Internet. Be amazed by LQ devices. Reach us today for more powerful solutions. www.clearcom.com

*from Eclipse-HX version 8.7.

30/08/2016 14:52

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The value of glass in a digital world Fashions may come and go but quality, crafted lenses always show their class, says Seth Emmons, marketing director CW Sonderoptic Never before in history have filmmakers had so many tools to serve the creation of cinematic content, but there are still only a couple of things that actually ‘create’ the image. An image is created when light hits a sensor or film emulsion, and anything that the light passes through shapes that image. There are countless tools to create the light, move the camera, or process the image, but the only things that truly create the image are the camera and the glass. Sensor technology is currently the number one driver of the cinema market through variations

in resolution, dynamic range, frame rates and colour science, just as film stock development was for decades before. But lenses follow closely behind. The dance of the camera and lens together, the images that different combinations can produce, is where the look of a film or television show begins, and filmmakers are always trying out new and old lenses to identify new looks and options for their projects. The IBC show is a great opportunity for visitors to see many of these new cameras and lenses for themselves and make decisions about what they

would like to test and use in the future because there are so many options nowadays. As the designers and manufacturers of the Leica Cine Lenses, CW Sonderoptic is continually developing new lenses and new optical options for cinematographers to create unique and stunning images because we know how important choice is to our creative customers. At our booth this year we are showing full sets of cine lenses as well as a few new tools for creating new images, like our Leica Cine MacroLux. This clamp-on lens attachment

provides a variety of unique looks on wide lenses and telephoto lenses, including an incredibly beautiful treatment of skin tones. We’ll be providing demos of these products in our booth so that IBC visitors can see for themselves how this new product could serve their creative vision. One of the toughest decisions facing IBC attendees that have production companies or rental houses is what gear should they be investing in. So much of technology moves so fast, fashions and trends come and go, and choosing the best investment that will pay off in the short term and the long term is tricky. Lenses, if well maintained, can last indefinitely and continue to generate returns for decades. The Leica Cine Lenses in particular offer

a clarity that pairs nicely with even the most high-resolution cameras. They also feature Leica’s signature emotional image, which presents a very natural representation of the world which can be pushed or pulled in a variety of directions for maximum creative flexibility without locking users in to a particular look or feel. We’re happy to have the opportunity at IBC to demonstrate our products for customers to evaluate and ask questions. It’s one of the best ways to connect with the global community. 11.A48

Cine Flex Vest - camera support for women Post in the cloud Easyrig

By David Fox Easyrig has brought out a new Cine Flex Vest, designed specially for female camera operators. It will fit all Easyrig support bars, but is aimed particularly at the Cinema 3 and Vario 5. Prototypes have recently been tested by female camera users. According to Diana Rackow, a US-based DoP, the lightweight design is very comfortable. “From the lower lumbar support to the cinch straps over the chest, [it] allows the load of the camera/gimbal

to be mounted with ease no matter what rig you’re gunning with,” she said. A scoliosis sufferer, Rackow added: “The Cinema Flex makes my long days with my full rig a breeze. […] My back pain has decreased and now I can focus on the shot and not the pain.” Josefin Owe, a Swedish DoP, said, “The vest offered extraordinary support around the chest. The load on the shoulders and back will be much more balanced.” “The new vest is a wonderful upgrade to the one I used with the Easyrig Mini,” said US DoP Blaire Johnson. “The pockets are a very welcome addition,

allowing me to keep my batteries and cards by my side at all times without the need for an additional gear bag on my hip.” 12.A59

DoP Diana Rackow found the Easyrig Cine Flex Vest ‘very comfortable’

Forscene

By Carolyn Giardina The Forscene team from Forbidden is demonstrating how video producers of news, sport and broadcast entertainment are using the company’s postproduction software in the cloud. For broadcast entertainment, this includes showing how the makers of series like Gold Rush, Gogglebox and The Diesel Brothers log footage, search metadata and create rough cuts in Forscene to save time in edit. Digital sports content providers are

being shown Forscene’s toolset for OTT and social delivery, as well as how these tools might open up new revenue models for repurposed content. Jason Cowan, director of business development, Forbidden Technologies, said, “Although IBC2016 is a technology exhibition, visitors to the show are business people and financial targets and strategic objectives drive their decision-making. Our focus is on demonstrating how using Forscene provides real business benefits to our clients in broadcast entertainment, news and sport production.” 7.K01

Find Vortex just inside Hall 12

12.G11

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30/08/2016 14:54

Leading the Way In Broadcast IP Unique and Compatible Solutions for IP Pipelines The march towards a broadly compatible, reliable and cost effective broadcast IP future continues with KONA IP and the new IPR-1G-SDI and IPR-1G-HDMI Mini-Converters from AJA. KONA IP now offers support for SMPTE 2022-7 adding multi-channel redundancy essential for broadcast workflows. The IPR-1G Mini-Converters provide SDI and HDMI outputs for JPEG 2000 decoding Logotype and How to use it from encapsulated IP streams, displaying your creativity anywhere. for Partners

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Standards matter and a secure and predictable road to the future is in everybody’s interest. AJA is securing your future as a founding member of the AIMS Alliance, participating member of the ASPEN Community and Sony’s IP Live Alliance.

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Continuing innovation in broadcast satcoms Since IBC2015 we have been very busy both in terms of system delivery and product innovation, reports Jan Molter, managing director, Hiltron IBC forms an important reference point in the timeline of any broadcast equipment manufacturer or systems integrator. Our project-related activity over the past year has embraced both broadcast satcom for signal contribution applications and technically comparable work for customers in the aerospace and naval communication sectors. Broadcast highlights include the provision of two satellite uplink stations for a large German television network. These have been integrated in main and redundant roles as part of a nation-wide expansion of the digital audio broadcasting network. The first station comprises a 2.4 metre receive/transmit antenna with a 1+1 redundant signal processing and waveguide switching, two blockupconverter power amplifiers, two modulators and a low-noise block downconverter for return reception check. The second station is designed to function as a weather redundant backup. The project included installation at ground stations in Ismaning near Munich and at the 595 metre high Dillberg transmitter site. In March, we commenced a satellite newsgathering vehicle project for another of Germany’s major public-

service broadcasters. This centres on the integration of a complete satcom system which will allow news or outside broadcast crews to deliver video and audio content to the network’s main studios from practically any location. We designed a complete system including a routing matrix and dual 250 Watt solidstate microwave power amplifiers feeding a 1.8 metre diameter dish antenna which we will be mounted on the vehicle’s roof. The entire system is operated via a Hiltron HMCS monitoring and control unit in conjunction with a Hiltron HSACU antenna controller which is designed specifically for satellite newsgathering applications. In July we completed a satcom project at a major teleport in Latvia. A combined endeavour with Danmon Group Sweden, this included a five-channel satellite link commissioned in time to carry television content to Europe from the 2016 Summer Games in Rio de Janeiro. Central to the contract was the provision and integration of 3.6 metre satellite dish on an HMAM motorised mount plus a Hiltron HACU antenna control unit and an HDCU-E icesensing and dish-heating system. At IBC2016 we will be introducing SORBAS, a complete family of products designed to form the heart of customised

VOD IS THE NEW LINEAR Let’s unify the workflow

satellite communication systems. These include our HMCS monitoring and control software, HCS universal control unit, HSACU satellite antenna control unit, HMAM three-axis motorised satellite antenna mount and HDCU de-icing control unit. SORBAS brings together into one product series a range of devices we have developed in our twin roles of manufacturer and provider of completed customised systems. Central to this product family is the HCS-Core which we announced at IBC2015. This is used as a control element for tasks such as switching

downconverters, integrated receiver/ decoders, digital video broadcast encoders, high-power amplifiers and waveguides. At IBC we will also be promoting Hiltron’s full range of satcom products and system integration capabilities plus our ability to provide long-term technical support for our own or thirdparty-designed systems. This latter capability is in growing demand as it allows system owners and operators to focus fully on their own core business. Do come and see our latest offerings on our stand. 5.B80

4K capable KVM for IP environments Guntermann & Drunck By Ian McMurray An in-house developed compression algorithm makes Guntermann & Drunck’s new DP1.2-Vision KVM extenders require less bandwidth to transmit signals than the previous XG version. However, according to the company, they can still provide clear and visually lossless images without any latency. DP1.2-Vision supports DisplayPort 1.2, and thus resolutions up to 4K at 60Hz. Guntermann & Drunck claimed the advantage of the reduced bandwidth is the improved possibilities of further processing. Thus, the extenders can be switched via G&D’s digital matrix systems. This way, if required, hundreds of workplaces are able to access an

equally high number of systems. The company said UHD applications will also benefit from the full range of the many G&D matrix functions such as CrossDisplay-Switching, the integration in media control systems or the Push-Get function. Thus, it claimed, large and distributed installations can be easily implemented thanks to G&D’s KVM matrix grid. G&D now also offers a KVM extender that allows access over IP structures. The new DP-Vision-IP transmits signals via G&D’s KVM-over-IP. Combinations with other G&D systems are also possible, thus allowing complex installations with worldwide access. The German manufacturer said that it relies on the most recent encryption methods and comprehensive access protection. 1.B10

Stand 3.C59 – Hall 3

Book a demo or appointment at mediagenix.tv/IBC2016

SCHEDULING THE FUTURE TOGETHER

DP1.2-Vision KVM extenders offer in-house developed compression

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Minimize complexity, maximize availability. Headends from Rohde & Schwarz.

Meet us at booth 7.E25

The R&SÂŽAVHE100 encoding and multiplexing platform provides video resolutions up to UHD with 10-bit encoding. It is a flexible, softwarebased system combining state-of-the-art IT technologies with extensive software components, including a market-leading HEVC encoder. Thanks to the Rohde & Schwarz headend solution, your premium content can be enriched by applying HDR. Advanced features like regionalization, video conversion and support of encryption systems are also part of the R&SÂŽAVHE100. See for yourself by visiting www.rohde-schwarz.com/ad/avhe100

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Multiscreen delivery portfolio showcased

OUTLINED

Imagine Communications

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?

The deployment of our solutions by major broadcasters such as the BBC and Sky Sports News shows that this technology is now widely accepted as the major tool for cost-effective and fast newsgathering. It has become a commodity product. Being an R&D company, we aim to be always in the front of new developments in IP Contribution. Upon request we develop custom-made products for all kinds of challenging live broadcast projects. However, we still experience that low-cost solutions sometime affect the image of the current professional wireless broadcast market by offering solutions with poor quality which disturbs the image of the market.

By Ian McMurray

Why should delegates visit your stand at IBC? Mobile Viewpoint is Europe’s leading company in 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 at every big broadcast event. At IBC we will be showing our latest backpack encoder, the Live Link H265. 14.F21

We have three WFM2200A Waveform Monitors to give away at IBC.

Claimed to be among the most comprehensive available, Imagine Communications’ multiscreen delivery portfolio supports high-density and high video quality transcoding and delivery for OTT linear and VoD services. An end-to-end cloud DVR solution, including recorders and packagers, it is supported by what the company describes as advanced storage optimisation capabilities that enable video service providers to costeffectively meet various legal and copyright requirements, including private copy laws. The company’s nextgeneration dynamic ad insertion and unified distribution portfolios enable content distributors to consolidate and, according to Imagine, simplify their infrastructures to reduce

costs and explore new monetisation opportunities. Also on show is Imagine’s end-to-end, omniplatform ad management portfolio which features open, modular systems that the company says help maximise ad revenue. Highlighted capabilities include sales, scheduling, and analytics for linear and non-linear delivery. In addition, Imagine is demonstrating what it says is groundbreaking integration of playout and scheduling achieved through the unification of its Versio and xG Schedule solutions. Imagine is also highlighting its collaboration with Microsoft and Hewlett Packard Enterprise (HPE). Microsoft Azure Certified solutions based on Imagine Communications’ softwarebased playout and live encoding solutions are featured, as are media cloud services that leverage HPE’s cloud-based, virtualised and orchestrated network services. 4.A01

WIN ME!

Simply scan your badge, complete an entry card and pop it into the box on the Tektronix stand. The draw will be made at 14:00 on Saturday, Sunday and Monday. Terms and Conditions are available on the entry cards.

Visit us in Hall 10 Stand D41

30 IBC D2 2016 v2JRJMcK.indd 1

30/08/2016 15:00

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Innovative Monitoring Solutions for the Video and Audio Professional

1 to 16 Channel Multi-Viewer with SDI and HDMI outputs for 3G/HD/SD and Custom Layouts • Approximately one input frame of delay • Custom Layouts with various standard layouts • 16 Character UMDs per window with custom position and size size • 8 Channel Audio Metering per window with custom position and size • Center Cross with Adjustable Safe Action and Title Graticules per window • Save or Load layouts and settings using the USB Control Panel • Each window is independent of the others, allowing any 3G/HD/SD format of any frame rate to be displayed simultaneously. • Fast Switching between inputs using Full-Screen scaling • 32 GPI for Tallies and Remote Switching • RS422/485 for Dynamic UMDs and Tallies • Selectable output format in both Full-Screen and Multi-Viewer mode • Control or Update via USB Control Panel on either Windows or Mac

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HDMI / SDI Cross Converter with Scaling and Frame Rate Conversion • The MD-HX features several converters all in one. e.g. HDMI to SDI Converter, SDI to HDMI Converter, Down Up Cross Converter, etc • Robust Aluminium case • Features the following four main modes: 1. HDMI to SDI while simultaneously converting SDI to HDMI 2. HDMI to HDMI while simultaneously converting SDI to SDI 3. HDMI to SDI and HDMI 4. SDI to SDI and HDMI multi-award winning • Includes the same Down Up Cross Converter from our multi-award winning MD-DUCC, allowing either the HDMI or SDI input to be scaled and/or frame rate converted to the required standard. • Control or Update via USB Control Panel on either Windows or Mac

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IP revolution takes centre stage at IBC2016 Conference OUTLINED

By Fergal Ringrose Today’s IBC2016 Conference agenda is dedicated to IP and Cloud: ‘Transformation in the Digital Era: Leadership, Strategy, Creativity in Media and Entertainment’. Within the Business Transformation stream of the Conference there are key questions to be addressed. Are IT- and IP-based workflows ready to replace the entire broadcast chain, including the current standard SDI baseband operation? In a cloud-based world powered by giant geographically dispersed data centres, how secure is your data and content? How do you begin to approach a new enterprise system design? How do you move from capex to opex? Should it be SaaS- rather than hardware-based? What kind of case studies would be of

benefit to your operation? How vertically integrated is your business? Emerging superpowers like Amazon and Netflix have made dramatic gains thanks to exclusive content, ownership of data and complete control of the user interface – diametrically opposed to the traditional scattergun broadcast model. This type of transformation is a major challenge to all legacy content owners, networks and distribution models. What is the future role of the internet for broadcast and content delivery? Vendors, broadcasters and standards bodies are currently working hard to bring about standardisation for IP-based operation, in order to prevent the type of fragmentation and proprietary-based systems that operators have been locked into in the past. Meanwhile,

key concerns remain about overcoming the latency built into internet-delivered content – which is anathema to the 24/7 always-on requirement of broadcast network delivery. Business Transformation is one of the six streams that form part of the five-day Conference programme at IBC2016. The stream explores the impact of new technology on businesses and the roadmap to transformation. Options for new infrastructures, processes, creative opportunities and workflows deployed by broadcasting and media companies in a highly competitive landscape will be at the core. Today will see a full day of case studies and sessions on enterprise systems, IP workflows, and cloud processing and applications. Executive producer John Ive said: “This subject area

is extremely important for the industry. It’s the biggest transformation our industry has experienced in many decades. We are looking at it from a number of different angles from production through to distribution.’’ Business Transformation will also treat a number of other subjects of key importance to the content and video industry including Analytics, Localising Content, Managing Programme Rights, UHD, Data Security and

more. “Our industry is going through dramatic changes, challenging and exciting at the same time,” said IBC consultant director of content, Susan Elkington. “The conference will focus on how the entertainment and media sector is using the accelerating power of technology to transform its businesses. It will be very useful for the content industry, which has a greater level of complexity than it used to.”

and devices, and optimally offer produced, acquired, user-generated and archive content. For a broadcaster, that means handling the transmission rights, paying artists, clearing music, preparing material, ensuring legal, financial and business reporting, and, generally, implementing back office workflows that fully support this content-centric view in a comprehensive and efficient way. It is this challenge that MediaGeniX is addressing. The development of its broadcast management system WHATS’On is driven by the key evolution in

broadcasting where managing all forms of content and rights for any kind of linear or VoD service, is the way forward. Never before has there been such a fast and significant change in the definition of broadcasting itself. Broadcasters need to react fast to new techniques and opportunities, but they can only do that as long as their back-office can cope. This explains the desire for a flexible, integrated and, most crucially, agile content, rights and scheduling system. MediaGeniX can achieve this agility by co-operating intensely with their diverse customers base. Through cocreation they learn about new needs and at the same time enable broadcasters to stay ahead of the game. Clearly, the diversification of the business is so significant that content never fits all platforms or audiences. Content is still king, provided it is the right content on the right platform at the right time. 3.C59

OPINION

The future is content centric If content still is king, TV anywhere, anytime and all other forms of media consumption are rocking the throne, says Michel Beke, SVP, product strategy, MediaGeniX For decades, we have been told that content is king. True as this may be, the fact is that content and consumption is drastically changing. Highquality drama productions, talent competitions, current affairs and news still draw people in droves to the couch in front of the smart flat screen TV. But you can bet that at the far end of the couch, there is a kid (or adult) reading, gaming, browsing or looking at something entirely different on a tablet. How can traditional broadcasters respond, survive, or even thrive in this media revolution? How can an expensive hour-long quality programme compete with a 30-second video of a cat chasing its own tail? What kind of content do you need when you combine linear broadcasting with video

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on demand, or free-to-air and paid services with social media, or traditional TV sets with mobile devices? All options and opportunities need to be explored. Obviously, big productions such as live talent shows, big sports events, news and newly premiered drama will always attract audiences to a big screen. But by slightly changing the traditional content lifecycle, it is possible to also produce, repackage or repurpose content that is tailored to specific platforms or audiences. This might range from bloopers on social media and interviews on a website, to catch up on your telecom provider’s VOD platform, or making all previous seasons available on Netflix. Condensing all the news of

the world into 30 minutes can trigger viewers to look for more in-depth content about a specific topic, guiding them to interviews, user-generated videos, documentaries or talk shows. The wealth of archive content that can be repurposed, referenced or repackaged into new ad-hoc series, and the popularity of short clips that are saved from the cutting room floor, is staggering. This is the kind of repurposed content that can find a captivated audience and generally enhances the viewing experience. This is the content-centric business model that will shape the future. But this business model is only viable to the extent that the broadcaster can efficiently combine platforms

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Shoot some hoops with EVS

OUTLINED

EVS

Dean Wales, head of marketing and PR, Screen Subtitling Systems Has IBC come at a good time for the electronic media industry? Why? IBC2016 will prove to be an interesting exhibition. Over the past two years, broadcast has been in a continual shifting state with a shroud of uncertainty over where technology and its adoption would truly settle. It appears this year however that for instance the application of OTT, the relationship between ISP and content owner, and bundling strategies have more or less solidified offering to some degree better directional insight.

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

The extreme pressure freelance subtitlers are under now in terms of time and level of rates has presented Screen with a challenge of making our subtitling software more accessible. This has resulted in direct download via our website and new affordable monthly, six monthly and yearly subscription options. And emerging markets, such as Russia, have reignited a requirement for traditional hardware challenging the shift to a more virtual environment.

Why should delegates visit your stand at IBC? Screen’s flagship subtitle transmission system Polistream has been lifted to a new level with the new U8000 offering higher density, enhanced configurability and improved

By Mark Hallinger Showcasing the fast, efficient nature of EVS’ live officiating tool Xeebra, the #EVSlamDunk Experience is on stand at IBC for the first time. This immersive basketball arena allows IBC attendees to attempt a basket on the FIBAendorsed court, and see how EVS’ live tools can enhance the decision making and power reliability. MediaStor is our new cost-competitive solution that is specifically designed for media storage with seamless expandability of capacity and access speed. This new solution (powered by Suitcase TV) uses COTS technology in a software defined storage architecture to deliver outstanding low costs per byte of stored media. 1.C49

Hoop Dreams: IBC attendees can shoot a basket at a real court, and see how EVS can enhance live sport coverage

storytelling of its users. Also new is the XT4K server. It features advanced configurations for multi-format 4K/UHD and HDR, which offer support for live replays and virtual effects for 4K productions. EVS is also deploying its new live connected infrastructure management tools that support the increasing need to operate within an IP-compliant environment. The tools presented at IBC include MultiReview, which enables the control of up to 16 multi-angle feeds for instant control and automated highlights creation. This is already being deployed around the world to deliver the best moments of this summer’s international sporting events to fans. 8.B90

The BullDog™ Field Fiber Transport System

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At the heart of the playout revolution Vendors offer a wealth of ‘best-in-class’ IP solutions but how many of them are truly able to virtualise these solutions, and to what extent are they proven today? asks Tom Gittins, CEO, Pebble Beach Systems As one of the world’s largest technology showcases, IBC delivers an excellent opportunity for vendors to put their best foot forward, but most importantly it gives end users the unique opportunity to evaluate the teams behind the products as much as the new technology on show. So be sure to do your homework, ask hard questions and choose a partner that’s in it for the long run. On the Pebble Beach Systems’ stand, every virtualised playout demo you will see is based on proven technology that is in use today. Our presentations showcase the deployment of multiple

channels running under Marina automation control on our virtualised playout solution, Orca, within a matter of minutes. These channels are hosted both in the private cloud, and in the public cloud using Amazon Web Services (AWS). This ability to rapidly deploy channels at low cost makes the public cloud solution particularly suited to pop-up event-based channels, and to disaster recovery applications. The transition to an all-IP infrastructure may be well underway for many facilities, but it is also the case that specialist solutions are still required for specific functionality such as

version management, playout, high-end graphics and nonlinear distribution. In fact, many broadcasters have unique customisation requirements that are best met by a best-ofbreed approach to outfitting the transmission facility. At this year’s show there is much talk of standardising operations to move uncompressed video over IP in order to allow broadcasters to build a multi-vendor solution. But replacing SDI connections with IP connections in the playout chain isn’t necessarily the most efficient way to move forward. Pebble has adopted a ‘pure software’ approach.

By bringing specialist third-party technology and developing interfaces for plug-ins to bestof-breed solutions which are hosted within a single playout environment, we can avoid any limitations imposed by moving video over IP. As we move towards purely virtualised playout, these multi-vendor integrations gain even more importance on the technical, commercial and customer experience level. With several new partnerships also announced at the show, including with leading graphics specialist Pixel Power, and MAM vendor Tedial, Pebble continues to innovate in the playout space, working to evolve your playout environment at a pace that suits your business goals. For broadcasters migrating to an all-software environment – regardless of whether this is hosted on-premise or in the cloud – the move does not

simply involve choosing new technology. Implementing a new virtualised infrastructure also requires new skillsets and a fundamental shift in business models. With such an essential change must also come a deepening of the relationship between the vendor and the broadcaster. It is those vendors who can truly listen to the specific requirements of each deployment, adapt to the customers’ needs, offer expertise and a collaborative approach well beyond the on-air date, and deliver accountability for their offerings throughout the lifecycle of the deployment, who truly deliver a return on investment. 8.C71

Huggers & Rafati: two compelling keynotes CONFERENCE TODAY FORUM 15:00-16:15 By Chris Forrester Today’s first Forum Keynote session (15:00-15:35) features Erik Huggers (president & CEO at online music service Vevo), debating ‘Online Broadcasting Evolves: Big audiences and music. Beyond YouTube and how Vevo is shaking up the Broadcasting Playlist’.

Huggers is well-known to IBC thanks to his time at Intel, Verizon, Microsoft and Endemol, and of course his time as the BBC’s executive board member responsible for the BBC’s Future Media & Technology Division, which gave British viewers the ‘Red Button’ initiative, BBC Online and BBC iPlayer. His focus now is Vevo, which is YouTube’s biggest single content provider, with major stakes held by Sony Music

Entertainment and Universal Music (and minority stakes by Google and Abu Dhabi Media). Vevo’s thrust is videobased, not audio. Back in July, Vevo announced a major redesign of its online App and Huggers is supremely qualified to explain to IBC delegates what Vevo’s aims are, not least tapping into a global thirst for up-to-the-minute music video hits. And when you realise that stars like Beyoncé,

or Adele, or even Psy’s Gangnam Style can speedily reach 1 billion views, then this is an important business. This is followed by Shahrzad Rafati, founder and CEO at Broadband TV (BBTV, the world’s fastest-growing and largest multi-platform network specialising in shortform content), discussing ‘Building A Global Digital Media Powerhouse (15:4516:15). Rafati’s company,

Intelligent fibre-optics for audio Stage Tec By Mark Hallinger An intelligent fibre-optic board for NEXUS audio networks and mixing console connectivity has been launched at IBC2016. As a special feature, the new generation of NEXUS fibreoptic interfaces, or XFOC for

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short, acts not only as an I/O transfer medium, but also provides integrated routing functionality. Four independent ports are each capable of transporting 512 inputs and outputs via fibre optic to the NEXUS Base Device, Stage Tec’s standard audio router. In total, this creates a management and routing capacity of more than 2,000

signals per fibre-optic board, said Stage Tec. The new XFOC connects to the XRT router board, introduced in 2014, which processes more than 8,000 signals and enables entirely new network architectures. In addition, the board retains backwards compatibility with the previous standard connections. This makes

The new boards feature integrated routing and increased transmission capacity in a small footprint

it ideal for integration into existing systems. “Our product strategy retains value at an

only founded in 2005, already has an impressive client base (including FremantleMedia, Sony Pictures and A&E) and a slew of appealing destination sites (Windfall, Outspeak, YoBoHo) as well as growing relationships with the likes of RTL, the NBA and The Huffington Post. Few are better able to comment – and even predict – the shape of the future of broadcasting in the ‘on demand’ world.

extraordinary level for all customers,” commented René Harder, member of Stage Tec management. “All existing installations can benefit from almost all innovations, such as now with the new XFOC generation. Instead of having to procure a new audio network or mixing console and routing, customers can upgrade their installations with our new modules, keeping them up to date.” 8.C80

30/08/2016 15:02

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30/08/2016 16:56 11.08.16 19:01

360° MEDIA INTELLIGENCE SYSTEM Analyze, Structure and Link Your Media Data in Real-Time

Learn more at

Stand 3.B40 Developed with:

Experience the world’s most powerful media analysis platform live at IBC! More than 1,000 different data types e.g. text, image, audio, video and meta data can be analyzed in real-time. Benefit from completely new possibilities opened up by functions such as logo and facial recognition, language and video analysis and OCR in moving images. In co-operation with Hewlett Packard Enterprise we will demonstrate the huge potential of artificial intelligence for media analysis – live at IBC 2016. Learn more about the jointly developed Media Intelligence System based on HPE IDOL and customized operation layers from Qvest Media. IBC, Stand 3.B40. www.qvestmedia.com

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Open source at the European Broadcasting Union/Eurovision OUTLINED

Exactly ten years ago, motion graphics artist Jonas Hummelstrand posted a message on a web forum. It read: “In 15 minutes the Swedish election TV-show airs, and we’ll be outputting a lot of real-time graphics directly from Flash!” Jonas was excited. He stood at the cradle of something new, but he probably had no clue how big his baby would turn out to be. Jonas is the main person behind CasparCG, the open source professional graphics and video playout software developed by Swedish public broadcaster SVT. This year, a decade after its conception, CasparCG was used for the Eurovision Song Contest graphics, including all of the animated votes counting. CasparCG performed flawlessly, answering the first question people always ask about open source: “Is it really fit for broadcast?” Since May

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2016 the answer is: “Yes, although it has not been proven with a live audience larger than 204 million yet.” Ten years is also approximately the period that the European Broadcasting Union has been tracking open source developments in the broadcast industry. In that time, a lot has changed. Open source software has become a de facto part of our lives. Without realising it, we are using it many times a day; whether hidden in our phones or more explicitly exposed as the browser of our choice. Without open source, many innovations would never have happened – at least not with the speed with which they have happened. But the big change is not the proliferation of open source – which, it must be said, remains hidden in our particular industry – but it is the way people think of its merits and dare to speak about it. Where

in previous times, presentations on this topic would be met with scepticism and disdain, the past two years have shown the topic attracts audiences: maybe not the traditional sceptics, but open-minded youngsters. It is not for nothing that innovative companies such as Google and Netflix

play the open source card well. It allows them to get the best developers and speed up their own innovation cycles. What they have understood is that programmers like to share their work and have an enthusiasm for what they have created, like Jonas did with CasparCG when he wrote that early

blogpost in 2006. To learn what open source projects thrive in our industry now, visit the EBU Open Source Meetup at Stand 10.F20 on Saturday 10 September at 16:30. For more information on the event, see: tech.ebu.ch/ events/2016/ibc-2016

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OB sports coverage leading way in VR/AR OUTLINED

Douglas I. Sheer, CEO of D.I.S. Consulting Corporation While the virtual and augmented reality trend has been generating increasing interest among consumers it remains in the early stages as far as producers and broadcasters are concerned. While there are a number of applications for VR/AR including motion pictures, TV series, live events and military uses, the major current market mover is sports and the most common method of capture is the use of mobile OB vehicles outfitted to assist with the origination and dissemination of live or canned VR/AR programming. And, no topic can be seen to be as revolutionary than virtual and augmented reality, which has seen a tremendous advance in share of mind this year. The VR wearables product market is strong and gaining popularity, focused on goggles. According to Jon Peddie Research, worldwide shipments of wearable devices are expected to reach 101.9 million units by the end of 2016 and are projected to reach 213.6 million units shipped in 2020, a compound annual growth rate (CAGR) of 20.3

per cent. Numbers regarding VR-equipped broadcasters, productions, mobile OB and studio facilities have been, more elusive, but are seen as growing strongly in response to consumer interest. Specially-designated VR/AR pavilions have been popping up at the world’s leading trade events. One example is the NAB 2016 where that area was home to 28 exhibiting companies and became a hotbed of attendee interest comparable to the supercharged drone area. The pavilion featured a blend of up-and-coming technical and broadcast players in the space as well as established brands like Kodak and Nokia who were exhibiting their full-fledged foray into rapidly developing 360 degree capture technology. Beyond the confines of the pavilion there were examples of VR/AR on view in many other exhibitor booths at NAB, including those of Red, GoPro and Epson, a long-time developer in the space. In the sporting world there are many normal elements that lend themselves to VR/AR usage. Live coverage, the creation

of a quality of spectacle, pumping up viewer emotion, building moment-to-moment excitement, and ultimately the unpredictability of outcomes all lend themselves to the use of the technology. Sport is an experience that connects millions of viewers through a common experience, and has today become a massive industry, dominating many countries and audiences. VR/AR can enhance the experience for home viewers. One company, 360Heroes – which recently rebranded as 360Rize – specialises in camera rigs for 360 degree video production, underscoring the skyrocketing interest in VR over the past few years. At NAB 360Rize debuted both its 360 Helios spherical rig for Blackmagic Micro cameras and its new plug-n-play product line, featuring injection moulded, modular rigs available for 6-, 7-, 10-, or 24-camera configurations. Soon those cameras will become UHD. While specially outfitted mobile trucks have become central components of the VR/AR trend in sports and

Advancing media workflows Tedial

entertainment, many other hardware and image stitching software components also play an important part in the phenomenon. Furthermore, the VR/AR Pavilion at NAB wasn’t limited to exhibitor companies; a sizeable portion of the pavilion was dedicated to exhibiting the medium of VR itself. In partnership with NAB Show, VR content providers like Jaunt and Kaleidoscope co-sponsored a full VR/AR demonstration area equipped with 30 Samsung Gear VR headsets, four HTC Vive setups and three Oculus Rift set-ups that was packed the entire four days of the show, with demo requests far

New 9941-RTR series routers for openGear Cobalt Digital By Heather McLean

By Mark Hallinger Along with its Version Factory media factory workflow product, the company is showcasing Evolution BPM, which Tedial claimed to be the industry’s fastest and most flexible business process management workflow engine. Evolution BPM is compliant with BPMN 2.0, and presents a suite of scalable and flexible Media IT software modules that automate the preparation, movement and distribution of media internally and externally.

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Evolving: The company said it stays two years ahead of the evolving business process management market

Tedial said its R&D and support structure strives to stay a full two years ahead of the market, which allows its customers to increase their business efficiency with the

most advanced technologies and allows a continuous evolution of software solutions to adapt to future customer needs. 8.B41

exceeding the capability of the presenters. The pavilion was packed with attendees. But, even among media professionals, there is still a lot of education needed regarding VR and AR production techniques and viewer consumption to make these applications work smoothly. And, among builders and operators of mobile OB vans and trucks there is a learning curve to maximise the effectiveness and performance of VR vehicles in rapidly emerging field sports applications. Douglas I. Sheer can be reached at dougsheer@gmail.com.

New from Cobalt Digital is the 9941-RTR Series of SDI/ASI/MADI routers, the only modular, cardbased router solution in the openGear platform. The 9941-RTR routers come in 3G/HD/SD-SDI/ ASI/MADI versions in sizes from 24x24 to an asymmetrical 12x4 I/O configuration, for a high density, compact solution in 2 RU. A 12x4 12G-SDI version is also available for 4K applications. The 9941-RTR series offers built-in Ethernet ports

and multiple serial and GPIO control interfaces. It also supports easy-touse JSON-based ReFLEX, SNMP and third-party router protocols for easy integration with AV control and automation systems. The 9941-RTR integrates with other advanced Cobalt products, such as the 9970QS expandable multiviewer. This synergy enables a dynamically reconfigurable, nonblocking, 24-source, nine-PIP multiviewer. DashBoard remote control gives users full control over setup and status, with local access via a standard Ethernet network. 10.B44

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Combining audio and video encoding OUTLINED

Holst: “Modular audio encoder looks to the future of broadcast services”

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Appear TV

A brand of artec technologies By Ian McMurray A new audio processing module is being presented at IBC by Appear TV. According to the company, the audio encoder enables operators to integrate all of their video and audio encoding needs into a single system. The compact module is claimed to be capable of encoding up to 32 stereo radio channels in a single one-slot interface, making it easy to introduce large volumes of radio services to the service line up. As a part of an expanding series of future software updates, the first release of this new module supports audio encoding of radio channels and manual audio levelling adjustment. The audio is received embedded in HDSDI/SDI and supported output formats include MPEG-1 Layer 2, MPEG-1 Layer 3 (MP3), AAC-LC or HE-AAC v1/2. The module has four HD-SDI/SDI input ports. Each SDI input provides up to eight embedded audio stereo pairs, making the total capacity 32 stereo radio channels. Carl Walter Holst, CEO, Appear TV, said: “We are proud to introduce this dedicated module for advanced audio processing. This new high-density, modular audio encoder looks to the future of broadcast services that we seek to provide. Updates for the software are already in the works, as we look to deliver additional functionality to streamline the workflow of our worldwide customer base.” 1.C61

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theibcdaily WiFi adds polish to Granite batteries OUTLINED

Blueshape By David Fox Two new ranges of Blueshape Granite batteries have been launched with WiFi control from a phone or tablet app, and the ability for rental houses to switch them off once the rental period has finished.

The larger Granite Two range of batteries are available for all models in Blueshape’s high-rate discharge HD and weather-proof Splash ranges (100Wh, 190Wh and 270Wh), while the 110mm x 96mm Granite Mini is available in two capacities: 95Wh and 142Wh. The Mini also offers a high drain capability of 12A continuous discharge, and two D-Tap power outlets can power additional devices

up to about 80W. Although previously only available as a V-mount battery, the Granite Two and Granite Mini batteries are also being offered with a 3-stud mount. Both models can be controlled via an iOS or Android app via WiFi, so that users can monitor the state of any batteries within about 20 metres. The two battery ranges are also claimed to be the first that will allow rental houses to manage the leasing period on the battery. Once the rental period has expired, the batteries will automatically lock themselves. Users are always informed, via the app, of residual rental time. Any owner can also set the battery to ‘brick mode’ so that it can’t be used if stolen, and reactivate it when needed. 12.A20

Edit upgrade for multiCAM Studio multiCAM Systems By David Fox The new version of multiCAM Studio, the all-in-one live broadcast system, now includes editing, so that users don’t have to have a separate, dedicated edit system. The package is popular with universities, and takes care of recording and live streaming events such as music festivals, sports, conferences, politics, and other broadcasts. multiCAM Studio is comprised of one 3U rack server, a touchscreen and a joystick, with users not requiring scalers, switchers, or other third-party hardware. It also takes care of PTZ

camera control (for up to four cameras, plus one further source). It includes a Titler for graphical overlay design, and incorporates visual effects and animation. A database manager helps users to create title lists directly from a drop menu onto the live user interface. The new Publisher feature offers complex editing tools, so that users can revise clips before publishing. For live streaming it creates the encoding setup profile for MP4 and H.264 streaming and it requires just one click to start, with outputs for all the main streaming sites, including, with this release, Facebook. 12.E56

The Granite Two and Mini can be locked after rentals expire

EBU’s quest for quality

Frans de Jong, EBU, and Andy Quested, BBC The European Broadcasting Union (EBU) has been using the strapline, “Your Reference in Media Technology”, for a number of years now. It refers to the important work undertaken to set radio and television standards which help guarantee a quality service. Over the years, the EBU has pioneered and published many technical specifications and recommendations, ranging from the EBU colour primaries, timecode and audio loudness through to video safe areas and measurement guidelines. The EBU has literally set ‘reference’ practices for the media industry. But no matter how well grounded, technical work sometimes needs a revision. In the past year, two fundamental EBU Recommendations were updated.

captions, with consumer displays that have ‘overscan’ and ‘pixel mapping’ as well as regulators that want to protect the audience’s enjoyment of the programme. To ease the transition from 4:3 to 16:9, some countries decided to protect programmes by using the 14:9 aspect ratio as a middle ground. A noble initiative, which resulted in a legacy of programmes that are not 4:3 or 16:9. This was all defined in EBU Recommendation 095, which was valid and used for more than 15 years; before both the 14:9 legacy and the old CRT requirements were removed. The recommendation has now been simplified and updated in line with other standards bodies and it includes both UHD resolutions.

Colour errors made simple

Safe areas made simple In the days when the only screen shape was a 4:3 rectangle, life was pretty

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simple. Now we have to cope with 16:9, 4:3 and the

requirement for compatibility and protection for action and

In June of this year, the EBU updated another of its wellknown recommendations: EBU

R 103. Since its publication in 2000, this specification has been the reference for the tolerances allowed before video signal levels are deemed ‘illegal’ or ‘out of gamut’! The original version was born in the days of analogue processing, when measurements were performed with analogue waveform monitors. The new version 2.0 removes most of the ‘traces’ from that period. Numerical ranges are now defined for 8, 10, 12 and 16 bit video systems. The EBU expects to update EBU R 103 again when new HDR and colour standards are published. Both updates take advantage of more tolerant digital processing and experience gained over the years. They demonstrate the ongoing commitment of the EBU to keep its specifications up to date so the quality of programmes can be guaranteed. This commitment to quality is probably best reflected in the EBU catalogue of quality control checks: EBU.IO/QC, which of course includes references to the latest EBU R 095 and EBU R 103.

30/08/2016 15:05

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Tuned to new developments OUTLINED

ATG Danmon UK By Mark Hallinger

Broadcast systems planning, design, installation, commissioning and support are the stock in trade of ATG Danmon UK, and at IBC2016 the company is discussing what it has accomplished in recent months. Projects currently in progress or recently completed

include a complex playout system upgrade for a major Swedish broadcaster; a threecamera VR studio for a globally active corporate client in Hong Kong; a 4K multi-camera flyaway system for a major international media group; a 16-channel playout system in the Middle East; a voiceover suite upgrade for a broadcast and production company in London; and a fivecamera high-definition studio

system for a major broadcaster in the Middle East. Russell Peirson-Hagger, managing director, ATG Danmon UK, said: “As a systems integrator we need to ensure we are tuned to new developments. Key themes we are discussing are the industry’s evolution to ultra-high definition and high dynamic range when considering future system upgrades. Also, developments in IP-based

Ten products unwrapped Datavideo By Carolyn Giardina Datavideo comes to IBC with a full lineup of new products, 10 in all. New technologies in the switcher line up include the SE-500HD, a mini-switcher that features 4x HDMI 1080P in and a simple audio mixer.

It also includes the SE-650, a mini-switcher with four inputs; 2x HDMI and 2x 3G-SDI. It also features three outputs, 1x 3GSDI and 2x HDMI, as well as streaming output, an audio mixer and a mix/effect processor for PiP, DSK and chromakeying. The SE-2850 is an update of the SE-2800 8- to 12-input HDSDI switcher, with new features

including RGB-LED buttons and an HDMI CG interface. Datavideo is introducing the HS-1200, a portable studio meant to be used on the road, in the classroom or in a conference hall. It includes four HD-SDI inputs, two HDMI inputs and external sound inputs. The company claimed that, combined with its PTC-150 robotic cameras,

ATG Danmon UK’s VR studio build is sure to make competitors green with envy

networking which has much to offer in today’s increasingly file-

based broadcast media world.” 8.B51

shooting a production could be 400, an addition to Datavideo’s a “one-man-job”. HDR-10 replay recorder that Another new product is the enables the producer to stack PTC-150T, a PTZ camera that a maximum of four HDR-10 offers HDBaseT, as well as 3Grecorders and control them SDI, HDMI and CVBS outputs. simultaneously. This means that it can be wired 7.D39 with only a single Ethernet cable with a maximum length of 100 metres. This Ethernet cable transports signal, power and control. The SE-2850 IBC showgoers can is an updated version of the also see the RMCSE-2800

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Smart Audio for broadcasters Jünger Audio By Heather McLean Here at IBC2016 Jünger Audio is demonstrating its Smart Audio concept. Smart Audio is about investing in simple, reliable and predictable equipment that can automatically deliver audio content while maintaining the

high quality that consumers expect. The concept has already been adopted by a number of broadcasters, including Input Media in London and the ARD Tagesschau television prime time news service in Germany. Peter Poers, CEO, Jünger Audio said: “In a world where resources are tight and broadcasters can’t afford to

employ an entire team of audio engineers to manage sound quality at every position, Smart Audio is the future. “The only way to ensure that viewers receive a consistent, clear audio experience is to utilise a chain of intelligent and adaptive realtime processing algorithms working together. This is what

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Smart Audio means: delivering high-quality sound in a very OUTLINED efficient way, with minimal requirement for manual control or intervention from an operator.” Alongside intelligent and adaptive processing algorithms, the introduction of Smart Audio also allows broadcasters to choose devices that are fully interoperable with others in the broadcast environment and can seamlessly integrate with both playout automation

Monarch reigns over dual live streams Matrox Video By Carolyn Giardina Among the technologies on Matrox Video’s IBC stand are the Matrox Monarch HDX dual-channel streaming and recording appliance and the VS4Recorder Pro. The VS4Recorder Pro multi-camera recording app is designed for use with Matrox

VS4 quad HD capture cards. Each VS4Recorder Pro system captures up to four video and audio inputs to create files for use with editing apps from Adobe, Apple and Avid as well as for video archiving. H.264 is provided in either MOV or MP4 wrappers. AVI files can be created using the Matrox MPEG 2 I-Frame codec. VS4Recorder Pro, which also functions as a multiviewer, is

recommended for multi-camera live production use, including streaming with Telestream Wirecast for Windows. Also featured on the stand is the Matrox Monarch HDX, a dual-channel H.264 encoding appliance that can be deployed from broadcasting to event production and corporate communications. It features 3G-SDI and HDMI inputs with frame synchronisation, and two

independent H.264 encoders that can provide redundancy or can be set to stream and/or record at individual settings. From any SDI or HDMI input source, such as a camera or switcher, Matrox Monarch HDX generates two H.264-encoded video streams at bitrates from 200Kbps to 30Mbps. For streaming, the encoders use either RTMP or RTSP protocol to deliver live streams to local

systems and logging and monitoring processes. “Auto-Level, Auto-Upmix, Auto-EQ, Auto-MIX, AutoLoudness, Codec System Metadata Management – the intelligent combination of all these Jünger Audio adaptive algorithms will create the solution that delivers Smart Audio,” Poers added. “Programme loudness will also automatically match, as expected.” 10.A49

or cloud-based media servers. In recording applications, the encoders write MP4 or MOV files to local USB drives, SD cards, or network-mapped drives for post-event editing or archiving. Matrox is also highlighting its DSX developer products, which combine multi-channel SD/ HD/4K/IP I/O cards, including the new X.mio3 IP, M264 H.264 encoding cards, and Matrox DSX Core software modules for media processing in virtualised broadcast infrastructures. 7.B29

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Networkable prompting on Cue OUTLINED

CueScript By David Fox The latest update to the Unicode-compliant CueiT multi-language script prompting software is available in three versions: the entrylevel CueiT Premier, CueiT Production and CueiT News. The Production and News versions come with CueScript’s CueB, a networkable (USB or Ethernet) device that produces

composite and SDI video. CueScript controllers, whether desk or presenter foot controls, can be connected via local USB, Ethernet or CanBus. In theory, users could connect an unlimited number of controllers over Ethernet, at any distance, while up to 128 controllers can be connected over CanBus using standard coax. CueScript’s latest prompting units include the CSF10, a lightweight but fully featured prompting system designed for

Story line: CueScript’s updated CueiT News prompting software

use with jibs and cranes. It can be used with a collapsible hood and prompter glass or as a straight reading system without any additional hardware, and features a 2000 nit screen readable in bright daylight. The CSTM24 24-inch HD-SDI talent monitor weighs 4.5kg and has a double arm mounting system with no restriction to the camera support, either manual or robotic. CueScript is supporting IBC with prompting systems for IBC TV News and for the IBC Awards on Sunday evening. It also has a complete line up of systems on the Ross Video stand with CueiT software integrated into the system workflow. 12.F41

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Predictive optimisation service for video Nokia By Adrian Pennington A claimed industry-first ‘predictive optimisation’ service will simulate network conditions allowing mobile operators to see the impact on subscriber video quality and to identify hotspots. Nokia is launching the technology which is based on its AVA platform, combining patented algorithms with ‘big data’ analytics. “Nokia is able to draw on its experience to provide operators with the most complete approach to simplifying their complex video delivery needs and enhancing the subscriber viewing experience,” said Paul Larbey, head of the firm’s IP video business. “We are the first to apply predictive

analytics to network planning and optimisation for video, allowing operators to uncover real insight into their network and benefit from cost and operational efficiencies now and in the future.” Nokia is quoting a Bell Labs Consulting Mobility report which predicts audio and video streaming will account for 79 per cent of increased data traffic by 2020. The service will show the impact of network coverage, cell interference and traffic congestion on video quality. It allows mobile operators to adjust network conditions to see the affect on video quality before changes are made in the real world. Using the service, buffering times for video – such as YouTube – are claimed to decrease by up to 40 per cent. 15.MS25

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30/08/2016 15:07

High quality 4K signal processing This efficient and versatile 4K production processor does it all! Up/down/cross, scaling, multi-display processing and generating 1080p “cut-outs” from an original 4K source. The Datavideo KMU-100 creates a virtual 8-camera HD shoot in minutes, with the use of only two 4K sources.

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theibcdaily OPINION OUTLINED

Media transformation in the digital era Automation is critical to effective content generation for OTT and multiscreen services, says Gary Learner, CTO, Volicon, part of Verizon Digital Media Services Over-the-top (OTT) and multiscreen services today give broadcasters valuable opportunities to boost brand awareness, build revenues and lead viewers to their linear channel offerings. To capitalise on such opportunities, however, broadcasters must implement a fast, cost-effective repurposing workflow that allows them to transform aired content for timely delivery via the social and digital media platforms that make video available on computers, tablets and smartphones. For each output, the broadcaster must ensure that media accommodates the varying format, packaging, metadata and container requirements of YouTube, Facebook, Twitter and a host of other services, all the while

maintaining compliance with closed-captioning regulations for internet-delivered content. The broadcaster also must incorporate targeted advertising into the media transformation workflow, leveraging data on ad markers and SCT-104/35 messages to facilitate accurate ad insertion. Undertaking all of these processes via a manual approach is simply impossible, given the need for rapid clipping and creation of many versions of content. Automation thus is critical to effective content generation for OTT and multiscreen services. As broadcasters have discovered, it is also an essential part of maintaining the quality of those services. With an automated solution for logging and monitoring OTT services, broadcasters

can ensure that services are available 24/7 at optimal quality, validate service level agreements with content delivery networks, confirm the presence of captioning and other metadata, and determine that specialised video-player apps are providing optimal quality of experience. IBC2016 attendees will have the chance to see how Volicon, now part of Verizon Digital Media Services, is addressing the demands of media transformation in the digital era. At the show, Volicon will showcase how their customers are leveraging the company’s industryleading video capture, archive, compliance monitoring and clip-creation technology to provide broadcasters with an even broader range of tools for bringing high-quality content

Building on the Epoch Bluefish444

By Carolyn Giardina Bluefish is demonstrating 4K high frame rate, high dynamic range video preview and mastering with Adobe Premiere Pro using the Epoch range of SDI video cards. The company is

also introducing its new range of Kronos video cards, Kronos complements the continuing Epoch range as Bluefish444’s new top of the line video card. The card offers the choice of SD/HD/3G SDI connectivity, or SFP+ connectivity, which enables greater than 3G SDI and

to the internet quickly via OTT-based delivery. Visitors to the Volicon booth will see how the company’s well-established Observer technology, already a part of daily monitoring and logging operations for broadcasters around the globe, has been extended to address the full range of media delivery outlets and services. While the Share application for Volicon’s Observer Media Intelligence Platform accelerates broadcasters’ content-generation workflow by facilitating fast, simple clipping and extraction of timely, high-value content without the need for technical staff, a non-linear edit (NLE) system, or media asset management (MAM) software, Volicon’s Observer-OTT offers broadcasters a complete, cost-effective quality monitoring and/or compliance logging solution for multiplatform media delivery.

platform unified driver and API. Additionally Bluefish444’s multi-channel capture software IngeSTore has been updated

Volicon will demonstrate how enhancements to the Multiviewer option for the Observer platform enable users to keep their eyes and ears on every channel in the broadcast delivery chain, including OTT feeds. Booth visitors can test out the option’s new Traffic Light dashboard, which provides convenient red-light and green-light status indicators for a customisable grouping of select channels, OTT streams and renditions of OTT streams, or explore how the new Path Monitoring widget allows users to create and customise a topology for specific channel/stream status validation at every point along the content creation or distribution path. 7.G23

and is being demonstrated with extended codec support and ‘Edit While Capture’ functions. 7.J07

Video over IP across 10Gbps Ethernet. Kronos also has an eight lane Gen 3 PCIe interface. The video cards offer resolution scaling, video interlace and de-interlace, hardware cßodec support, SDI-to-IP and IP-to-SDI conversions. The Epoch and Kronos range are supported by the same cross-

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Draco extender series expanded IHSE By Carolyn Giardina The Draco extender series is growing. The Draco ultra DisplayPort Extender, developed in collaboration with the Fraunhofer Institute for Integrated Circuits, provides video quality at 4K/UHD resolution at 60Hz frame rate with 4:4:4 chroma subsampling. A new version of this extender increases the colour depth from 24 bit video to 30 bit (10 bits per colour).Video can be transmitted over a single fibre optic cable at distances up to 10km. It also features redundant interconnection options for greater reliability. The vario KVM series sees the introduction of the Draco vario USB 3.0 extender, which combines Icronâ&#x20AC;&#x2122;s ExtremeUSB technology with the Draco vario extender. The extender was developed to enable lossless extension of USB 3.0 SuperSpeed devices, including

high-speed memory cards and cameras, over distances up to hundreds of metres over a single multi-mode fibre optic cable. The Draco vario KVM extender series also has a new USB 2.0

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OUTLINED

module, which the company said enabled signal extension of up to four USB 2.0 devices within the KVM data stream at high speed, without additional cables. 7.B30

HBRMT-capable cards launched Deltacast By Carolyn Giardina The DELTA-ip-ST2022-6 10 and DELTA-ip-ST2022-6 01 capture and transmission cards are on display at IBC. Both are built to address the adoption of IP-based workflows with the SMPTE ST2022-6 standard. networks (HBRMT). The DELTA-ip-ST2022-6 10 is a dual-port 10GbE card. The main input supports up to three 3G/HD/ SD SDI channels embedded in ST2022-6 datagrams with optional support for FEC streams as per ST2022-5, while the second port could be used for protection switching of datagrams as per ST2022-7. The DELTA-ip-ST2022-6 01 is a dual-port 10GbE card, with one output instead of one input. 7.A14

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theibcdaily OPINION OUTLINED

A cloud for everyone The industry is seeing nuanced and bespoke cloud deployments, explains Lee Sheppard, director of product management, SGL When it floated across the video horizon a few years ago, the possibilities of the cloud led many of us to anticipate that it would soon start removing the need for all other forms of storage. However, while major benefits have indeed been achieved, some media companies are still hesitant to store their valuable assets in the cloud due to security implications and cost concerns. What we are seeing is nuanced and bespoke usage; using the cloud where it really benefits a given workflow rather than replacing one’s entire playout infrastructure. It is typically more cost-

effective to consider specific overall requirements of a given business case, for example. With this in mind what are the benefits of archiving content in the cloud? Among the key drivers are: access to content from any location; the ability to work collaboratively on projects; disaster recovery – particularly if the material is never restored (storage costs are very low, but restore charges are high) – simplicity (make one copy and let the cloud do the rest); and low start-up costs with no responsibility for IT infrastructure. Cloud archiving is much more cost effective if limited content

Across the Camio Universe ChyronHego By Carolyn Giardina ChyronHego is highlighting its Camio Universe roadmap for

Broadcast/CATV

software-based newsroom production, driven by the Camio graphic management server. Camio controls ChyronHego’s Lyric graphics-creation system and offers template-based tools

Satellite

needs to be restored. Let’s call this the usage ratio. A single usage ratio of ten per cent means that at some point ten per cent of the archived assets will be used again, at least once. A high usage ratio means additional costs. Organisations such as news services may have a very low usage ratio, storing huge amounts of raw footage but only using a small fraction. Other organisations may have workflows in which assets are all archived and then retrieved for transmission. This very high usage ratio would currently render a full cloud archive unacceptably expensive, especially when

including the company’s Hybrid virtual graphics system, the Metacast weather graphics tool, and the VidiGo Live Compositor video-switching technology. Also at IBC, the Camio asset and data management system is the centre of a news production workflow demonstration. It shows

Government

compared to the TCO of an LTO7 tape infrastructure. Cost is therefore an important factor when considering cloud-based archive workflows. For instance, Amazon places restrictions on the volume of assets that can be retrieved per day, and does not take into account peak period usage. Content owners who are considering cloud storage need to consider the amount of content that will need to be restored. There are also other factors to consider. Speed of retrieval is often vital, and therefore the size of both concurrent retrievals and the communication pipe need to be evaluated. Partial file restore, which allows editors to select and restore elements of a clip directly from the archive in high resolution, is not available from the cloud. This is significant,

considering that assets are now reaching hundreds of gigabytes or even terabytes in size. Cloud archiving has a valuable role to play for many organisations. Hybrid archive models are becoming very common, with cloud, tape, disk and perhaps optical disk all contributing to optimal use of storage. SGL is designed to make the most of all of these storage platforms, with sophisticated load balancing, elegant business rules for managing the optimal movement of assets across the archiving storage tiers, and smart integration with cloud and media transport partners. 7.J15

Camio working with Lyric, Live Compositor, Matacast and Hybrid. ChyronHego is also demonstrating an election graphics system based on NewsTicker Elections (from the company’s acquisition of Newsroom Solutions). 7.D11

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Entry-level 4K 35mm cine zoom lens

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Proving popular: The new Fujinon XK6x20 PL-mount cine zoom lens

Fujifilm Europe By David Fox Fujinon’s versatile new XK6x20 PL-mount zoom lens offers high optical performance and low distortion, using high-precision large-diameter aspherical elements, compatible with 4K or UHD cameras and covers a wide focal length range from 20mm to 120mm. The 2.4kg XK6x20 comes with a detachable drive unit (bringing the weight to 2.9kg) for powered zooming and focusing, and features a 0.8mm gear pitch for compatibility with standard cine accessories. It has a 9-blade round iris mechanism enabling natural bokeh in images, plus a macro function for shooting as close as 40cm from the sensor plane (11cm from front lens). It covers S35-size sensors (24.84mm x 13.97mm), delivers T3.5 brightness throughout the entire zoom range, and is designed to offer comfortable operation. It joins Fujinon’s two existing PL-mount Cine Zoom Series (the flagship HK and lightweight ZK ranges, each of which has four zoom lenses), and is colour matched to the other lenses. Whereas the existing lenses are aimed primarily at movies, or high-end productions, the new XK series will be aimed at more budget-conscious productions. “It has been geared towards 4K cameras in the entry-level segment like the Sony FS7,” said Orlander-Oliver Beckles, of Fujifilm’s Optical Devices Department. The XK6x20, which costs €16,000, has just started shipping, “Even if we are still in the early stages, we can say that the new XK6x20 lens model is a success,” said Beckles. “Once established, we believe that it will become one of our most popular and top-selling lens models.” 12.B20

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Standards need interoperability: get aligned at IBC OUTLINED

Stan Moote, CTO, IABM Constant complaints about the slowness of standards being developed hurting the industry seems to be the norm. This doesn’t mean standards don’t happen, nevertheless I believe it is important to understand the standards process, benefits and risks. Early in my career, I was involved in developing the CCIR601 standard, which became the basis for all digital video used today. This was driven both by technical and political agendas, however the effort was one of the industry’s first takes on working together towards a worldwide standard. Fast forward to today, and the new challenges are less about video and audio formats, more about transport; IP specifically. IP transport for video, particularly for in-facility full bandwidth, non-file-based applications, has been the big challenge. What’s needed is a great big co-operative boot to break the impasse, and at IBC this year you will see just that: a massive step forward for the industry at the IP Interoperability Zone on stand 8.D10. Driven jointly by IABM and AIMS, under the ‘Align 2016’ banner, you will see real-world, standards-based IP interoperability demos; Align 2016 is supported and facilitated by all the industry’s leading bodies: AES, AMWA, EBU, SMPTE and VSF. That means you can have the confidence that as an industry we have no reason to use the switch to IP as

a reason for holding up facility improvement and getting on with growth plans.

A common force AIMS was the first organisation to win the IABM endorsement certification for being a true collaborative group; it is laserfocused on IP interoperability, with removing barriers for end-users always in its crosshairs; AIMS’ membership encompasses vendors and end users across the industry. Its objective is stated thus: “To foster the adoption of one set of common, ubiquitous, standards-based protocols for interoperability over IP in the media and entertainment industry.” So how is AIMS doing this? Every AIMS member must agree to support a common roadmap (Figure 1), which IABM fully endorses, and is actively committed to encouraging the industry to focus on this common goal. This doesn’t preclude the members from following their own path, however they must agree that their products and systems must also support the AIMS roadmap.

How do standards get established? Standards bodies exist to enable co-operation, interoperability, improve business fluidity and it’s no different in the media industry. The primary standards

bodies that AIMS takes its lead from are SMPTE, EBU and AES. However, it also takes input and guidance from other types of organisations that have managed very significant works for technical recommendations, including VSF and AMWA. Furthermore, collaborations between these bodies, in the form of the Joint Task Force for Networked Media, JT-NM, a joint effort between the EBU, SMPTE, VSF and AMWA, has provided reference IP architectures that assist in standards development and recommendations.

Adoption and interoperability Creating standards is pointless unless there is wide adoption. Encouraging manufacturers to adopt a published standard is not always straightforward and often needs a push based on a purchase order from end users (or at a minimum, a commitment from several end users to assure that manufacturers are not wasting development resources). AIMS members, many of whom are IABM members, are drawn from both the manufacturing and end-user communities, and have agreed to support the roadmap outlined in Figure 1. This solves the adoption dilemma by providing a single voice, hence increased confidence in every member’s technology investment. Standards documents are never bulletproof and can

Figure 1 - All AIMS members have agreed to support this IP roadmap

have different interpretations for a single word, phrase or diagram that consequently lead to issues with interoperability. No matter how well-written a specification is, there are often areas open to discrepancy. AIMS has a technical working group to identify such discrepancies and works with the relevant standards body such that the discrepancy can be addressed in the standard itself. Interoperability testing assures end users can buy both functioning and best of breed products hence creating a healthy developing and growing industry. Over the past year AES, AMWA, SMPTE and VSF have all conducted interoperability testing of the standards on this roadmap that both ensure interoperability and can identify any remaining interoperability issues. In this manner, these organisations have been working together to improve and ultimately perfect these standards for interoperability over IP. The real-world organised ‘grubby hands’ testing between manufacturers and customers is precisely intended to accelerate understanding and adoption of those standards by finding and feeding back to the relevant organisations any issues uncovered.

Beyond this, AIMS also inputs to the standards bodies at early stages where no standard currently exists. For example, on the little understood use of Mezzanine compression within IP systems, AIMS is assembling a set of considered and peer group tested recommendations for the standards bodies. AIMS has also adopted the AMWA NMOS registration and discovery scheme IS-04. This means sources of media can be included in media workflows without needing deep level configuration: surely a blessing for users.

Get on with business There is no need to put all your growth plans on hold, waiting and waiting for IP to be 100 per cent. The media business is moving too quickly to wait for anything. Whatever else you see at IBC, be sure to visit Align 2016 on the joint IABM/ AIMS stand, 8.D10, showcasing a common roadmap based on technologies developed by AES, AMWA, EBU, SMPTE and VSF. There you will understand the real benefits – and challenges – of moving to IP, without the hype. Armed with what you will learn, you will be able to take on your next business level today.

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See us at IBC 2016 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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theWALL multiviewer control system now supports the Cobalt Quint-Split multiviewer system

inputs onto a single 3G/HD/SDSDI quint-split output. Lawo’s theWALL is a multiplatform, hardware-agnostic app that lets users configure any monitor wall, route signals, change mosaic layouts, or save and load user

OUTLINED

presets from the comfort of a touch-enabled mobile device. It talks directly to the multiviewer hardware and enable easy access through a comprehensive GUI with dragand-drop functionality. Anyone

working in front of a monitor wall can change its layout on the fly, including altering the design of patterns and controlling parameters such as borders, colours and spaces. 8.B50

Lawo By Mark Hallinger One topic of discussion on-stand is the partnership between Lawo and Cobalt Digital announced earlier this year that combines Cobalt’s 9970-QS openGear multiviewer card with theWALL; Lawo’s mobile app for setting up and controlling multiviewers. The integration vastly reduces configuration and operation time when controlling the 9970 multiviewer. Cobalt’s card for openGear frames integrates five discrete 3G/HD/SD-SDI or CVBS

Cam on wire JoyMechanix By Heather McLean JM 2.3 is the latest 3D camera motion system line from JoyMechanix, currently being demoed in Hall 11. JoyMechanix said it offered all advantages of the first series JM 1.3 system, such as small winches for convenient transport and ease of operation during filming. The difference is JM 2.3 is designed for large areas, from concerts to sporting events, and is intended to be used with box-type cameras. The company covers 3D, 2D and 1D robotic camera motion systems on cords and gyro stabilised 3-Axis pan-tilt heads. “Cord-based 3D camera motion systems can be too bulky or too expensive for the needs of modern flying shoots,” said a JoyMechanix spokesperson. “Our novel approach has allowed us to reduce the size of the whole system by 90 per cent. This makes it more agile and lightweight.” 11.A06

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Audio monitoring in a ‘hybrid’ world Carrying video and audio over IP represents a seismic shift, says Chris Exelby, managing director, TSL Products Audio monitoring has come a long way since its rudimentary beginnings of a box with a speaker, a volume control and an analogue input. Today we have to accommodate multiformat signals running across complex infrastructure and high-end audio monitoring units have adapted by including an impressive array of I/O such as SDI, MADI, AES-3 and Analogue while offering increasing amounts of functionality such as accurate metering, loudness measurement, Dolby decoding, metadata analysis and video confidence monitoring. With hindsight we can now view the technology shifts of the past as being

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fairly evolutionary in nature, however the shift to IP-based infrastructure carrying video and audio over IP, represents a seismic shift. As a leading manufacturer of audio monitors this is set to keep us very busy for the foreseeable future. One of the main challenges to date has been the standards/protocol wars that have been raging, but there are very encouraging signs that we are getting closer to a consensus on the way forward. Some of the main forerunners at the moment are S2022-6, TR-03 and TR-04 for video over IP, while AES67, Dante and Ravenna are leading the charge in audio over IP.

Although being able to sign up to any multicast stream on the network sounds like an exciting prospect, typing in IP addresses in order to monitor a signal does not exactly rank highly on the list of usability. Luckily there are some comprehensive control protocols on the horizon that will help to deal with this signal management. In the meantime, however, we are making the user experience as positive and simple as possible and making control available to third parties through an API for integration in third-party control systems. Although the IP revolution is very exciting, as an industry we are also aware that this is not going to replace good

old fashioned SDI-based infrastructure overnight. This is where broadcasters face a challenge when making investment decisions, and this is no different when it comes to audio monitoring solutions. At TSL Products, we are very much aware of our customer’s ‘hybrid’ needs where they will want to monitor 3G-SDI or MADI alongside audio and video over IP in a single audio monitoring product. Our PAM-IP was developed with that specific goal in mind, allowing users to monitor 3G/12G-SDI, AES-3 and analogue alongside S2022-6 (uncompressed video over IP) and Dante/AES67 (audio over IP) without compromising on any of the functionality expected from a modern highend audio monitor. Its modular design means the PAM-IP

will be able to evolve and be upgraded as new standards are defined, meaning ‘first mover’ customers can buy with confidence knowing their investment is secure as standards evolve. Effective audio monitoring is an important part of the broadcast infrastructure so it is paramount that we meet our customers’ requirements with regards to monitoring. Whether it’s the ‘hybrid’ stage we are entering now, or in the future where IP will be omnipresent, TSL will be ready with the best solutions for our customers. 10.B41

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IP production infrastructure: is it ready for take off? OUTLINED

Felix Poulin, EBU Willem Vermost, EBU We have taken it for granted for years that the future of content production lies with ‘IP’, with all its benefits. The exciting news is that we are now passing from theory to practice. One of the major proof-of-concept trials has been that of the Belgian broadcaster VRT, LiveIP. In addition, RTL in Luxembourg has announced its IP project, RTL-city. And the news at NAB in April of this year was that most broadcast equipment manufacturers are now offering IP-enabled products in their catalogues. Added to that, we see an increase in new players coming from the software and internet industries. That said, IP-based technology is still evolving and new standards are still being developed. Some vendors are also offering their own proprietary solutions. Why? One reason is that standardisation is a slow process, and there is undeniably a demand out there for immediate solutions. There are many different alliances and partnerships promoting particular solutions. One example is Sony’s IP Live community, which promotes the Network Media Interface, NMI. Another is the SMPTE Registered Disclosure Document 37, promoted by Aspen. This focuses on media transport over IP driven by Evertz. AIMS promotes a roadmap made up of SMPTE standards and VSF specifications. Basing the system on the modular design of the IT world, the OSI model (Open Systems Interconnection) is the key to achieving the flexibility needed, though it comes at the cost of greater complexity. There is a most important prerequisite for many broadcasters: their need for components to be available from multiple vendors, the need to avoid ‘captive markets’ and to maintain competitive.

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is this clear enough?

An evolutionary roadmap In order to help the broadcastermembers of the European Broadcasting Union, an EBU working group has drawn up what it believes will be the evolution of the technology over the coming years. The ‘roadmap’ (see image) was welcomed by many organisations and has been adopted by the Joint Task Force on Networked Media (JT-NM). The image indicates the future ‘generations’ of IP infrastructure.

Generation 0: Current SDI The current mature technology for interoperability is the Serial Digital Interface (SDI). This technology is still evolving, with new 6G and 12G-SDI and multi-link capability that enable even higher bitrates to support Ultra-High Definition (UHD) formats. We will see this technology around for many years, and many users – perhaps in business-critical situations – will continue to rely on it for a number of years to come. SDI is not dead!

Generation 1: SDI over IP A baby-step evolution is to start by transporting the SDI audio and time signals over IP. ‘SDI over IP’ (SMPTE ST 2022-6) is the generation of equipment that is available today. It opens the doors to building a studio based on network switches rather than an SDI matrix, a fundamental step in the transition. As a result, broadcasters can start to build the knowhow and competences needed to implement the transition; one of the biggest challenges organisations will face. However, this generation of technology usually employs very similar workflows to those of today and, therefore, it is more a step on a migration path than the final result of the transition. The buyers of this technology are naturally curious about upgradability to next generations, and indeed some vendors are already promising that it can be done.

Generation 2: Elementary flows The elementary flow generation

will bring more flexibility in the workflows, some bandwidth optimisation and support new formats like UHD. This is an area of intense activity in the standardisation community. An example is the open specification developed by the VSF, Transport of Uncompressed Elementary Stream Media over IP (TR-03). This is now in the hands of SMPTE for standardisation. This ‘due process’ takes many months before ratification, and the technology maturity and widespread availability usually comes after a few iterations of interoperability workshops.

Generation 3: Self-managed systems This generation is about automated network management and up-scaling the size and speed of the possible infrastructure set-up. Automatic discovery, resource identity modelling and connection management were identified in the JT-NM Reference Architecture as the foundation of this generation. AMWA has

developed the Network Media Open Specification1 (NMOS) that implements the JT-NM discovery and registration frameworks. This is timely as SMPTE is currently working on standardising VSF TR-03. This will become SMPTE ST 2110.

Generation 4: Virtualisation This later generation is about fully exploiting cloud technologies. Many issues still have to be sorted out for live applications, including security aspects, sufficient network speed and the capacity for applications to function over networks without a guaranteed quality of service. And for the same requirements of vendor lock-in avoidance, we will need open interfaces for virtualised services and data pipes. We can expect it will take many more years of work to get there. The IP infrastructure train has definitely left the station and we have a roadmap for the future. Stop by and see our demo at Stand 10.F20! 1 nmos.tv

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• DO EXTRAORDINARY THINGS Director of Photography, Serge Teulon, on the Canon EOS C300 Mark II. “Shooting Munich’s City Surfers on the Eisbach river presented many challenges, especially in terms of equipment. The fact that it’s in the city meant you can see buildings and cars going around in the back of the frame, which you didn’t necessarily want. Luckily, with our custom built rigs, we were able to put the camera almost at water level in front of the surfer and I think that really gave us that sense of being on the wave. The EOS C300 Mark II was absolutely perfect for the job. It handled even the toughest of challenges, one of which was lighting. Its 15 stops of dynamic range allowed us to shoot in low light and get absolutely great results. The new Canon Log 2 is also a great gamma setting which meant we could record an image and then manipulate it. More importantly, creatively, it gave us a really defining look, which we think really adds to the film. We really wanted to push the limits of this camera. It exceeded our expectations at every turn and it really brought this vision of Munich’s City Surfers to life.”

KEY FEATURES • 8.85MP Super 35mm CMOS sensor • Shoot 4K at up to 410Mbps/10-bit • 15 stops of dynamic range with Canon Log 2 • Dual Pixel CMOS AF, Face Detection AF and Auto White Balance • High-sensitivity, low-noise images up to ISO 102,400 • 4 channel 16/24-bit audio

Visit us in Hall 12, Stand D60

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Evolving entertainment for the smart home OUTLINED

Universal Electronics By Ian McMurray Bridging the home entertainment and smart home ecosystems

is at the heart of Universal Electronics’ (UEI) presence at IBC. The company says that it recognises that entertainment control solutions are evolving

to become the centre of the future smart home, and claims that its latest innovations will extend its reach, utilising sensing technologies that

will build the foundation of tomorrow’s smart home reality. UEI’s new smart controller line INSINQ is a series of all-in-one Pay-TV remotes

that it says feature the latest advanced input and navigation technologies including voice, motion and touch control. The INSINQ series offers native support of UEI’s QuickSet solution, which UEI says is already deployed in more than 260 million devices around the world including STBs, TVs, game consoles, smartphones and tablets. According to the company, it has become the de facto standard for effortless set-up and control. The company is also featuring its range of technologies and solutions designed to improve the user experience. Menno Koopmans, senior SVP, Subscription Broadcasting, UEI, explained: “These include ‘Designovation’, which showcases our design expertise and capabilities and provides an insight into the company’s vision for the future, focusing on the consolidation of home entertainment, the Internet of Things and the smart home through four design concepts.” 1.C41

Koopmans: “Focusing on the consolidation of home entertainment”

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Exhibitor list and floor plan theibcdaily

OUTLINED

Correct as of 1 August 2016

IBC Future IBC Awards & Reality Theatre IBC Big Screen, Auditorium IBC IP Interoperability Zone

IBC Hackfest

IBC Technology in Action Theatre

IBC Future Zone Hall 15 Meeting Suites Hall 9 Meeting Suites

IBC Launch Pad IBC Content Everywhere Hub Theatre IBC TV

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

iTV

Telecine & Film

Transmitters

iPTV

VFX

Mobile Systems

Workflow Solutions

Service & Broadcasters Transmitters & Set Top Boxes

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Great Britain

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

Quantum

Rohde & Schwarz

OUTLINED

IBC Technology In Action Theatre

ASPERA, an IBM company

Avid

Blackmagic Design

Adobe

China

Great Britain

China

ARRIS Global Limited Grass Valley, a Belden Brand

KAONMEDIA China

Humax Co. Ltd Evertz Harmonic Inc

Samsung

The Israel Export & International Cooperation Institute

China

IBC Hackfest (10-11 Sept) Great Britain ArabSat Akamai Technologies Limited

Dolby Laboratories

Huawei Technologies Co. Ltd.

Eutelsat SA

5 Skyworth Digital

SES Intel

France Ericsson Appear TV arqiva

Canada

Elemental Technologies and Amazon Web Services

Nevion

Cisco Intelsat Corporation

13 ent)

Grand Cafe (Ground Floor) First Floor Restaurant (First Floor)

OMNI REMOTES founded by Philips

ATEME

NAGRA

4.AO1

IBC Organisersâ&#x20AC;&#x2122; Office (First Floor)

Amtrium Restaurant (1st Floor)

8 - 12 9 - 13

IBC Content Everywhere Hub Sales Office

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OUTLINED

TMD ad for IBC Kiosk_2016@26JULY2016_final.pdf 1 26/07/2016 11:30:30

Powerful media workflow solutions that scale www.tmd.tv

Use as a standalone, combined, or configured approach to media management

Aperture for ingest

Paragon+ for content management

The reference for lossless correction of MXF

OnPoint for post production

CMY

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Stand 2.B59

Scalable Hall 2 Booth #A36 - French Pavilion

MXF analysis and correction tool to achieve interoperability for MPEG, DV, JPEG 2000 and DNxHD codec bitstreams

Meet us at IBC

Booth 5.C41 www.cube-tec.com

IBC Future Reality Theatre Free-to-attend presentations, panel discussions and live demonstrations Located in the IBC Future Zone, Park Foyer

IBC.org/futurereality

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n Part of IBC Content Everywhere Europe O Outside Exhibit (OE Area)

24i Media...................................................14.F27 OUTLINED 25-Seven Systems ...................................8.D47 2CRSI........................................................... 5.B16 2wcom Systems GmbH ...........................8.E78 3D Storm .....................................................7.K21 42 Consulting Media & Telecom ........... 2.A27 4EVER-2.......................................................8.F24 4MOD ........................................................14.C15 9.Solutions Technology.........................12.C72 A A.C. Entertainment Technologies.........12.E71 Aaton - Transvideo..................................12.F30 ABC Products ..........................................12.G30 ABE Elettronica ......................................... 8.A25 Abekas, Inc ..............................................11.B06 ABonAir ...................................................... 2.A58 ABOX42 .................................................. 14.J20a ABS...............................................................2.C28 Accedo.......................................................14.E14 Accenture................................................... 3.B39 AccepTV ....................................................14.F11 ACCESS.....................................................14.D14 Accusys Storage Ltd.................................7.J31 AccuWeather Inc. ..................................... 3.A68 Ace Marketing Inc.............2.A50/3.A21/3.B37 ..............................5.A41/6.A29/11.B22/12.B61 Acebil ........................................................12.A65 Acetel Co., Ltd. .......................................... 2.A09 Acorde .........................................................5.C49 Actia Telecom ........................................... 5.B10 Actus Digital .............................................. 3.B61 ADB ............................................................. 5.B60 ADCOR MAGnet Systems......................8.G03d Adder Technology .....................................7.C30 Adobe.......................................................... 7.G27 adremes GmbH Co. KG............................8.E30 Adtec...........................................................1.D01 Advanced Media Workflow Association (AMWA) ...................................................... 3.B22 Advantech................................................11.C22 Advantech Wireless ..................................1.F40 AEQ...............................................................8.C55 Aeta Audio Systems................................. 8.A24 AFL................................................................8.E06 Agama Technologies............................... 5.A73 Agile Remote Cameras Limited...........10.D42 AheadTek..................................................10.F33 AirTies Wireless Networks ......................5.C70 AJA Video Systems...................................7.F11 Akamai Technologies Limited ............... 5.B49 AKD Sat-Comm..........................................0.F03 Aladdin Co., Ltd.......................................12.A70 Albrecht Elektronik ................................10.A40 ALC NetworX GmbH..................................8.F57 Aldena Telecomunicazioni ...................8.A41u ALi Corporation ..........................................5.C01 Alpha Networks SA.....................5.A25/14.F05 Alphatron Broadcast Electronics ........12.B36 Altera, now part of Intel......................15.MS45 Alticast Corp. ..............................................1.F36 Alva Cableware.........................................8.D70 Amagi Media Labs Pvt. Ltd..................... 2.B19 Amazon Web Services .............................5.C80 Ambient Recording GmbH.......8.C73s/12.E79 AMD............................................................. 7.H35 amily gmbh.................................................8.E30 AMIMON Ltd. ...........................................12.G74 Amino........................................................14.K20 Amir Aharonovich ..................................3.B56a Amos - Spacecom.....................................1.C65 AMP Visual TV.........................................10.A16 Ampegon....................................................8.D35 Amphenol-Tuchel Electronics GmbH.11.B12 Amphinicy Technologies ........................ 6.B03

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Amptec .......................................................8.D70 Amy Cimpan.............................................. 2.A20 AnaCom, Inc. ..............................................1.C97 Anevia ......................................................... 5.B66 Angelbird Technologies GmbH...............7.J31 Anglatecnic...............................................14.J15 ANNOVA Systems GmbH ........................ 3.B36 ANT Group SRL .........................................8.D65 Antelope Camera Systems GmbH i. G. ................................................10.C49 Antik Technology.....................................14.E05 Anton Bauer..............................................12.E65 Anvato........................................................14.L24 ANYWARE VIDEO ....................................8.B36b Apace Systems Corp. ...............................7.K27 APANTAC.....................................................8.E37 Aperi.............................................................2.C27 APEXSAT .................................................... 5.B03 Appear TV....................................................1.C61 Appiness ................................................ 10.F34a Applicaster...............................................3.B56b Aputure.....................................................11.B49 AQS Inc. ...................................................... 1.A06 ArabSat....................................................... 1.B38 Arbor Media...............................................7.D25 Arcadyan Technology Corporation....... 3.A27 Archiware GmbH .......................................7.F06 Arctic Palm Technology Inc. .................2.A41f AREPLUS ................................................ 12.E56c ARET video and audio engineering........0.E01 Argon Design Ltd...................................... 8.G14 Argosy.......................................................10.C51 Arion Technology Inc............................... 5.A81 Arista........................................................... 8.A11 Ariston BTS SA..........................................8.D03 Arkena/TDF................................................ 1.B79 arqiva .......................................................... 1.B61 ARRI ...........................................................12.F21 ARRIS Solutions UK Ltd........................... 1.B19 Artec Technologies AG.............................7.C28 Artel Video Systems...............................10.B20 Artesyn Embedded Technologies ....15.MS34 Arvato Systems......................................... 3.B38 Askey Computer Corp ............................. 1.A40 ASL Intercom B.V.....................................10.F30 Aspen..........................................................8.D12 ASPERA, an IBM company ..................... 7.G20 Associated Press/AP ENPS ....................7.D30 Astro Strobel Kommunikationssysteme GmbH ...........................................................3.C41 ATEME ........................................................1.D71 Aten Infotech NV.....................................10.D20 ATES Networks .......................................2.B39g ATG Danmon UK .....................................8.B51a ATG Middle East FZ-LLC .......................8.B51a ATHENSA, LLC........................................... 8.A33 Atomos .....................................................11.D25 ATTO Technology, Inc...............................7.F41 ATX Networks .........................................14.G16 Audio AG.....................................................8.D70 Audio Ltd ....................................................8.D97

Audio Network .......................................... 7.H09 Audio Wireless Ltd ....................................8.E98 Audisi / Stereo Tool / Pluxbox.................8.E38 Autel Intelligent Technology Corp., Ltd. .................................................11.A09 Autocue .....................................................12.E65 Autoscript..................................................12.E65 AV Stumpfl GmbH .....................................8.C58 Avanti Communications ....................15.MS42 Avateq Corp. ............................................2.A41c Aveco .......................................................... 3.B67 AVerMedia Technologies, Inc. ............... 3.A46 Avid ..............................................................7.J20 Avitech International Corporation........10.F26 Aviwest....................................................... 2.A29 AVL Technologies..................................... 5.A45

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AVMEDA LLC ..............................................6.C19 AVP Europa...............................................10.E52 AVT Audio Video Technologies GmbH ..8.E76 AWEX - Wallonia Foreign Trade and Investment Agency ................................10.D31 Axel Technology SRL............................... 8.B81 Axia Audio..................................................8.D47 Axinom .....................................................14.H15 axle Video...................................................7.D07 Axon ............................................10.A21/10.B21 Ayecka Communication Systems Ltd...5.C73 Azden Corporation ....................................8.E81 Azercosmos............................................... 5.B22 AZURE SHINE TECHNOLOGY CO., LTD. ..5.C05 B B&H Photo, Video, Pro Audio................11.D20 BABA ENTERTAINMENT ........................ 9.LP13 Band Pro Munich GmbH .......................12.D21 Barco Silex.............................................10.D31a Barnfind Technologies ............................ 3.B19 Barrowa.....................................................1.F34s BBC Research & Development ...............8.F20 BBright......................................................2.B39c BCE - Broadcasting Center Europe....... 7.G15 BCNEXXT.................................................... 2.A49 BE - Broadcast Electronics......................8.C91 Beamr ........................................................3.B56f Beenius.....................................................14.C30 Beijing Feiyashi Technology Development Co., Ltd....................................................12.B61c Beijing Fxlion Electronic Technology Co.,Ltd.......................................................12.A14 Beijing HKL Telcom Co. Ltd .................... 3.A16 Beijing Hualin Stone-Tech Co.,Ltd .......10.F45 Beijing Lightstar Electronic Co., ltd.....12.G54 Beijing Novel-Super Digital TV Technology Co., Ltd........................................................ 5.B51 Beijing Realmagic Technology Co. Ltd......................................................... 2.A32 Beillen Battery - JIADE Energy Technology ..............................................12.B52 Belden.........................................................1.D11 Belintermedia............................................ 5.B24 Benel B.V. Falcon Eyes ..........................12.B69 BenQ.......................................................... 9.LP10 BES ............................................................10.D57 BETSO ELECTRONICS s.r.o.......................8.E34 Bexel ..........................................................12.E65 BEYE............................................................ 5.B13 BFE Studio und Medien Systeme GmbH .......................................................... 8.B70 Bindinc. Programme Data Services ....14.L23 BIRTV .......................................................... 6.A04 Bitmovin, Inc.............................14.H08/14.M22 Black Box Network Services...................8.E32 Blackmagic Design.................................. 7.H20 BLANKOM systems GmbH...................... 1.A91 BlockBattery............................................12.B36 BLT .............................................................. 8.A65 Blue Lucy Media ....................................... 7.G07 Bluebell Opticom .....................................10.F24 Bluefish444.................................................7.J07 Blueshape ................................................12.A20 BMC UK........................................................5.C45 BMS Broadcast Microwave Services GmbH ...................................................................... 1.A10 Boris FX / Imagineer .................................7.K29 Boxx TV Ltd..............................................10.C49 BR Remote................................................12.F67 Brainstorm Multimedia ............................7.C12 BRAM Technologies ................................ 8.B15 Bridge Technologies ...................1.F68/14.J05 Brightcove.................................................. 5.B69 Bristol/VFX ...............................................12.G38 British Kinematograph Sound & Television Society (BKSTS) ........................................ 6.B01 Broadcast Bionics ....................................8.D71

Broadcast India 2017............................... 6.A08 Broadcast IP Systems ............................. 1.A78 Broadcast Manufactur GmbH.................8.C60 Broadcast Partners ...................................8.C81 Broadcast Pix ............................................ 7.B21 Broadcast RF...........................................11.D12 Broadcast Solutions GmbH ........ 0.D02/8.A74 Broadcast Traffic Systems......................2.C18 Broadcast Wireless Systems Ltd .......... 1.A78 Broadcom Limited.....................................2.C25 Broadpeak ................................................. 5.B72 BroadStream Solutions Inc .................... 8.B35 BroadView Software..............................2.A41a Brother, Brother & Sons ........................12.A41 Bryant Unlimited.....................................10.D15 BT Media & Broadcast .............................0.C01 BTESA - Broad Telecom...........................8.C19 Bubblebee Industries................................8.E34 Burli Software Inc..................................... 8.B03 BW Broadcast Ltd .....................................8.E73 BYDESIGN .................................................. 2.A48 C C2m Solutions.........................................2.B39h Cadnique Ltd ............................................1.F33c Calrec Audio ............................................ 8.C61s Cambridge Electronic Industries Ltd..11.A36 Camera Corps Ltd ...................................12.E65 Camerobot Systems GmbH..................10.D30 CAME-TV LIMITED................................11.B22g Camgear Inc ............................................12.B62 Canara Lighting Industries Pvt. Limited......................................................12.C59 CANARE ELECTRIC CO. LTD.,................12.G48 Canford.....................................................11.D01 Canon Europe Ltd...................................12.D60 Cantemo...................................................7.K01a Cartoni .......................................................12.E30 castLabs GmbH .......................................14.L02 CASTPAL TECHNOLOGY INC., SHENZHEN ...............................................3.B37e CASTWIN .....................................................2.C50 Casu ..........................................................12.C77 Cataneo GmbH.......................................... 3.B27 CatDV (Square Box Systems)................7.J15c Cavena Image Products AB ....................2.C32 CCBN ........................................................... 6.A03 CCI Paris Ile-de-France ...................................... .....................2.A36/2.B39/8.B36/8.D82/12.E56 C-COM Satellite Systems Inc. .................5.C53 Cedar Audio Ltd ........................................8.D98 Cedexis .....................................................14.G17 CEITON - expertplace solutions GmbH .......................................................... 3.A60 Celeno ........................................3.B56k/15.MS2 Census Digital .........................................2.A41e Cerevo Inc. ..................................................2.C41 CHANGZHOU AVI ELECTRONIC CO.,LTD .....................................................5.A41c ChangZhou HaoCheng Electronics Co.,Ltd.......................................................3.B37d Checkers Saftey Products ...................... 6.A07 CHINA HUAXIN ANTENNA. .......................1.C95 China Starwin Science&Technology Co.,Ltd.......................................................3.A21a Christie .....................9.MS71/9.MS72/9.MS73 Christy Media Solutions - Broadcast Recruitment Specialists...........................6.C29 Chrosziel GmbH ......................................12.G64 CHYRO.......................................................2.B39a ChyronHego...............................................7.D11 Cinedeck / cineXinsert .......................... 9.LP14 CINEGEARPRO LTD.................................12.A73 Cinegy ............................................. 7.A30/7.A41 Cinela ........................................................ 8.C73s Cinematography Electronics................12.C79 Cineo Lighting .........................................12.D39 Cineroid ....................................................12.G27

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Cinex X-Jib...............................................11.A12 Cinfo ..........................................................5.B19s Cires21 Live Streaming Solutions .......14.K06 Cisco ........................................................... 1.A71 ClassX SRL................................................. 8.A84 Clear-Com................................................10.D29 ClearView Imaging.................................12.B75 Cmotion GmbH........................................12.G46 COAX Connectors ltd ..............................10.F39 Cobalt Digital Inc. ...................................10.B44 Cobham .....................................................0.B01t Coemar Lighting Srl ...............................12.B45 Cogent Technologies .............................6.C28a Colibrex GmbH ...........................................8.E43 Collabora ...................................................14.L14 Comarch...................................................14.C07 Comcast Wholesale ................................14.E27 Comigo ....................................................... 3.B52 Comrex .....................................................12.G11 Comtech EF Data.......................................1.F80 COM-TECH Italia SpA................................8.C41 Comtech Telecommunications Corp.....1.F80 Comtech Xicom Technology, Inc. ..........1.F80 Conax...........................................................1.C81 Concurrent ................................................. 2.B31 CONTENTARMOR....................................2.A36e ContentWise .............................14.K05/14.M24 Convergent Design.................................12.A34 Conviva.......9.LP22/9.MS68/9.MS69/9.MS70 Cooke Optics Ltd.....................................12.D10 Corning Optical Communications LLC ..7.J31 COSHIP ELECTRONICS CO., LTD. ............1.F50 Cosmolight...............................................12.B30 Cotech Filters...........................................12.B71 Cowe Co., Ltd. .........................................8.B30e CP Cases Ltd............................................10.A44 CPI ASC Signal Division............................1.C51 CPI International Inc................................. 1.B41 CRAFTWORK ApS ..................................... 5.A25 Craltech Electronica, S.L. ......................11.C02 CreateCtrl AG............................................. 3.A40 CreateLED ................................................10.B41 CreNova Multimedia Co., Ltd. ................ 5.A74 CRM.COM..................................................8.B38f Crucial IP Inc............................................2.A41d Cryptography Research ......................... 2.A20 Cryptoguard................................................3.C69 Crypton Ltd. ............................................... 7.A06 Crystal ........................................................ 1.A78 Crystal Vision............................................. 2.B11 CRYSTOP GmbH.........................................5.C19 CSG International......................14.N26/14.N28 CSTB Russia .............................................. 6.B06 CTM ............................................................. 7.B11 CTP Systems ..............................................8.E83 Cube-Tec International GmbH ................5.C41 Cubiware, a TiVo company .................... 5.A31 Cuescript Ltd ............................................12.F41 Custom Consoles Ltd.............................8.B38e CW Sonderoptic ......................................11.A48 Cyber Media Television BV......................5.C61 CYTAGlobal ................................................ 1.B22 D Dac Systems SA ....................................... 8.A12 dâ&#x20AC;&#x2122;accord broadcasting solutions GmbH .......................................................... 3.A33 DAIWA/Tokina.........................................12.A30 Dalet Digital Media Systems .................. 8.B77 Damery ...................................................10.D31b Dan Dugan Sound Design ......................8.D96 Danmon Asia Ltd....................................8.B51a Danmon Group........................................8.B51a Danmon Group Denmark A/S..............8.B51a Danmon Group Norway AS ..................8.B51a Danmon Group Sweden AB .................8.B51a Danmon Group Systems A/S ...............8.B51a DataPath......................................................1.F56

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Datavideo Technologies Europe B.V.....7.D39 Datos Media Technologies S.A............8.B51a DAVID Systems GmbH............................. 3.A31 dB Broadcast ...........................................10.A28 China DB Digital Broadcast..............................8.D15s DB Video..................................................... 0.B02 dBD Communications ..............................5.C74 DDN Storage.............................................. 7.B33 Decimator Design..................................... 7.B35 Dedo Weigert Film GmbH .....................12.D31 China Defy Products..........................................11.D15 Dega Broadcast Systems Ltd ................7.D01 Dejero........................................................12.C56 DEK optics.................................................. 8.B15 DekTec........................................................ 2.B40 Delta Meccanica s.r.l. ...............................8.E39 DELTACAST developer solutions........... 7.A14 DELTACAST sport solutions ................... 7.A14 The Israel Export & International Deltron ItaliaInstitute SRL.......................................8.E35 Cooperation Deluxe..........................................................9.LP1 DENZ..........................................................12.B79 DeSisti - ILT Italy S.r.L............................12.B45 DEV Systemtechnik GmbH & Co. KG .... 1.B31 DEVA Broadcast Ltd.................................8.D79 DEXEL Lighting........................................12.A26 Dexin Digital Technology Corp. Ltd.....5.A41b DGQoS SRL ..............................................8.D37u

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DHD ............................................................. 8.A21 DiGiCo UK Limited ...................................8.C61t DiGiDiA.........................................................8.E89 Great Digigram......................................................8.C51 China Britain Digisoft.tv .................................................14.N31 Digispot System GmbH ...........................8.D74 Digital Forecast CO., Ltd........................11.A18 Digital Screens LLC ...............................14.M16 ARRIS Global Limited Digital Vision.............................................. 6.A14 KAONMEDIA DigitalConn srl / Telmec RF srl ............8.A41s Dimetis........................................................ 1.B30 DirectOut GmbH.........................................8.E85 Disk Archive Corporation....................... 8.B38i Divicon Media Holding GmbH .................8.C81 Humax Co. Ltd DK-Technologies .......................................8.E60 DLP - Digital Tech Co., Harmonic Ltd ....................11.A43 Inc DMG Lumiere ..........................................12.A40 Dmlite co. Ltd. ..........................................8.B30f DMT..............................................................5.C26 DOCOMO Digital......................................14.H17 Dolby Laboratories................................... 2.A11 Dongguan Dishstone Electronics Co. Ltd.......................................................3.B37a Dongguan LanParte Television Equipment Technology Co.,LTD ...............................12.A50 ArabSat Doteck Digital Technologies ...................2.C49 DOTSCREEN..............................................2.B39f

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Double D Electronics Ltd........................1.F58c Doughty Engineering Ltd ......................12.A58 DPA microphones ....................................8.D70 Dreamspace ...............................................8.F05 Drone Volt ................................................11.B42 DSPECIALISTS GmbH ...............................8.E69 DTC Domo Broadcast ...............................1.F41 DTS .............................................................. 2.B50 DVB..............................................................1.D81 Grass Valley, a Belden Brand DVBControl - MediaControl .................... 3.B41 DVEO division of Computer Modules, Inc................................................................ 2.A34 DVLab...........................................................5.C04 DVMR ........................................................2.A36c Dyn .............................................................. 5.B14 Evertz Dynacore Technology Co., Ltd. ............12.D45 Dynamic Drive Pool.................................. 7.H15 Dynamic Perspective..................0.F01/12.F71 Samsung DynamiCam Ltd......................................11.D13 E Earda Electronics Ltd................................5.C67 Easel TV ....................................................14.C08 Easy Media Suite .......................................8.C92 EasyBroadcast .......................................14.M25 Easyrig ......................................................12.A59 ebs.tv.........................................................14.B01 EBU (European Broadcasting Union)...10.F20

Eddystone Broadcast Ltd......................8.B38d Edgeware .................................................14.C36 EditShare.................................................... 7.G37 EDL-REC ..................................................... 7.A05 Eela Audio / EA Broadcast......................8.D74 Egatel S.L....................................................8.D40 Egripment BV ..........................................12.A21 EKT .............................................................. 5.B30 Elber SRL..................................................8.D37s Elecard.........................................................2.C26 Elemental Technologies and Amazon Web Services..............................................5.C80 ELEMENTS | Syslink GmbH..................... 7.B08 Elite Antennas Ltd ...................................1.F33b ELTI..............................................................8.D44 eMAM ........................................................ 7.B33 Embrionix................................................... 8.B92 EMC ............................................................. 7.H10 Emerson Network Power – Avocent .... 8.A19 Emotion Systems....................................6.C28c EMS Technical Personnel Ltd ................ 1.B09 China ENCO ........................................................... 8.A59 Encompass Digital Media....................... 5.B75 Enensys ...................................................... 2.B30 Great Britain Ensemble Designs, Inc............................ 8.B91 EPGdata.TV ...............................................14.L27 Akamai Technologies Limited Epiphan Video ............................................9.LP6

Equinix ........................................................ 3.B25 ERECA .......................................................11.C49 Ericsson......................................................1.D61 ERSTREAM...............................................14.K14 Es’hailSat - Qatar Satellite Company ... 5.B64 Espial........................................................... 5.B27 Etere ............................................................ 8.B89 Etilux .......................................................10.D31c ETL Systems.............................................. 1.A33 ETRI ..............................................................8.F30 Euro Light System .................................12.D46t Eurofins Digital Testing............................5.C30 Eurotek S.R.L .............................................8.D88 Eutelsat SA.................................................1.D59 Evertz ...............................................1.D31/1.F29 EVS Broadcast Equipment.......... 8.A96/8.B90 Exir Broadcasting .....................................8.D28 Exterity......................................................14.H13 eyevis GmbH............................................11.B40 Ezako ......................................................... 2.B39j EzyInsights................................................. 8.B05 F F&V Europe B.V. .......................................12.F51 F.A. Bernhardt GmbH, FAB ..................... 2.A21 Facilis Technology Inc............................. 7.B40 Factum Radioscape.................................8.D90 Fairlight....................................................... 8.B20

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farmerswife .............................................11.C32 FAST LTA AG.............................................. 8.A01 FASTCOM Technology SA........................5.C35 Federico Cueva ..........................................0.C03 OUTLINED Ferrofish.....................................................8.D70 Fiberfox.....................................................12.G53 FiberLink ..................................................10.B20 Fidus Systems Inc. ................................2.A41m FileCatalyst ................................................ 7.H37 Filmfabriek................................................. 7.A15 Filmgear Lighting ...................................12.D39 Filmlight.......................................................7.F31 Filmpower.................................................. 8.B04 Filmstro..................................................... 9.LP21 Fischer Connectors .................................12.F34 Flanders Investment & Trade..10.F34/10.F42 Flanders Scientific .................................10.B10 Flowcine...................................................12.A59 FocalPoint Server ......................................7.J38 Focusrite Audio Engineering Ltd ........... 8.A42 Fonix..........................................................11.A20 Fonsview Technologies Co., Ltd.............1.F92 FOR-A.......................................................... 2.A51 Force Servo................................................ 8.B06 Forscene...................................................7.K01b Fortium Technologies............................14.K02 Fraunhofer Digital Media Alliance......... 8.B80 Fraunhofer FOKUS.................................... 8.B80 Fraunhofer HHI.......................................... 8.B80 Fraunhofer IDMT....................................... 8.B80 Fraunhofer IIS............................................ 8.B80 Friend MTS................................................. 1.A44 FSN Inc.......................................................10.F29 Fujifilm Europe GmbH ...........................12.B20 FujiFilm Recording Media GmbH ........11.C36 Funke Digital TV.........................................3.C60 Furukawa.................................................12.G25 G G. L Optics .................................................12.F76 GatesAir.......................................................8.C30 GB Labs .....................................................7.J15b GearCam ..................................................12.D52 Gearhouse Broadcast............................10.B39 GenArts........................................................7.J05 Genelec OY.................................................8.D61 General Dynamics SATCOM Technologies ............................................. 1.A41 Geniatech Inc,Ltd....................................5.A41e Genmix Technology ................................. 8.B10 Geritel Giomar ............................................8.E33 Gigabyte Technology .............................14.K04 Gigatronix Ltd..........................................11.B47 GkWare e.k. ................................................2.C51 Glensound...................................................8.E72 Global Distribution.....................................7.J31 Global Invacom ......................................... 5.B03 Global Satshow......................................... 1.A50 Global VSAT Forum .................................. 6.B05 Globecast ................................................... 1.A29 GLOOKAST .................................................7.D03 GOAL SPORT software (DAITE s.r.o.) ..11.B10 GODOX Photo Equipment Co.,Ltd. ........12.E75 Gold Best .....................................................5.C52 Good Mind Industries ...............................5.C75 Google....................... 14.M04/14.M05/14M09/ .....................................................14.M10/14.N03 Goonhilly Earth Station Ltd ...................5.B48e GoPro ........................................................11.C40 GOSPELL Digital Technology Co., Ltd., ..3.C67 Gotech International Technology Ltd .5.A41a Grace Jin ..................................................11.C47 Gracenote.................................................14.H20 Grass Valley, a Belden Brand......1.D11/1.E02 GraVue Co. ...............................................11.B18 GrayMeta Inc. .............................................7.J01 GREAT Britain Pavilion................ 1.F33/5.B48/ ..........6.C28/7.J15/7.J38/7.K01/8.B38/11.B30

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GreenPeak Technologies (a Qorvo company)................................... 1.A30 GRUS ............................................................2.C29 Gsertel..........................................................8.E11 GT - SAT International ............................. 5.A09 G-Technology.............................................7.J31 Guangdong Nanguang Photo&Video Systems Co .,Ltd ......................................12.E10 Guangshun Suitcases And Bags Industry Co., Ltd....................................................11.B22d Guangzhou Jianguang Lighting Co,.Ltd ...................................................................11.B22f Guangzhou Wowo Import & Export Co Ltd........................................................11.A31 Gulfsat Communications Company...... 5.B78 Guntermann & Drunck GmbH................ 1.B10 Guramex...................................................10.B31 GYRO - STABILIZED SYSTEMS...........12.E56d H Haivision....................................................14.L16 Hangzhou JUSTTONG Network Technology Co., Ltd......................................................12.G76 Hangzhou Xingfa Transmission Equipment Co.,Ltd.......................................................5.A41d Harman Professional ...............................8.D60 Harmonic Inc............................................. 1.B20 Hedge For Mac........................................ 9.LP17 Hellas Sat ................................................... 1.B38 Hewlett Packard Enterprise .14.H05/15.MS21 HEXAGLOBE..............................................14.L10 HF Prints ......................................................8.E05 HGST............................................................ 7.H39 HHB Communications Ltd ......................8.D56 Hi Tech Systems ........................................8.E62 Hibernia Networks ................................14.M33 Hibox Systems .........................................14.L12 Highlands Technologies Solutions .....8.B36c Hiltron GmbH ............................................. 5.B80 HiMedia Technology Limited ...............2.A50b Hisilicon Technologies co., Ltd ...1.A74/2.C30 Hispasat......................................................1.D40 Hitachi Data Systems ...............................5.C16 Hitachi Kokusai Electric Europe GmbH .....................................................................12.F38 Hitomi Broadcast.......................................2.C17 HMS GmbH ................................................ 3.A33 Hohem Technology Co.,Ltd ................11.B22c Holkirk ........................................................ 1.A78 Homecast Co., LTD................................... 1.A27 HONGKONG HAIFEI Electronic Ltd. ......5.A41g Horizon Teleports ......................................5.C65 HP Inc.......................................................15.MS3 HPRC Cases .............................................11.A05 HS-ART Digital / DIAMANT-Film Restoration .................................................5.C41 HTS Ltd ........................................................9.LP7 Huawei Technologies Co. Ltd. ............... 5.B52 Hubee.........................................................14.L20 Huizhou City Latu Photographic Equipment Co., Ltd......................................................11.A23 Humax Co. Ltd............................................1.C27 HwaCom Systems Inc. .............................5.C50 Hyundai Fomex Co. Ltd .........................10.D23 I IABM...............................................8.F51a/8.F54 IBAS - Italian Broadcasting Advanced Solutions ..................................................8.A41s IBC Content Everywhere Hub Theatre .....................................................................14.J10 IBC Future Reality Theatre...................... 8.G01 IBC Future Zone Showcase ..................8.G03s IBC IP Interoperability Zone....................8.D10 IBC Partners’ Pavilion ...............................8.F51 IBC Sales Office ......................................14.K30 IBC Technology in Action Theatre......... 3.B22 IBC TV........................................................13.A05 IBM ..................... 15.MS22/15.MS40/15.MS41

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IBM Cloud Object Storage....................... 7.G18 IBM Cloud Video .....................................14.A10 IDX Technology.......................................12.C25 IEEE............................................................10.D25 IEEE Broadcast Technology Society ....8.F51b IET - The Institution of Engineering and Technology ...............................................8.F51c Ifootage international (HK) Limited.....11.A37 Igalia...........................................................5.B19t IGP b.v........................................................1.F58d IHSE GmbH................................................. 7.B30 Ikegami Electronics (Europe) GmbH ..12.A31 Image Engineering GmbH & co. KG .....12.E16 Image Matters.......................................10.D31d Imagen Ltd..................................................7.F39 Imagine Communications ...................... 4.A01 IMC Technologies..................................... 7.H03 I-MOVIX ....................................................12.A37 INA - Institut National de l’Audiovisuel ...................................................................... 6.A20 Indiecam GmbH......................................12.G75 IneoQuest ................................................... 2.B20 Inetsat ..........................................................2.C53 Infomir GmbH...........................................14.L09 Inmarsat...................................................0.B01s INNOPIA Technologies, Inc..................... 5.B08 Innowave Technologies, S.A.................14.L15 Inovativ .....................................................12.D52 Inside Secure...........................................14.G15 instaDIGITAL............................................14.H07 InSync Technology....................................9.LP4 InsysPlay .................................................. 9.LP23 Intech- Greenwave................................... 8.A40 Intek Digital., Inc........................................5.C38 Intel.............................................................. 5.B65 Intelsat Corporation ..................................1.C71 Interra Systems......................................... 7.B13 Interxion ....................................................14.L13 Intinor AB ..................................................14.J14 INTOPIX...................................................10.D31e INTV Co. Ltd .............................................. 8.B15 Inverto......................................................... 5.B25 Invest in Cornwall...................................5.B48h Inview .......................................................14.D27 IO Industries Inc......................................12.D75 iO Media Group Ltd. ..................................9.LP9 IPcopter GmbH & Co. KG..........................5.C19 IPE..............................................................11.D30 IPV Limited.................................................8.D41 Irdeto...........................................................1.D51 Iris Gateway Satellite Services Ltd........ 1.B22 IRT (Institut fuer Rundfunktechnik GmbH) .....................................................................10.F51 IRT b-com ...................................................8.F28 ItalTelec S.p.a .............................................8.C95 Itelsis............................................................8.E19 Ittiam Systems .......................................... 8.A54 iWedia ......................................................... 5.B40 iZotope........................................................8.D70 IZT GmbH.................................................... 8.A68 J J.L. Fisher.................................................12.C40 Jampro Antennas, Inc. ............................ 8.B96 JetHead Development, Inc. .................... 5.A25 Jinni...........................................................3.B56e JK Audio ...................................................12.G11 JLCooper Electronics................................7.C03 JOANNEUM RESEARCH............................5.C41 JoeCo Limited ............................................8.E97 JOYmechanix ..........................................11.A06 JSC Gazprom Space Systems ............... 5.B68 Junger Audio...........................................10.A49 Jutel..............................................................8.E91 JVCKENWOOD..........................................12.F31 JW Player ................................................... 8.A48 K K5600 Lighting .........................................12.E28

Kaltura ........................................................ 3.A63 KAONMEDIA............................................... 1.B16 KATHREIN-Werke KG................................8.C29 Keepixo........................................................1.C29 KenCast ...................................................... 2.A24 Kinemaster ................................................ 7.A02 Kino Flo/Cirro Lite (Europe) Ltd............12.D26 KINORG .....................................................12.A75 Klotz Ais GmbH ..........................................5.C21 Knox MediaHub ......................................5.B19s KOBA 2017................................................. 6.B07 Kodak........................................................8.B38c Konova Korea Inc ...................................12.A66 Konvision...................................................10.F35 KOREA AVICS ..........................................8.B30a Korea Pavilion ............................... 5.B11/8.B30 Kratos Integral Systems Europe............ 1.A01 Kudelski Security.......................................1.C81 Kupo Grip .................................................12.G63 Kvant-Efir ....................................................8.E75 Kvarta...........................................................5.C85 L L-3 Narda-MITEQ...................................... 1.A18 Lacie............................................................ 7.G17 Lanclan bv ................................................. 8.A19 LaON Technology Co., Ltd......................10.F23 Lasergraphics ............................................7.F01 LATTO Media ..........................................3.B56m LAWO .......................................................... 8.B50 LCA - Lights Camera Action.................12.D39 Leader Electronics Europe Corp ..........12.A10 Leader Light s.r.o....................................12.B45 LeaseWeb. ..............................................14.J10s Lectrosonics, Inc. ....................................8.C73t LEDGO TECHNOLOGY LIMITED.............12.G68 LEMO Connectors...................................12.D42 Lentequip Inc...........................................2.A41h Level 3 Communications .........................9.LP2 Levels Beyond......................................15.MS38 Leyard .......................................................11.B35 LG Electronics ........................................... 5.A28 Libec..........................................................12.A53 Liberty Global plc......................................1.D39 Lilliput (Zhangzhou) Electronic Technology Co., Ltd....................................................12.B61e Limecraft................................................ 10.F42c Limelight Networks.................................. 3.A23 Linear Acoustic ..........................................7.J40 Linius ........................................................14.N31 LiteGear ....................................................12.D39 Lith Technology Co., LTD ....................12.B61b LiveLike .....................................................8.G03f Livestream ................................................. 7.A10 LiveU.............................................3.B62/15.MS4 Livewire Digital Ltd.................................5.B48c LMP Lux Media Plan ...............................10.F21 Lockit Network GmbH ............................12.E80 LogicKeyboard ...........................................7.F49 LookAt........................................................ 3.B56j LS Telcom ...................................................8.E43 LTO Program ............................................. 6.A21 LUCI .................................................7.A45/8.C04 Luma Tech ...............................................12.D52 Lumantek....................................................3.C63 Luminex Network Intelligence........... 10.F42a Lund Halsey (Console Systems) Ltd ..... 2.B10 Lupo SRL ...................................................12.F61 Luso Microwave ....................................... 1.A32 Lynx Technik AG........................................8.C70 M M&I Broadcast Services ..........................8.E17 Macnica ......................................................2.C57 MACOM ...................................................... 8.A15 Magine.......................................................14.E10 make.tv........................................................7.J14 Mandozzi..................................................8.D37v Manfrotto ..................................................12.E65

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Marine Camera Solutions Ltd ..............10.D42 Mark Roberts Motion Control Ltd.........12.F11 Marketgraph BV .....................................12.A21 MARLINK (entreprise accompagnée par 92) ..................................................................... 2.B39i Marquis Broadcast................................... 7.G05 Marquise Technologies........................... 7.H03 Marshall Electronics ..............................12.D20 Marvell.........................................................5.C09 Massive ....................................................14.B20 Masstech Innovations Inc. ...................2.A41k Masterclock, Inc. ....................................10.A42 Masterplay Digimedia ............................. 8.A16 MASV.io .................................................... 9.LP15 Matrox ........................................................ 7.B29 Matthews Studio Equipment Inc.........12.G71 MAXING ELECTRONIC TECHNOLOGY CO.,LTD ....................................................................3.B37b Maxon Computer GmbH ..........................7.K30 MEDIA BROADCAST................................. 1.B79 Media Broadcast Technologies (MBT) ....................................................................8.D82a Media Excel ..............................................14.L30 Media IT Profy ............................................7.J43 Media Links EMEA ....................................1.C31 Media Motive............................................. 3.A54 Media Networking Alliance.....................8.C94 Media Utilities B.V..................................... 8.A21 Media-Alliance SRL ................................8.A41t Mediacast .................................................. 5.A17 Mediactive ...............................................2.B39b MediaGeniX ................................................3.C59 MEDIAGURU.............................................10.A29 Mediamano................................................ 8.A52 Medianet Vlaanderen ..........................10.F42g MediaPower ...............................................7.J42 Mediaproxy Pty Ltd ...................................7.J07 Mediaware................................................. 5.A26 Megahertz.................................................12.F20 Merging Technologies..............................8.E96 Metaphor..................................................14.G10 MeteoGroup................................................2.C48 MetraWeather .......................................11.B30c Metrological..............................................14.E20 METUS ........................................................ 7.A09 Meway Srl ...................................................5.C10 Microfilms................................................12.A61 Microsoft ...............................15.MS1/15.MS39 Microtech Gefell GmbH ...........................8.D77 Mikros Image Belgium.........................10.D31f Miller Fluid Heads (Europe) ltd.............12.D30 Minerva Networks.................................14.M18 Minglvision .................................................8.F29 Minnetonka Audio Software ...................7.J40 Mirada......................................................... 5.A63 MiraVid ......................................................14.L03 Mirror Image.............................................. 3.A24 MIS .............................................................. 2.A16 Mistserver ................................................14.K13 mLogic.........................................................7.J31 Mobile Viewpoint.....................................14.F21 Mode-AL...................................................10.A38 MOG - Technologies ................................ 7.G30 Mogami ......................................................8.D56 Morpho, Inc................................................ 2.A08 Moso Power................................................3.C16 Motama ....................................................14.H19 Moti Nevo .................................................3.B56a Motion Impossible..................................8.G03e Movicom, LLC..........................................12.G80 MovieTech AG .........................................12.G30 MPP Global ..............................................14.K01 MSA Focus International Ltd................ 9.LP11 Mstar Semiconductor, Inc. ......................2.C33 MT-C .......................................................10.D31g MTF Services LTD....................................12.F44 M-Three Satcom / M-Three Media....... 5.B24

30/08/2016 16:12

No Longer a Sideline, Broadcasters Focus on OTT Quality, Timeliness

As OTT delivery grows in importance to broadcasters, the ability to fully integrate both linear and OTT workflows and monitoring becomes increasingly valuable. For too long, many broadcasters have treated

ported, and social-media-based have forced

OTT (Over-the-top or Internet-delivered) pro-

broadcasters to incorporate OTT into their

gramming as secondary offerings that appeal

daily workflows, and treat every output signal

to just a handful of tech-savvy viewers. The

with as much care as any other one. Content

mere fact that someone could occasionally see

creators around the globe have discovered

content on a 4-inch screen delivered over an

that high-quality signals that are delivered in

unpredictable wireless connection was con-

smooth, unbroken streams through social me-

sidered remarkable enough to excuse any

dia and branded portals create loyal viewers

shortcomings in terms of signal quality or reli-

who are more likely to watch live broadcasts

ability. And if it took a few hours or days to get

and seek out other content from their favorite

news, sports or other time-sensitive content

sources. As an added bonus, OTT distribution

posted online, what was the harm in that, since

is becoming a significant source of revenue for

there werenâ&#x20AC;&#x2122;t any ad revenues at risk?

content suppliers. These forces are combin-

Those days are long gone in the competitive world of television broadcasting. Explosive growth in viewership levels for all types of Internet video, including subscription, ad-sup-

Volicon 4 Pager v4.indd 1 IBC template.indd 1

ing to encourage broadcasters to deliver more content over the Internet and to pay closer attention to the satisfaction of an increasingly important share of their audience.

Signal Quality Monitoring Making sure that OTT signals are properly created and delivered to a diverse population of consumers who use an enormous range of devices is not a trivial task, but one that can be made easier with the right tools. Comprehensive monitoring tools that can measure and record signals at multiple points along their journey to the viewer are particularly useful for identifying issues before they become problems and for logging signals to provide evidence of their successful delivery. Voliconâ&#x20AC;&#x2122;s Media Intelligence Platform (MIP) provides accurate monitoring of source signals both before and after compression, and supports signal capture, recording and measurement at a range of critical points along the path.

8/18/16 10:43 AM 30/08/2016 17:12

One location that is both critically important and extremely difficult to monitor accurately is at the end of an OTT distribution chain. Signals typically flow from a broadcaster to a content preparation/packaging service, and then on through a CDN (Content Distribution Network) and a local ISP (Internet Service Provider) before reaching the ultimate viewer. To address this, MIP provides logging (recording) and monitoring of OTT streams through the use of actual end-user devices. These captured signals can then be compared to the source material to identify many types of artifacts, including discrepancies such as improper timing for advertisements, improper audio/video synchronization, and other impairments that are difficult or impossible to detect using other technologies.

Simplified OTT Workflows Creating all of the different streaming formats that meet the specifications of a multitude of online portals can be a headache, unless the process can be automated. Selecting clips, editing them, and creating the metadata and tags that allow viewers to search for content can all be streamlined by using a system that records the entire stream and automatically identifies commercial inserts and program breaks. Post-processing, which includes packaging media elements into the proper container formats and uploading the finished clips as required by different platforms can be automated through the use of customizable scripts. Through integration with broadcaster automation systems (as-run logs or other scheduling data sources), Volicon’s MIP can automatically prepare clips that are precisely aligned to specific triggers, such as advertising breaks or other scheduled events. If the data source has enough detail, information such as clip titles, content descriptions, release dates, names of people appearing in the clip and other descriptive information can also be extracted from the log files and used to populate the fields required for OTT distribution. Caption data can be extracted from the recorded clips and reformatted to be compatible with the multitude of formats required by social media outlets and Internet video portals. Us-

What’s New for IBC 2016: Launching and monitoring new OTT and streaming services quickly and easily: Volicon has enhanced its Media Intelligence Platform™ (MIP) with a new Deliver Application which features integration with Verizon Digital Media’s Uplynk Slicer. This option enables Media organizations to launch OTT offerings quickly while leveraging on their existing Volicon infrastructure. The MIP records broadcast content across interfaces including SDI, TS, analog, and OTT, and the Deliver Application uploads live or stored video segments to the cloud for adaptive encoding, encryption, and packaging. Broadcasters and digital departments can leverage existing infrastructure and maintain end-to-end monitoring capabilities while taking advantage of scalable, cost-effective cloud-based processing that ensures a consistent encoding, uniform content protection, and complete metadata retention across all device platforms.

Content clipping capabilities to produce more content – fast – for VOD, websites, and social media: Enabling speed and agility in publishing content to a multitude of digital platforms, the Observer Share Application allows broadcasters to repurpose existing content quickly and efficiently and subsequently push it to digital platforms and social media sites. Advanced features include using broadcast As Run Logs (ARL) to manually or automatically clip and share programs. One-button publishing profiles facilitate rapid processing of content to meet appropriate container and encoding requirements for an array of platforms, including target websites, Content Management Systems (CMS), YouTube, Twitter, and Facebook.

ing the newly integrated 6QMZOL 4MJDFS, content can be uploaded directly

Compliance logging of Ultra High Definition Content

into the OTT workflow. These capabilities greatly simplify and acceler-

MIP has already been enhanced to support UHD signal logging and monitoring. UHD signals can be captured using advanced compression formats (HEVC/H.265) and analyzed using the latest release of the MIP system. Measurement tools have been adapted to work with 4K source materials. Utilities for automatically preparing clips to be prepared for distribution on social media platforms and through web portals have been converted to work with larger image sizes.

ate the workflow for creating OTT content, by substantially reducing the need for operator involvement and automating many routine tasks.

Flexible Multiviewer software with Path Monitoring of Both Linear and OTT Feeds At IBC2016, Volicon will feature the Multiviewer’s new Traffic Light dashboard, which gives each user convenient red-light and green-light status indicators for a customization of select channels, OTT streams, and renditions of OTT streams, or user-defined channels and/or streams. Shown in a configurable window within the Multiviewer display, along with other windows showing audio, video, and data for specified channels and streams, the Traffic Light widget effectively consolidates and displays the QoE-based alerts most important to an individual user. The new Path Monitoring widget extends visibility into channel- and stream-quality monitoring in another way, allowing users to create and customize a topology for specific channel/stream status validation at every point along the content creation or distribution path.

Volicon 4 Pager v4.indd 2 IBC template.indd 1

8/18/16 10:43 AM 30/08/2016 17:13

Observer Media Intelligence Platform™

Simplifying End-to-End System Management and Monitoring COME BY AND SEE WHAT’S NEW IN STAND 7G.23, HALL 7

Operations personnel who run broad-

tem component in an easy-to-read color

cast systems at television stations and

code – green for good, yellow for minor

networks have an increasingly complex

issues, and red for major issues that

H Launch and monitor new OTT and streaming services quickly and easily.

set of responsibilities to juggle, due

need urgent attention. These summary

to the effects of several trends. First,

indicators can be enabled for any point

H New content clipping capabilities to produce more content fast for web, cell, TV Anytime, and social media.

the number of outbound streams has

along the path from signal source to des-

grown substantially over the years in

tination. More detailed error reports can

order to accommodate the proliferation

then be accessed through a sub-menu

H New Video Content Matching to locate key content and ads quickly.

of signal formats required by large and

if further information is required for fault

small-screen consumer devices. Multiple

analysis or system restoration.

H Compliance logging of Ultra High Definition Content.

www.volicon.com

partner organizations are often employed to distribute signals across a range of de-

Volicon’s advanced error analysis al-

livery platforms, including satellite, cable,

gorithms can uncover subtle system

over-the-air, and Internet channels. Man-

discrepancies so that the user can re-

aging this complex ecosystem without

view the whole signal flow on a single

proper support tools can be an exercise

screen and visually compare video sig-

in barely controlled chaos, particularly

nals that have been captured at different

when things go wrong.

signal processing stages. Each captured signal is placed onto a common de-

Preventing information overload for net-

lay-adjusted timeline, so that the effects

work technical staff members can make

of transmission or processing delays

decision making both quicker and more

can be canceled out. Measurements can

effective. Volicon’s Media Intelligence

then be made to determine if distortions

Platform (MIP) has a redesigned user in-

or faults have been introduced, and, if

terface that has been carefully crafted to

so, by which processing subsystem.

simplify system status monitoring while

Captured video files can also be used

still providing full access to detailed er-

to provide proof of performance to third

ror and status report logs. MIP provides

parties, including compliance with rules

a high-level overview of each major sys-

and regulations.

™

Volicon 4 Pager v4.indd 3 IBC template.indd 1

8/18/16 10:43 AM 30/08/2016 23:18

4K/UHD The Time Is Now

India’s Kalki TV Uses Volicon Observer® System for Compliance, Marketing, and Quality Assurance Kalki TV, a new entertainment channel in southwest India’s Karnataka state, deployed Observer® video monitoring and logging system to capture and maintain broadcast content in compliance with India’s broadcast regulations, as well as to support the company’s marketing and quality assurance efforts. Installed at Kalki TV’s Bangalore facilities by systems integrator Digital Solutions, the single-channel Observer system stores 90 days of transmitted HD content and makes audio and video readily accessible for evaluation and repurposing. “Making it easy to capture, review, clip, and export recorded content, the Volicon Observer system serves as a robust solution for regulatory compliance,” said P. Kailasam, CEO at Kalki TV. “The networked nature of the system and its intuitive search capabilities also make the Observer system a powerful tool for creating promotional material and for ensuring that we’re delivering a competitive, high-quality broadcast.”

Of all the challenges facing television broadcasters today, the transition to 4K/UHD (Ultra High Definition) often seems to be the most daunting. The quadrupling of SDI bandwidths to 12 Gbps, coupled with a change to HEVC/H.265 compression for distribution could create the need to rip out and replace many parts of the existing production infrastructure. Once services are delivered for revenue, monitoring, logging, and compliance functions must be added to provide a complete broadcast solution. However, the market for 4K/UHD is surging ahead. Today’s consumers are buying 4K televisions at a rapid pace, evidently willing to pay the relatively small premium to go from 1080P to 4K. Juniper Research projects that 189 million unique users will be actively viewing 4K content by 2021. Distribution channels are opening up to support 4K signals pioneered by Internet video providers such as Netflix and manufacturers such as Samsung who are making an ever-increasing range of content and 4K-compatilbe devices available. Plus, there is a ready source of 4K content in the form of digital cinema back catalogs from Hollywood studios. Clearly, momentum will continue to shift in favor of programmers that can figure out a way to affordably deliver 4K/UHD content to consumers. Fortunately, Volicon’s MIP (Media Intelligence Platform) has already been enhanced to support UHD signal logging and monitoring. High-bit rate signals can be captured using advanced compression formats and analyzed using the latest release of the MIP system. Measurement tools have been adapted to work with 4K source materials. Utilities for automatically preparing clips to be prepared for distribution on social media platforms and through web portals have been converted to work with larger image sizes. *Source: Juniper Research, August 2016

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Kalki TV is part of White Horse Network (WHN), a rapidly growing South India media group that offers unique content in the entertainment space. Recently launched, the broadcast channel offers programming on topics such as health, faith, and cooking, as well as dramas, game shows, and reality programs. The Observer system serves as a reliable, redundant storage system that enables Kalki TV to ensure that every second of its broadcasts is captured, timestamped, and securely maintained. Easy search, retrieval, and publishing of media simplifies compliance with broadcast regulations while also facilitating fast access to content for use in marketing and competitive analysis.

South Africa’s Popular e.tv Expands Volicon Observer System to Support Current and Future Growth e.tv, the first privately owned free-to-air television station in South Africa, has expanded its Observer® digital video monitoring and logging system to accommodate compliance recording for simulcast channels, as well as to support reconciliation of visual as-runs and in-house air-fault investigation. “Upgrading our Observer system to address our continuing growth was the clear choice, given its proven reliability and the excellent backup and support provided by Volicon,” said Aadil Jaffer, senior engineer at e.tv. “We knew that implementation of the system would be easy, and our staff members already were comfortable using the interface to browse and monitor any channel on the internal IT network and to create clips for mail distribution as needed.” e.tv undertook the upgrade of its Observer system in conjunction with its move to a new facility. The broadcaster now has two eight-channel Volicon systems that capture two SD channels and six HD channels, providing four spares and another four for further expansion. The Observer system automatically records e.tv broadcasts, with every second captured, time-stamped, and securely maintained so that the station remains in compliance with government regulations for content archiving. Providing convenient access to content, straightforward search functionality, and simple clipping tools via an intuitive browser-based interface, the Volicon system also makes it easy for staff to respond to inquiries — whether internal, from the public, or from advertisers — with a visual record of performance. When investigating the quality of transmission on simulcast events, staff members use the flexible Observer interface to preview two or three channels simultaneously.

8/18/16 10:43 AM 30/08/2016 23:19

Full Colour

Published on behalf of the IBC Partnership by

White

MTS Media Technical System .............12.G30 MULTICAM SYSTEMS..........................12.E56a Multidyne Video & Fiber Optic Systems ....................................................................11.D40 Murraypro Electronics...........................8.B38h MusicMaster | ON AIR...............................8.E30 Muxlab........................................................ 3.A30 MWA Nova GmbH......................................7.E30 Mware Solutions Ltd...............................14.F10 MX1 ............................................................. 1.B24 myMix.........................................................8.D70 N NAB Show...................................................3.C18 nablet GmbH.............................................. 7.A49 NAGRA .........................................................1.C81 Nagra Audio................................................8.E96 nangu.TV .................................................14.M07 Nanjing Cleanwave Communication Technology Co.,Ltd....................................5.C34 Nanjing Magewell Electronics Co.Ltd ...5.C79 NANJING YINGCHEN PROVIDEO EQUIPMENT CORP. LTD. .............................................11.B22a nanocosmos Informationstechnologien GmbH .......................................................... 2.A10 Nanuk By Plasticase Inc. .......................10.F37 Narda Safety Test Solutions GmbH........8.E24 Nativ ..........................................................14.D20 Nautel...........................................................8.C49 ND SatCom ................................................ 5.A60 NEC Corporation ....................................... 8.B37 Neetra-AEV Broadcast .............................8.E92 Neotion ......................................5.B53/15.MS43 NEP ............................................................14.C34 Net Insight..................................................1.D30 Net Insight/ScheduALL ........................... 1.B40 NETA............................................................ 3.A18 Netgem ....................................................... 5.B33 Netgen ........................................................ 8.A08 NETIA............................................................8.C77 Netsweeper .............................................2.A41o NetUP .........................................................14.J18 Network Innovations ............................... 2.A46 NeuLion .....................................................14.F34 Neutrik AG...................................................8.C90 Nevion......................................................... 1.B71 New Japan Radio Co., Ltd........................5.C71 Newland ......................................................1.C91 NewsBoss ..................................................8.C91 Newtec........................................................ 1.A49 NewTek .......................................................7.K11 NEXGENWAVE .........................................8.B30c NexGuard ................................................... 2.B41 Nexstreaming..........................................14.D24 NEXTO DI Co., Ltd....................................12.G37 NGCodec......................................................9.LP3 NHK.............................................................. 8.G20 Nice People At Work ..............................14.D01 Nicepower Tech. Inc .................................8.C02 Nila LED Lighting ....................................12.A48 Nimbus, Inc..............................................11.A34 Ningbo Eimage Studio Equipment Co., Ltd ....................................................................12.B55 Ningbo Haida Photo Supplies Co., Ltd. ....................................................................11.A44 NINSIGHT.................................................... 7.B11 Nippon Control System Corporation...10.A12 NKK Switches Co., Ltd. ............................ 8.A70 NOA .............................................................8.D91 NoisyPeak Sarl........................................14.H16 Nokia......................................................15.MS25 Nokia USA Inc.................................8.C25/8.F02 Nordija .......................................................14.L06 Norigin Media..........................................14.C11 North Telecom........................................... 5.A65 Norwia ......................................................10.C10 Novella SatComs Ltd...............................1.F58b NovelSat ..................................................... 3.B26

59-74 IBC D2 2016 Centre Section v6.indd 7

NOWSONIC..................................................8.E25 NTP Technology A/S ..............................8.B51b NTT Group ...................................................2.C58 NTT Service Evolution Laboratories.......8.F22 Nuance Communications, INC. .............................................9.LP26/9.MS63 Nuance Communications, INC............... 1.A81 NUGEN Audio.............................................8.D56 NVidia GmbH ..........................................15.MS3 NyeTec Limited ..........................................2.C31 O Object Matrix Ltd ....................................6.C28b Ocilion IPTV Technologies GmbH.......14.M32 Oconnor.....................................................12.E65 OCTOPUS Newsroom............................... 7.G11 OMB Broadcast..........................................8.E27 OMNI REMOTES founded by Philips ..... 1.A81 Omnia Audio..............................................8.D47 Omnitek....................................................10.A24 Onair Medya Ltd ....................................... 8.A14 ONE CONNXT ............................................. 1.A97 Onetastic SRL.............................................8.C20 Ontario, Canada ........................................ 2.A41 OOYALA ....................................................14.D20 Open Broadcast Systems Limited........7.J38b OpenIO ........................................................ 3.A58 Opentech Inc. ..........................................5.B11c OpenTelly ................................................10.F42f Opera TV...................................................14.N29 Optical Cable Corporation......................10.E59 Optispeech................................................14.L22 OPTOCORE GmbH .....................................8.C60 OptoMedia Technology Inc......................1.F13 Optoway Technology Inc. .......................8.E41 Optral, S.A. ................................................10.E50 Oracle...........................................................7.C11 Orah............................................................2.A36f Orban Europe GmbH ................................8.D93 Ortana Media Group Limited................8.B38c OSEE TECHNOLOGY CO., LTD. ..............10.D59 Osprey Video ............................................. 3.A26 Outsight ..................................................12.D46s OVERLINE - Systems.................................8.E94 Ovide Smart Assist.................................12.G41 P P+S Technik ............................................12.B12 Packet Ship Technologies ....................14.H11 PacketStorm Communcations ...............2.C57 PAG UK......................................................12.B36 Panaccess...................................................5.C20 Panasas, Inc. ..............................................7.J31 Panasonic Marketing Europe GmbH ..11.C45 Panda O.S................................................... 3.A20 Paneda.........................................................8.E04 Panodic Electric ( Shenzhen) Limited .. 3.A52 Panther GmbH..........................................12.E20 Paradigm Communications ....................1.F49 Paralinx......................................................12.E65 Parallax LLC................................................0.C03 Pathpartner Technology ..........................5.C59 Paywizard Group plc...............................14.F32 PBI ............................................................... 2.A30 Peak Communications Ltd. .....................1.C33 Pebble Beach Systems ............................8.C71 Peer5 .......................................................... 3.B56i Perceptiva Labs ......................................8.D82d Percon........................................................10.E51 Perfect Memory ......................................8.D82c Pesa............................................................. 7.G41 Phabrix .....................................................10.B12 Phoenix7 Ltd...............................................3.C21 Phonak Communications AG..................8.E95 Photon Beard Ltd....................................12.G38 PINEONE Communications Co., Ltd ....5.B11d Pixel Power LTD........................................ 7.A31 Pixellot Ltd ............................. 3.B56d/15.MS44 Playbox Technology Europe Ltd............ 5.A02

PLAYBOX Technology Limited............... 8.B71 Pliant Technologies................................11.A02 Plisch - The Transmitter Company.......8.D32 PLURA Europe GmbH............................... 8.B73 Pluxbox RadioManager............................8.E38 Polecam ...................................................10.C49 Polytron Vertrieb GmbH .......................... 1.A91 Pomfort GmbH ........................................12.A38 Portabrace ...............................................12.D52 Portaprompt Ltd .....................................12.G49 Portrait Displays/SpectraCal................10.A26 Postium Korea Co., Ltd..........................8.B30d Prime Focus Technologies ..................... 7.B12 Primestream..............................................7.D21 PRISMAHUB- BURLI................................. 8.B03 ProConsultant Informatique................... 2.B21 Prodys......................................................... 1.A39 PROFITT Ltd ............................................... 7.A07 Profline ....................................................... 8.A34 Progira Radio Communication .............. 8.A50 Projectbuilders (a Videohouse division)....0.C02 Promax Electronica S.L. ...........................8.E44 ProMAX Systems...................................... 7.A04 ProSup ......................................................12.C73 ProTelevision Technologies ....................8.C48 Providius Corp.........................................2.A41p Provys ......................................................... 2.B49 PRO-X CO., Ltd .........................................12.E53 Prysmian Group (Draka Comteq Germany) ....................................................................12.C31 PSI Audio.....................................................8.E96 Pufferfish Displays....................................8.F03 Pyras Technology, Inc ..............................5.C75 Q Q dep Q ..................................................... 9.LP35 Qarva..........................................................14.E30 Qbit GmbH...................................................8.E49 qinematiq GmbH.....................................12.G75 Qingtian Yoohon Technology Co.,Ltd. 2.A50a Qligent..........................................................8.E47 Quadrille ...................................................2.B39e Quadrus.......................................................7.K25 Qualcomm Technologies Inc.9.LP24/9.MS64 QUALES.TV S.L. ......................................... 8.A26 Quantenna Communications............15.MS36 Quantum Corporation.............................. 7.B27 Quantum5X Systems Inc. ...................... 2.A41i Quicklink .................................................... 3.B30 Quickplay .................................................14.A30 QUICTools Ltd........................................11.B30b Quintech Electronics and DEV Systemtechnik .......................................... 1.B31 Quobis.......................................................5.B19s Qvest Media............................................... 3.B40 R R Systems Inc. .......................................... 5.A25 R.V.R Elettronica ........................................8.E36 Rabbit Labs................................................ 3.A44 Radica Broadcast Systems Ltd. ..........8.B38g Radio Communication Technology Co., Ltd. ...................................................................... 1.A03 Radio Frequency Systems...................... 8.B45 RaLex Solutions ........................................8.D73 Rambus Cryptography Research.......... 2.A20 RAMI..........................................................8.B36a Rascular Technology Limited .................1.F33 RASSID Ltd................................................. 8.A28 RCS..............................................................8.D16 RCW Technology Co. Ltd......................... 5.B15 RED Digital Cinema ................................12.C71 Red Hat GmbH........................................... 3.B17 REDPRO ....................................................11.D22 RedRat Limited ......................................11.B30f Reinhardt GmbH ....................................... 8.A20 Reliable Source Ltd ...................................8.E02 Remote Solution Co., Ltd......................... 5.A04 RemoteCamSystems GmbH ................11.A30

theibcdaily

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Research Concepts Inc ..........................1.F58a Revgo Global Inc........................................5.C43 Rewind.........................................................8.F08 RF-Design ...................................................1.F45 OUTLINED RFE Broadcast........................................... 8.B23 RGBlink.....................................................10.A41 Riedel Communications GmbH & Co.KG ........................................................0.B02, 10.A31 Rilix Ltda. Epp.............................................8.F09 Rincon Technology ................................ 9.LP18 Rip-Tie, Inc...............................................12.A64 RIZ - Transmitters Co............................... 8.A22 RJS Electronics Ltd ................................6.C28d RME .............................................................8.D70 Robe Lighting s.r.o ................................... 8.B44 RØDE Microphones ..................................8.D56 Rohde & Schwarz......................................7.E25 Roku.....................................15.MS47/15.MS48 Root6 Technology......................................7.E21 ROSCOLAB ...............................................12.G21 Rosenberger - OSI GmbH + Co - OHG .12.E51 Ross Video Ltd ............11.B08/11.C10/11.C23 Rotolight ...................................................12.G77 ROVER BROADCAST & OPTIC................. 8.B67 Rovi..................14.G01/14.G03,14.G04/14.G05 .......................................14.G06/ 14.H01/14.H02 RRIOO Technology Co.,Ltd....................3.A21b RSG Media Systems ..............................14.H04 RT Software Ltd .........................................7.F33 RTI Group ....................................................7.F07 RT-RK.......................................................... 5.B32 RTS (Royal Television Society) .............8.F51d RTS Intercom Systems..........................10.B48 RTW.............................................................8.D89 Ruige China ..............................................12.E45 Russian Satellite Communications Company (RSCC)..........................................................1.F89 ruwido.........................................................1.D69 Rycote Microphone Windshields Ltd. ...8.C64 RYMSA RF...................................................8.C65 S S3 Satcom Ltd........................................... 1.B91 S-Pro Systems ......................................... 8.B15 Sachtler .....................................................12.E65 SAE Inc....................................................... 2.A41j SAF Tehnika .............................................. 8.B01 Sagemcom ................................................1.D41 ‘SAM’ - Snell Advanced Media .. 9.A01/9.A02 Sam Woo Electronics Co., Ltd..............12.G29 SamJin Co., Ltd.......................................5.B11b Samsung....................................................1.D35 Sanken Microphone Co.,Ltd....................8.C93 Sans Digital Technology Inc....................7.F04 SAPEC ..........................................................1.F27 SatCube .................................................... 9.LP20 Satellite Interference Reduction Group (IRG) ................................................ 5.B48 Satmission ................................................. 5.A19 SatService GmbH.......................................1.F47 Scale Logic................................................. 7.H39 SCALITY...................................................... 7.H30 SCEO............................................................ 8.B02 Schill GmbH & Co. KG ............................12.C21 Schneider-Kreuznach............................12.D53 Schoeps Mikrofone...................................8.C64 Schulze-Brakel Schaumstoffverarbeitungs GmbH ..........................................................8.D75 SCISYS Deutschland GmbH ................... 8.B61 Screen........................................................8.D15t Screen Subtitling Systems ......................1.C49 Screenz.....................................................3.B56c SCTE ...........................................................8.F51e SDNsquare.............................................10.F42d SeaChange..................................................1.F70 Seagate....................................................... 6.A16 Secced ......................................................12.G73 SED Systems ............................................. 1.A52

SELEVISION..............................................2.A36a SELFSAT ..................................................... 5.B18 Sematron.................................................... 1.A78 Semtech Corporation..............................10.F46 Sencore|Wellav ..........................................1.F76 Senna Ltd. .................................................12.F79 Sennheiser Electronic GmbH & Co. KG ...........................................................8.D50/8.F21 Servicevision Bis SL...............................12.C43 Servicios Especiales de Accion, S.L. .....0.C03 SES .............................................................. 1.B51 Setplex......................................................14.H12 Seven Star Works Co., Ltd ....................10.D26 SGL .............................................................7.J15a SGO.............................................................. 6.A11 SGT .............................................................. 8.A98 Shanghai National Engineering Research Center of Digital Television Co., Ltd .......8.F10 Shanghai Tekcare Industrial Limited ..14.F33 Shaoxing Rising Electronic Co., Ltd.....5.A41f Shape........................................................12.C51 Shenzhen Rishenghua Technology Co.,Ltd. ....................................................................5.A41h Shenzhen AOTO Electronics Co., Ltd ..11.B24 Shenzhen C&D Electronics Co.,Ltd ....... 8.B07 Shenzhen Crystal Video Technology Co. Ltd.......................................................11.A32 Shenzhen Datamax Technology Co. Ltd..........................................................5.C25 Shenzhen Gudsen Technology Co. Ltd.......................................................11.A29 Shenzhen Hollyland Technology Co., ..................................................................12.B61d Shenzhen Justek Technology Co., Ltd .....................................................................14.J01 Shenzhen Konka Information Network Co.,Ltd......................................................... 5.B05 Shenzhen Liantronics Co., Ltd .............11.C15 Shenzhen MTC Co., Ltd ..........................3.A21f Shenzhen New Glee Technology Co., Ltd. .......................................................................2.C45 Shenzhen Nicent Electronics Co., Ltd....5.C14 Shenzhen Nitze Photo Industrial Limited......................................................12.G35 Shenzhen Portkeys Electronic Technology Co.,Ltd.....................................................11.B22e SHENZHEN SDMC TECHNOLOGY CO., LTD .............................................................14.J02 Shenzhen Seneasy Industrial Co., Ltd...1.F90 Shenzhen Shiningworth Technology Co., Ltd. ....................................................................14.C06 SHENZHEN SOSCI TECHNOLOGY CO., LTD ....................................................................6.A29b Shenzhen Tianzehua Electronic Co., Ltd., ....................................................................3.A21d Shenzhen Xinghuoyuan Photoelectric Technology Co.; Ltd ...................................................................3. A21c Shlomo Turgeman .................................3.B56a Shooting Partners Group ......................11.D10 Shotoku Broadcast Systems ................12.E42 SHOTOVER Camera Systems ...............11.B44 SI Media...................................................... 8.B93 Sichuan Changhong Network Technology Co. Ltd.......................................................6.A29c Sichuan Jiuzhou Electric Group Co., Ltd ...................................................................... 3.B45 SICHUAN VIDEO ELECTRONIC CO.,LTD..3.C31 Sielco SRL .................................................. 8.A58 Siemens Convergence Creators .........14.K18 Sigma Corporation .................................12.B68 Sigma Designs...........................................2.C35 Signiant .....................................................14.L08 Signum Bildtechnik GmbH .....................7.D31 Silver Brain...............................................11.A46 SilverStone Technology GmbH .............. 8.A23 Simplestream........................................14.G11s

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Singular.Live............................................14.N30

SVP Broadcast Microwave......................2.C55

Thum+Mahr .............................................. 8.A21

Venera Technologies ............................... 7.G43

WorldDAB..................................................10.F27

SintecMedia............................................... 2.B32

Swedish Microwave AB...........................1.F71

TIANCHANG TIANLIDA ELECTRONIC CO.,LTD

Venztech......................................................5.C15

Wowza Media Systems............................5.C42

Sinuta...........................................................5.C02

swissaudec................................................ 8.G18

....................................................................6.A29a

Verimatrix .................................................. 5.A59

wTVision......................................................7.C10

SIRA-SISTEMI RADIO................................8.C31 OUTLINED

SWIT Electronics Co., Ltd ......................12.C61

TIE Kinetix ...................................................8.F26

Verizon Digital Media Services ............14.C17

Wyplay ..........................................5.A25/14.N33

SIS LIVE........................................................1.C55

Switchcraft, Inc.......................................11.D45

Tieline The Codec Company....................8.E74

Versatile Remotes ..................................10.D42

Sixty...........................................................14.C20

SYES.............................................................8.C74

Tiger Technology.......................................7.K28

Veset ...........................................................8.D31

XCRYPT, INC. ...........................................5.B11a

SKARDIN INDUSTRIAL CORP................14.N33

Symply, Inc. ....................................6.C10/6.C11

Tilta Technology Co., LTD .....................12.G58

Vestel ........................................................14.A20

XD MOTION ............................................12.E56b

SkillBill ........................................................ 5.A25

Symply, Inc./Promise Technology ...................

Timecode Systems Ltd........................11.B30a

Viaccess-Orca........................................... 1.A51

x-dream-media GmbH ............................ 3.A29

Skyline Communications........................ 1.A23

...........................................................6.C10/6.C11

Tinkerlist.................................................10.F42h

ViaLite Communications......................... 1.A21

XenData...................................................... 7.H47

Skyware Global ........................................ 5.B03

Synaptop ..................................................2.A41g

TiVo.............................................................. 5.A31

Vianeos.....................................................2.A36a

X-Rite ...........................................................9.LP8

Skyworth Digital ....................................... 5.B61

Synterra Media CJSC............................... 8.B15

TIXEL ........................................................... 7.B01

VIDAU SYSTEMS....................................... 8.B15

Xstream.....................................................14.F15

Slidekamera .............................................12.E77

SYRP Ltd....................................................12.E73

TMD Ltd ...................................................... 2.B59

Vidcheck .................................................... 8.A30

Xytech Systems .........................................6.C22

Slomo.TV .................................................... 8.B40

System House Business partners......... 8.B15

TMG ............................................................14.F11

VIDELIO - Media...........................0.E02/10.A16

Small Town Heroes.............................. 10.F42e

Systembase Ltd .........................................8.E93

To The New...............................................14.J17

Video Clarity................................................2.C57

Yamaha Commercial Audio ................... 8.A69

SmallHD ....................................................12.E65

System-On-Chip Technologies Inc.....2.A41b

TokBox.........................................................5.C31

VideoFlow ................................................3.B56n

Yangaroo................................................... 2.A41l

SmarDTV .....................................................1.C81

TOLIFO (DONGGUAN) PHOTOGRAPHIC

Videomenthe ...........................................2.A36b

Yegrin Liteworks ....................................12.G55

Smart Fun .................................................. 3.A48

TAG V.S. .......................................................1.F94

EQUIPMENT CO., LTD ...........................11.B22b

VideoPropulsion.........................................5.C11

Yellowtec.................................................... 8.A21

SmartLabs ...............................................14.C19

TAKTIK ....................................................10.D31h

Toner Cable Equipment UK Ltd.............. 5.B06

Videosolutions Group .............................. 7.A06

Yospace....................................................14.C18

SMIT (HK) LIMITED ....................................1.F86

Talia Limited .............................................5.B48f

ToolsOnAir Broadcast Engineering GmbH

Videostrong Technology Co.,ltd...........3.A21g

Yuan High-Tech Development Co., LTD

SMK............................................................. 1.A46

Tally Technologies ....................................7.J31

...................................................................... 7.G45

Vijay Kumar R.............................................5.C59

...................................................................... 8.A82

SMPTE ........................................................8.F51f

Tango Wave................................................5.C77

Torque Video Systems ............................1.F34t

Vimmi Communications Ltd. ...............3.B56g

YUYAO LISHUAI FILM & TELEVISION

SoftAtHome ............................................... 5.A51

Tata Communications ........................15.MS23

Toshiba Electronics Europe GmbH ........6.C23

Vimond Media Solutions........................14.F19

EQUIPMENT CO., LTD. ..........................12.B61a

SoftLab - NSK............................................ 7.A08

Tata Elxsi Limited ..................................... 1.A58

Total Technologies, Ltd. ...........................5.C33

Vimsoft .....................................................11.A40

SoftNI Corporation.................................... 1.B28

TBS Technologies International LTD .....5.C69

Touchvie..................................................... 8.B27

Vindicia.....................................................14.H14

Zacuto........................................................12.F55

Softron Media Services ........................... 7.G12

TC Electronic..............................................8.D56

Toutenkamion.........................................10.A16

Vineet Sharma............................................5.C59

Zappware nv ............................................. 1.A81

SOFTVALLEE...............................................2.C21

TCL Technoly Electronics (Huizhou) Co., ltd

TP-LINK....................................................... 3.B14

Vintage Cloud .............................................8.C01

Zattoo TV Solutions ..............................14.J20b

Solid State Logic .......................................8.D83

.......................................................................3.C26

Tract ............................................................ 8.B15

Vinten.........................................................12.E65

Zaxcom Inc. ............................................. 8.C73s

SOLITON SYSTEMS .................................. 2.A31

Teamcast ................................................... 2.B51

TRACT Ltd. .................................................8.D74

VISIO Light................................................12.G45

Zeiss...........................................................12.F50

Solveig Multimedia .................................. 8.B09

TECH4HOME, LDA......................................3.C46

TRANSRADIO SenderSysteme Berlin AG

Vision III Imaging, Inc. .............8.G03a/8.G03b

Zero Density................................................7.K31

sondor......................................................... 7.H01

Technica Del Arte BV ....................7.A45/8.C04

......................................................................8.D35

Vision Research ......................................12.B42

ZHANGZHOU SEETEC OPTOELECTRICS

Sonifex Ltd ..................................................8.E61

Technicolor ..............................15.MS5/15.MS7

Transtech LED Co., Ltd ..........................11.A25

VISLINK....................................................... 1.A69

TECHNOLOGY CO. LTD ...........................11.C42

Sonnet Technologies ............................... 7.G02

Technocrane S.R.O.................................12.C35

TRedess......................................................8.D23

Visual Research Inc. ................................7.D05

Zhengzhou Generalink Lighting Equipment

Sonosax.......................................................8.E96

Tecsys Video Networks Ltd..................3.B56h

Triada-TV ................................................... 8.A43

VisualOn, INC.............................14.G13/14.G14

Co., Ltd......................................................12.A54

sonoVTS GmbH......................................... 8.B68

Tedial .......................................................... 8.B41

Trilogy Communications Ltd................10.D12

Vitec ............................................................ 7.G16

Zhengzhou Sanhe Video Technology Ltd.......

Sony ..........................................................13.A10

Tektronix ..................................................10.D41

Trinnov Audio Pro..................................... 8.A86

Vitec Group ...............................................12.E65

.......................................................................5.C08

Sound Devices, LLC ................................. 8.B59

Tele Systems Communications PTE Ltd

Triple ............................................................2.C21

VIXS Systems Inc. .................................... 3.A28

Zhengzhou Taiying Video Equipment

Sound Service European Music Distribution

...................................................................... 5.B17

TriVis Weather Graphix ............................7.F05

Vizrt ............................................................. 7.A20

Co,Ltd........................................................11.C47

.......................................................................8.E25

Telebreeze.................................................14.L04

True Lens Services (TLS) ......................12.G61

vMix...........................................................11.A01

ZHONGSHAN XINHUANG ELECTRONIC

Sound4 .......................................................8.D79

TELECAST TECHNOLOGY CORPORATION

TrueDR Ltd. .................................................8.F27

V-Nova Ltd. ..............................................14.K17

CO LTD ......................................................3.A21e

SPA “PERSPEKTIVA”, JSC...................... 8.B15

....................................................................3.B37c

Tryo Communications ..............................8.E40

Vocas ........................................................12.D56

Zippy Technology Europe GmbH........... 8.A09

Spacepath Communications Ltd.........5.B48b

Telechips.....................................................2.C11

TSF.be ......................................................10.D31i

Voice Technologies ................................ 8.C73s

Zixi LLC ......................................................14.E13

SPB TV .......................................................14.E17

Teleidea .......................................................1.C90

TSL.............................................................10.B41

VoiceInteraction......................................14.H18

Zlense........................................................ 9.LP19

Spectra Logic .............................................7.J30

Telemetrics ...............................................12.E36

TST Kommunikationstechnik .................5.C19

Volicon, a Verizon Digital Media Services

ZOO Digital PLC .......................................5.B48d

Sphericam................................................8.G03c

Telenor Satellite ........................................ 1.A59

TTI................................................................ 1.A54

Company.................................................... 7.G23

Zoom ...........................................................8.D56

Spideo........................................................14.L18

TelergyHD & Mware solutions ..............14.F10

TV1 miniCASTER®................................... 1.A76

Vortex Communications Ltd ................12.G11

ZOOM Corporation.....................................8.E25

Spin Digital..................................................1.F11

Telesat .........................................................1.C39

tv2u.............................................9.LP12/9.MS67

VOYSYS AB ................................................ 5.B12

ZTE............................................................... 5.B45

SPINNER GmbH..........................................8.C28

Telescript International ..........................12.F74

TVC ..............................................................0.D01

VSN..............................................................7.D25

ZyCast Technology Inc. ............................5.C12

Squadeo ...................................................2.B39d

Teleste .........................................................5.C72

TVIP ...........................................................14.H09

VT3 ............................................................2.A36d

Zylight .....................................................12.D46s

Squared Paper Ltd .................................8.B38a

Telestream................................................. 7.G30

TVPlayer ..................................................14.G11t

VTQ Videotronik GmbH..........................11.A08

SSI COMPUTER CORP ...............................5.C13

TELETOR, LLC ................................ 7.A08/8.B15

TVStorm.......................................................5.C83

Vualto........................................................14.C37

ST Video - Film Technology Ltd............12.F72

TELIKOU TECHNOLOGIES CO., LTD. .....12.A12

TVU Networks ........................................... 2.B28

Stage Tec Gmbh ........................................8.C80

Telmaco S.A................................................7.K40

TW Electronics (Newbury) Ltd ............... 5.B35

Starfish Technologies Ltd.....................8.B38b

Telos Systems...........................................8.D47

Twist Cluster..........................................10.D31k

W.B. Walton Enterprises Inc................... 1.A62 Walimex Pro ............................................11.A03

Starline Computer GmbH........................ 7.H05

Telsat Srl....................................................8.D37t

WASP3D ......................................................7.C21

Stereo Tool audio processing .................8.E38

Telstra ........................................................14.F37

UHD Alliance.............................9.LP16/9.MS62

Wave Science Technology ..................... 8.A44

Stirlitz Media.............................................. 7.H32

TEM ..............................................................8.E45

UHP Networks Inc. ................................... 1.A95

WaveArt...................................................... 8.A25

Stoneroos..................................................14.L26

Tempesta Trading .................................... 6.A06

Ultimatte Corporation ...............................7.C27

Wavenet ..................................................... 8.B08

StorageDNA ............................................... 7.B42

Tempower.................................................. 6.A07

Ultra Electronics GigaSat .........................1.C57

Weather Metrics, Inc................................ 3.A68

STORDIS GmbH......................................... 6.A15

Teracue eyevis GmbH............................11.B40

Unified Streaming ..................................14.D30

Wedel Software ........................................8.D92

Stream Circle..............................................3.C14

Teradek .....................................................12.E65

Unilumin Group Co., Ltd ........................11.C19

Well Buying Industrial Co., Ltd............... 8.A64

Stream Group ..........................................14.A12

Terrasat Communications, Inc. ..............1.F61

uniqCast ...................................................14.C04

WeTek Electronics Limited..................14.M28

Stream Labs .............................................. 7.G47

Unitron Nv ..............................................10.F34b

Wheatstone Corporation......................... 8.A51

Streamroot...............................................14.D02

TFI Digital Media Limited ......................14.H03 Thales Angenieux....................................12.E33

Universal Electronics bv...........................1.C41

Wildmoka................................................... 5.A25

StrongBox ...................................................7.J31

The Broadcast Bridge............................5.B48g

Utah Scientific.........................................10.A21

Winmedia.................................................8.D82b

STRYME.......................................................7.J03

The Good Life Co., Ltd............................8.B30b

UXP Systems Inc. ...................................2.A41n

Wipro Ltd...................................................14.J13

Studio Network Solutions....................... 7.H40

The Israel Export & International Cooperation

Wise Advanced Co. Ltd. .......................... 7.G09

Studiocast .................................................. 8.B25

Institute....................................................... 3.B56

Valtech......................................................14.D10

Wisi Communications GmbH &

Studiotech...................................................8.C07

The Qt Company .....................................14.C02

ValueLabs .................................................. 2.A42

Co. KG.......................................................... 5.B50

Studiotech Belgium ..................................8.C07

The Telos Alliance ....................................8.D47

VANTeC Danmon Group Portugal ......8.B51a

Wisycom SRL ............................................8.D78

Studiotech Hungary ..................................8.C07

The Weather Company, an IBM Business

Vantrix........................................................14.J06

Witbe ........................................................... 5.A69

Studiotech Poland .....................................8.C07

...................................................................... 7.G19

Varavon ....................................................12.C11

Wiztivi ........................................................14.L01

stYpe ..........................................................12.F73

The Wireless Works ...............................11.D12

VBOX COMMUNICATIONS.....................3.B56a

WNM ........................................................10.D31j

Suitcase TV Ltd. .............................2.C10/2.C15

TheLight....................................................12.G81

vBrand ....................................................... 3.B56l

Wohler.........................................................8.D56

Sumavision Technologies Co.,Ltd..........1.C30

ThinkAnalytics Ltd ...................................1.D92

VDB Audio ...................................................8.C93

Wooden Camera.....................................12.D73

Sundog ........................................................9.LP5

thinklogical ..............................................10.D46

Vecima Networks......................................5.C23

Work Microwave GmbH.......................... 5.A77

Surface Heating Systems ........................1.F59

Thomson Broadcast .................................8.C35

Vector 3 .......................................................7.C01

WorldCast Systems.................................. 8.B60

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MiniMax ultra-miniature high-density connector OUTLINED

Fischer Connectors By David Fox

The ultra-miniature highdensity Fischer MiniMax Series has been extended with an even smaller connector: MiniMax 06. It allows users to replace multiple connectors with only one, as it can combine up to 12 signal and power contacts in a footprint of just 10mm, saving up to 45 per cent space, and reducing weight by up to 75 per cent.

It is rugged (with IP68rated sealing both mated and unmated) and easy to use, which should ensure premium performance even in harsh environments. It is well suited to handheld, UAV or body-worn applications where space is limited. Being able to carry combined signal and power means that associated electronics can be made lighter and smaller. It has been tested for high-speed protocols such as HDMI and

Itâ&#x20AC;&#x2122;s easy being green LYNX Technik By Mark Hallinger greenMachine is a new concept from LYNX Technik, taking a three-prong approach to product definition and function.

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Rather than being a fixed, application-specific box, greenMachine is a combination of powerful general-purpose hardware, software apps and control software, said Lynx. First, an operator selects a hardware processing platform

data transfer up to 10Gbps, and has a density factor of 0.83 with standard 0.5mm contacts. MiniMax 06 is available pre-cabled, and the MiniMax Series now comes in two sizes (06 and 08) with configurations ranging from 4 to 24 contacts, with up to four power (5A) and 20 signal (1A) contacts. In the MiniMax 06 there is a high power version available that supports twice the current (10A) on two contacts. Within

(or platforms), which are basically inactive transparent signal processing channels combined with a variety of I/O connections. Then the operator would download and build the needed functionality by stringing together apps from the LYNX greenStore. Apps can be mixed and matched to reconfigure

On point: The tiny MiniMax 06 beside the current MiniMax 08

the signal contacts, there are two advanced contacts for USB power connections as an option. The MiniMax Series

is available in three latching systems: push-pull, screw lock and quick release. 12.F34

Green grocer: An operator can build the box they need by accessing the greenStore

greenMachine to suit virtually any application. As new apps will be constantly added to the greenStore, this enables the

hardware to be easily adapted into new applications, future proofing the investment. 8.C70

30/08/2016 15:14

HOTBIRD at 13° East Enriched viewing experiences

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Reach PRUH WKDQ 13 million homes across EMEA with the HOTBIRD satellites at 13° East, leading DTH, DTT and cable delivery in Europe. Choose HOTBIRD for your HD signal and deliver your content into a market where 60% of DTH homes are already equipped for reception. The satellites are also boosted by smart innovations such as SmartBeam, for multi-screen delivery and connectivity, and Sat.tv, a new way of transforming free-to-air viewing.

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Come and find out about all this and more on our stand at IBC!

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The media factory ideal The goal of building a media factory is to simplify and automate content delivery to multiple platforms, explains Julian Fernandez-Campon, business solutions director, Tedial In order to be successful in the new multi-platform, multi-format environment, it’s essential that MAM technology providers are very precise in their use of IT technologies when creating a MAM system that evolves to meet the growing demands of the consumer. By selecting the correct media IT solutions architecture, media companies can integrate their entire business from acquisition and production through to packaging and delivery, enabling far more efficient and cost-effective operations. Applying IT technologies, media companies can take advantage of a system where new services can be provisioned for new business opportunities

and growth areas quickly including: UHD, non-linear services, multi-platform delivery, scalability, third-generation environments and profitability within media operations. To enable broadcasters and content owners to maximise these opportunities, MAM systems should include key features that further improve flexibility and efficiency. A key way to satisfy these growing media complexities and to maximise/automate content delivery operations is for modern MAM/workflow solutions to adopt SMPTE IMF methodologies to provide a true media factory. A media factory is used to process and transform content coming from external

providers, or produced internally, according to each specific delivery platform requirement where typical tasks include: re-wrapping, transcoding, segmentation, DRM, generation on ancillary XMLs and all the related media needed for the platform. The goal of building a media factory is to simplify and automate (as much as possible) content delivery to multiple platforms, focusing on non-linear issues due to their inherent complexity. In order to take advantage of IMF methodologies, the MAM/workflow system must have the ability to support extended metadata for efficient content management. This is why leading MAM software

companies have begun to implement a true object relational database as their core product platform, and evolve the classic concept “one asset is a clip” into a more sophisticated media-set that references into a single, logical container all the physical media, audio, subtitles and other related content such as posters and trailers to facilitate this expansion of relationships into hundreds and thousands of reliable connections. The second design requirement to build a media factory is the use of IMF methodologies themselves: CPL (composition playlist) to define which components are going to be delivered (audio languages, subtitles, etc); media essences stored in the MAM, as a reference of the source formats that will be used for delivery; and an OPL (Output Profile List) to define the transformations using a set of third-party engines for transforming the media. Based on 15 years of innovation, Tedial’s awardwinning Version Factory is

the world’s first true media factory workflow. It provides a single efficient and costeffective workflow that supports millions of file input to output configurations and can be managed from a single operator screen. Coupled with Tedial’s award-winning Evolution BPM, the industry’s fastest and most flexible Business Process Management (BPMN 2.0 compliant) Workflow engine, Tedial brings the most technologically advanced MAM and IT solutions to media companies in all corners of the globe. Tedial’s multi-site media management with businessdriven workflow enables endto-end integration providing the true benefits of the media factory ideal. 8.B41

ContentAgent tools on show Root6 Technology By Carolyn Giardina The latest iteration of Root6 Technology’s ContentAgent filebased workflow management and orchestration system is being shown at IBC. Demonstrations include ingest using CardAgent, including browsing, logging,

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and viewing camera card and file-based media for automated workflows. Root6 is also presenting how ContentAgent’s workflow engine and metadata management can drive automatic tasks and decisions. Delivery workflow demos include support for AMWA AS11, AS-10 and ARD_ZDF_HDF. Delivery workflows

are complemented by automated QC and Insert Edit technology (including video, audio and metadata updating) for last-minute changes prior to delivery. WAN acceleration workflows (including Aspera and FileCatalyst) are on show together with NexGuard Civolution forensic watermarking.

ContentAgent is Root6’s file-based workflow management and orchestration system

Also featured is automated resolution-independent transcoding for SD, HD, 4K and motion compensated framerate conversion (and scaling).

ContentAgent, which is Platform Certified by Avid, is also being presented for Avid’s MediaCentral platform. 7.E21

30/08/2016 15:14

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11/08/2016

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The highly versatile LogServer platform offers comprehensive live broadcast monitoring for any SDI, ASI/IP and OTT source. Unlimited access to the leading edge Monwall IP multiviewer enables proxy and native MPEG decoding. New data panels open up new workflows to enable low bandwidth transport stream and OTT monitoring.

TSAnalyzer provides powerful transport stream analysis for ATSC and DVB compliant network streams, TS ďŹ les and Muxes analyzed on LogServer in real-time. It also provides seamless access to any LogServer via a low bandwidth connection to monitor TS section trees, ETR290 (ASI priority 1, 2 & 3), TS errors and closed captions via the leading edge user interface.

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iTX On-Demand aids creation of VoD content OUTLINED

Grass Valley By David Fox iTX On-Demand is Grass Valley’s new system for automating video-on-demand workflows, reducing the delay in publishing for live programmes by processing of files as they grow; minimising delivery time to just minutes after the show finishes.

For pre-recorded shows, fully featured broadcast quality VoD and catch-up TV can be started hours in advance by prepackaging assets, with no need to wait for the transmission time. iTX On-Demand is tightly integrated with iTX Playout, but also works alongside thirdparty systems. It also saves time for live content, by automating the VoD process. It’s not a separate, or downstream, process, as VoD

asset creation is embedded into the production from the start. iTX recipes within the On-Demand system contain all the assets for each VoD work order, allowing complex tasks to be automatically performed in parallel with linear production workflow, without the need for manual intervention. It creates complete broadcast masters by adding or removing commercials, promotions and programming,

High-speed file transfer gets virtual boost Aspera By Carolyn Giardina IBM company Aspera’s IBC line up includes Files, FASPStream, Orchestrator and Aspera Virtual Catcher (AVC). The latter is a new application that works in conjunction with

Aspera Cargo or Point to Point through a set of purposebuilt workflows, combined with configuration and status screens, to ensure pitched packages are completely received, validated and handed off to the recipient’s content management system. AVC validates received files with

the ADI 1.1 specification and passes the content via direct API integration with leading CMS systems. Built on Aspera FASP technology, Aspera Files is SaaS that runs on IBM Cloud, developed for high-speed sharing, distributing and managing large files.

Catch-up TV needn’t be so demanding: Grass Valley’s iTX On-Demand

inserting dedicated branding, watermarks and captioning, all faster than real time. Broadcast masters are then transcoded to

FASPStream is a new software line (that also relies on FASP) enabling live streaming of broadcast-quality video globally over commodity internet networks. According to Aspera, “less than five seconds of start-up delay is required for 50Mbps video streams transported over 250 milliseconds roundtrip latency and three per cent

create different VoD versions in parallel, with specific metadata for different platforms. 1.D11

packet loss, sufficient for 4K streaming between continents”. Orchestrator 2.5, Aspera’s workflow orchestration platform, has new plug-ins for Dalet, Xytech, SGL FlashNet, Marquis, Emotion, ShowMgr, ARRIS CMM, DATDV, SAM, Fortium, Ateme, Minnetonka, MOG and Baton — and roughly 150 third-party plug-ins in total. 7.G20

SKYLINK. Ruggedized 4G Actioncam Stream live to any Social Media platform Two 4G bonded connections Captures HD 1080p using an 8 megapixel CCD Gimbal Control Including Accelerometer, Gyroscope, Compass, Hygrometer, Barometer and location (GPS) sensors Captures realtime performance data Bluetooth two-way connections

Meet us in Hall 14, stand F21 P O WERED BY M OBILE VIE WPOINT

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30/08/2016 15:15

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theibcdaily Great British CAKE offers responsive TV OUTLINED

BBC Research & Development By Adrian Pennington

you to create new dishes at your own pace. Culinary skills aside, this is BBC R&D’s first wholly object-based experiment from production to experience. The segments are constructed as a collection of ‘objects’ that are compiled using a metadata structure, which defines relationships between them and how they should change or reassemble in response to a user. This creates an interactive piece of content, seamlessly rendered in the browser using BBC R&D’s IP Studio technologies. John Fletcher, lead technologist, BBC R&D, said:

Cook-Along-KitchenExperience (CAKE) is a realtime, interactive cookery show that changes as you cook with it. It customises recipes based on your familiarity with ingredients and methods, your tastes or dietary preferences, and how many people you’re inviting round for dinner. The experience reacts ‘in the moment’ to your progress and presents appropriate information using a mix of AV and text segments, allowing

“Our challenge is to begin to get production methods defined by CAKE adopted and integrated as workflows for producing new responsive content and experiences. This requires them to be frictionless, mature and modular interventions that blend with, or even speed-up, existing workflows.” As part of the production BBC R&D captured data about the position of crockery and ingredients in shot, and tool orientation and activity. In the future it could be possible to use this data to inform edit decisions and track people and props on set. “It is also compelling to consider how

Upanel S offers greater access Unilumin

The latest addition to the Unilumin ultra-high definition LED display range is Upanel S.

By Heather McLean

IBC Daily ad ContentAgent.qxp_Layout 1 05/08/2016 12:42 Page 1

The front access feature of the ultra-slim cabinet helps to save back space, therefore

Experiments with responsive content add ﬂavour to a real-time, interactive cookery show

this new production data could convey subjective information such as the texture and consistency of food materials, by comparison with connected tools in the audience’s home kitchen,” said Fletcher.

Newcastle University Open Lab designed and built sections of the kitchen set and embedded wireless sensor technologies to capture data about the presenter, tools and surfaces in shot. 8.F20

increasing viewing distance and easing the maintenance process, said the company. Upanel S can be mounted on the wall. LED modules, control system, plus power and signal cables can all be accessed from the

front. It reads the data of a new replaced module automatically. The 16:9 ratio cabinet offers improved heat dissipation, increased module life and fanless design. 11.C19

A Perfect Partnership See

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Made for each other. ContentAgent’s powerful workflow management and automation capabilities are now certified by Avid for seamless integration with its MediaCentral platform. Guaranteed interoperability means you’re able to automate an extensive range of common tasks within your Avid ecosystem from camera card ingest to file-based QC and deliverables. Integration with powerful third party software for automated framerate conversion, forensic watermarking, accelerated delivery and more, puts best of breed technologies at your fingertips. Now you can save time and money by freeing up your editorial staff and edit suites for all-important storytelling. Sweet.

See for yourself. Call +44 (0)20 7437 6052 for a demonstration.

root6technology.com

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London: 4 Wardour Mews, Soho, London W1F 8AJ. Voice +44 (0)20 7437 6052 Glasgow: Suite 2, 22 Govan Road, Glasgow G51 1HS. Voice +44 (0)14 1374 2345 Email info@root6technology.com All names and trademarks are property of their respective owners

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NEW LENSES Order Now

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Re-engineering for IP Perhaps the biggest impact of the move to IP will be to the engineering skillsets required to manage live production workflows, argues Paul Robinson, CTO, video product line, Tektronix Anyone attending IBC this year will see evidence of the enormous technological changes that are beginning to impact the broadcast industry. Some changes such as 4K/ UHD TV, high dynamic range and high frame rate video are evolutionary, but the transition to an all-IP video production workflow is now regarded by many as a revolutionary and disruptive technology change that will demand entirely new engineering skillsets and infrastructure. The migration to IP will impact everyone across the broadcast chain to varying degrees, including content producers, broadcasters,

content providers, content distributors and equipment manufacturers. However, possibly the biggest impact will be to live production workflows and the engineering skillsets required to manage those workflows. Although many see IP video as new technology, in fact production is the last remaining stronghold for SDI and that is set to change and with it the skillsets that have dominated video engineering for many years. Deployment of IP video networks in production and other operational applications exploits the ability to use Commercially Off-The-Shelf (COTS) IT-based infrastructure,

which takes advantage of the economies of scale of the IT industry when compared with the relatively small broadcast industry. Additional advantages of reducing cabling cost and weight along with the much greater routing flexibility mean that in many parts of the world, trials, proofs of concept and early deployments of IP video are already in place. Having said this, IP does bring with it technical challenges, including jitter; latency; the risk of dropped packets, an inherent lack of synchronicity along with asymmetry which results in different path delays upstream and downstream. Also, IP is

a complex set of bidirectional protocols requiring a knowledge of both the source and destination before deployment. One issue that has to be addressed by any broadcaster that is deploying IP for video production applications is to recognise that this is effectively the collision of the two worlds of video engineering and network engineering. Video engineers are used to and comfortable with the use of SDI, coax, patch panels, black burst and tri-level for timing and, above all, signal quality. The challenge for the video engineer is to understand IT technology and the impact of an IT infrastructure on the video.

On the other hand, network engineers are familiar and comfortable with IP flows, protocols, network traffic, router configuration and Precision Time Protocol and NTP for timing. The biggest difference however is that in most data centre applications, lost data can be re-sent – this is not the case with high bitrate video. The challenge for the network engineer is in understanding video technology and its impact on IT infrastructure. It is clear that the onus of responsibility is on vendors to supply equipment and software that is usable by both video engineers and network engineers. 10.D41

Ace decoder debut

Vitec’s compact device offers decoding of HEVC streams up to 10 bit 1080p60 4:2:2

True 4K/UHD Waveform Analysis from Omnitek

12-bit waveform solution for content creatives, colourists & post-production editors

Vitec

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The Ultra XR is Omnitek’s new UHD Video Waveform Rasterizer that addresses the demanding requirements of extended resolution production QC and 4K post production grading. Neat, powerful and sophisticated, Ultra XR has been designed specifically for content creatives, colourists, post-production editors, and digital intermediates working with Ultra high resolution UHD images in all SDI and HDMI formats. Ultra XR not only provides all of the traditional tools that are expected in these operating areas but also supports the emerging standards for High Dynamic Range and Wide Colour Gamut. ○ True 4K Waveform Analysis, Vectorscope and Histograms ○ HDR inputs: ST2084/PQ & Hybrid Log Gamma ○ Wide Colour Gamut including ITU-R BT.2020 ○ CIE colour gamut chart ○ Selectable Region of Interest ○ 12-bit 4:4:4 SDI in Digital Levels & NITs scales, YCbCr, RGB and XYZ ○ Up to quad 3G, dual 6G and 12G-SDI, 2SI & Square Division

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For a demonstration, visit: Stand 10.A24

By Carolyn Giardina Making its IBC debut is Vitec’s new MGW Ace Decoder, a compact HEVC/H.265 device that delivers broadcast-quality decoding of HEVC streams up to 10 bit 1080p60 4:2:2. It offers connectivity options and two pairs of audio decode capabilities. Complementing the MGW Ace Encoder, together these appliances provide a portable, hardware-based end-to-end 4:2:2 10-bit HEVC system, delivering low-latency and bandwidth-efficient streams for IPTV, broadcast and pointto-point applications. The MGW Ace Decoder’s flexible FPGA architecture supports video improvements up to 4K60p. 7.G16

30/08/2016 15:18

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Shogun and Ninja show off HDR in Flames Atomos

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OUTLINED

Ready for HDR: The Atomos Shogun Flame and Ninja Flame

By David Fox Cameras have been recording high dynamic range images for years, but when you check them on location, you generally just see a washedout Raw image, because until recently, on-camera monitors haven’t displayed HDR. Now Atomos is offering HDR on both of its new monitor/ recorders: the Shogun Flame and the Ninja Flame. While Rec. 709 has about seven stops dynamic range, many cameras now deliver 13 or more stops, and HDR will be an important part of Ultra HD production. The Flames have 7-inch 10-bit 1920x1080 screens with up to 1500 Nits brightness (which also makes them easier to view outdoors). Both are also more rugged than previously. Using the new AtomHDR engine, the Flame processes the Log gamma output from the camera to ensure the full dynamic range is displayed, but doesn’t affect the recording in any way. All major log formats are supported: Arri, Canon, JVC, Panasonic, Red and Sony. The €1,695 Shogun Flame has SDI and HDMI I/O with bidirectional SDI/HDMI conversion, XLR audio with controllable microphone preamps and phantom power, LTC and Genlock, and records Raw video from certain Canon and Sony cameras. The €1,295 Ninja Flame is HDMI only. Both record Apple ProRes and Avid DNxHR/DNxHD, and 4K/UHD up to 30p or HD to 120p. Batteries can be swapped without powering off, even while recording. Atomos has also released a firmware update offering HDR support to its earlier non-HDR (400 Nits max) displays using AtomHDR, allowing them to resolve up to three stops above Rec. 709. 11.D25

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Advanced broadcast control systems Broadcast Control • Signal Flow Management • Hardware & Virtual Panels • Tally Management

TallyMan sits at the heart of any broadcast operation, controlling critical broadcast equipment, allowing operators to concentrate on creating great television. Its infinitely scalable and flexible nature means TallyMan is equally at home in broadcast facilities of any size, as well as outside broadcast and live remote production, in baseband or IP based systems. TallyMan is truly agnostic, allowing you to choose the most suitable equipment for your needs without worrying about compatibility. Take control of your infrastructure using hardware or virtual panels while enhancing the functionality of even the most basic equipment.

Visit TSL Products @IBC 2016 Stand 10.B41

E: enquiries@tslproducts.com | T: +44 1628 564 610

www.tslproducts.com

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theibcdaily OPINION OUTLINED

Cloud, or just hot air? The difference between an ‘edge’ and a ‘true’ cloud playout are stark, says Igor Krol, CEO, Veset As you walk around IBC today you might be excused for concluding that cloud technology is now fully understood by those promoting its virtues, and that its reputation as storage merely ‘good enough’ for undemanding consumers no longer applies. Some broadcasters have indeed adopted cloud-enabled technology in their workflows faster than others, especially for content storage and VoD. However, when we come to cloud-based playout, if you scratch the surface you will more often than not find that these solutions are actually based on physical,

standalone servers, remotely accessed via the internet. Let’s be clear – this is not a cloud solution! Purists like me, and hopefully not just me, get upset when we encounter what can only be described as deceptive terminology. But not everyone is a purist. Many in the industry, in particular large managed service providers who peddle so-called edge solutions under a cloud-enabled wrapper, will say, “It does the job, so who cares if it’s just a server in a rack?” Well, I care. And I’ll tell you why you should, too. When we started Veset in 2011, we were determined to develop true

cloud playout, which resulted in Veset Nimbus in 2013-14. It can run on any standard hardware in edge mode but, more importantly, fully on Amazon Web Services (or any public cloud). To make my case, we ran side-by-side comparisons of generic ‘edge’ vs ‘true’ cloud playout, and the differences were stark. Typically, the most advanced so-called cloudenabled edge-based solutions use cloud storage along with a central, web-based interface/ console to remotely operate the playout system, including of course the playout servers. The actual playout software can be installed on generic

hardware, but more often than not it’s installed on proprietary servers (with GPUs) that need to be purchased and deployed at the satellite uplink/cable/IPTV headend or in a data centre providing channel distribution. The edge server will communicate with the cloud service, download the channel playlist and respective assets, play out the channel according to the playlist and send status data and as-run logs back to the cloud service. For true cloud playout, the ingest, library, channel and playout management are all achieved by a 100 per cent cloud service. The channel operator manages and monitors all aspects of the channel via a web-based console – from anywhere. The major advantage of true cloud is that playout runs on a cloud server, on a virtual machine,

AMOS-6 launch celebrated Amos – Spacecom By Ian McMurray The topic of conversation on the Spacecom stand at IBC is the launch of AMOS-6, Spacecom’s newest communication satellite, to the AMOS 4°W ‘hot spot’. Currently at this vantage point, Spacecom has two satellites: AMOS-2 and AMOS-3. When AMOS-6 joins the orbital position, it will replace AMOS-2. AMOS-6 is larger than AMOS-2 and AMOS-3 combined and has what Spacecom describes

as extensive Ku-band and Kaband capabilities. The latter has High Throughput Spot (HTS) beams which are said to be ideal for bringing reliable quality broadband internet services. Jacob Keret, senior vice president for sales to Europe, North America and the Middle East, Spacecom, said: “AMOS-6 will add more power and capacity at the AMOS4°W hot spot prime orbital position covering Europe and the Middle East. We are particularly excited that its Ka-band beam’s capacity has

Facebook chose AMOS-6 to bring broadband internet to sub-Saharan Africa

been selected by Facebook to be the satellite backbone of the social media giant’s initiative

to bring broadband internet to sub-Sahara Africa.” According to Spacecom, the satellite’s

or machines, made available by the cloud provider. So, as you continue your IBC journey exploring the various nebulous cloud formations, you need to ask direct questions of those vendors peddling true cloud: namely the difference between ‘edge’ and ‘true’ cloud propositions in terms of direct costs, set-up and lead times, redundancy, security, investment versus risk and roll-out costs. If the answers to your cloud/edge solution questions seem vague or incomplete, consider this – they might just be blowing hot air. 8.D31

39 Ku-band segments and 36 Ka-band beams will provide a wide array of services for broadcast, broadband and data communications clients. One of these new services is ‘hybrid’, combining the best of satellite services for fast internet data providers to strengthen highspeed internet DSL operations. Spacecom’s ‘DSL Booster’ service will add a satellitesupported segment which the company says will bring reliable, high-quality broadband internet to users who may suffer from slow or lower quality internet access and enable users to utilise more data-heavy applications. 1.C65

BOOTH 5A51

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UKTV opts for Whats’On

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Whats’On will support the on-demand service UKTV Play

OUTLINED

MediaGeniX

By Will Strauss London-based multi-channel broadcaster UKTV is installing the Whats’On broadcast management system at its Hammersmith HQ. The MediaGeniX-developed software, being shown here at IBC, will provide UKTV with the ability to schedule and manage content across its ten linear channel brands. It will support a growing VoD business, including the UKTV Play service. Tim Goff, head of technology and infrastructure, UKTV, said: “MediaGeniX is an important strategic partner for UKTV and a fantastic cultural fit. The Whats’On system gives us powerful tools to craft complex, heavily layered linear channels. It is also a product with VoD firmly at its heart. We have already seen unprecedented growth across our linear and digital brands and believe MediaGeniX is well placed to support our strategic ambitions.” UKTV is jointly owned by BBC Worldwide and Scripps Networks Interactive. The Whats’On implementation is due to complete in October. At the same time, it has been revealed that RTS, the public broadcaster for the Frenchspeaking part of Switzerland, is also using Whats’On. Thanks to new co-created functionality in the system, RTS is using the software to quickly publish content without incurring the risk of inadvertently infringing copyright or content restrictions. Gerrit Cornelis, a senior business consultant at MediaGeniX, said: “You want to reuse the content or part of it on a linear or non-linear platform? The system immediately tells you whether you have the rights for it at that moment in time.” 3.C59

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Two more for Testor Working together for audio integration OUTLINED

Lynx Technik

By Mark Hallinger

Wisycom By Mark Hallinger The MCR42 UHF Miniature Camera Receiver from Italian RF specialist Wisycom offers new firmware and an adapter that allow collaboration with Sound Devices’ 688 mixer/recorder product, as well as its SL-6 SuperSlot powering and wireless accessory.

With the addition of the 688

mixer/recorder and SL-6 accessory, the MCR42 can use two analogue channels or a digital AES3. It can also be managed and monitored by the SuperSlot to use all its features, such as the ability to probe TV channels for interference on a wide spectrum. Wisycom said that power distribution and interconnection are also greatly simplified.

MCR42 allows integration of a dual true diversity receiver, which in turn gives plenty of space to fit a camera slot. The product operates on wide frequency, up to 230MHz, and retains exceptional sensitivity and intermodulation immunity, said the company. It comes equipped with Wisycom’s patented PTT (push-to-talk) feature, allowing operators the ability to easily switch between the main or intercom line for output. 8.D78

The compact design of the

The MCR42 allows collaboration with Sound Devices’ 688 mixer/recorder

The multistandard Testor | lite handheld test signal generator has been enhanced with two new features, a genlock input and independent text overlay for each output. The Sync BNC connector of the Testor | lite can now be configured to either work as a sync output or reference input. When configured as a reference input, the Testor | lite can be locked to an external video reference signal. This results in the generated video test signals being in-sync with the reference signal. The genlock input also includes cross lock capability. The second feature that enhances the

Testor | lite is the addition of independent text overlay for each output. Each test pattern output (two are provided) can be configured to support a variety of overlays, including user-defined scrolling or static text. The new feature allows the user to create separate text overlays for each output. 8.C70

Testor | lite gains a genlock input and independent text overlays

CEREBRUM

Take control at the heart of the action When it comes to major live sports productions with complex multi-device workflows & hundred of cameras to control, Cerebrum broadcast monitoring and control simply performs. An open platform offering extensive thirdparty integration and multi-device control via a fully customizable interface, Cerebrum simplifies workflows and enables tasks that could take hours to complete to be accomplished in just minutes. Efficient, cost-effective & scalable it provides ultimate control at the heart of the action. For a demo & to learn how Cerebrum has been the star player in major productions visit Hall 10 Stand A.21 & B.21

See us at IBC2016 Hall 10 Stand A21 & B21

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Simplifying security in a complex world Conax, part of the Kudelski Group, is a leading global Content Security Specialist for digital entertainment delivering services for 400 operators, representing 140 million pay-TV consumers in 85 countries globally. At Conax, we believe that we can simplify content security in a complex world, with our feature rich and highly sophisticated security hub, Conax Contego that seamlessly supports smartcards, cardless security, next-generation IPTV, advanced multi-DRM and OTT services. Conax Contego also fulfils MovieLabs specification demands with Forensic Watermarking, enabling secure and traceable distribution of 4K/UHD content. Providing future-proof, secure technology is at the core of everything we do. Based on a continual commitment, the Conax team brings a wealth of expertise enabling us to deliver a strong combination of insight and innovation to our customers.

Visit us at Stand # 1.C81

Securing content - Sustaining magic

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theibcdaily Largest iPad makes ideal long-distance prompter OUTLINED

Autocue By David Fox The new Autocue iPad Pro 12.9-inch Teleprompter uses Apple’s largest iPad as the basis for an affordable, through-the-lens prompting system that can be read up to 4.5 metres away, whereas smaller tablets are suitable for use at no more than 2 metres. The £1200 system (iPad extra) allows users to control the speed and direction of the prompter using an optional

A little light reading: Autocue’s new iPad Pro 12.9-inch Teleprompter

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wired control, as well as via an iPhone or iPod Touch. It includes both Mac and PC QStart software so the prompter can also be used in a traditional teleprompter workflow. Extending the desktop to the iPad allows the option to have a dedicated teleprompter operator, enables quick editing and provides a wider selection of prompter controllers. The 4.9kg system supports full-sized broadcast and digital cinema cameras

lenses with diameters of up to 300mm. The design enables four prompting set ups in one: straight read; through-the-lens; floor stand; and above lens (light ring compatible). It has a mounting system that fits to all tripods and is fully adjustable to deliver balance without the need for counterweights. The collapsible unit is also easy to transport, with optional carry case and controller accessories available. 12.E65

Flexible light ahead of the curve Cineroid By David Fox The new FL400S flexible LED light from Cineroid is a versatile, lightweight, easily portable bicolour light that can be used for location filming or interviews, while the addition of a solid X-bracket turns it into a studio light. The water-resistant 250x250mm panel weighs 150g (without the X-bracket), and can have its colour temperature adjusted from 2700K to 6500K. The flickerfree 64W unit outputs 2100 Lux at 1 metre, has 0-100 per cent dimming, takes a

DC input of 10v-17v, supports DMX (using an optional DMX400 box), and includes a soft diffuser. 12.G27 Flexi time: Cineroid’s new bi-colour ﬂexible FL400S LED panel

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Thank you for the music Sony By Adrian Pennington Malmö Concert Hall is a new, state-of-the-art facility, situated in the centre of the redeveloped port area in Malmö, Sweden. The concert hall is the largest investment ever undertaken by Malmö Municipality, which naturally wanted the best acoustic system it could find.

AV technology consultancy Alf Berntsson/Artifon AB selected the Sony DWX digital wireless microphone system supplied by local firm Arva Trading, and on it’s show at IBC. “When it came to choosing products and systems that can live up to expectations, we opted for Sony, a reliable supplier that we have been working with for many years and whose products are world-class,” said Ronny

Malmö Live: Where the listener doesn’t even notice the loudspeakers

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Sjöstrand, technical and project manager at Arva.The system comprises 12 DWRR02D dual channel digital wireless receivers, 16 DWTB01 digital wireless belt-pack transmitters, 12 DWM-02 digital wireless handheld microphones, with DPA d:facto capsules, four AN-01 uni-directional UHF antennas and two RMU-01 remote controls for the digital wireless system. “Malmö Live wanted an exceptional electroacoustic sound that was among the best in the world – a sound where the listener does not even notice the loudspeakers, and where the sound completely surrounds the listener and incorporates the full range,” added Sjöstrand. “The entire sound system, which was built with the Sony series in mind, has been created to the optimum level.” 13.A10

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‘True’ surround audio for VR OUTLINED

IRT b-com By Adrian Pennington The audio portion of a virtual reality experience is as important, if not more so, than the visuals in helping viewers navigate, aiding a story narrative and giving live event productions a more immersive presence. French government-backed research institute b-com has devised a means to apply high order ambisonic audio to VR content with the aim of providing what it calls a ‘true surround sound’ for immersive video. According to the researchers, the audio technology will bridge the critical gap for VR and 360 contents and enable the creation of content and experiences which can truly be said to be VR and 360 from a surround standpoint.

The technology is based on sound field encoding into higher order ambisonics and binaural rendering with headtracking. A dedicated audio suite needs to be completed in order to cover the full audio workflow for virtual reality. 8.F28

Audio bridges a critical gap for the virtual reality experience

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Ultra XR shipping for UHD T&M

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OUTLINED

Omnitek

The Ultra XR supports SD, HD, 3G and 6G-SDI as standard, with 12G-SDI as an option

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By Heather McLean The new Ultra XR, intended for 4K/UHD content monitoring, colour grading and programme QC, is now shipping. Ultra XR’s picture monitor, true 4K waveform monitor, vectorscope, BT.709/ BT.2020 CIE gamut charts, video timing, audio meters and video-audio status instruments allow SD to 4K analysis as standard in a small form factor unit. The device supports SD, HD, 3G and 6G-SDI as standard, with 12G-SDI as an option. The ability of the Ultra XR to monitor different physical links as well as Square Division and two Sample Interleaved sources ensures that the signal can be viewed and checked regardless of how it actually arrives. This flexibility makes the Ultra XR a fit for existing installations as the technological landscape continuously evolves, stated Omnitek. Omnitek’s Ultra 4K Tool Box will also be showcased. It supports 12-bit 4:4:4 SDI input formats in YCbCr, RGB, and XYZ, Wide Colour Gamut RGB and HDR inputs. The Ultra XR has the same small form factor as the Ultra 4K Tool Box, which makes it good for environments where space, power and weight need to be kept as low as possible, said the company. Mike Hodson, president, Omnitek, said: ”Omnitek has been supplying high-definition test and measurement equipment for over 15 years, and our experienced engineers have now developed the fourth generation ‘Ultra’ series of products to address the new requirements of the 4K/ UHD/HDR domain.” 10.A24

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Vision 3 in the frame for release Crystal Vision By Will Strauss Vision 3 works with IP and 4K as well as SDI and can hold up to 20 cards in 3RU, with various outputs and dual syncs distributed from the frame. Four of the 12 Vision cards being shown here at IBC are distribution amplifiers. Among them is the 3GDA-VF, a video distribution amplifier that can be configured as re-clocking or non-reclocking. It will distribute any digital video, is DVB-ASI compatible and has six outputs from a standard single slot rear module – or nine outputs using micro BNCs – and 12 outputs from a double slot rear module. This card can also distribute MADI (AES10) audio.

The Vision 3 Frame system can hold up to 20 cards

Another highlight is the VDA-VF distribution amplifier. This card has been designed to provide multiple outputs of analogue sources. Crystal Vision anticipates that the role of the VDA-VF will largely be to distribute the station reference to the frame itself as one card is able to supply a reference feed to up to 12 Vision frames.

Other cards available for Vision 3 include up and down converters, synchronisers, fibre optic transmitters and receivers, and audio embedders/deembedders. Also taking place are the first demonstrations of Crystal Vision’s IP gateways, which are protocol agnostic and include support for SMPTE 2022. 2.B11

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Social boost for Galaxy UI OUTLINED

Dalet Digital Media Systems By Mark Hallinger Enhancements to Dalet Galaxy user interfaces, such as an intuitive social media GUI that looks and acts more like a social media publishing platform, make publishing to social an easy and intuitive newsroom operation. This will allow broadcasters to better respond to and manage new consumer habits, said Dalet. With content and production for all outlets converging and social media becoming the go-to platform for news consumption, content owners must find ways to streamline news production for multiplatform distribution, argued the company. Of particular note

for radio, Dalet is showcasing integration with products like NewTek TriCaster and VidiGo multi-camera production systems. Driven by Dalet Galaxy, radio broadcasters can easily incorporate graphics such as lower-thirds and branding to enhance OTT distribution and maximise sponsorship opportunities, said Dalet, all while maintaining important graphics metadata that make radio assets more valuable. 8.B77 Dalet is oﬀering tools to content owners to streamline multi-platform distribution

Viewers are Listening.™

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Video 18 fluid head gets major upgrade

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Series 2: Sachtler’s new Video 18 S2 head can carry up to 20kg

OUTLINED

Sachtler By David Fox The new Video 18 S2 is an upgrade for Sachtler’s bestselling fluid head. It can now take a payload of up to 20kg, 4kg more than the Video 18 S1. The head has more control, so that users can still go down to the minimum 2kg drag setting for use with small cameras. The company claims

the Video 18 S2 is the only head in its class that can operate at -40º to +60º centigrade without any impact on its smooth operation. Other features include Sachtler’s Touch & Go plate, a parking position for spare camera screws, and an illuminated spirit level. It also offers 16-step (+ boost button) Speedbalance technology for swift weight compensation, seven steps of drag, and

the SpeedLevel Clamp that replaces the traditional tie down on a tripod with a simple push and release mechanism. Tobias Keuthen, senior product marketing manager, Sachtler, said: “The Video 18 S2 is the best of both worlds for news and documentary film crews. Every microscopic feature has been heightened for their tough, day-to-day challenges, so it doesn’t matter if it’s thrown into the back of

Vantage sees 10K milestone achieved Telestream

a news truck every day or burrowed into the mud. We understand that our users work on a range of projects with different equipment, so this

upgrade is meant to acclimate to light and heavy rigs without compromising the integrity and quality of the gear.” 12.E65

Firmware discharges air-safe battery regulations Anton/Bauer

By Carolyn Giardina By David Fox This summer, Telestream launched version 7 of its flagship media processing and workflow automation platform, Vantage. Six years after its initial release, it has also revealed that it has issued its 10,000th licence for Vantage services. Among the new features found within Vantage 7 is Adaptive Bitrate Optimisation. Telestream contends that a file that encodes at 10Mbps for its highest quality can deliver some scenes at 2Mbps to 5Mbps. That might lead to a 30-40 per cent reduction in the total payload, which translates directly into a reduction in cost. The company added that there’s no need for any change in the player. Paul Turner, vice president of enterprise product management, Telestream, asserted: “[It] could reduce the cost of delivering content OTT.

Turner: “Vantage 7 could reduce the cost of delivering content OTT”

When you deliver your movie or programme via the internet you pay a CDN for every bit you deliver to every set of eyeballs. The more popular it is, the more it costs you, and the better the quality, the more it costs you. Telestream’s Vantage ABR Optimise will enable them to make up to 30-40 per cent savings on delivery costs without reducing the quality that their viewers experience. “However you want to watch the content, your player takes the highest bitrate provided according to the bandwidth

you have available. That’s Adaptive Bit Rate working,” he continued. “But all video is not consistent. Some elements of every programme will be very simple visually and easy to encode. On these parts we can achieve the highest perceived quality at lower bitrates by examining every frame and modifying the file manifest.” “So in situations where customers own the network infrastructure they can serve more viewers with no added network investment,” Turner concluded. 7.B26

A firmware update to Anton/ Bauer’s Performance Quad Charger will allow users to discharge their batteries to a specified percentage, making it easier to meet new flightsafe regulations for carrying batteries on board planes. The International Air Transport Association rules specify that Lithium-ion batteries must have a ‘state of charge (SoC) not

exceeding 30 per cent of their rated design capacity’ for safe transportation on a passenger aircraft, and the free firmware update allows owners of the Performance Quad Charger to discharge a battery to any level. The firmware is included in all new models. The ruling doesn’t affect Nickel Metal Hydride batteries, which is why Anton/Bauer says its HyTron NiMH batteries are still proving popular with global production crews. 12.E65

Updated: The Performance Quad Charger comes in Gold- or V-mount models

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BLUEBOX

WORKSTATION INTERFACE RECORDERS

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Assurance for flagship services

Comtrend chooses smart Powerline Celeno Communications By Adrian Pennington Networking solutions supplier Comtrend Corporation has

selected smart WiFi technology from Celeno to power its PowerGrid 9072 Powerline Ethernet + Wi-Fi 11ac Adaptor. Ronen Peleg, VP, sales and business development,

theibcdaily

Celeno, said: “The more mobile device penetration OUTLINED we see, the more important it will be to extend and improve wireless coverage.” Celeno’s multi-AP Home Network Wi-Fi controller software, ControlAIR, is

included in the Powerline Adaptors. This allows service providers to increase capacity, coverage and speed of WiFi when adding companion WiFi access points, repeaters or extenders in the home. 15.MS2/3.B56

Görsjö: “Agama Analyzer and Analyzer OTT enable proactive monitoring in all stages of OTT playout and delivery”

Agama Technologies By Ian McMurray The new HEVC Advanced Channel Pack for the Agama Analyzer is designed to allow for full content level analysis, such as black screen, freeze frame and macro-blocking, in conjunction with syntax validation of the video and transport layers and thumbnail generation. The HEVC package supports multiple resolutions, from mobile TV to 4K, as well as high dynamic range (HDR), which Agama says makes it the right solution for assuring the quality of advanced new services. Ultra HD/4K services are destined to become flagship services for broadcasters, IPTV, cable and OTT service providers, believes Agama. With full support for mixed HEVC, AVC and MPEG-2 environments, the Agama Analyzer provides assurance at every step of head-end processing and for all types of services. Johan Görsjö, product manager, Agama Technologies, said: “The Agama Analyzer and Analyzer OTT enable proactive monitoring in all stages of the OTT playout and delivery – from ingest to edge cache and from manifest to video content – with support for HLS, MPEGDASH, Smooth Streaming and now also HDS. The new Token-Based Authentication add-on enables the Analyzer OTT to authenticate itself towards edge caches for even more flexibility in deployment. This complements the existing HTTP authentication functionality.” 5.A73 Untitled-1 1

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Sharing efficiency in a wireless workflow OUTLINED

Sound Devices/ Video Devices By Mark Hallinger A collaboration with Timecode Systems allows a seamless exchange of data between Sound Devices’ 6-Series mixer/recorders, Timecode

Systems’ :wave timecode and genlock generator, and PureBlend’s MovieSlate 8.5 iOS app. New firmware upgrades integrate the capabilities of the three companies to more efficiently manage metadata and transport controls within a production workflow. To set

up this integrated workflow, a Timecode Systems :wave unit operates as the master timecode clock, transmitting wireless timecode and sync data to all connected devices. The receiving units then output linear timecode and genlock to their connected cameras. With this latest upgrade,

The collaboration allows the sharing of timecode and metadata between devices on set

users can now also sync and share metadata and timecode via a bespoke Timecode Systems Sync lead from the

:wave’s data port to the USB port on a Sound Devices 6-Series mixer/recorder. 8.B59

Flight-safe battery cases IP scores for commentary Blueshape By David Fox Two new battery flight cases from Blueshape are claimed to be the first UN-certified, fully IATA-compliant cases in the industry for shipping lithium-ion batteries greater than 100Wh by air cargo more safely. The cases have an impactresistant outer shell and high-density cushioning foam interior to eliminate any chance of contact, as each battery is segregated in individual compartments. When a Blueshape battery is shipped in the case with the provided contact covers in place, the

ALC NetworX

chance of damage during flight and BV100HD Splash – it can is claimed to be zero. be used for carrying batteries on The number of batteries board at check-in provided all the allowed in each case complies batteries are below 100Wh. with UN 3480 regulations. The cases are marked with The BX4 takes four batteries the UN 3480 designation, the and is designed to work with required Class 9 warning and Blueshape’s Granite and CAO placard. Granite Two models: BV270HD, 12.A20 BV190HD, BV270HD Splash, BV190HD Splash and BV225; while the five-battery BX5 is for the BV090, BV100HD, BV150, BV180 Air worthy: Blueshape’s new UN 3480-compliant BX4 battery ﬂight case

RTMP streaming for NXT Ensemble Designs By Mark Hallinger RTMP streaming protocols are being added to the NXT line of H.264 MPEG encoders. With the addition of RTMP to the NXT 450 and 445, users can now stream directly to CDNs such as YouTube, Wowza, UStream,

Facebook and more. The CDN authentication credentials are entered into the NXT web-based UI, a connection is established and live web streaming commences, said Ensemble.

At one-third RU the NXT 450 is suitable for portable systems, news trucks and helicopters

These NXT encoders combine SD/HD SDI inputs with highperformance H.264 encoding. Format-agile Clean Switches provide mix/cut transitions between sources into the encoder and from there directly to the web. Ensemble said hardware-based format conversion makes it easy to deliver the most suitable resolution format and frame rate for the streaming application, regardless of the source material. 8.B91

Targa tops for LTE streaming Indiecam By David Fox The new Targa wireless field units from Indiecam are small streaming devices designed to enable TV broadcasts directly into an LTE network (4G and 4.5G) and to regular IP-

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network connections. They offer a high bitrate (up to 30Mbps), support simultaneous dual video streaming, and offer 3G-SDI and HDMI connections. The Targa-Transmitter allows realtime video transmission into the cloud or to any broadcast studio in real time,

and with very low latency in the encoder. It includes local flash storage for video, a video scaler, genlock in, Ethernet and intercom talkback. Genlock out, custom metadata, CAN-interface for in-vehicle applications, and serial interfaces to control other devices, can all be added as

By Mark Hallinger A variety of Ravenna-enabled products are on show at the ALC NetworX stand. Of particular note is the latest version of the Lawo Commentary System, 500 of which were used during the recent UEFA Euro 2016 football championships. Initially developed in collaboration with HBS for the 2014 World Cup, the fully digital system is based on the real-time, AoIP networking technology, Ravenna, which enables the use of standard IP networks for interconnecting venues and devices. For the Euros there were 50 LCUs (Lawo Commentary

Units) per stadium (500 in total) all networked over IP via Ravenna, plus 30 LCC (Lawo Commentary Control) PCs and 46 Lawo DALLIS modular I/O units for audio breakout (three at each venue, 16 at the IBC). The DALLIS frame provides complete connectivity for up to 20 commentary units per Ravenna-enabled LCG (Lawo Commentary Gate) concentration card, and a total of 360 LCUs per frame. All the components including the LCG concentration cards and the commentary units themselves are connected to the LAN/WAN network, thus enabling remote monitoring and control of the complete installation. 8.F57

Remote monitoring and control of the complete IP commentary installation is possible

options. It is powered by a built-in rechargeable battery. The TargaReceiver converts any H.264 stream into HDSDI and HDMI signals. It also enables a producer to use content generated by audiences, participants or enforcement agencies that might be streaming from their mobile phones. 12.G75

Indiecam’s new Targa transmitter and receiver LTE and IP modules

31/08/2016 09:52

IBC Hall 8 Booth 8.3B0-F

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Lumos 700/700GT

Lumos 500/500GT

Hawk 400

Hawk 150

Lumos 300/300GT

Hawk 50

Lumos 200GT

Lumos 100MK

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Slicker, smoother software steps up OUTLINED

Egripment Support Systems By David Fox Slicker, smoother, more sophisticated moves are promised with the latest updates to Egripment’s remote head and VR/AR software. An example is its Advanced Interpolated Position Mode, a new motion algorithm for advanced movement generation. This allows axis drives to synchronously run a planned path using

a sophisticated algorithm to pass each pre-set with maximum smoothness. It also allows co-ordinated multi-axis movements or any profile in a one-axis system to be carried out. Richard Villhaber, sales director, Egripment, said: “Most algorithms just drive from preset to preset with a certain defined curve, but the movement through the whole drive path is still segmented. Very often, this can be seen as steps of a movement, but with the path planner we ensure a

smoother, more harmonious drive through the presets.” This mathematical analysis (based on Spline Interpolation) is coupled with updated motor control technology. The new Drive System used in both the latest compact 205/D head and the established 306/D supports a combination of feedback and forward controls, plus acceleration and speed control to provide ideal motion behaviour and reduced risk of error. The system also provides better scalability and

Merging virtualisation and IP Broadcast Solutions By Mark Hallinger There’s a world premiere in Hall 8, as Broadcast Solutions is presenting a solution to control

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and manage a complete broadcast facility with a powerful software application. The software tool includes modules for MAM, ingest, graphics, storyboard editor, news editor, scheduler,

production asset management and more. This is a cloud -ready system that can be hosted in-house or in the cloud, and users are able to manage the broadcast facility from any point within

Egripment’s software control set up, working with its remote heads

redundancy, and multiple clients and automation systems can control an entire camera system. In addition, Egripment’s heads feature direct, full serial drive connection to Canon and Fujinon lenses with Auto Vendor

or outside the building. The software manages all jobs within a broadcast station: user management, news content, MAM, traffic, production, monitoring of equipment or the complete facility, personnel and finances. 8.A74

sensing and position encoder feedback. There is also new sync-free operation and move generation (without needing an external studio clock), for non-VR applications. 12.A21

The new broadcast facility control software can be hosted in-house or in the cloud

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Comms wishes granted for Disney’s Aladdin

Satellite scanner on show

Clear-Com

Artel Video Systems

By Heather McLean

At IBC2016 the West End production of Disney’s Aladdin is being spoken about, rather than sung. The production, in London’s Prince Edward Theatre, is using Clear-Com’s FreeSpeak II wireless intercom system to provide clear communications, from build to performance. The system was supplied and installed by London-based Autograph Sound, via Tyrell CCT. A FreeSpeak II base station and 14 beltpacks were installed at the start of the four-week set-up phase, allowing the sound, lighting and stage teams to communicate while running cables and installing equipment throughout the theatre. FreeSpeak II was then deployed during rehearsals to connect all the various creative and technical teams in public and private conversations, and the system is also being used

Artel Video Systems is showcasing its Dual-Port L-Band Demodulator and Satellite Scanner (DLC510), adding scanning functionality to the DigiLink Media Transport Platform. The DLC510 provides two distinct channels for inputting and demodulating L-Band satellite signals and converts them to DVB-ASI for transport. The satellite scanning capabilities allow users to effectively scan and identify satellite transponders. Using DigiLink’s DL Manager HTTP and SNMPv2-based element management system, the DLC510 provides essential RF information, modulation data and other key metrics used in daily operations in an easy-toread list, said the company. Operators can then select

FreeSpeak II provides wireless comms on many aspects of a major West End production

to call every performance during the show’s run. Andy Brown, senior production sound engineer, Autograph Sound, said: “We needed to be sure we could have several individual conversations running at the same time, and FreeSpeak II gives us that invaluable flexibility. Another major benefit of FreeSpeak II is that it runs on the 1.9GHz band. We have a lot of equipment in the theatre, plus there are several other shows in the area using the

2.4GHz and 5GHz frequencies, so audio ‘traffic’ can get very busy; it’s great to be able to steer clear of it all on the 1.9GHz band.” “We’re currently using 12 beltpacks, but there’s plenty of room for future expansion if needed,” added Brown. “Anyone can talk and listen simultaneously, which is especially important in a theatre environment where large sets are moving about continuously.” 10.D29

OUTLINED

a specific satellite transponder and send the demodulated signal to the ASI output for transport. The DLC510 supports the latest requirements for Carrier ID ETSI TS 103 129 monitoring and can be used as a test and measurement system for busy satellite operations or engineering departments. Paul Seiden, director of international and channel sales, Artel Video Systems, said: “The DLC510 becomes an indispensable tool for satellite operators searching for hidden transponders. With a single click, operators can identify a signal in seconds and feed it to an appropriate satellite receiver to get the signal on the air without delay.” Artel is also introducing a new line of broadcast-quality media transport solutions to complement its DigiLink and FiberLink offerings. 10.B20

NEW RF field spectrum analyser reduces time installing and maintaining your network See what you have been missing in your network when trying to: − Locate interference sources − Identify cable loss and distance to faults − Verify antenna faults − Classify signals − Record and playback signals

Visit us in Hall 10 Stand D41

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OnAir and IBMS systems enhanced OUTLINED

Beer-Gabel: “Our products accelerate the time from installation to production”

IBC Content Everywhere Europe RAI, Amsterdam 8 – 13 September 2016

IBC Content Everywhere Europe 2016 Visit IBC Content Everywhere Europe to quickly and efﬁciently expand your knowledge of the latest trends, strategies and developments in online TV and video. ♦ Dedicated hall in the IBC Exhibition ♦ IBC Content Everywhere Hub featuring: ♦ Exhibitor demonstrations ♦ Independent panel discussions

Visit Hall 14 to ﬁnd out more! IBCCE.org

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SintecMedia By Will Strauss Improvements to the OnAir and IBMS broadcast management systems are on show at IBC. Version 4.16 of SintecMedia’s OnAir and version 6.05 of its IBMS both include enhanced functionality and better performance. The improvements to IBMS include the addition of promo optimisation, faster processing technologies for the OnDemand and OnRights modules and an updated user interface. Additional data visualisation charts and automated promo scheduling are also included. OnAir 4.16 is faster than previous versions and has new out-of-the box and custom options. Fabrice Beer-Gabel, executive vice president of sales EMEA, SintecMedia, said: “We are moving the industry towards adopting easy-toimplement, integrated solutions that meet media’s everchanging needs to incorporate new technologies and sales patterns. Our ready-made, offthe-shelf products accelerate the time from installation to production to bring the early functionality our clients require.” At IBC, SintecMedia is also showing individual applications that work with traffic and sales systems including the programmatic sales platform OnBoard, the centralised rights distribution management offering OnRights and the nonlinear distribution management option OnDemand. Following a buy out in April, SintecMedia is now owned by its management team, backed by the private equity firm Francisco Partners. 2.B32

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Zunow wide-angle Vice opts conversion lenses for BTS OUTLINED

Aspectra

By David Fox Japanese lens manufacturer Zunow has three new compact wide-angle conversion lenses (WCX-80, WCX-100 and WCX200) covering many popular compact camcorders. The WCX-80 provides x0.8 magnification for wide-angle shooting with full zoom through capability and minimal barrel distortion. It includes a 62mm adapter ring, and has a front diameter of 85mm, is 30mm long, weighs 285g, and takes an optional Zunow HU-85 rubber lens hood. The WCX-100 is designed for cameras and lenses with a diameter filter thread of 72mm,

Broadcast Traffic Systems

By Will Strauss

WCX-80 user Kevin Augello demonstrates how the convertor ﬁts his PWX-X70

77mm and 82mm (and includes the necessary adapter rings). It has a front diameter of 100mm, is 33mm long and weighs 495g. The WCX-200 is designed for cameras with a Sony EX bayonet mount, has a front diameter of 100mm, is 33mm long and weighs 575g. One of the first users is Kevin Augello of New

Earth Films, who uses the WCX-80 on his Sony PWX-X70 camera. “The 20 per cent wider coverage is a real bonus,” he said. “A lot of the filming we do is in limited environments. There’s no lens distortion; none that I can see anyway.” 12.B36

Field mixer/recorder offers automix options Sound Devices By Mark Hallinger The 688 mixer/recorder is being shown with both Sound Devices MixAssist and Dan Dugan automixing capabilities at IBC2016. Jon Tatooles, co-founder and managing director of Sound Devices, said, “We added Dugan to the 688 because it’s a great option. Both the Dugan Speech System and our MixAssist algorithms have the

same goal, turning off unused mics. The inclusion of Dugan automixing gives the sound mixer a choice. “Getting a great production mix can be challenging in many field applications. Automixers improve intelligibility, reduce noise and reverberation, and maintain consistent overall gain as microphones are turned on and off,” added Tatooles. “Automatic mixing is going to be helpful wherever you have multiple mics,” said Dan Dugan, CEO, Dan Dugan

The 688 12-input ﬁeld production mixer oﬀers the Dan Dugan automixing system

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Sound Design. “In field recording you often have many mics and automatic mixing makes it much easier for the operator. I am a Sound Devices user myself, and it’s certainly my choice for field recording. I’m very pleased that Sound Devices was interested in incorporating my automixing into the 688. I think it’s a perfect match because it adds another feature to what is already a really fabulous line of products.” 8.B59

Vice Media has installed a BTS Enterprise channel management system ahead of the UK launch of its Viceland channel, it has been announced at IBC. Integrated with a number of external systems including playout, EPG and MAM, the software will be used to manage a programme archive and both linear and VoD scheduling. Viceland, the first Vice Media TV channel venture in Europe, launches on Sky in the UK this month (September).

Rich Williams, analyst, Broadcast Traffic Systems said: “A strength of the BTS application is the ability to tailor workflow to an individual broadcaster’s specific requirements while maintaining a single core application. This allows a broadcaster to achieve a tailored solution while remaining on a standard software version that can be upgraded as new software versions are released.” Viceland will focus on original lifestyle and culture content for young viewers and will feature a slate of in-house produced UK programming. Oscar-winning film director Spike Jonze is a co-president of Viceland. 2.C18

Paying attention to IP technology Portaprompt By David Fox The move of IP technology into broadcast production continues with prompters, as IBC finds Portaprompt demonstrating IP Prompting workflow technology, in conjunction with the IPPG Consortium. This is showing how SDI could be replaced by IP (including wireless links), so that the prompter operator can work remotely. However Portaprompt sales and marketing manager Jon Hilton admitted that this might not always be desirable for live productions if the link failed and the operator wasn’t on site. Another technology demo is ICU2, a new Interrotron system

(for displaying a presenter in the lens, in a virtual twoshot, for interviews). “It is a way of getting a more natural performance from someone who doesn’t do presentations for a living,” explained Hilton. Portaprompt is also showing new conference-style prompters, including its latest Motorised Conference Poles designed to accommodate speakers of different heights, as used at the recent Republican Party Conference in the USA. They can be fully retracted and lost under the stage, if you need to clear the area. At 5.6kg, they are 30 per cent lighter than their predecessors and can be packed away into a standard transit case to save transport and storage costs. 12.G49

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Improving multiscreen video delivery

More power and speed for cforce motors

OUTLINED

Broadpeak By Ian McMurray Visitors to the company’s stand are seeing how they may benefit from deploying Broadpeak’s BkS350 Origin Packager V2.0. Broadpeak believes it can improve multiscreen video delivery on managed networks and the open internet through on-the-fly packaging and what

the company says are unique cache management capabilities. Broadpeak is also demonstrating nanoCDN Multiscreen for satellite. The company claimed that satellite operators can now costeffectively deliver live and ondemand services across tablets, smartphones, connected TVs, and other OTT devices by leveraging a STB and Broadpeak’s

nanoCDN technology. Being unveiled at IBC is Broadcache box, a local cache solution for content providers designed to dramatically reduce CDN costs while boosting subscribers’ Quality of Experience (QoE). Also on show is Broadpeak’s umbrellaCDN. Equipped with this solution, the company said content providers can always choose the most-adapted

CDN for delivering video content. Broadpeak claimed umbrellaCDN can offer a variety of advanced capabilities, including CDN Diversity, a new technology that allows content providers to dynamically take into account the instantaneous quality of several CDNs as a service to deliver content with the highest quality possible. 5.B72

Monetising OTT content Arqiva By Ian McMurray Delivering and monetising content over-the-top is the subject under discussion on the Arqiva stand. Consumer habits are evolving rapidly, observed the company, with audiences increasingly expecting to access content

from multiple devices. Aqiva said that, combined with high rates of broadband adoption, this has enabled 21 million UK households to access OTT video content. OTT business models therefore provide significant opportunities for rights holders to monetise content alongside their traditional means of distribution. Arqiva claimed it could provide

end-to-end OTT as a service proposition, bringing the technology together, setting up customer services or events, monitoring and operating it to avoid service loss, and providing the tools to monetise it, all wrapped in a single SLA. The company said that it enables customers to open new revenue streams by distributing assets directly to consumers.

This applied to organisations which lack a traditional TV distribution platform, as well as those in an existing territory where they want to supplement their traditional distribution. Arqiva said that its servicefocused platform allows new OTT services to be quickly and easily launched for distribution directly to consumers. 1.B61

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Up to speed: The cforce plus (on front) is ideally suited to the Alexa Mini

Cmotion/Arri By David Fox The latest addition to the cforce motor family, the cforce plus (developed jointly by Cmotion and Arri), combines the convenience of cforce mini’s function button with a brand new motor. Supplied with a new large 60-tooth gear, cforce plus is both stronger and faster than the original cforce motor, which means that an Alexa Mini can be built up into a studio configuration with a bigger prime or zoom lens. Twin LBUS connectors allow up to three cforce motors to be daisy-chained in any combination from any compatible cmotion or Arri LCS while the new standard split clamp offers improved mounting flexibility. As well as integrating directly with the Alexa Mini, the cforce plus connects to Arri’s AMC-1 and UMC-4 motor controllers for cameraindependent setups, as well as LBUS-compatible cmotion devices. Also new is Arri’s Lcube Cub-1, a miniature signal converter that converts LBUS protocols to serial protocols and vice versa. This allows an ultrasonic distance measurer, such as Arri’s UDM-1 to be connected to the Alexa Mini via the Lcube and a daisy chain of one or more cforce motors, delivering distance readings to the WCU-4. This allows focus tracking in the same manner as other Alexa cameras or the Universal Motor Controller UMC-4. 12.G46/12.F21

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Raptor full-frame macro lenses Band Pro Munich By David Fox Large sensor cameras like the Arri Alexa65, Red Weapon 6K and 8K, or Sony A7 require lenses that can cover their larger image area, such as the new all-purpose Raptor lens family from IB/E Optics, which have full frame (24x36mm)

IB/E Optics’ new Raptor macro lenses for full-frame sensor cameras

Remote production in a box Calrec By Mark Hallinger The RP1 remote production unit is making its IBC debut. The RP1 is a live-broadcast product that directly addresses the need for highquality content from remote locations, for broadcasters who cannot always justify sending a dedicated OB truck and team. The RP1 remote production engine is a 2U core that contains integrated, FPGA-based DSP, which enables a console surface at another facility to control all mixing functionality. The RP1 core manages all of the processing for IFB routing and remote monitor mixes, and it does so locally with no latency. This level of integration and remote control makes it simple for any remote mix engineer to set up IFB mixes and eradicates any delay for remote listeners or presenters. 8.C61

coverage. Band Pro is a worldwide exclusive distributor for the IB/E lenses. The three new macro lenses (with 1:1 magnification) are 100mm, 150mm and 180mm,

theibcdaily theibcdaily

offer consistent distance from flange to iris and focus ring OUTLINED and consistent front diameter 95mm. They feature extended colour correction (APO), no change in length thanks to internal focusing, and m0.8 gear wheels for focus and iris. They also have a UMS (or

with a minimum working distance of 11.5cm, 18.3cm and 21.8cm respectively, and a nine-leaf iris for pleasing bokeh. They are T2.9, which is fairly fast for a macro lens, and

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Universal Mounting System with removable central collar) PL mount, which allows the lenses to mount to a wide range of mounts, including PL, Canon EF, Sony NEX E, Sony FZ, MFT or Nikon F mount without re-shimming. 12.D21

IBC Awards: Sunday 11 September 2016 IBC2016: 8 – 13 September 2016

Celebrate Collaboration and Creativity! Presented in a lively and fast-moving celebration during IBC on Sunday 11 September, the IBC Awards showcase some of the most exciting and stimulating content from the year. IBC Awards Categories include: - International Honour for Excellence - IBC Innovation Awards

- Best Conference Paper - Exhibition Stand Design Awards

IBC Innovation Awards ﬁnalists include: Content Creation:

Content Management:

Content Delivery:

Find out more about their projects at IBC.org/awards Join us for the exciting ceremony on Sunday 11 September at 18:30 in the Auditorium.

#IBCAwards

RP1users can set up IFB mixes with no delay for remote listeners or presenters

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Responsive video prototype OUTLINED

BBC Research & Development By Adrian Pennington Visual Perceptive Media is a film with the capability to change its form based on the situation in which it is being viewed. Composed of a number of small content pieces (video clips, sounds and sound tracks) and

visual filters (grading), the film is a composition of these pieces in real time played out in response to the audience situation: the time of day, location and audience characteristics. The prototype, on show in the Future Zone, demonstrates two things. It shows the variations that can be achieved to respond to audience contexts, and it proves the feasibility of

composing films from smaller media objects on the fly and in the browser of a viewing device (in this case a laptop). Project partners include the University of Lancaster and York University’s Digital Creativity Lab in the area of flexible storytelling through radio, film, TV and online content. BBC R&D is working with Newcastle University’s Open

A new direction for EOS audio Canon Europe By David Fox A new compact directional stereo microphone, the DM-E1, has been introduced by Canon; its first external EOS system microphone. The versatile DM-E1 uses the classic shotgun

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design and has three directional sound pick-up modes: monaural shotgun, for capturing a sound source directly in front of the camera, such as a presenter or reporter, providing some isolation from other sounds from within their environment; and 90º and 120º modes, which provide stereo sound for sources spread

over wider areas. An in-built shockmount ensures noise from camera operations and lens zoom are reduced. There is also a windshield to reduce wind noise. It has a 50Hz-16kHz frequency range, as well as 66dB S/N ratio and -42dB sensitivity. The DM-E1 is claimed to be one of the smallest and lightest

Lab and Nottingham University’s Horizon Hub on the capture and definition of media objects and the interplay of physical objects and media objects. Earlier this year BBC R&D hosted a half-day workshop at Sheffield DocFest to invite researchers and producers to help seed the development of a community of practice. A ﬁlm that reacts to your mood is being demonstrated in the Future Zone 8.F20

microphones of its kind, making it perfect for shooting on the move. It has a 35mm audio jack connection, for use with compatible Canon EOS cameras. 12.D60 The DM-E1 is Canon’s ﬁrst external EOS system microphone

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Auto scheduling added to UHD-24/7 OUTLINED

BBright By Will Strauss An automated scheduling feature has been added to the UHD-24/7 baseband video playout server. Designed for IPTV headends and for satellite, terrestrial and cable networks broadcast operators, BBrightâ&#x20AC;&#x2122;s UHD-24/7

features quad 3G-SDI outputs with support for both Levels A and B in quad full HD and 2-Sample Interleave pixel modes. On show here at IBC, the server supports various Ultra High Definition (UHD) and 4K files including XAVC, H.265 and H.264 at file ingest and can upscale full HD progressive files in real-time for UHD playout.

The new playout event scheduler allows for a complete linear channel to be lined-up automatically on a daily, weekly or monthly basis, including the import of a Broadcast Exchange Format (BXF) traffic file. Dolby AC-4 pass-through and HDR schemes, including both PQ10 and Hybrid Loggamma (HLG), are supported.

Fast fibre cards make debut Colbalt Digital By Heather McLean Visitors to IBC2016 are the first to see Cobalt Digitalâ&#x20AC;&#x2122;s new 9991-SDI-to-IP-10GE and 9991-IP-to-SDI-10GE Series cards for the openGear platform. These 3G/HD/ SD-SDI SMPTE 2022-6

encapsulators and deencapsulators offer AES/ analogue audio embedding and de-embedding, and they interface to 10GigE equipment over fibre. Also new are the 9433EMDE Series openGear fibre-optic audio embedder and de-embedder products, which will be available in a

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single-channel, unidirectional EO/OE configuration and a dual-channel, bidirectional EOOE transport solution. The latter version will provide bidirectional extension of two 3G/HD/SD-SDI video signals and multiple analogue and AES audio signals over two fibres. When paired with the +DT licensing option, the

Laurent Appercel, marketing and sales director for BBright, said: â&#x20AC;&#x153;BBright is now shifting gear to position itself as a recognised vendor of software-based appliances to be used daily in production infrastructures such as playout head-ends. Several innovative features associated to traditional playout functionalities will allow users to quickly

deploy UHD linear channels at a reasonable capex cost.â&#x20AC;? Also at IBC BBright is showing the HEVC-Master, which is an offline encoder/ transcoder for generating HEVC playout files, the UHD-TS playout streamer for UHD and HEVC and the UHD-Play 4K quad 3G-SDI reference source. 2.B39

card set will also provide bidirectional serial data and GPIO connectivity, which can be used for remote PTZ camera control and signal backhaul. Also on show is the new 9410DA Series of 3G/HD/ SD-SDI single-channel, dual-channel and transceiver fibre cards, which provide up to 40 channels of 3G/ HD/SD-SDI extension in two rack units. Even with such high signal density, the 9410

card modules include several distribution amplifier outputs on both the transmit and receive sides of the link, said the company. New tools to assist in monetising content are also on show, including the new +SCTE104-FAST option that adds frame-accurate DPI trigger insertion to openGear and BBG-1000 series of audio, video and data signal processors. 10.B44

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Going end-to-end with IPTV OUTLINED

ATX

By Anne Morris Four new product lines form part of the ATX presentation at IBC this week, including end-to-end IPTV solutions, encoding with reliable video delivery over the internet, licence-free transcoding, and an IP to PAL mini headend. VidiPlay middleware is a part of ATX’s end-to-end IPTV solution. The system can include IP set-back boxes and smart

TV clients to deliver IP video to large-format displays (TVs) as well as clients for PCs, tablets and mobile devices.VidiPlay also manages client authentication and access control, provides client UI customisation and supports advanced features such as an interactive programme guide, VoD, nPVR, digital signage and more. ATX claimed the DigiVu II multi-channel encoders are ideal for encoding locally generated content and studio feeds, as

well as for transporting video feeds between locations. These encoders provide best-in-class video quality at an affordable price and are simple to configure and use. Video inputs include HD/SD-SDI, CVBS, HDMI and Component. Outputs include MPEG-2/H.264, SD/HD and multiple output profile encoding. They feature optional integrated Zixi Feeder or VideoFlow DVP technologies for reliable video delivery over the internet. ATX said its VersAtivePro licence-free

Unwrapping KRONOS for Ultra HD Bluefish444

The range focuses on reliable video delivery and licence-free transcoding

transcoding platform provides users with the freedom to transcode what they want, when they want and how they want in a cost-effective manner. Finally, the ATX nextgeneration UCrypt IP to PAL (IP2PAL) mini headend is

designed for conversion of IP video streams to PAL in a space-efficient and cost-effective manner. This device can ingest up to 60 MPEG-2/H.264, HD/SD video streams and convert them to PAL. 14.G16

Deseo now shipping DMT

By Carolyn Giardina By Ian McMurray Bluefish444 has introduced its KRONOS range of video, audio, and data processing and I/O cards. The new line extends the feature set of its Epoch video cards, which support up to 4K 60 frame per second workflows. KRONOS is developed for additional use with Ultra HD up to 8K, high frame rates up to 120fps, high dynamic range and video over IP. With these capabilities, Bluefish444 cards are developed to support all areas of TV and feature film production, post, display and restoration, in addition to virtual reality and augmented reality. For use in theme parks, music concerts and outdoor events, the KRONOS range is also recommended for single

KRONOS extends the feature set of the Epoch video cards

and multi-card support for 8K/4K/2K imagery presented across one or more screens or projectors. According to Bluefish444, KRONOS supports video processing technologies including resolution scaling, video interlace and deinterlace; hardware codec support, SDI-to-IP and IP-toSDI conversion, and continues to offer the 12-bit colour space conversion and low-latency

capabilities of Epoch. Tom Lithgow, product manager, Bluefish444, said: “With the choice of HD BNC SD/HD/3G connectivity, or SFP+ connectivity enabling greater than 3G SDI and Video over IP across 10Gbps Ethernet, the KRONOS range will suit today’s demanding requirements and cover emerging technologies as they mature.” 7.J07

Single fibre optic connector for the harshest environments Fischer Connectors By David Fox

FO1, a new single fibre optic connector, is the latest addition to Fischer’s FiberOptic Series.

Fischer’s FO1 connector has been tested to withstand temperatures of -40ºC

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The miniature, lightweight, rugged connector is easy to use and should ensure high optical performance (for high precision and data transmission rates), even in harsh environments – it is IP68 rated when mated and IP67 unmated. It is designed for easy mating, thanks to its push-pull locking system. The removable sleeve holder (monobloc mate adapter) also ensures that end faces can be cleaned easily, even in

Claiming to have an innovative response to pay-TV operators struggling to keep up with demand for 4K, DMT is highlighting its Deseo companion device. DMT said Deseo, first announced at IBC2015, can transform a pay-TV HD gateway set-top box into a secure UHD/4K gateway solution. According to DMT, many industry-leading pay-TV operators have state-of-the-art HD gateway set-top boxes that offer advanced capabilities, including time-shift, homesharing, advanced search capabilities and more. However, the company claimed, most of these set-top boxes do not have the HEVC capability that UHD/4K requires. Thus the set-top boxes of today are expected to quickly become obsolete – but developing their next-gen replacements is expensive and time-consuming.

the field, while UPC and APC polishing reduces insertion and return losses, making devices more secure. The 13mm connector is available either in preconfigured reels, of any required length, or integrated into custom assemblies for applications in broadcasting,

Deseo transforms pay-TV HD gateway STBs into secure UHD/4K gateway solutions

DMT claimed that Deseo can turn these HD set-top boxes into UHD solutions with a simple software change. This would allow pay-TV operators to quickly respond to market changes, while extending the life of their current set-top boxes at a minimal cost, said the South Korean company. Deseo can also support HDR and VP9. Deseo works with pay-TV HD gateway set-top boxes for all applications, including UHD/4K broadcasted and OTT content. It also supports the Verimatrix VideoMark watermarking solution. 5.C26

defence, instrumentation and sensing. Christopher Martin, FiberOptic product manager, Fischer Connectors, said: “We’ve designed this smaller product to be even lighter and more flexible so that it’s easy to integrate into existing solutions.” 12.F34

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Observer sees new DPI capabilities Volicon By Carolyn Giardina On its IBC stand, Volicon is showing tools for its Observer 8.0 platform for monitoring the SCTE 35 and SCTE 104 messages that enable digital program insertion (DPI). Enhancements in Observer 8.0 introduce capture and analysis capabilities that allow users to monitor and help set up DPI commands and messages throughout programme creation and distribution. Observer 8.0 users can capture SCTE 104 messages in real time directly from both compressed and uncompressed video signals and store them alongside a recording of the video stream. They can record SCTE 35 messages in conjunction with transport stream video and audio packets at any point along the distribution chain. The system can also display SCTE 35 and 104 messages gathered

SDR to HDR conversion IRT b-com By Adrian Pennington A proposed solution for transforming standard dynamic range to high dynamic range is on show in the Future Zone. Uniquely it is claimed to be able to do this in real time while preserving the artistic intent. The prototype (GPUbased) version, from French lab b-com, targets broadcast applications including mixing SDR and HDR live sources and the conversion of legacy content to HDR. It is also intended for live playout of SDR interstitials in an HDR programme. The technology is based on an algorithm which makes smart use of the target display’s high dynamic range while preserving the original style of the source SDR video. 8.F28

from multiple points along a distribution path on a common timeline, with the signals timealigned to compensate for any delays along the path. Volicon is also highlighting Observer OTT

for logging and monitoring OTT services, along with recent enhancements to the Share application for its Observer platform. 7.G23

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OUTLINED

Observer OTT oﬀers monitoring and logging

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

Discover the IBC Exhibition Explore the growing showﬂoor with over 1,600 exhibitors and our newest addition to the RAI, Hall 9, and discover our reimagined feature areas in the best IBC yet! • • • • • • • •

IBC Content Everywhere Europe - Hall 14 IBC Content Everywhere Hub - Hall 14 IBC Future Zone - Park Foyer IBC Future Reality Theatre - Park Foyer IBC Hackfest - Diamond Lounge IBC IP Interoperability Zone - Hall 8 IBC Launch Pad - Hall 9 IBC Technology in Action Theatre - Hall 3

Find out more at IBC.org/discover

#IBCShow The HDR up-conversion prototype targets broadcast applications

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H.265 codec platform unveiled OUTLINED

Broadcast Wireless Systems By Ian McMurray A planned new H.265 codec platform is being unveiled by Broadcast Wireless Systems. Stuart Brown, commercial director, Broadcast Wireless

Systems, said: “Wireless camera operators face a double-squeeze. The demand for 2K and 4K content is increasing while available RF spectrum is simultaneously being reduced. We provide a cost-effective method for wireless camera users to upgrade to 2K and 4K operation without replacing their

existing systems.” Broadcast Wireless is sharing space on the Sematron stand, where it is also actively soliciting input from prospective end users that will collectively form part of the final design. “From the outset, we decided that we would only proceed with our new H.265/4K platform if we

could offer a demonstrable, realworld solution to our customers,” added Brown. “This is why features such as low, two-frames in 4K delay and low 10W power consumption are integral to the platform. However, before we finalise our offering, we’re actually going to do what others only talk about, and that

is consult with end users to ensure we develop what is best for their needs.” Broadcast Wireless is also featuring its latest offerings in terms of advanced wireless transmitters, high-level systems integration and turnkey project management. 1.A78

Hall 8 exhibitors take it higher DPA Microphones By Mark Hallinger Sound mixer Jesse Parker and post production audio company ToneMesa used a trio of Hall 8 exhibitors for the upcoming action thriller Altitude. Using sound recording equipment from DPA Microphones, Sound Devices and Wisycom, Parker

captured pristine audio for the highly anticipated feature film using a workflow very suitable for the production. Starring Denise Richards, Dolph Lundgren, Chuck Liddell and Greer Grammer, Altitude is about a team of thieves who hijack an airliner in search of diamonds stolen from them by a former cohort. “I recorded the entire movie on a Sound Devices 633 mixer/recorder, two Wisycom

MCR42 receivers, four Wisycom MTP41 transmitters and DPA d:screet 4061 and d:dicate 4017B shotgun microphones,” said Parker. “With Altitude, there were only a couple of people on camera at any given time, primarily due to the space confinement of the entire movie taking place inside of an airplane. It was easy for me to put the 633 in a bag with two Wisycom receivers. My

Serving cognitive aces IBM

A trio of Hall exhibitors contributed to the audio capture for the upcoming action thriller Altitude

footprint was very small and I could get in and out of the

Demonstrating the D*AP range Jünger Audio By Heather McLean

By Adrian Pennington Social media mining is the latest development in live sports engagement, as demonstrated during the Wimbledon Championships earlier this year. The All England Lawn Tennis Club (AELTC) built its Cognitive Command Centre at the event using IBM’s Watson and hybrid cloud technologies. The solution ingests feeds across multiple social media channels to automatically understand the most relevant and emerging topics of conversation as they related to Wimbledon, providing those insights to the digital editorial team who were able to make rapid content decisions to engage sports fans. Sam Seddon, Wimbledon client & programme executive, IBM, said: “Introducing cognitive solutions to Wimbledon promised to deliver huge benefits for the

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IBM’s Watson analysed Wimbledon for AELTC

AELTC in terms of insights, learnings and fan engagement. Cognitive computing holds great potential as a gamechanging technology and will enable Wimbledon to extend the reach and exposure of The Championships.” IBM also devised an app for Apple TV for Wimbledon, developed by IBM Interactive Experience. Users could browse real-time scores, watch the Live @ Wimbledon studio show, listen

to three live radio channels and delve through all of Wimbledon’s video and photo content. During the Championships, IBM captured 3.2 million data points from 19 courts across 13 days with 100 per cent accuracy, it stated, with a sub-second response time. It did this using ‘highly trained’ analysts and transformed the data in under four seconds to provide insights to commentators and media. 15.MS22

extremely tight set.” 8.D70

A full range of D*AP products that can deliver a Smart Audio experience are being showcased here at IBC by Jünger Audio. Smart Audio, a new concept from Junger, is focused on the delivery of audio content to a high quality on reliable equipment. Every device in the range already incorporates a collection of the D*AP adaptive processing algorithms, said the company. They also employ the industry standard Ember+ remote protocol that allows seamless integration with an increasingly wide range of compatible equipment. Peter Poers, CEO, said: “Our D*AP processors offer automated levelling of individual sources to precondition the audio before final loudness-based management.” “This is combined with auto

up-mix to maintain a constant surround experience and the use of auto EQ to ensure consistency of spectral balance and that all-important speech intelligibility,” continued Poers. “They also incorporate Jünger Audio’s fully adaptive Level Magic loudness control that can adjust audio from any source, at any time, to the right level with no breathing, pumping, or distortion. Only a minimal number of initial parameters need to be set to make these processes work, which means we are already in a position to deliver the Smart Audio solutions that the industry now needs.” Jünger Audio’s D*AP range includes natural sounding products for loudness control, audio monitoring, audio conditioning and metadata management, and Dolby decoding, encoding and transcoding. 10.A49

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Re-inventing in-rack monitoring Wohler By Mark Hallinger The iAM-Video is the latest product in Wohler’s iAM series of intelligent, adaptable, rackmounted monitoring equipment. Wohler said it builds upon the recently launched iAM-Audio to add extensive video monitoring. It can display video on a front panel touchscreen, while the range of sources it can manage

goes well beyond 3G-SDI, said the company. iAM-Video is equipped to monitor MPEG-IP, MPEG-ASI, Quad-Link UHD/4K, SMPTE 2022, 12G-SDI video and more. The variety of audio and video metering options supported includes analogue, AES3 and MADI inputs, with options for VoIP formats including MPEG-2/-4 TS and SMPTE 2022, AoIP formats including Dante, Ravenna and

AES67, 3G/HD/SD-SDI and a growing range of additional I/O options via an SFP interface. Similar to the other recently launched iAM products, iAM-Video is built with a browser-based GUI that complements Wohler’s traditional front-panel monitoring interface for remote control, and opens up future options for remote monitoring and logging. All iAM products can be controlled by third-party

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OUTLINED

iAM-Video offers intuitive monitoring and metering of multiple sources

software via an API. The use of SFPs enables simple, in situ adaptation of interfaces and a wide selection of signal I/O. This, in combination with other

software-defined features, creates a smooth upgrade path to new and emerging protocols, said the company. 8.D56

Bringing satellite control to Brazil Hispasat

By Ian McMurray Spanish satellite and telecommunications operator Hispasat is updating visitors on the start it has made on building new facilities in Brazil for the

operation of its satellite fleet. This will be the new satellite control centre for its Brazilian affiliate, Hispamar. According to Hispasat, the growth of the company and its satellite fleet in Latin America has led to a need for more space to house all of the

necessary control equipment. The Brazilian operator has therefore acquired land in Serviente, Río de Janeiro, to which it will transfer the services currently provided at Hispamar’s satellite control centre in Flamengo and Guaratiba. In addition, this centre will also be

the location of the new ground station, which will control the future Amazonas 5 satellite, scheduled to launch in 2017. The new Serviente centre will allow for further expansion in the coming years. The Amazonas satellites, located at 61° West, and the future

satellites set to be located at 74° West, an orbital position acquired in 2015, will operate from here. Construction of the new centre is expected to be completed in the first half of next year. 1.D40

IBC2016 Mobile App Manage your time at IBC’s Conference and Exhibition. Find interactive ﬂoorplans, the exhibitor list and conference programme right at your ﬁngertips. Features include: • • • •

Searchable exhibitor list IBC show information including feature area schedules Build your own conference schedule Catch up with the latest news from IBC fed directly to your app

Find out more and download at IBC.org/app

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Smart IP networking OUTLINED

GatesAir

By Mark Hallinger On show in Hall 8 is the IP Link family of audio codecs, including a new model built specifically for transporting analogue FM composite multiplex signals over IP networks. The IP Link MPX is a full duplex product

built for studio-to-transmitter link (STL) applications for FM radio broadcasters. GatesAir said it was designed for broadcasters that lack the network bandwidth to distribute a full AES192 digital FM composite signal, which typically requires 5MBps of bandwidth, from studio to transmitter. The company

also intends it for those that lack AES192 signal receiving capability in their legacy exciters.

By Mark Hallinger The Selector Cloud provides broadcasters with options for more efficient ways to schedule music quickly, keep data secure for more than one station and eradicate the need to buy beefy machines at the radio station, according to RCS.

No software needs to be installed on local machines. RCS added that one of the advantages of being in the cloud becomes evident when software updates occur. The improvements happen on the server side, thus eliminating the need for local staff to concern themselves with that activity. The Selector Cloud plan also eliminates the tasks of buying and maintaining

servers. In addition, RCS’s Selector2GO and GSelector products can communicate with each other through the cloud. Users can work on multiple stations from one location, while subscribers will be able to create a new station and pull off format changes without ever entering the local radio station. 8.D16

Compact GV Korona production switcher introduced Grass Valley By David Fox The new GV Korona switcher range packs all the features of the bigger Kayenne and Karrera switchers into a smaller, space-efficient control surface. Available in 1M/E and 2M/E panels it is packaged with the compact K-Frame S-series videoprocessing engine, although it is compatible with all Grass Valley K-Frames for operational flexibility. The K-Frame S-series frame is also compatible with all Kayenne and Karrera panels. It supports multiple HD formats, can easily be upgraded to 3G/4K with a software license, and is claimed to offer the largest I/O matrix for a compact switcher frame (80x48 although it comes with

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32 inputs and 16 outputs as standard), with optional IP SMPTE ST 2022-6 I/O. The GV Korona panels support either 15 (1M/E) or 20 (2M/E) assignable buttons on each M/E row as well as a touchscreen in the transition area. It also offers a menu integrated into the panel, and uses the same OLED and colour technologies as the larger Grass Valley panels. There are also two multiviewers, two chroma keys (each M/E also has four

The new codec provides an efficiency boost for engineers by enabling installation of all signal generating equipment at a central studio, a major benefit for broadcasters operating an FM simulcast network. 8.C30

IP Link MPX streamlines transport of digital FM composite signals over IP

Clear skies for cloud-based radio RCS

It is also highly configurable, according to GatesAir, allowing broadcasters to adjust bit rates for optimal bandwidth usage across a wide area network, using less than half of the bandwidth required for AES192.

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keyers), and two 3D DVEs. Multiple suites can share one K-Frame. Whether for a small truck or studio, a flypack or as a back bench control surface in a larger truck, users can mix and match any Grass Valley switcher panel with any Grass Valley switcher frame. Shows previously built on Kayenne or Karrera switchers are compatible and can easily be imported into a GV Korona switcher, with no new training required for operators. 1.D11

SmartBoom Lite series of headsets launched Pliant Technologies By Heather McLean The new professional intercom division of CoachComm, Pliant Technologies, the company behind the CrewCom professional wireless intercom product, is introducing the SmartBoom Lite series of headsets here at IBC2016. Along with the complete line of SmartBoom Pro headsets, the SmartBoom Lite series offers advanced features and design enhancements including SmartBoom technology, which allows the adjustable microphone boom to act as an on/off switch for quick muting. Gary Rosen, global sales manager at Pliant Technologies, said: “The SmartBoom Lite puts the latest in professional communications technologies into a smaller form factor,

which many talent and crew require. The series retains the features, comfort and reliability needed in the most demanding professional environments. With SmartBoom Lite, we are expanding our headset product line to cover the diverse needs and preferences of those working in the field.” The SmartBoom series of communications headsets are specifically designed for comfort, flexibility and durability, claimed the company. In addition to the SmartBoom on/off microphone muting feature, the closed back, on-ear headsets feature a singleear lightweight design with enhanced acoustic isolation. The mic boom is flexible and has a dynamic noise-cancelling cardioid microphone optimised for voice communications. 11.A02

The new GV Korona switcher is available as 1M/E and 2M/E panels

The closed back, on-ear headsets feature a single-ear design with enhanced acoustic isolation

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Accuracy tool for archives By Mark Hallinger

Existing mediaArc users will automatically receive Item History as a free upgrade

“With this significant extension to mediARC’s capability, we believe we have redefined what archive asset management is and does.” Item History allows cataloguing teams and supervisors to ascertain not only who

changed an archive item and when – but also, exactly what was changed. This allows users to easily and quickly review previous versions, said the company. 8.D91

HDR monitors prove to be smash hit

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Streamlining LAPIS introduced OUTLINED

PlayBox Technology EU By Ian McMurray

NOA

A free enhancement to the mediARC archiving solution is being introduced, showcased alongside a broad suite of products that allow broadcasters and archivists to store, manipulate and retrieve valuable archive materials. NOA describes this complete capability as ‘Archive Asset Management’ (AAM). Christophe Kummer, managing partner of NOA, explained, “We are announcing Item History for mediARC, enabling media archivists to more easily ensure and verify the accuracy of their database.

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New for IBC is the EXEcutor Virtual Control Panel (EVCP) from PlayBox Technology EU, which is designed by the company to complement a new server line. The EVCP is webbased, allowing cross-platform and remote management of all functions of the master EXEcutor Broadcast Servers, including remote media uploading, content, user and playout management, as well as systems monitoring. PlayBox is a worldwide distributor of Profuz Digital’s LAPIS (Limitless Advanced Powerful Intelligent System), and is introducing at IBC what the company describes as its revolutionary concept of streamlining project

management processing. It is, according to PlayBox, effectively a complete company information management hub which enables organisations to improve efficiency and have better control over their information by removing the need to use multiple software products for various data- and content-related tasks. Profuz LAPIS brings together workflow management, multiuser document collaboration, content asset management, customer relationship management and internal/ external communications into a single, connected hub. It can connect to popular web services and allows users to search and interact with all connected applications from a central control panel. 5.A02

SmallHD By David Fox Rugged new studio and high dynamic range monitors, ‘so tough you can drive over them’, have been introduced by SmallHD in its first move into this market. Kieron Seth, marketing manager at distributor Holdan, said, “You can take a baseball bat to their frame. They’ve shot 9mm bullets at the back, and paint bullets at the screen, and run over the whole thing with an SUV, and set fire to it, and it still works.” As proof, videos of the attempted destruction are on the SmallHD website. The aluminium 10-bit HDR monitors are at least three times

Multi-station radio scheduling on the go RCS Tough stuﬀ: SmallHD’s new monitors can take a beating

the brightness (at 1,000-1,500 Nits) of the studio models. Prices range from $3,000 to $8,000. The HD monitors include full LUT management and have multiple mounting points for accessories thanks to a neat rail system for rapid mounting of batteries, wireless transmitters/ receivers, or recorders.

The models include: the 17-inch 1703, available as 300 Nit standard or 1,100 Nit HDR; the 24-inch 2403 (250 or 1,000 Nits); and the 1,500 Nit 32-inch 3203 HDR model. All have two 3G-SDI inputs and outputs, plus HDMI I/O, and built-in cross conversion between them. 12.E65

Fanless fixed installation display Unilumin By Heather McLean The Uslim 2.6mm is an indoor display with a slim and lightweight cabinet, intended for indoor projects

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requiring fixed installation. It provides high contrast ratio, refresh rate and brightness, and can be seen on the Unilumin stand in Hall 11. It also includes a fanless design, low energy consumption and flexibility

for both concave and convex angles. The company said module replacement can take place in under ten seconds, and offers the option of choosing a front or back maintenance design. 11.C19

By Mark Hallinger Selector2GO is a new feature of the GSelector multi-station scheduling system, tailored for the web. RCS said Selector2GO works on all of today’s contemporary browsers and across platforms and mobile devices. This includes most PC and Mac computers as well as the vast majority of current smart phones, tablets and e-readers, including the iPad and iPhone. RCS said the data flow is kept small to enable fast performance, even on mobile networks like 3G. Selector2GO provides core scheduling, schedule editing functionality and essential analysis details of a station’s rotations. The company’s Aquira traffic system, designed for local and national sized radio businesses, similarly now offers Aquira2GO. This is a browser-based application with a responsive user interface optimised to

work on most modern mobile devices. RCS described it as ‘part customer relationship manager (CRM) and part sales proposal tool’. It lets an account executive remotely access data for their clients, build a proposal with real time access to the station inventory, and present it to the advertiser. 8.D16 Selector2GO is a feature of GSelector tailored for the web and a variety of devices

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JET Pack takes off AoE streaming capable monitor OUTLINED

Cinegy

By Carolyn Giardina JET Pack, an all-in-one live production and playout package from Cinegy, is witnessing a growing number of subscriptions, a fact the company is keen to highlight at IBC. Jan Weigner, CEO, Cinegy, asserted: “Subscribers worldwide have found that there is no longer any need to spend precious capital to buy and maintain machinery to do the heavy lifting.” The software-only environment includes Cinegy Air

PRO with Cinegy Type for real-time playout and multichannel automation, including channel branding and CG. There’s also Cinegy Capture PRO for real-time ingest and Cinegy Multiviewer, which comprises four channels of multi-channel video monitoring. Cinegy Live for mixing and cutting, Cinegy Convert for transcoding and batch processing, as well as Cinegy Player PRO, make up the pack. All are available on a single annual subscription basis, or can be purchased outright. 7.A30

Genelec By Mark Hallinger The new 8430A studio monitor features Genelec Directivity Control Waveguide (DCW) technology, a flow optimised reflex port, high SPL, low noise and wide uncolored response in a compact enclosure. The Genelec Loudspeaker Manager (GLM 2.0) control network and software allows adjustments of all aspects of monitor settings and full system control. Genelec AutoCal allows the automatic alignment

of every monitor on the network for level, timing and equalisation of room response anomalies. The 8430A Ethernet audio streaming capability is compliant with AES67 and Ravenna industry standards and supports all the typical standard audio sample rates. With its Genelec Class D amplifier technology, universal mains voltage and very high reliability, the 8430 fulfils all the stringent quality requirements of modern IP streaming applications, said Genelec. 8.D61

The 8430 adheres to the stringent quality requirements of IP streaming applications

New packager, origin Special VRig support for VR rigs server launched Matthews Studio Equipment

WISI Communications By Ian McMurray According to WISI, Katamaran, first deployed by Aereo, couples its decades of digital video experience with a robust and comprehensive end-to-end multiscreen and OTT solution. The company said it had been built from the outset for cost-effective, rapid deployment and ease of operation. Initially focused on the needs of independent operators, WISI claimed that Katamaran provides independent operators with the opportunity to deploy and support multiscreen services on IOS, Android and Roku, with further HTML5 browser

support. Katamaran is said to feature extensive cloud DVR capabilities, catch-up TV, authentication, back office, EPG management and other administrative tools. On show on the WISI stand is the WISI 5420 packager and origin server, which the company says is suitable for integration into both Katamaran and nonKatamaran multiscreen and OTT applications. The 5420 includes what WISI describes as significant new features, including support for subtitling, multilingual and multi-track audio support and capacity for up to 5000 simultaneous user connections, as well as RTMP support for publishing to thirdparty CDNs such as Akamai. 5.B50

By David Fox One problem with 360 degree virtual reality cameras is that everything is visible. To help overcome this, MSE’s VRig is claimed to be ‘the first professional grade camera support systems that is specifically designed for VR capture’, and can be left unattended amid the action, A small footprint minimises nadir hole and shadow obstruction, yet maintains stability assisted by a low-

centre-of-gravity barbell weight retainer. There is an optional suction Pump Cup for nonporous surfaces and Auger Spike for exterior use. Tyler Phillips, VP marketing and product development, MSE, explained: “VR cameras require a strong support system that is unobtrusive to the camera view and can be easily painted out in post.” The VRig has a slim vertical riser and Black Elastic Leg Skirt to conceal camera accessories. Its modular aluminium construction means it can be reconfigured as a low-angle mount for a car or

table top. It has already been used on several major VR productions. “Until now they have been kluging together supports from parts using everything from video tripods to still photo monopods and light stands,” said Phillips. There are two versions: the 3.4kg S30 supports up to 13.6kg, with a height range of 66cm to 164cm and a footprint diameter of 15.2cm to 94cm; while the 6.4kg S75 supports up to 34kg, with a range of 84cm to 218.5cm and footprint of 23cm to 109cm. 12.G71

A new reality: MSE’s VRig is designed to be unobtrusive

WISI 5420 is said to be suitable for all multiscreen and OTT applications

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New panel series is key for comms OUTLINED

RTS Intercom Systems By Heather McLean The first models from the nextgeneration KP-Series keypanel family are on show from RTS. There are three new keypanel models. The KP-3016 is a 1RU keypanel, sporting 14 talk/ listen keys and two call waiting windows, along with analogue and OMNEO ports. The KP3016A is a 1RU keypanel with 14 talk/listen keys and two call

waiting windows with analogue port. The EKP-3016, is another 1RU expansion keypanel, with 16 talk/listen keys for the KP3016 and KP-3016A. The new models can be connected to OMNEO (KP3016 only) and analogue RTS matrices ports for more basic intercom applications, while still offering the same HD colour displays and operation as the fuller-featured versions. They can also be quickly installed in applications with

Newsroom production for IBC TV EVS By Mark Hallinger Newsroom production solutions are being demonstrated on the EVS stand, and they are also powering IBC TV’s ingest, playout and multimedia delivery. EVS news solutions

rely on the latest features of the company’s IPDirector live content management system for multiformat and multisource ingest. This also features advanced browsing and integrates seamlessly with craft editors, graphic systems and the latest newsroom control systems. 8.A96

Real-world: EVS newsroom systems are on-stand, and in-use at IBC TV

Expanding transmission services Xytech By Carolyn Giardina Xytech, creator of facility management platform MediaPulse, recently launched a broadcast services division to address the needs of global video transmission services. These services are being demoed on the Xytech IBC stand. Daniel Lynch, vice president of broadcast services, Xytech, said, “From transmission architecture and SDN to high

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output satellites and fibre, it is our mission to provide a powerful platform compatible with the nature of today’s applications.” “Today, the unprecedented volume of digital content continues to drive change,” added Greg Dolan, COO, Xytech. “This volume will grow exponentially for at least the immediate future. Successful transmission management must go beyond a featureset to integrate with the key components of the ecosystem.” 6.C22

pre-defined requirements where the comprehensive connectivity options of the existing KP-Series models are not needed. The KP-3016 keypanel has OMNEO IP technology on board. OMNEO enables a secure set-up at a competitively low system cost due to the use of standard IT components and lower installation as well as maintenance costs, said RTS. 10.B48

The KP-3016 is fully compatible with all existing matrices from RTS

Power station in a box Swit Electronics By David Fox A handy carry case for four V-mount batteries can also be used to provide more power and longer run times. Swit’s new Power Station Box comes in three models, the S-4010, S-4020 and S-4030, each of which has dual XLR DC outputs. Both the 12v+12v S-4010 and the 24v+24v S-4030 can deliver two channels of output simultaneously, but users of the 12v+24v S-4020 can only choose one at a time. The boxes also have an LED panel to display realtime voltage and low voltage

Just in case: Swit’s rugged new Power Station Box

warnings, intelligent protective circuit design, and allow charging without removing the batteries, using the supplied 5A charger. Swit has also introduced a Dual-channel Intelligent Fast Charger (S-3812A/S) with either V-mount or Goldmount options, and twochannel simultaneous charging. The charger identifies battery type, and

offers 6A fast charging current to Swit batteries (3A otherwise), so that a 160Wh battery can be charged to 80 per cent capacity within 1.5 hours, and fully charged within 2.5 hours. The IP66rated S-3812A/S also supports AC to 4-pin XLR DC output and battery to 4-pin XLR DC output, with a maximum of 200W load. 12.C61

Continuous loudness control on board RTW By Mark Hallinger Among the new product updates on show at IBC2016 is the new APRO-CLC01 audio processor hardware for Continuous Loudness Control (CLC). RTW said the combination APROCLC01 provides the first OEM hardware for the CLC algorithm that RTW developed in cooperation with the German Institut für Rundfunktechnik (IRT).

The CLC signal processing algorithm allows users to constantly control and regulate to a given program-loudness value and definable loudness range with RTW developed the OEM hardware minimal obstacles for in cooperation with IRT unknown, live content. Andreas Tweitmann, CEO, We have received a positive RTW, said, “At RTW, we response to our CLC are constantly thinking of technology, and the input new ways to improve our we gathered from customers technology and provide our helped us look into ways to international customer base further improve the software.” with innovative products. 8.D89

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4K goes the distance OUTLINED

MuxLab By Will Strauss The 6G-SDI Extender over UTP with Return Channel is being shown for the first time. The sender/receiver system allows cameras or other SDI sources to be sent at 4K resolutions over industrystandard Cat5e or Cat6 cable at distances of up to 150 metres. According to MuxLab, broadcasters can extend four HD-SDI feeds, two 3G-SDI feeds or one 6G-SDI feed over one cable. An Ethernet return channel enables AV monitoring, tally light, talk-back and camera control unit (CCU). This device includes RS232 pass through to control end devices. Also on show is the Audio/ RS-232 over IP. This device allows two-channel audio to be extended up to 100 metres using standard Cat5e or Cat6 cable in a

point-to-point configuration. Point-to-multipoint and multipoint-to-multipoint connectivity is also possible when connected to an Ethernet network. The Audio/RS-232 over IP supports Power over Ethernet (PoE) if used with a PoE Ethernet switch, and RS232 and IR signals are included for remote control of devices. Each sender can be configured as a sender or receiver. Another product on show is the 3G-SDI/RS232 over IP Extender. This extends broadcast-quality SDI, HDSDI or 3G-SDI video with embedded audio over a LAN. The low-latency sender/ receiver product can be configured in a variety of combinations and is considered to be a costeffective alternative to a dedicated SDI matrix switch. 3.A30

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Analysing H.265 HEVC in DVB-T2 Promax Electronica By Mark Hallinger The use of H.265 HEVC in DVB-T2 transmission brings new challenges, according to Promax, which is showcasing HD Ranger 3. The company said it was the first TV analyser of its kind to offer HEVC signal demodulation compatible with these new signals. The device can be fully operated using both the touchpanel and the conventional keyboard. HD Ranger 3 features an IPTV input, common interface (CAM) for encrypted channels, HDMI interface and

TS-ASI I/O, together with advanced features like a task planner, real-time TS recorder/ player and analyser function, LTE filters, dynamic echoes analysis and StealthID (instant signal identification). HD Ranger 3 can receive a T2-MI signal in the form of both ASI or IP formats, performing IP transport

quality measurements, T2-MI packet analysis and PLP de-encapsulation. It also supports Digital Channel Stacking Switch LNB, which take multiuser single cable distribution systems one step further. 8.E44 T2 Evaluation: HD Ranger 3 can receive a T2-MI signal in the form of both ASI or IP formats

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Swiss workflow project showcased OUTLINED

Qvest Media

By Will Strauss TPC, the broadcast services arm of Swiss broadcaster Schweizer Radio und Fernsehen (SRF), has updated its workflow and production process with the installation of a new set-up called Media Explorer.

Media Explorer is based on a combination of the Sony Media Backbone Conductor (MBC) and the VPMS media asset management system from Arvato Systems. The systems architect and IBC exhibitor Qvest Media developed the software design and the integration of Media Explorer, in co-operation with Arvato Systems and Sony.

At its centre is a serviceoriented architecture in the form of an enterprise service bus that connects the VPMS and the MBC. Christian Lenz, head of business consulting at Qvest Media, said: “Administering, simplifying, optimising and automating workflows and ensuring their transparency continues to be a central task

of data management. We know all about the investment required in terms of time, money and training that integrating new hardware and software systems involves for our customers. “This is why we have created a solution in the form of the Media Explorer that reduces these transactions and at the same time hugely increases the flexibility of

continuous technological renewal and maintenance of infrastructure.” Qvest Media and TPC representatives are discussing the new set-up during IBC. A 14-month long project that saw Qvest Media help German public broadcaster Rundfunk Berlin-Brandenburg (RBB) move to file-based production is also being showcased. 3.B40

Live ATSC 3.0 SFN TeamCast

By Will Strauss Technology that allows a broadcaster to deploy a Single Frequency Network (SFN) in ATSC 3.0 is being shown live at IBC, following successful tests in Baltimore earlier this year. One Media, Comark and TeamCast jointly undertook a US trial of the set-up in March 2016

within the context of the final reviews of the ATSC 3.0 Physical Layer Candidate Standard. The SFN test network consisted of two transmitters with one located in Baltimore and the other in Washington, DC. A TeamCast ATSC 3.0 exciter, integrated by Comark, drove each transmitter. For implementing the SFN network, TeamCast used Stream4Cast. On show here at

IBC, this is a new modulation and IP streaming device that prepares the IP stream format to be transmitted in compliance with the ATSC 3.0 physical layer. Rather than being implemented as part of the modulator in every transmitter throughout the SFN, Stream4Cast is installed at the Network Operating Center (NOC) or head-end. The company said that having this centralised modulation

The SFN ASTC 3.0 team during their Baltimore tests

process “significantly decreases the transmitter hardware complexity, therefore saving significant capex investment costs”.

The Stream4Cast unit can be used in combination with either the Extra3.0 ATSC 3.0 exciter or the Vortex exciter. 2.B51

Unifying OTT with broadcast

Super slow motion 4K for sports

Simplestream

IO Industries

By Anne Morris Video services provider Simplestream is showing its Media Manager, Platform Services, and Media Hub solutions. Media Manager is a cloudbased, multi-channel, multiterritory solution developed to reduce the complexity and cost of delivering the full range of

live streaming, TV everywhere, catch-up and live-to-VoD solutions, with a turnaround time for live-to-VoD of less than one minute. Platform Services offers broadcasters the ability to costeffectively deliver catch-up services to YouView, Freeview Play, Freesat, Virgin and EETV in addition to mobiles, tablets and smart TVs. Media Hub allows telecoms operators and broadcasters

to deploy the next generation of online TV services across multiple platforms and territories, including live/automated catch-up and pack management. Simplestream says it enables providers to launch fully customised UX and multiscreen premium content services in a matter of weeks, and maintain the service with fewer resources but with the highest possible return on investment. 14.G11

‘Unique’ content aggregation for VoD Hewlett Packard Enterprise By Adrian Pennington Hewlett Packard Enterprise (HPE) has a hot novelty for VoD management that it claimed will make a huge difference in the market. When it comes to VoD, it is usual for companies to miss revenues due to late time to

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market with VoD content. The problem lies in building it. Not only does it take a long time, but it also involves high operational costs. HPE claimed it can help. At IBC it is providing ‘a unique’ ability to manage content aggregation more efficiently, including cataloguing, metadata enrichment and transcoding. The company

said it shows how it can maximise margins on content by decreasing time to market, making content available sooner to end users. It also says it can drive operational costs lower for customers enabling them to both utilise existing tools, such as transcoders and quality, and add new ones as needed. 15.MS2

By David Fox A high-speed miniature 4K or Ultra HD camera system that can record at up to 210 frames per second has been launched by IO Industries. The Core 2 Max slow motion mini camera system uses a 4K camera head that is mechanically identical to IO’s existing 4KSDI camera, but the outputs are much faster CoaXPress rather than SDI. This connects via 75ohm coaxial cable to a highspeed solid-state recorder. The recorder can be up to about 40 metres away from the head using 1694a, but users can convert to fibre for much greater distances. It is based on IO’s DVR

Express recorder technology and is capable of playing slow-motion images from its 3G-SDI outputs at usual broadcast rates (up to 50/60p). The system can also output a 50/60p real-time 3G-SDI output (live video) at the same time as recording the high-speed video. Core 2 Max has four 3G-SDI outputs, as well as support for timecode inputs (LTC, IRIG, GPS). Besides 4K/UHD, it can also record 2K (or HD) at 830fps or 720p at more than 1200fps. For playback it offers Tri-Level Sync and can downscale 4K/ UHD to 2K/HD. The system should be available in late September. 12.D75

The Core 2 Max slow motion mini camera system uses a 4K camera head

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Q&A

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OUTLINED

Oliver Soellner, member of the management board, ABOX42 Has IBC come at a good time for the electronic media industry? Why?

in, or threats to, your market sector at the current time?

IBC for us is one of the most important events and it proved to be a great place to meet customers and partners and introduce product innovations. We expanded our booth and overall presence at IBC, since it is a busy show and a recognised industry event.

The traditional operator TV projects are under massive pressure. Multinational operators deploy compelling multiscreen solutions (with relatively high invests) and all national operators and regional players have to compete with these offers and solutions, to keep their customers and avoid massive churn. The good news is that today there

What do you think are the key developments

Infinite potential for high-speed shots I-Movix By David Fox Infinite is a new ultra-slow motion HD/4K camera system that combines scalability with trigger-less operation. It is claimed to be the first to provide continuous on-

board loop recording of more than one hour of high frame rate in HD, as well as frameaccurate ramping of speed without compensation and interpolation. Infinite can be operated in a range of modes to meet production constraints, whether technical or financial.

No server needed: I-Movix’s new Inﬁnite ultra-slow motion HD/4K camera system

Divestment decision over audio Fairlight By Mark Hallinger The Australian technology development company has announced that it is actively seeking a buyer for its professional audio technology. Philip Belcher, CEO, Fairlight, said: “Over its history, Fairlight has continually developed highly

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innovative professional audio technologies that are used by a large number of major content producers around the world. With a range of innovative new AES67-compliant audio distribution products approaching release, it has been decided that the potential for Fairlight’s professional audio technologies is much larger than can be achieved

are compelling solutions, which allow operators to launch modern multiscreen TV services on a par with multinational operators with less invest and lead-time.

Why should delegates visit your stand at IBC? ABOX42 is providing a true total set-top box solution for operators and offers compelling products for any kind of operator requirement for a modern IPTV, OTT and hybrid TV proposition.

It should help to streamline production logistics when used either in standalone mode (without a server), or in conjunction with a server, where it only requires a single channel, saving cost and space in the OB van. I-Movix has also added new features to its X10 range, with the rollout of the new X10 UHD RF wireless HD ultra-slow motion camera. It can be used in wireless mode for very high frame rate shooting in HD sports productions, and enables live and replay operation with standard RF equipment. The system is said to be lightweight, convenient and as easy to operate as the other X10 systems. It is available with a choice of wireless cameraback units, including Vislink’s Clip-On 4 or L1700. 12.A37

under the current ownership.” Fairlight is seeking to enter into discussions with organisations that wish to leverage its professional audio technologies to augment their offerings and enhance their competitive positions. The company said it will now focus its efforts on its patented picture key work surface technology, which it licences to manufacturers of highly userinteractive tactile equipment. 8.B20

Next to this, our initiative in the smart home market is the next big opportunity for operators to increase revenues and

reduce churn – which are two major targets every operator has. 14.J20

Creating a TV-like experience for radio audiences Enco By Mark Hallinger The Visual Radio system is being showcased by Enco at IBC2016. This fully integrated platform uses the power of the company’s DAD radio automation and Presenter management interface to deliver a multimedia experience to web and mobile audiences. The product gives broadcasters a comprehensive content acquisition and production system for the scheduling and delivery of synchronised video and audio, with targeted advertising support, said Enco. The company claimed broadcasters could cleanly deliver and

monetise radio programming online, broadening reach as audiences change how they perceive and consume broadcast radio. Enco said Visual Radio’s operational flexibility is especially important for radio broadcasters familiarising themselves with video production workflows. The system delivers music videos, programme audio and interstitials (targeted ads, promos). Enco said its Presenter interface eliminates the need to learn new software and manage multiple content libraries. Instead, customers use a live-assist application to suit each operator’s preferred balance of manual and automated control. 8.A59

The integrated system syncs video and audio for TV, web and mobile radio streaming

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Versatile HD/2K production monitors

#IBCShow

JVC’s new DT-N17F, DT-N21F and DT-N24F Cinema 2K monitors

OUTLINED

JVC Kenwood By David Fox

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

IBC2016 Conference Speakers Announced Transformation in the Digital Era Keynotes:

Sir Martin Sorrell CEO, WPP

Ang Lee Film Director

Shahrzad Rafati Founder and CEO, BroadbandTV

Other Speakers Include:

David Puttnam CBE President Film Distributors’ Association

Alex Mahon The Foundry Content and Production

Dominique Delport Havas Media Group Keynote

Kevin Baillie Atomic Fiction IBC Big Screen Experience

Spencer Stephens Sony Pictures Entertainment Business Transformations

Hendrick McDermott NBC Universal International Platform Futures

Erik Huggers Vevo Keynote

Upgrade to a conference pass now for access to these sessions!

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Three Cinema 2K monitors have been introduced by JVC. The DT-N production monitors are the 17.3-inch DT-N17F, 21.5-inch DT-N21F and 23.8-inch DT-N24F. The DT-N17F offers 700:1 contrast ratio and 160 degree viewing angle, while the DT-N21F and DT-N24F have 1000:1 contrast and 178º viewing angle; they are designed for studio or location use. DT-N monitors support 1080p, 720p, 1080i, 576i, and 480i formats with a variety of frame rates, plus 2K (2048x1080p), which is downsampled to HD for display. Video inputs support SDI, HDMI, Y/Pb/Pr, CVBS and VGA, with SDI, HDMI and CVBS output loops. All three monitors support UMD control through an RS485 and RS232 port, while a USB port allows easy firmware upgrades without a PC or other adapters. They display waveform, vectorscope and histogram, as well as zebra stripes, peaking focus assist, red/ green/blue only display, picture freeze and selectable gamma presets, plus three user profiles for image customisation. They include a stereo analogue audio input, but can de-embed audio from SDI and HDMI signals and display up to 16 channels of audio level meters. Audio alert information is displayed on each audio bar. For field use, the DT-N monitors have an Anton/ Bauer battery plate. Each monitor includes a stand, while the DT-N17F ships with a 19-inch rack mount, and the others include a VESA wall mount. 12.F31

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Colour accuracy solution OUTLINED

Portrait Displays

A comprehensive colour accuracy solution for HDR video displays is being demonstrated on the Portrait Displays’ stand.

By Heather McLean

SpectraCal CalMAN 2016, the latest version of the video calibration software, ensures that video technologies show all the details

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

IBC2016 Conference: Transformation in the Digital Era

ETRI By Adrian Pennington

Reimagined for 2016, don’t miss 300+ thought-leading speakers exploring a new era of consumers, data and technology

Challenging the Latest Trends

Advances in Technology Charting the Course of Emerging Technology

Platform Futures Exploring the Age of Consumer Choice

Audiences and Advertising Winning the Viewer with Analytics, Engagement and Monetisation

Business Transformations Implementing New Technology

Big Screen Experience Mapping Out the Future of Cinema

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in content mastered to new industry standards, whether mastering HDR content in post production or viewing it at home. Keeping pace with the rapid rollout of HDR displays and the even more rapid evolution of HDR technologies, Portrait Displays said it has provided a comprehensive solution for ensuring image accuracy in the three shipping versions of HDR: Dolby Vision, HDR10 and Hybrid Log-Gamma. CalMAN 2016 features complete support for the new wider colour palettes, including for the new BT.2020 colour standard. CalMAN 2016 also supports the wide variety of hardware devices being introduced to support HDR. 10.A26

MMT set for future transport

Leadership, strategy and creativity in media and entertainment

Content and Production

#IBCShow

Researchers at Korean institute ETRI are in the Future Zone demonstrating MPEG media transport (MMT)based Layered Time Division Multiplexing (LTDM). MMT is to succeed MPEG-2 TS as the media transport solution for broadcasting and IP network content distribution. It can efficiently carry three different services such as 4K/ UHD broadcasts, indoor/mobile HD and MPEG-H audio services within a single RF channel and all while complying with the physical layer proposals of ATSC3.0. Uses of MMT include reducing the latency of mobile video streaming and as the transport protocol for 8K broadcasting, as trialled by Japanese broadcaster NHK. 8.F30

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Codecs deliver duplex audio in the field Digigram By Mark Hallinger Iqoya *Cloud provides an integrated MCR application, built on a comprehensive and secure SIP broadcast infrastructure, which Digigram claimed made it easy to deploy, configure and control a fleet of IP audio codecs. Supporting efficient real-time monitoring of all registered

ACIP audio-over-IP codecs across the network, the centralised, cloud-enabled tool allows control-room operators to accept and initiate calls, monitor current codec status, and deploy and configure codecs on the fly. Digigram’s Iqoya *Mobile App, Q-Mic preamp and Iqoya *Call codec products together enable field reporters to use their smartphones to deliver full-duplex live audio

contributions to a newsroom or a production studio. All that is required is a wireless internet connection, claimed the company. In a 2016-only promotion, Digigram is facilitating contribution over IP by offering one IQOYA application, Iqoya *Mobile, and one Q-Mic preamp for free with the purchase of any of its Iqoya *Call or Iqoya *Call/LE IP audio codecs. 8.C51

Ultra-mobility: Digigram’s codecs enable field reporters to deliver full-duplex live audio

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AirBox evolved OUTLINED

PlayBox Technology By Mark Hallinger Neo and CloudAir are making their show debut at IBC2016. PlayBox Neo is an evolutionary software upgrade building on the established AirBox modular playout server. Neo retains all the standard features of AirBox including the ability to preschedule programmes, interstitials and commercials or switch from automated to live transmission. PlayBox Neo adds UHD compatibility, enabling broadcasters to schedule and transmit content in UHD, HD or SD from a single easy-to-use graphic interface. CloudAir builds on the long experience PlayBox has had in allowing customers to control remote playout

servers via IP from wherever they choose to locate their headquarters. CloudAir carries this concept further, offering established broadcasters or new-start entrepreneurs unsurpassed freedom in the style and scale of their operation and in the way they fund their business. Pavlin Rahnev, CEO, PlayBox Technology, said: “We set ourselves the ambitious goal of designing the future of broadcast playout. That required a dual-strategy approach to meet the demand both from traditional broadcasters who like to retain full control over their technical infrastructure, and from channel managers keen to employ third-party services. The results were PlayBox Neo and CloudAir respectively.” 8.B71

IBC_Supporters_2016_half_v2_IBC Supporters Half 2016 05/08/2016 10:41 Page 1

RAI Amsterdam Conference 8 - 12 September : Exhibition 9 - 13 September

IBC Supporters IBC thanks our supporters for providing the technology that powers the IBC experience.

IBC.org/supporters

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Upping theibcdaily user-defined QoS and QoE OUTLINED Qligent

definitions for multi-channel TV delivery are on show. These By Mark Hallinger customised definitions become more powerful using Vision’s New tools that allow Vision extensive data and analytics cloud monitoring customers capabilities for direct correlation IBC_big-screen_2016_v2_IBC 2016 more freedom to customise QoSBig-Screen to overall QoE08/08/2016 for viewers,16:27

said the company. The latest visualisation upgrade, new for IBC2016, provides users with an extended set of widgets, key performance indicators and userdefinable parameters that allow users to characterise when signal quality and other performance Page 1 thresholds have been breached.

The new visualisation widgets will give users the power to define parameters around programme black, silence and freeze frames. The upgrade also delivers stronger predictive analytics in the form of rich data that alerts users to impending issues through performance trends.

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

The IBC2016 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.

Stronger predictive analytics alert users to impending issues

In addition, Qligent is demonstrating the benefits of its remote virtual and microprobes in the greater Vision architecture for data collection – and how Qligent enables users to start small and incrementally scale probe deployment in alignment with the monitoring network’s growth. 8.E47

Audio kit for resurgent OB

For the latest updates visit IBC.org/bigscreen

IBC Big Screen Experience Session Highlights Friday 9 September

Sunday 11 September

16:30 - 18:00 Advancing the Art and Science of Motion Capture Towards the Continuous Control of Facial Performance of Actual Live Action Footage

09:30 - 10:45 Critical Update: Laser projection, is it ready for wide deployment? 11:00 - 12:00 Critical Update: Immersive audio, balancing key stakeholders' needs 15:30-18:15 EDCF Global Update

Saturday 10 September

Monday 12 September

09:30 - 10:30 Light Field Cameras: Technology that is indistinguishable from magic?

10:00 – 11:00 Big Screen Keynote: IBC proudly presents Mr Ang Lee on his creative artistry and transformational vision of cinema

10:45 - 11:30 HFR and Synthetic Shutter: Separating 'the look' from the frame rate 16:15 - 17:30 Virtual Sets and Virtual Production: A Masterclass describing the production of The Walk with special effects supervisor Kevin Baillie and commentary from Director Robert Zemeckis 18:30 IBC Big Screen Experience Saturday Night Movie: The Jungle Book Courtesy of our friends at The Walt Disney Company.

11:00 – 12:00 Realising an Auteur's Vision: A technical deep-dive into Ang Lee's 'Billy Lynn's Long Halftime Walk' 13:00 - 14:30 High Dynamic Range and Wide Colour Gamut: The art and science 14:45 - 15:45 Transforming the Big Screen with Big Data 16:00 - 17:30 Digital Cinema Investment 2.0: Where's the ROI? 18:30 IBC Big Screen Experience Monday Night Movie

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Pacific is the first replacement OB van for trucks destroyed in a November fire

HHB Communications By Mark Hallinger A large amount of the audio equipment for outside broadcast provider NEP UK’s new UHD OB unit was supplied by HHB Communications, exhibiting in Hall 8. Pacific is the first of four forthcoming UHD trucks for NEP UK, each of which will be similarly equipped. NEP UK has equipped Pacific with a Genelec 5.1 system comprised of three 8351A SAM studio monitors, two 8330A SAM studio monitors and a 7060B studio subwoofer. Additionally, HHB is supplying 68 Wohler AMP1-16-M audio monitors to NEP. Each truck will have 15 audio monitors and the final eight audio monitors will be used in flyaway kits. 8.D56

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EDCF Global Update OUTLINED

Held each year at the IBC conference, the EDCF Global Update is widely considered to be one of the best sources of current information about cinema business, technology and quality developments worldwide. A group of nine speakers at the 2016 edition of the EDCF Global Update will include SMPTE Members Richard Welsh, CEO at Sundog Media Toolkit, and Julian Pinn, CEO of Julian Pinn Ltd who is also the executive producer of the wider IBC Big Screen conference stream Sunday 11 September Room: G102\3 15:30 Deeply involved in the technical aspects of digital cinema and its developments, both Welsh and Pinn have presented as part of previous updates. This year, in a presentation titled ‘The Secret Life of JPEG 2000’, Welsh will focus on JPEG 2000 compression for digital cinema. He will begin by comparing its current status with its status when digital cinema standards first were created and then by exploring how the reality of digital cinema today – quite removed from original expectations of what digital cinema would be – has led to the use of JPEG 2000 in

unintended ways, both in distribution and, to an extent, production. Welsh will touch on the impact of high dynamic range (HDR), wider colour gamut (WCG), and higher frame rates (HFR) on JPEG 2000 encoding, which hasn’t been altered since its adoption more than a decade ago. The shift to HFR in new theatrical releases, for example, can yield up to 10 times as many frames natively. Whether motion pictures will reach the cinema with this many frames is an open question; nevertheless, the industry will need to address the bit rate constraints of JPEG 2000. While HDR likewise implies more visual information and more to capture and reproduce, it can sometimes be

One-stop CDN solution Broadpeak By Ian McMurray Claiming to provide a onestop shop solution to enable worldwide delivery of video content, Broadpeak is fielding its team at IBC to discuss the CDN options the company can offer. Broadpeak has also brought to the show its new standalone video analytics solution for displaying key video parameters. Using this solution, Broadpeak said that content providers can gain insight into the QoE actually perceived by end-users, leveraging critical information such as start-up time, stall durations, rebufferings and user interactions. Cloud PVR is Broadpeak’s offering which it said encompasses all scenarios

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for shared copy and private copy cloud PVR. Using cloud PVR, operators can deliver a broad range of services, including start-over, time-shift and catch-up TV, as well as impulsive recording, while only storing content once. Also being showcased is nanoCDN multicast ABR for 4K content, as is CDN in a box. Broadpeak claimed that CDN in a box dramatically simplifies the deployment of video streaming services by providing operators with essential capabilities, such as CDN management, video analytics, video streaming servers, and origin packaging. The company’s CDN services support a variety of OTT applications for operators, including disaster recovery and fail-over scenarios to address a broad range of needs. 5.B72

a benefit to compression. After examining the practical reality of JPEG 2000 today, Welsh will move on to look at technologies that have improved encoding efficiency without altering the codec. He will offer the audience a sense of what to look out for when working with JPEG 2000 in the realm of digital cinema. Though it has become an embedded standard that is easily adopted as a default, JPEG 2000 does have shortcomings worth understanding. Welsh will explain how, with that understanding, it can be easy to pick a JPEG 2000-based workflow that will work with moderate enhancements. Pinn’s presentation at the IBC2016 EDCF Global

Update is titled ‘Towards a Solution for Pre-show Quality Conformance’. In his presentation, Pinn will begin by discussing how the move from proprietary cinema sound formats to one of open standards has had a negative impact on digital cinema, largely through the increased production of content that either was created for a different medium but found its way to the cinema, or was simply prepared without a full appreciation of the unique quirks and qualities of the cinema medium. Looking at specific examples in which audio is affected by this problem, Pinn will examine how TV stereo, overly loud ads and consumer content produced in the lobby are now

finding their way to the preshow. Finally, he will address the need for a quick, high-quality solution that can enable users to reach an optimal balance when trying to improve accessibility and maintain the legendary quality of cinema sound. Cinema sound and compression are just two critical areas of digital cinema being shaped by changes in how content is being created and consumed. In addition to providing insight during the EDCF Global Update, both Pinn and Welsh are working within SMPTE to help address new challenges and opportunities in delivering cinema content that better engages and entertains movie-going audiences.

Convergence brings opportunities and challenges Universal Electronics By Ian McMurray Quickset is the ‘world’s only’ automated discovery, set-up and control software, according to developer Universal Electronics (UEI). The company claimed that its technology has made the universal remote control a simple and userfriendly way to manage the connected home. The set-up and control solution is now available as both QuickSet (embedded) and QuickSet Cloud and includes a range of new features including predictive engine, IP discovery and control. Also being introduced at IBC is UEI’s new silicon solution

specifically designed for remote control and smart home applications, supporting both ZigBee and BLE. The solution is said to pre-integrate all leading control and interaction applications, and comes with a suite of embedded support tools designed to reduce the efforts of system integration. Menno Koopmans, senior SVP, subscription broadcasting, UEI, said: “As the broadcast and IT worlds continue to converge, the crossover may bring a host of opportunities to the market. However, it also presents a number of challenges – particularly as today’s homes have become a hub for a complex collection of devices, each speaking its own language. We’re very confident

that we’re in the perfect position to help guide customers through those challenges and take back control of their environments.” 1.C41

Koopmans: “Homes have become a hub for a complex collection of devices”

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Connecting the live, and more OUTLINED

EVS

Avid By Mark Hallinger By Carolyn Giardina Avid has selected dock10, a leading media services provider, to become its first Cloud Managed Services Partner. Per the agreement, dock10, which provides platform, studio and post production services at MediaCityUK, will use Avid Everywhere as the base to expand into the global media production market. It currently provides a managed service for remote editing, via Avid MediaCentral UX, the cloudbased web front end for Avid Media Central clients that can edit and collaborate on their projects in their own offices via dock10’s remote Avid edit applications, including Avid Media Composer Cloud and can manage their data by accessing dock10’s Avid Interplay MAM system.

From left to right: Avid CEO Louis Hernandez, Jr; Mark Senior, CEO, dock10; Tom Cordiner, Avid’s VP of sales for EMEA

As an Avid Cloud Managed Services Partner, dock10 will now be able to offer clients outside of MediaCityUK access to the same managed services that are offered on-campus. This will be achieved by a ‘hub-and-spoke’ model whereby virtualised Avid Interplay Production systems are hosted in regional data centres. Dock10 will run a pilot for this

Gaining Insights Yesterday saw the first IBC Insight Forum. At a lunchtime get-together, around 120 senior technical visitors, many of them first time attendees at IBC, came together to discuss emerging trends being explored at the show and conference. The meeting, hosted by IBC and a number of leading IBC exhibitors, created a forum where content creators and distributors have a place to meet and exchange ideas. Professor David Crawford, IBC executive producer, Future

Technology, welcomed the group to the session. “Video is everywhere, dominating every form of communication, and IBC is the best place to understand what is happening in the world of video,” he told the session. “It is the place to equip yourself with the knowledge to drive your businesses forward in the coming year.” The meeting included three soapbox sessions, snapshot presentations designed to stimulate the debate. Peter Heneback of Mediasmiths

new service in London later this year, with a view to expanding further. “By innovating together we are now able to bring new, industryleading managed services to market that will deliver new ways of working and reduce the costs of production for our clients,” said Mark Senior, CEO, dock10. 7.J20

talked about news in the socially-networked, alwaysconnected world; David Zerha of Singular.Live questioned whether live content need be the same for everyone; and Stephanie Scheller of Appiness talked about the vital importance of metadata to drive consumption – and monetisation. The Topaz Lounge was filled with the buzz of conversation, led by CTOs from host vendors Accedo, Avid, Akamai, Bridge Technologies, Calrec, CSG International, Dolby, Grass Valley, Imagine Communications, Newtek, Quantum and Signiant.

Acquisitions for replay and IP capability Ross Video By Heather McLean As reported in The IBC Daily yesterday, Coveloz Technologies and Abekas have been acquired by Ross Video, as the company attempts to improve its stance in the worlds of IP and replay. Equipment vendors from various industries use Coveloz solutions

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for time-sensitive networking and processing of audio, video and control signals in their products, and Ross Video’s Jeff Moore, executive vice president and chief marketing officer, was keen to emphasise that the business would continue to do that. Moore told The IBC Daily: “Coveloz means we are able to accelerate Ross’s IP roadmap, as well as make Coveloz’s services

available; it will continue to run as a separate company, and will continue to supply companies, including our competitors.” Additionally, Coveloz’s work with Intel-owned Altera will continue unabated, enabling broadly interoperable adoption of studio video-over-IP technologies. Moore continued: “We really want to stress that Coveloz will continue to work with Altera.

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Under the theme ‘Connecting the Live,’ EVS made a series of announcements on Thursday that reflect the company’s role in multiple ongoing industry transitions. For collaborative production, the EVS stand is acting as an IP-enabled hub showcasing live media flows that can connect live sports venues, broadcast centre control rooms, and consumers. Introduced this summer at international flagship sporting events and key to the company’s future, C-Next is a new live connected tool that reflects EVS’s IP4Live strategic initiative. EVS’s flagship line of live production servers has two new members. The XT4K and the XS4K are dedicated UHD servers for producing 4K and HD content in a live production environment. The XT4K gives users up to four channels of 4K or eight channels of HD and allows HDR-enabled live content through its native 10-bit codec of XAVC-4K. Optimised to enable a smart transition

to an IP-connected studio environment, the XS4K is built with hybrid SDI/IP technology. In an at-show demonstration of its technologies, EVS is powering the whole IBC TV infrastructure from ingest to playout. The channel also integrates infrastructure from the VRT-EBU LiveIP studio project. VRT, shortlisted for an IBC Innovation Award for the LiveIP project, has a presence in the IP Interoperability Zone. EVS also announced that its C-Cast cloud-based SaaS editing and distribution platform can now combine with deltatre’s digital media players to offer new viewing options and revenue sources for rights holders. By connecting to C-Cast, deltatre’s enhanced video players enable live multi-camera content to be instantly enriched with data and distributed to connected audiences. With its new Syndication operation of C-Cast, digital media holders using the C-Cast platform can grant regional right holders, clubs/stadiums and sponsors access to content shared with C-Cast Central. 8.A96

Nicolas Bourdon

James Stellpﬂug

Forward: The company had announcements across the collaborative production, 4K/HDR, and IP for live production realms

Access to Coveloz’s technology through Altera will not stop.” Meanwhile, Abekas adds core video server technology, replay and profanity delay systems into the Ross product portfolio. On Abekas, Moore commented: “Our product portfolio is all focused on live production, but the gaping hole in it is replay; Ross hasn’t had a replay system, and we do a lot of work in the sports arena where replay is a key component. Abakas’s Mira Replay product will plug that gap, and some of our customers are already using it.” Abekas’s Junaid Sheikh, CEO, and Phil Bennett, co-founder and VP engineering, will stay within Ross as the business

is integrated. Nestor Amaya, president and founder of Coveloz, will continue to lead the company as a standalone business. 11.B08

David Ross, CEO and founder, treads the boards at the announcement of the company’s two purchases

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Curzon Home Cinema: boosting revenues via OTT By Chris Forrester Phil Mordecai, director, Curzon Home Cinema, told IBC delegates at Thursday’s ‘Bricks and Clicks’ session that the cinema chain was enjoying a growing success from its OTT ‘day and date’ cinema releases, and where consumers at home could see Curzon’s latest releases. Film fans at home get access to 20 to 30 brand new movies a year, plus access to Curzon’s archive of classic and important content. “Our next step is to take the offering beyond the UK and Ireland,” Mordecai stated. He said that almost all of the movies available were awardwinning, up-to-date releases which mainstream cinemas were

tending to ignore. “Last year, 853 movies were officially released in the UK, but even an expert would be hard pressed to name the top 50. We started curating and screening foreign films back in the 1930s but we also recognise that new market forces are at work.” Mordecai explained that the Curzon chain was continuing to invest heavily in the ‘bricks’ part of the business. “But even major movies do not have traction much beyond the first week or so of release. We can do better. We recognise that there’s marketing and advertising cash being spent on a movie, and we can now cross-promote on that activity by making available a portfolio of movies on a ‘day and date’ release, which matches the

By Heather McLean Aperi and Barco Silex have partnered to provide native IP live remote production in 4K. Aperi, a provider of softwarebased real-time IP media processing to live production and networking, and Barco Silex, a provider of image and video compression technology in the AV industry, successfully demonstrated native IP live remote production for a UEFA

Euro 2016 quarter-final match this summer. Barco Silex provided the VC-2 HQ codec IP core, critical to the 4K remote production from the IBC Centre in Paris Porte de Versailles to the match in Bordeaux, a distance of more than 600km. Aperi’s native-IP platform performed all functions in real-time software with low latency. The project went from concept to implementation – including integration and testing – in six weeks,

theatrical release.” He said that Curzon was finding new friends well beyond its 44 physical theatres: “Our Curzon Home Cinema option is finding new audiences and new revenues. The OTT service expands our audience’s options.”

illustrating the platform’s ability to launch and execute complex workflows quickly. “Aperi has succeeded in developing an open, versatile and robust software ecosystem on its A1105 platform that allows for fast, high-quality new function integration and market deployment,” said Thierry Watteyne, CEO at Barco Silex. “This represents a significant development with far-reaching implications for our industry.” 10.D31

BBC NI goes live with new DSNG vans

Megahertz

By David Fox A new DSNG vehicle for BBC Northern Ireland being shown at IBC is one of 37 supplied by Megahertz over the last two years as part of the BBC framework for the provision of live broadcast vehicles. The systems integrator is delivering two of these Type 3 vehicles to BBC NI, which will be used mainly for newsgathering. They will also cover sporting and other general broadcasting events across the UK and occasionally in Europe.

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The vehicle being shown at IBC “will operate closer to the edge of the satellite footprint than other BBC region vehicles we’ve supplied, [so] it was crucial that we install the largest main satellite antenna physically possible,” said Robert Stopford, sales director, Megahertz. The van is built on a 5.3-ton chassis and has a 1.6m AvL Technologies Ku-band SNG antenna mounted on the roof. Other equipment includes Evertz SPGs, a Blackmagic Design Atem vision mixer and a Snell Advanced Media 96port router, all connected with Crystal Vision glue.

Configurable IP audio console OUTLINED

By Mark Hallinger

Mordecai is looking to expand Curzon’s reach beyond the UK and Ireland

Robert Stopford (L) and Don Wilson

The weight limit and the space on the roof were restricted, “but we made optimum use of both to accommodate the mast, generator radiator, air conditioning and off-air satellite dish,” added Don Wilson, engineering manager, Megahertz. 12.F20

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Wheatstone

UEFA Euro match is testbed for 4K Barco Silex

theibcdaily

A new IP audio broadcast console that claims to take control surface configuration to a new level is being debuted. Wheatstone said its LXE offers a fully flexible control interface with programmable switches, rotary controls and fader groupings that can be remotely located and operated. The LXE is Wheatstone’s latest addition to its IP audio console line for use with its WheatNet-IP audio network, a complete AES67-compatible

network system with endto-end audio transport, logic control and an audio toolkit at every I/O point in the network to enable intelligent deployment and operation. “Broadcasters kept telling us they needed a console surface that is more adaptable for all the applications they’re doing these days. By eliminating the usual hard-coded buttons and encoders and instead scripting out those capabilities much like we’ve done with our audio network, we can give them that,” said Kelly Parker, Wheatstone’s systems engineer, who headed up the development of the new LXE. 8.A51

Beyond: The company said its new LXE goes beyond the “any source to any fader” concept of networked consoles

Cord-cutting rockets as millennials opt for DIY bundling By Ann-Marie Corvin Up to ten per cent of households have now ditched their subscription TV packages in favour of SVoD services such as Netflix, new research reveals. Speaking at Thursday morning’s IBC session, ‘The New Broadcasters: The Analyst’s View’, Ampere’s Guy Bisson revealed the disruption that OTT services such as Netflix are having on Europe’s pay-TV market. “Subscription video on demand services have been outstripping pay-TV in terms of net additions since 2012. In some European markets, SVoDonly households make up ten per cent of all households. The average number of SVoD-only households now stands at eight per cent – a year-on-year rise of two per cent.”

Bisson added that the typical cord cutter was 50 per cent more likely to fall within the millennial demographic. He added that while this segment was 14 per cent more likely to subscribe to pay-TV services, they tend to be more fickle with 50 per cent of them more likely to have changed TV providers within the last year. “There’s a significant amount of DIY building going on,” Bisson noted. However, Bisson added that he believed there was still a role for the aggregator with carriers such as Virgin and BT bringing Netflix into convenient packages for their customers, combined with the latest viewing experiences such as Ultra HD. “Together they are stronger – we will see more partnerships like this, it’s a natural evolution,” he predicted.

09/09/2016 14:32

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NBCU’s reality service to launch on Apple

Big Screen comms sorted

By Anne-Marie Corvin

Clear-Com

NBC Universal is to launch its reality-themed streaming service hayu on Apple TV as well offering its subscribers the chance to download content to watch offline. Speaking at Thursday’s ‘Next Generation Video on Demand’ session, NBCU’s Hendrik McDermott, senior vice president of branded on demand, revealed that the broadcaster was looking to launch the app – dubbed ‘the Netflix for reality TV’ – on Apple TV in Q4 of this year and that other deals would likely follow. “We are looking to grow in terms of distribution and will look at all platforms that make

By Heather McLean

NBC Universal has launched ‘the Netﬂix for reality TV’

sense in terms of volume, scale and reach. We want to partner with content providers as well as pay-TV and mobile operators,” said McDermott. Current partners of the streaming service, which launched this March, include Virgin Media in the UK, on its

Tivo platform, and Foxtel in Australia. “The Virgin Tivo app is performing exceptionally well with session times averaging over 60 minutes – that’s at least two shows per session,” McDermott added.

AI key in future of sports broadcasting

Joe Inzerillo at a panel session on Thursday

By Catherine Wright Looking to the future and how to get viewers even more engaged with sports broadcasting, the executive vice president and CTO of Major League Baseball Advanced Media in the US Joe Inzerillo was adamant artificial intelligence would play a key role: “It is nascent but the way

AI is developing is mind blowing and so is what we will see in five to ten years from now,” he enthused during a panel conference named ‘Sport: The Future Ain’t What it Used to be…’ on Thursday. The company, in which Walt Disney has just bought a onethird stake, has already been developing technology that uses

Work on LTO-8 is underway LTO Program By Carolyn Giardina The LTO Program, a consortium to develop and make available LTO as an open format, which was formed by technology provider companies Hewlett Packard Enterprise, IBM and Quantum, is at IBC to talk about its continuing roadmap for the format.

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OUTLINED

“We’re talking about the continuing progress of the LTO format, having released version 7 last November, and we are now working on LTO-8,” said LTO Program representative Ed Childers. “The main focus will be increasing the capacity [of version 8] to 12TB (LTO-7 offered 6TB). “We have a fundamental scalability problem where [the amounts of] data is growing

radar location to track players on the field. “The data enables us to track player velocity and crunch statistics in real time and that creates more insight into the game and educates the fan,” he described. But more than that, the technology enables the viewer to react in what Inzerillo calls “Spiderman time”, meaning predicting things before they even happen. Other future trends include conversational video. “That is something we are looking into, that’s my exciting focus in the coming years”, outlined Emily Forbes, the founder and CEO of Seenit in the UK, a company which aggregates behind the scenes content created by selected fans.

faster than advancements in hard disk technology,” he added. “This is creating a demand for low-cost archive storage, and that’s what the LTO format aims to address.” Childers reported that at IBC, representatives from the LTO Program will be demonstrating LTO single drive interchange between vendors Hewlett Packard Enterprise, IBM and Quantum. They are also available to discuss user cases. 6.A21

Clear-Com has announced its status as technical supporter of communications equipment for the IBC Auditorium for the duration of IBC2016. Designed to IBC’s technical specifications, the Auditorium features the very latest sound technology and state-of-theart cinema projection. As well as the four-day conference, the Auditorium will host the IBC Awards ceremony and the IBC Big Screen showcase presentation of Disney’s The Jungle Book in Dolby Vision. Phil White, technical director at IBC, said: “The versatile nature of the IBC Auditorium provides us with a challenging environment, as we need to set up, produce and derig back-to-back events throughout IBC.

Clear communication across the team is essential to the smooth running of each event, so we needed comms equipment with the capacity for multiple concurrent conversations and good audio quality. Clear-Com’s range gives us that flexibility and clarity, as well as the knowledge that the equipment is reliable and robust enough to get us through every event.” Working with the IBC technology team, which supplies and installs the audio equipment for the overall production, Clear-Com will provide an array of equipment including HelixNet digital partyline and Eclipse-HX Delta digital matrix solution, FreeSpeak II wireless beltpacks, as well as the recently launched CC-110 lightweight, highperformance headsets. 10.D29

Going global Telstra

By Anne Morris Global Media Network, a professional media contribution solution that enables broadcasters and content developers to take their content global, has been unveiled by Telstra at IBC. Custom-built for the media industry, the Telstra Global Media Network enables the delivery of live and file-based video content by combining Telstra’s network of global submarine cables, satellite stations and broadcast operations into one solution. Trevor Boal, head of Telstra Broadcast Services, said that by using the Telstra Global Media Network customers can quickly deliver content across the world – whether it’s a broadcaster wanting to source a time-critical sports event or content producers that need to deliver a television programme between production facilities. “The rapid growth of video on-demand consumption,

Boal: “The rapid growth in VoD consumption has triggered a surge in demand for content”

particularly in Asia, has triggered a surge in demand for content with the number of unique channels estimated to reach nearly 30,000 globally by 2023, a more than 400 per cent increase from 2013,” Boal added. The Global Media Network is built on Telstra’s global infrastructure, which combines its submarine fibre cable network with access to four teleports and over 40 satellites covering strategic media hubs across Asia, Europe, the United States and Australia. The Telstra Global Media Network will be available internationally from early 2017. 14.F37

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theibcdaily BT Sport: “The 4K viewer comes first” OUTLINED

The DVB reviews its processes for a new age DVB

By Chris Forrester

By George Jarrett Andy Beale, chief engineer at BT Sport who is responsible for the telco’s UHD transmissions, said that a year ago he anticipated that 4K viewers would want their own dedicated images and commentary team. “Not so,” he said. “Initially we sought permissions from the clubs to place side-byside cameras for HD and 4K, because we thought that viewers would appreciate the much higher-definition from 4K and the wider field of view, especially in football, as well as a separate commentary team.” During Thursday’s Paper Session: ‘UHDTV Launches Across the World’, Beale said the company’s thinking had moved on considerably. “We

BT Sport’s thinking on 4K has ‘moved on considerably’

now know that fans want just as many close-ups and edits as the ‘normal’ HD feed. Now we have advanced to a single OB truck, where we handle 4K and HD from the same unit – and the same commentary for both. Everything that we do is in a smaller production, and the clubs and viewers are very happy.”

“We loved our new UHD cameras, but maintaining focus was a headache for the operators. We solved this by placing the HD-quadrant 1 [portion of the image] on the reverse circuit to the camera so the operator could toggle in order to see that larger image much more easily, and help to maintain focus.”

Inferno adds Raw support, ships soon Atomos

By David Fox The Shogun Inferno will ship soon after IBC and with a few more features than originally promised. The 4K/UHD recorder and monitor will now be able to handle various Raw formats, including Arriraw and Panasonic Raw for the Varicam LT. It will also now include both high dynamic range formats in and out – so it can be used to feed larger monitors with either

Atomos’ chief marketing oﬃcer Tony Trent ﬁnds himself in an Inferno

Hybridised Log Gamma or SMPTE ST-2084 PQ (Perceptual Quantisation). Editors can also use Inferno as a 7.1-inch 10-bit, 1500 Nit 1920x1200 monitor for mobile HDR grading. There is also a schedule player, for playout during live events or in-store use. Atomos has also worked with G-Tech to allow its Master Caddy to work inside any G-Tech EV storage system (including RAID arrays), for quicker access for post production. 11.D25

New software aimed at HDR Rohde & Schwarz By Carolyn Giardina The new software release of the R&S Clipster mastering station from Rohde & Schwarz includes an expanded tool set for high dynamic range workflows, enabling more flexible colour processing. Available in Q3, Clipster 6.1 has extended the IMF feature set to include localisation of subtitles. And the new alpha compositing feature enables data such at title sequences and

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text clips in multiple languages to be exchanged directly on the timeline. Content that has been mastered for a specific region can be modified for worldwide distribution. Support of Dolby Vision and HDR10 metadata in IMF (PQ, SMPTE 2086) allows content to be delivered for current HDR consumer standards. Clipster also integrates the new HEVC and ProRes 444 XQ formats for delivering content in HDR and wide colour gamut formats. R&S Clipster 6.2 can be seen as a technology preview. One

highlight is the enhancement of the HDR workflow to include image processing with floating point processing. In addition, it enables image processing in real time up to 4K 120fps. Other features include support for the Avid DNxHR codecs and the ability to process HDR metadata for Dolby Cinema. 7.E25 Clipster 6.1 will be available in Q3

In taking on the chairmanship of the DVB Project from Phil Laven, Peter MacAvock said: “I care greatly about what happens to this organisation. It has achieved many important things, and it can continue to do so.” MacAvock had been executive director of DVB for 14 years until he became head of delivery, platforms and services with the EBU eight years ago. That continues as his day job: how has DVB changed since his first tenure? “Due to mergers and acquisitions and tough economic times there are fewer members. Back in 1993 DVB was formed to develop the technical standards for analogue to digital transition, but we are now into a different set of problems.” Job one will be to assess whether the long-established DVB process of setting its standards remains sharp to the task. “The broadcast industry is changing rapidly, and is DVB still as relevant in terms of its processes?” asked MacAvock.

Open source software and OTT, just two of the issues on Peter MacAvock’s agenda

The many phases of 4K have been slowed by endless “complex conversations” but then MacAvock is clear about why it is best to wait: “DVB is the place it is going to happen. Other organisations have quite simply not been able to come to a consensus concerning the detailed specs.” The things on MacAvock’s radar are OTT, open source software and the accelerating modernisation of the whole pay-TV sector. The DVB is already running a study mission on VR. “We are trying to understand what the technical issues are associated with VR, to see what useful work could be done. VR is certainly at the forefront of discussion among DVB members,” he added. 1.D81

Emphasising IP workflow AJA Video Systems By Carolyn Giardina Putting an emphasis on IP, AJA Video Systems has unwrapped two new mini-converters supporting IP-based video and audio workflows. Additionally, the company announced free v12.5 desktop software with new features for Kona IP aimed at improving redundancy and reliability in broadcast IP pipelines, including SMPTE 2022-7 support for protection switching. IP-based workflows and interop demos with Arista and Lawo will also be showcased during IBC at the AJA stand. AJA technology will also be demonstrated at the AIMS and

IABM Interoperability Zone. “[Our focus is] bridging exisiting equipment to emerging technology such as IP,” said AJA president Nick Rashby. “We’re continually exploring how we can alleviate the challenges professionals face in the transition to IP.” The IPR-1G-HDMI miniconverter decodes VSF TR-01 and other JPEG 2000 streams, and formats the data for output on a full-size HDMI 1.4 interface. The IPR-1G-SDI mini-converter decodes VSF TR-01 and other JPEG 2000 streams and formats the data for 3G-SDI BNC output. AJA v12.5 software adds SMPTE 2022-7 to Kona IP, which the company said offers a seamless protection switching experience. 7.F11

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