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SATURDAY 16.09.17

Fox’s Sullivan: “Disruption is natural”

Inside

By Chris Forrester Brian Sullivan, president and COO, Digital Consumer Group, Fox Networks, told IBC delegates that disruption in TV is perfectly natural. “Once, consumers had all the power. They watched three TV channels without a fee and saw great entertainment. Cable changed that paradigm, then came VHS tapes and DVD forcing another change. Then came TiVo and PVRs, which gave consumers greater control but at a cost of almost $100 a month. Then came the streamers, and consumers saw that they could get all this seemingly wonderful content at less than $10 a month. Today, in the US there are more than 200 of these content aggregators, but what’s happened to the ‘missing’ $90? “I can tell you it isn’t working for business. We, with Fox Now, have started from scratch and put the power back into the consumer’s hands. We have moved from about 17 different networks to just five. One of the problems are [TV] rights and their screening windows. There is pain for some players, and many channels will not make it because demands have

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CTO roadmap The value of AI and the benefits of 5G were up for discussion by the panel Page 3 DVB on WiB study mission Chair Chris Noakes highlights the objectives of the study and the potential benefits of wideband frequency re-use 1 Page 12 UHDTV: Where are we now? The EBU’s Dr Hans Hoffmann asks whether adoption is stalling and highlights the need for cross-industry collaboration Page 28

Sullivan: “If we knew how we could monetise in the social world, we would”

changed. There really isn’t a need for sub-genres of this or that channel, because we are showing everything in a very easy to access UI.” Sullivan is also a board director at Hulu, and moderator Kate Bulkley asked what his feelings were about Netflix, and Amazon Video. “Netflix is a spectacular service at a spectacular price. We, the studios, created it with our content. But, like the other

studios, we will review the shows they screen on a case by case basis. “As for Amazon, they are obviously important and I have little doubt that one of these days they’ll be running a global government. [Jeff] Bezos is an amazing character.” He touched on the threats from social media-based platforms, and admitted everyone was still learning. “If we knew how we could

monetise in the social world, we would. Personally, I don’t think long-form video works on social media where the average time spent watching any video is about three seconds.” Sullivan also addressed VR and the other emerging technologies, and said he had always been a fan of 3D and look what happened to that! “But, like everyone, we are learning and we are investors in the concept.”

Broadcast in transition John Ive, director of strategic insight, IABM, warns the industry not to be complacent when business is going well Page 56

Read our IBC news stories on the moveÖ Published on behalf of the IBC Partnership by

15/09/2017 18:26


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DeckLink cards all include support for Windows, Mac OS and Linux operating platforms, and all DeckLink models can be moved between platforms without restriction. Download the Blackmagic Design Desktop Video SDK today from www.blackmagicdesign.com/desktopvideo_sdk. For help with your broadcast solution, please contact us at developer@blackmagicdesign.com or for sales enquiries, developer_sales@blackmagicdesign.com.

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CTOs predict big future for AI and 5G services by 2020 OUTLINED

By David Wood Heavy-hitting industry CTOs have agreed that AI will become an important new technology for media businesses. The use of machines to perform basic jobs which would ordinarily be done by a person is turning out to have a wide range of useful applications, said Liberty Global CTO Balan Nair, speaking at IBC’s CTO Roadmap Keynote panel [15 September]. “Where AI is coming in for us is with customer interactions,” revealed Nair. “There are plenty of customer management processes where no humans [other than the customer] are involved and the consumer

AI and 5G were on the agenda at the CTO roadmap panel

is none the wiser – unless the interaction is really complex. “You will see AI in almost every aspect of our operations – 15 per cent is AI now – and it will be 50 per cent in five years.” News Corp deputy CTO Latha Maripuri said that AI was “way more than a buzzword” and that

SkyPanel now bigger and brighter Arri By David Fox The new SkyPanel S360-C is Arri’s “biggest and brightest LED fixture we ever made. It is four times as bright as the standard S60”, said Markus Zeiler, general manager Arri Business Unit Lighting. Some 30,000 SkyPanels have now been sold, and the S360-C was developed to respond to user feedback. The colour tuneable 120,000 lumens S360-C offers a wide range of built-in effects, from police car lights to fire effects, which can cover a wide area. The panel comes with an intensifier that gives 50 per cent

extra output in the centre of the light. “It takes a bit from the side, but it is still smooth,” he explained. The full kit includes various diffusers, soft boxes, case and remote. It also has a carbon fibre yoke, which is half the weight of a traditional steel yoke, and more reliable. It is the first SkyPanel to have wireless LumenRadio DMX built in, and Arri is making it easy to add wireless to all the older SkyPanels, via SkyLink Receiver, a USB-powered dongle offering bi-directional communication. It links to the SkyLink Base Station offering DMX/RDM communication and direct control from a DMX control application on a tablet or

Collaborations with Microsoft, Mo-Sys ChyronHego By Carolyn Giardina ChyronHego announced a pair of collaborations as IBC got underway on Friday. Its Tracab image-based tracking system has been chosen as one of the anchor technologies in Microsoft’s Sports Performance Platform, a Microsoft Garage project. Announced earlier this year, Sports Performance Platform is a cloud-based sports analytics platform created to help professional sports teams,

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leagues and organisations find a way to help both athletes and teams make better, faster and more data-driven decisions. Said Steve Fox, principal software engineer for Microsoft Corp: “ChyronHego’s Tracab not only collects and organises critical data in real time but makes it readily available for presentation so that coaches and teams can see and predict trends and patterns.” ChyronHego is also introducing integration of its Silver robotic camera head with the RoboRail straight camera rail system from Mo-Sys Engineering. The

News Corp was actively looking at how it might be incorporated. “Digital advertising is proving to be a concrete use case for AI, and we are looking at integrating more supervised machine learning.” Liberty Global’s Nair was also upbeat about the prospects for services based around high computer via WiFi. RDM allows for two-way communication with the fixture and enables the ability to change all settings on the lamphead remotely. The wireless link should achieve a range of at least 150m in poor conditions, or up to 400m with line of sight. SkyLink was developed in partnership with Innovative Dimmers. 12.F21

Arri’s Markus Zeiler takes a shine to the new SkyPanel S360-C

companies reported that, together, the products form a system for “no-delay camera tracking” of augmented reality graphics and virtual sets in news broadcasting – the latest development in ChyronHego’s Camio Universe for news workflows. Johan Apel, president and CEO of ChyronHego, said: “On a news set, the RoboRail is the perfect alternative to larger robotic dolly/ rail systems for AR applications. Our partnership with Mo-Sys is a big step forward in our efforts to deliver the industry’s most comprehensive VR/AR systems for news production.” 7.D11

capacity 5G technology. Nair admitted that the economics of 5G “don’t make sense at present”, but predicted that it would be a “true step change” in mobile. “One big benefit is its greater bitrate. It’s optimised for lots of bandwidth and you’ll be able to pack a lot more technology into 5G devices. But it needs hundreds of thousands of towers – and that’s going to be expensive. That is the challenge of 5G – lots of promise and lots of cost. “Today’s economics don’t justify it, but it’ll be rolled out for the 2020 Tokyo Olympics and by 2021-22 it’ll be more normal than not.”

Birthdays: IBC’s 50th year is also the 95th anniversary of GatesAir, which dates from 1922, when Henry C Gates founded the Gates Radio and Supply Company. Here, Michael Crimp, right, chief executive, IBC, and Bruce D Swail, CEO of GatesAir, cut the celebratory cake.

Io 4K Plus with Thunderbolt 3 AJA Video Systems By Carolyn Giardina Leading AJA’s new product line-up is Io 4K Plus, the next generation of its capture and output hardware devices and its first Thunderbolt 3 product. It’s designed for the latest 4K/Ultra HD devices with connectivity options including 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O for 4K, Ultra HD, 2K, HD and SD with HFR support up to 60p at 4:2:2. Scheduled for availability in midOctober for $2,495, it supports creative tools such as Adobe Premiere Pro, Apple FCP X and Avid Media Composer. Io 4K Plus also includes an additional Thunderbolt 3 port for daisy-chaining flexibility. “Tight deadlines and technology shifts have introduced a new layer of complexity to post production workflows. Io 4K Plus with Thunderbolt 3 support reduces that complexity by moving high-resolution, high frame rate files through a single cable with ease,” said AJA president Nick Rashby. Also debuting on the AJA stand are technologies including a new line of FiDO 12G to fibre/ fibre to 12G mini-converters; desktop software v14 for its Kona, Io and T-TAP products; and new 3G-SDI multi-mode

Nick Rashby, AJA president

fibre extender cards for its line of openGear-compatible video and audio rack cards. The company is also supporting HDR10+ in the developer SDK for its video and audio I/O products that support 4K workflows. “With dynamic metadata, picture quality can be adjusted scene-by-scene, and the image quality is stunning,” said Rashby. “We’re very excited about offering HDR10+ support as part of our SDK available to developer partners, ensuring our partners can bring all the latest tools for HDR production to users as fast as possible.” 7.F11

15/09/2017 18:38


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Cloud set to deliver fundamental change OUTLINED

By Ann-Marie Corvin Is anything possible now in the cloud? For vendors the possibilities are limitless, for broadcasters it’s only a matter of time. In the Friday morning session ‘Cloud: How far can it go’ Google Cloud’s CTO Jeff Kember said that Google has invested $30 billion in its infrastructure and hardware and software stack to make heavy-duty tasks such as rendering, simulation and compositing possible. He added that 80 per cent of Disney’s The Jungle Book was rendered in Google’s Cloud last autumn enabling VFX house MPC and teams located elsewhere in the world to carry out quick renders.

Google Cloud CTO Jeff Kember unveiled new machine learning features at IBC

“You can now do shots in parallel. The scalability is there, instead of saying we have a fixed amount of compute on premises you can work on it per frame to save on artist, director and producer time,” said Kember. He also

unveiled some new machine learning features that Google has dropped into a number of places along its Cloud pipeline. These include metadata tagging, facial recognition, intelligent clipping and logo identification – meaning that Google can now

Timelineí s IP 4K HDR OB truck rolls into IBC SAM By Carolyn Giardina IBC visitors can check out Timeline Television’s new IP 4K HDR OB truck, featured on SAM’s IBC stand. The triple expanding OB truck, UHD2, handles uncompressed 4K/UHD, IP and HDR and is equipped with various SAM technologies including two Kahuna IP production switchers and IP multiviewers, with SAM’s IP infrastructure technology providing the backbone. Also in the truck for IBC, SAM’s LiveTouch 4K/UHD replay and highlights system will be used for demonstrations. The truck is designed to support 32 Sony 4K cameras. Its two Kahunas enable SDR and HDR to be run

Timeline’s OB Truck is a highlight on the SAM stand

simultaneously along with down converted HD outputs. According to the companies, the set-up allows production teams to work in VSF TR03 (SMPTE ST 2110 draft), enabling Timeline to work with video and audio as separate essence flows within an IP workflow. Also underscoring its emphasis on IP, at IBC SAM announced its collaboration with Cisco to integrate Cisco’s IP Fabric for Media system

Ultimatte 12 launches Blackmagic Design By Carolyn Giardina Twelve months after Blackmagic Design announced the acquisition of Ultimatte, the company

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is launching Ultimatte 12, a notable redesign of the real-time hardware compositing processor. “It’s become a product for all forms of entertainment,” Blackmagic Design’s Bob Caniglia said, explaining

into its existing IP networking systems. Per the agreement, SAM will design-in Cisco systems with professional services as part of its IP offering and resell the Cisco systems to include Cisco Nexus 9000 series switches and Data Centre Network Manager (DCNM) software-defined networking system, as part of its IP strategy including studio, playout, OB trucks/fly-packs and remote production. 9.A01

that the company aims to take the technology beyond broadcast keying to include use for augmented reality and virtual sets/previs/visual effects production. Since the acquisition, Blackmagic also dropped Ultimatte’s pricing, with Ultimatte 12 listing for $9,995. Ultimatte 12 features new algorithms and colour science,

offer its broadcast customers automated tape reels. “Our goal is not to replace the editor but to make the process more efficient,” he added. For broadcasters interested in creating and pushing out 360 content, Kember added that content captured on its Jump camera can be directly uploaded into the cloud where it can be scheduled, stitched and distributed to customer’s own channels, its client’s channels or directly to its video network. While the IABM revealed in its IBC end user survey that around one quarter of broadcast companies have

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virtualised their businesses, fellow panellist Tom Griffiths, director of broadcast and distribution technology at ITV, said that the UK broadcaster would not be doing a whole scale uplift into the cloud. “In an ideal world there would be nothing on premises but it’s a journey and different parts of our business are at different points in that journey,” he said, explaining that there were legacy systems to be replaced and workflows that needed to be re-architected. He added that live production was further away than on-demand publishing, which is now all running on cloud.

Production art and science EVS By Mark Hallinger Muriel De Lathouwer, EVS MD and CEO, likened the EVS MD and CEO Muriel De Lathouwer company’s product sets the stage for two product launches line to the left and right side of the assists production operators brain, with the ‘connected live’ with functions that can be range of products focused on deployed through a number of technical elements of the live apps and plug-ins. IP infrastructure and workflow, At the infrastructure level, while the ‘creative live’ side EVS has launched a new way features toolsets for better, for facilities operating within faster storytelling. an IP fabric to orchestrate At IBC2017, the company has live IP flows called S.CORE launched some significant news Master. The new system gives from each side of its brain. engineers better visibility of New from the creative side all end points within an IPis X-One, an all-in-one toolset connected network and acts for live productions requiring as its central orchestrator, six cameras or less. The new guaranteeing the delivery of system is built with EVS’ bandwidth-demanding media software-defined technology throughout the infrastructure. foundation and puts all of the The system uses SDN control capabilities of a control room in methods to manage the hands of a single production latency-sensitive live media operator at a touchscreen. The and allows engineers to system natively supports communicate with entire IP AIMS-compliant uncompressed infrastructures at once. 8.B90 IP ST 2110 feeds and further

and updated edge handling, colour separation, colour fidelity and spill suppression. With the new 12G-SDI design, costumers can work in HD or Ultra HD. Blackmagic reported that it’s compatible with most SD, HD and Ultra HD equipment, allowing customers to use the cameras they already own. 7 H.20

Caniglia: “It’s become a product for all forms of live entertainment”

15/09/2017 17:37


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sales@streamguys.com 05/09/2017 23:42


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Delivering MediaCentral and cloud services OUTLINED

Avid By Carolyn Giardina Underscoring Avid’s vision for collaboration and cloud services, the “next generation” of Avid’s MediaCentral platform was unveiled with what Avid describes as the ability to scale to “thousands”, with a goal of helping news, sports, post production and live broadcast teams create and deliver more content, more efficiently, and in shorter timeframes. The platform offers workflow modules and apps for editorial, production, news, graphics and asset management. It also offers media services and partner connectors. Every user is connected, whether that be on premises, in a private data centre, or via the public cloud. “We’ve taken the proven technology of iNEWS and Interplay, which we’ve refined over the past 20 years, and put it all on one platform so that any individual, team or enterprise can

Rosica: “Any individual, team or enterprise can enter the media cloud era”

enter the media cloud era,” said Avid president Jeff Rosica. “It’s as simple as switching on the modules they need, selecting the apps they want, and customising their workflow with a vast array of media services and partner connectors.” At IBC, Avid also announced new cloud apps and services, certified to run on Microsoft Azure (Avid’s preferred cloud provider). They include a MediaCentral

Cloud user experience, MediaCentral Archive for Azure, MediaCentral Newsroom for Azure, as well as access to Media Composer and ProTools. “We’re excited to help our clients successfully navigate their own journey to the cloud, with the first of many new cloud offerings from Avid,” said Dana Ruzicka, vice president and chief product officer at Avid. 7.J20

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Managing multi-vendor IP infrastructures Lawo By Mark Hallinger A big theme at the company’s stand is the idea of a ‘Broadcast 3.0’ – IP-based broadcast infrastructure for audio, video, data and control. Lawo said that while Broadcast 3.0 is under way, tomorrow’s broadcast production requirements will clearly be based on IP transport, software-defined processing, orchestration and seamless control of network resources, and automated workflows. At IBC2017, Lawo is demonstrating a unified infrastructure for audio, video, data and control in practical applications. A major part of this is vsmSOUL, Lawo’s Seamless

Orchestration & Unification Layer. Shown earlier this year and now making its European debut, vsmSOUL is an overarching service for IP-based production environments that manages the generation and routing of audio and video streams in any multi-vendor IP set-up. vsmSOUL is aware of, and handles, information from all system components, and is compatible across individual interfaces and technical solutions, said Lawo. It provides a single point of control for any network size and topology, and provides central stream routing and resource management across single-switch, spine-leaf, or mesh network infrastructures. 8.B50

vsmSOUL is an overarching service for IP-based production environments

AP launches live news exchange service Sencore adopts JPEG2000

Ultra Low Latency technology

LiveU

intoPix

By Will Strauss

By Heather McLean The Associated Press (AP) is using IBC2017 to launch an online newsgathering service that allows broadcasters to find crews to cover stories and then facilitates the delivery of their live feeds. The AP Live Community web portal, developed in conjunction with video-over-mobile technology company LiveU, includes lists of available service providers and details of current filming opportunities. All registered crews accessing the service will use LiveU transmitters to send their live footage. As the LiveU devices automatically pair through the AP Live Community platform, live broadcasts can be delivered directly into a broadcaster’s LiveU server.

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AP’s Paul Shanley (left) and LiveU chief executive Samuel Wasserman unveil AP Live Community

AP is vetting all service providers and is handling invoicing and billing. Paul Shanley, director of business development and partnerships, AP, said the platform will “eliminate the complexity broadcasters currently face in having to source video production crews who are able to competently deliver live coverage” Thirty service providers and 20 broadcasters have

signed up to the new service so far. Ronen Artman, vice president of marketing, LiveU, added that he expects the new service to help freelancers to find additional work and grow their businesses. AP Live Community will be free to access but commission and connection fees will be applicable. 3.B62

Sencore has adopted intoPIX JPEG2000 Ultra Low Latency technology for its new line of SDI2X products. The integration of the intoPIX cores will enable Sencore to support nextgeneration broadcasting services, including the VSF TR01 standard. Overall the technology will, claimed intoPix, enable the industry to simplify remote production and live contribution using IP networks. Jean-Baptiste Lorent, director of sales and marketing at intoPix said, “When you’re outside the studio for remote production or studio-to-studio, away from SMPTE 2110, you’re faced with putting high quality content over constrained network bandwidth. It simply isn’t practical to put HD on a network always, or the cost

charged for the bandwidth by the telco operator is too high, so you need to keep things under 1Gb. “For that reason, JPEG2000 Ultra Low Latency is gaining lots of interest in the market, particularly in the US,” continued Lorent. “ESPN is using it for live sport because it offers practically all the benefits of uncompressed but with more feeds and higher frame rates.” 10.D31

Jean-Baptiste Lorent helping Sencore to support next-generation broadcasting services.

15/09/2017 18:15


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IP could account for one-third of TV revenues in 10 years OUTLINED

By David Wood Industry analyst Lluis Borrell from Spanish telecoms consultancy Analysys Mason has predicted that IP is set to have a huge impact on the European TV market, with a third of revenues coming from IPTV in a decade. Speaking at a conference session on ‘Multichannel Broadcasters: Is IP really having an impact on broadcasting?’ [15 September] Borrell predicted that in a €91 billion European TV market IP services could make up a huge €30 billion in just a decade. “A 30 per cent switch to the delivery of services over

IP is a huge change. The big question is how will that impact the market?” Borrell said that there would be a big sea change in the competitive dynamics of the TV market, driven by the large number of service launches based around VoD and catch-up over OTT. He listed developments such as the launch of Molotov TV in France, YouTube TV, Amazon Channels, iFlix Live TV and Disney going direct to consumers as evidence of the diversity of the latest crop of OTT offers. Another big market trend is fragmentation, added Borrell,

who pointed out that not all consumers want the same thing from TV services and that IP is the best suited technology for delivering a wide range of services to audiences – some of whom want niche services and some who want all-youcan-eat buffets. “The market is evolving and becoming more segmented and IPTV is best suited to coping with the different tastes of consumers, who are eager for attractive new seamless TV and VoD offers. “Overall the trends for the TV market is strong with demand for video increasing. But the nature of that demand is changing.

Huawei integration announced Imagine Communications By Ian McMurray At a press conference on Thursday at IBC, Imagine Communications announced that it is working closely with Huawei to integrate Imagine’s Versio playout software with data centre compute and networking equipment from Huawei. The collaboration between Imagine and Huawei is intended to provide media companies with an expansion of options for transitioning their playout operations to softwarebased, virtualised environments running on commercial off-theshelf (COTS) hardware.

“This collaboration underscores our ongoing commitment to the evolution of the media industry to a technology foundation that injects new levels of agility, flexibility and responsiveness into traditional operations by moving them to pure software running on powerful COTS equipment,” said Charlie Vogt, CEO of Imagine Communications. “The strategic partnership unites two of the most innovative players in the broadcast and IT industries to provide media companies in the Asia-Pacific region – and around the world – with a greater palette of hardware choices for deploying origination and other playout operations in a data centre environment.”

Redwood turns to blue Aveco By Will Strauss Two new Redwood video engines are being launched on Aveco’s stand at IBC2017 as the Prague-based automation systems company celebrates 25 years in business. The Redwood Blue uses Harmonic Spectrum technology to perform ingest, graphics insertion, clip playout and integrated channel origination. Other features include live-to-

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Pavel Potužák: “We focus on integration. Harmony is our job”

disk recording, master control switching with DVEs, subtitling and independent branding of simultaneous channels. The Redwood White also performs clip playout, multi-

Lluis Borrell (far right): IP is well-suited to delivering the wide range of services expected by audiences

“In terms of distribution of video, IP-only and hybrid models are the ones which are likely to

Sony gets ready for 8K production Sony By Neal Romanek

Vogt: “Ongoing commitment to the evolution of the media industry”

Imagine and Huawei are currently testing the integrated solution in a joint-lab facility and expect to initiate a commercial deployment before the end of the year. Additional solutions from the Imagine portfolio are scheduled for integration with Huawei equipment in the future. 4.A01

layer graphics insertion and integrated channel origination but runs on COTS hardware. Both video engines work with Aveco’s various Astra automation products including Studio, MCR and MAM with the Blue also integrating with Take 2 and Ingest. Pavel Potužák, chief executive, Aveco, said: “We focus on integration and allowing technology to work together. Harmony is our job. With the Redwood family, broadcasters can choose thirdparty products and we can help them to create a station of any size and any complexity.” 3.B67

prevail – because they are based on OTT technology which is available and scalable.”

Sony has thrown down the gauntlet in the race to 8K and unveiled the UHC-8300, its first camera with three 8K sensors. Developed in partnership with Japanese public broadcaster and 8K powerhouse NHK, the UHC-8300 features three 1.25-inch sensors and aims to offer an 8K canvas to broadcasters which can also simultaneously output 4K and HD selections. Aimed at live broadcast, entertainment and high-end documentary, the camera supports HDR in both S-Log3 and HLG standards. It can output at 60p and capture at 120p and with its three sensors offers a much greater depth of field than Sony’s single 8K sensor cinema camera, the F65.

The 8K signal is carried via SDI but the UHC-8300 supports IP connectivity through Sony’s NMI technology. The camera comes with a 1.25-inch lens mount but can also accommodate B4 mount 4K lenses with an adaptor and is compatible with accessories from Sony’s HDC camera series. “In Japan there will be an 8K trial at the end of 2018,” said Kento Sayama of Sony Imaging. “We’re developing technology with NHK in Japan to meet that goal, but we wanted to debut the camera here at IBC. The UHC8300 can be a premium camera for 8K or a ‘cut out’ camera for broadcasters using 4K and HD.” Sony has also unveiled a minicam at the show, the RX0, and two HDR-capable camcorders, as well as showing off its new Venice cinema camera. 13.A10

An 8K surge: Sony’s new UHC-8300 has been developed with NHK

15/09/2017 16:44


Reimagine everything

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Vintage look for new lenses Cooke Optics By David Fox

CONFERENCE SESSIONS TODAY Mythbusting: What’s really happening to TV audiences? Forum – 09:30 Hot or not: What are the hottest new TV technologies and devices and how will they transform the TV market? Forum – 10:30 The New TV: Who’s really watching? Forum – 11:30 What Will 5G Mean for Media? E102 – 12:10 Find Me Something Good: The future of the TV consumer experience Forum – 12:15 Keynote: What’s happening in VR, AR and MR? Forum – 14:00 UHD, from Lens to Screen: Who is calling the shots? E102 – 15:15 Building Future Broadcast Centres: Bricks, bytes and behaviours Emerald – 15:15 Mad Men in the Digital Age: New directions in TV advertising Forum – 15:15 Fresh from the US: How are broadcasters responding to digital disruption in the world’s largest TV market? Forum – 17:00 Grafica_IBC_TVU_DEF_2.pdf 1 30/8/17 17:46

The new Panchro/i Classic range of lenses is a modern redesign that promises the same look and feel as Cooke’s original Speed Panchros designed in the 1920s. With newly designed housing, /i Technology, nine-leaf linear iris and PL mounts, the new lenses are lightweight, making them suitable for handheld, drone or Steadicam work. The Classics will initially be available in 18, 25, 32, 40, 50,

75, 100, 152mm focal lengths, and most will be T2.2 to T22. The lenses will also be available with an optional mount to fit either Sony E or Micro 4/3 mounts. These multi mounts will also be available for Cooke’s miniS4/i range. Cooke is also showing its front Anamorphic/i zoom lenses: the 45-450mm T4.5 and 35-140mm T3.1, as well as the Anamorphic/i SF (Special Flair) lens range (25, 32, 40, 50, 75, 100,

Newsroom reach extended Octopus Newsroom By Carolyn Giardina A complete Octopus 8 system is being demoed during IBC. The company is also promoting its involvement in the Media Object Server (MOS) Group,

which received a Technology & Engineering Emmy in January. Ondrej Hurt, Octopus Newsroom’s senior developer and MOS specialist, said: “The MOS communications protocol gives newsroom computer system users the ability to integrate with third-party systems such as

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135, 180 and 300mm), which features a coating that gives cinematographers even more options for anamorphic character with enhanced flares and other aberrations, and still retaining the oval bokeh. 12.D10

Cooke’s new Panchro/i Classic range goes up to this 152mm prime

graphics, automation, storage servers and teleprompters.” Added sales director Gabriel Jankó: “This year we have achieved tighter integration between Octopus 8 and products from other members of the Emmy awarded group, including Avid, ChyronHego, Grass Valley, SAM, ToolsOnAir and Vizrt.” 7.G38

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DVB begins WiB study mission OUTLINED

Chris Nokes, head of distribution core technologies section, BBC R&D and chair of DVB-TM study mission on WiB

www.ikegami.eu

At IBC last year, Erik Stare, Jordi Giménez and Peter Klenner presented a paper on terrestrial broadcast network planning called ‘WIB – A new system concept for Digital Terrestrial Television (DTT)’. It went on to receive the Best Conference Paper Award. Since then, the authors have developed the ideas a little further, as presented in an EBU Technical Review article. Given the potential importance of the concepts introduced within these papers, the DVB has embarked on a mission to study the ideas. Wideband frequency re-use 1, or ‘WiB’ for short, proposes to change the approach for DTT network planning from one which uses high-order modulation to achieve high capacity per channel, to an approach using a much wider bandwidth together with a low-order modulation, to achieve similar capacity. This will inevitably mean that instead of planning transmissions from neighbouring transmitters to work on separate channels, the same (much wider) channel will need to be re-used; but the robust low-order modulation, combined with interference cancellation techniques, could mitigate the impact of the resulting network self-interference. A significant benefit from this approach is a dramatic reduction in the overall power that would be required to

operate the network (e.g., a typical reduction of around 90 per cent should be possible). The wider bandwidth may also bring advantages from increased frequency diversity, and this could be enhanced by combining WiB with frequency-hopping techniques, such as the Time-Frequency Slicing (TFS) already defined in an annex to the DVB-T2 specification. Because of the requirement to use interference-cancellation techniques in receivers, it is also possible to operate a layered modulation system. The broadcast layer would operate as normal, but in areas where the received signal strength provides a significant reception margin, receivers could decode additional information added to the main signal at reduced power – a ‘lower layer’. Since the capacity available varies with the margin, this lower layer could be most suited to the provision of additional unicast data – i.e., separate data targeted individually at each receiver. This approach could be applied with highly sectorized broadcast antennas targeting primarily roof-top receivers, or might equally be applicable to a cellular network targeting mobile receivers, where the combined provision of both a broadcast layer and additional unicast data (in effect additional mobile broadband capacity) could be potentially very attractive.

DVB has initiated two study missions, one a technical study mission, the other a commercial one, to analyse the WiB proposals in more detail. The technical study mission (TM-WiB) began its work in February, and has two broad objectives. The first is to evaluate the technical opportunities which WiB might offer in the future – in other words to assess the theoretical limits of what should be possible with WiB – as well as studying the application to practical network design to determine how close a practical implementation might come to these theoretical limits. The second objective for TM-WiB is to consider the feasibility of introducing such technology. This includes the impact both to and from conventional terrestrial TV network signals, as well as the potential impact on existing secondary users of terrestrial channels – in particular the program production community that makes use of the interleaved nature of existing planning to re-use UHF channels for equipment such as radio microphones. The commercial study mission (CM-WiB) has only just started its work, but will consider the potential business cases for the commercial implementation of WiB, as well as considering the viability of transition scenarios that could allow for its introduction.

Inevitably there will be a need for a close co-operation between CM-WiB and TM-WiB, for example to allow CM-WiB to ask TM-WiB for detailed evaluations of specific aspects of the technology. TM-WiB has started its work with some initial analysis of the potential for WiB technology, as well as by defining a variety of scenarios that could be considered for the use of WiB. These scenarios start with TV broadcasting to directional roof-top antennas using DVB-T2 as it is, with frequency reuse-1, then add

additional WiB tools (e.g., interference cancellation, channel aggregation), before considering more complex scenarios (e.g., adding mobile reception and using LDM for unicast services). TM-WiB has also started defining common approaches to network simulations to allow results from different organisations to be readily compared. Both TM-WiB and CM-WiB will produce reports on their findings for DVB Members early next year, and these reports will guide DVB in deciding upon any future work.

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Cloud-based viewing analysis Viaccess-Orca By Ian McMurray Advanced analytics and monetisation capabilities for its end-to-end, cloud-based TV Platform as a Service are being demonstrated by Viaccess-Orca. On show are analytics dashboards, which enable service providers to measure the effectiveness of the various content discovery sources, including recommendations, search, promotions, and catalogue and apps

exploration, to optimise the customer experience. Another improvement is what Viaccess-Orca claims is a unique search analysis tool that provides insights on subscribers’

interests, data on how well the current television offering meets those interests, and feedback on the effectiveness of the search. A further enhancement to the service is advertising functionality

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that Viaccess-Orca says makes it easy for service providers to OUTLINED manage multiple advertising campaigns from one interface for increased revenue in the multiscreen environment. Also being showcased by the company are various strategies for extracting actionable insights from

TV data, via predictive analytics. Viaccess-Orca said this ensures that operators can deliver a more personalised TV experience to subscribers on any device, streamline their content strategy, and ultimately pave the way to TV audience monetisation.

1.A51

Broadway shows off at IBC

The Dante Broadway networking chip adds Dante audio

Audinate By Mark Hallinger The Dante Broadway networking chip is designed for mid-channel count audio products. Available in 8x8 and 16x16 channel options, Broadway can add Dante audio networking to products such as small mixers, power amplifiers, DSPs and conferencing solutions. Dante Broadway blends the small form factor of Audinate’s Ultimo products with the most popular features of its Brooklyn II module, including latency as low as 0.25ms and support for Gigabit Ethernet. With a set of control interfaces (including SPI, UART and GPIO), plus support for Dante Device Protocol, packet bridging and AES67, Audinate claimed the Dante Broadway can ‘seamlessly connect’ an audio product into the growing ecosystem of Dante-enabled products.

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Flexible access via IP

Dante dual digital

By Ian McMurray

By Mark Hallinger

OUTLINED

Guntermann & Drunck

The newest member of G&D’s KVM family is the DP Vision IP, an IP transmission-based KVM extender, which the company said allows great flexibility and overcomes the existing spatial restrictions on bridging distances. The DP Vision IP DisplayPort KVM extender system consists of a computer module and a workstation module and The DP Vision IP overcomes restrictions on bridging distances

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facilitates the remote operation of a computer. DisplayPort 1.1a image data is processed pixel-perfect and with great hand-eye co-ordination, G&D claimed. The maximum image resolution corresponds to a pixel rate of up to 300Mpixel/s, while video resolution of up to 2,560 x 1,600 @ 60Hz or 3,840 x 2,160 @ 30Hz are possible. Transmission of compressed data is by Cat cabling via an IP-based network on Layer 3. Video, keyboard, mouse and control data are encrypted

with AES-128. The KVM over IP developed by G&D can be used with existing IP infrastructures and can be combined with other G&D devices, enabling complex installations to be IP accessible, the company said. It also benefits from what G&D claimed was a proven monitoring and SNMP function, which facilitates continual monitoring of device status and sending of status notifications. 1.B10

Lectrosonics

theatre, filmmaking and broadcast customers in mind. The M2T half-rack transmitter houses two independent stereo transmitters allowing for up to four stereo or mono transmissions in a single rack space. The system includes a Flex List mode, where a number of names and frequencies can be stored in the receiver. This way, the monitor engineer can quickly find and listen to any of the performers’ mixes on the stage.

IBC is seeing the introduction of the audio company’s Duet digital wireless monitor (IEM) system with Dante inputs. The new system consists of the M2T half-rack transmitter and M2R diversity belt pack receiver, and uses digital modulation for transmission. It can accept analogue or digital inputs. The 24-bit digital audio stream guarantees 8.C73 high-resolution sound quality with wide dynamic Space-saving: The system range, low noise offers up to four stereo or floor, and mono transmissions in a compact package rock-solid stereo image, said Lectrosonics. The Duet system is designed with professional touring, installation,

07/09/2017 23:08


Perfecting the Media Experience AWS Elemental combines the vast capabilities of the Amazon Web Services cloud with the deep video expertise of Elemental to power superior viewing experiences for consumers. Integrated solutions and exible infrastructure give pay TV operators, content programmers, broadcasters and enterprise customers the ability to quickly, easily and economically scale video workows and services on-premises and in the cloud.

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Eliminating guesswork in archiving OUTLINED

Cube-Tec International By Ian McMurray Large collections of unique 16mm historical broadcast material are still stored on traditional film rolls – in response, Cube-Tec has introduced a new product that undertakes inspections without any need for preliminary film cleaning and

physical restoration. Tom Lorenz, managing partner, Cube-Tec, said: “Up until now, it was guesswork to predict the effort for the migration of these carrier collections. The selection of the appropriate scanner technique depends heavily on the photographic and mechanical condition, as well as on the content itself.” The new Quadriga•Film

Examiner includes what Cube-Tec claimed to be unique inventions in sensor technology, and a tension controlled film movement that avoids the use of a capstan drive and sprocket wheels, thus minimising the stress on fragile archive film. The Quadriga software measures and classifies the photochemical and mechanical attributes of

Remote control for hybrid IP/SAT networks 2wcom Systems By Mark Hallinger The software eSIRC Server (Satellite Inband Remote Control) is an ideal tool for regional broadcasting, quality control and management of local audio content, jingles, schedule and firmware files, claimed 2wcom.

Operators are able to completely access the eSIRC management system via a web

interface from any computer within a network for uploading data files to the internal

Operators are able to access the eSIRC management system via a web interface

the film. It can, said the company, distinguish between superimposed and surface damage by using a newly developed, patent pending, surface diagnostic sensor as well as a picture analysis technique. Quadriga also documents the condition of splices, perforation damage and picture instabilities, together with shrinkage and optical density time series plots in a detailed quality report.

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Lorenz: “Up until now, it was guesswork to predict the effort for the migration of collections”

5.C41

memory of an integrated MM08E encoder, DSR01 receiver and FlexDSR02+/04+ receivers. Equipped this way, it would be possible to distribute and control the data of the whole network. The content provided by eSIRC can be processed immediately and without delay, or scheduled for a certain time. For each SD card installed in the receivers, there is a separate directory on the

eSIRC server, into which all distributed files are written. This is a design to be used as a back-up for situations requiring the exchange of receivers or SD cards. Also, in situations of high data volume and lack of satellite bandwidth, it is possible to synchronise and distribute written contents in the respective directory alternatively via FTP. 8.E78

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07/09/2017 23:09


CINEMATIC MULTICAM REMOTE CONTROL OF MULTIPLE AMIRAS FOR LIVE TV

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theibcdaily Q&A OUTLINED

Nicki Fisher, director of EMEA sales, Clear-Com Has IBC come at a good time for the electronic media industry? Why? IBC is the key forum in the EMEA region for broadcast and media professionals to meet, no matter who they represent. Because it takes place in the latter part of the year, the data gathered from the industry is generally richer and conversations with delegates tend to be in the project phase rather than exploratory.

What do you think are the key developments in, or threats to, your market sector at the current time? Because production staff are expected to do a variety of different tasks that require mobility and flexibility, wireless intercom is the right equipment choice for the job. Despite the new entrants in this space, Clear-Com

remains the leader in wireless intercom, with our RF expertise and broadest range of intercom options that match frequency, capability, budget and integration requirements.

Why should delegates visit your stand at IBC? Delegates visiting the Clear-Com stand this year will see new capabilities within the

Thematic universes and branded stores 3 Screen Solutions By Monica Heck New customisation features are now available for the 3Ready rapid-launch multiscreen solution, which enable the creation of branded stores and ‘thematic universes’. The brand-centric features aim to deliver extra commercial and marketing opportunities for service providers and a better viewing experience for subscribers. Service providers can develop theme-based service bouquets, offering packages to specific audience groups, with a

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look and feel that can be customised by featuring channel brands or unique avatars invented by the provider. Marketing theme-grouped offers enhances discoverability by the user, while New features offer more marketing opportunities yielding new revenue and a better viewing experience for subscribers generation opportunities for the operator. programmes can also be A branded, immersive created by the service provider. portal-style environment Virtual branded content stores can be created, in which the can be created inside the apps. 3Ready UI displays content With multiple subscription options for any particular support, operators can sell those package. Thematic content stores as separate subscription collections based on mood, offers as well. 15.MS30 genre, specific actors or TV

LQ Series, providing SIP and direct mobile app connectivity to all Clear-Com solutions, including our analogue and digital partyline systems. Also new is the Mentor RG, Trilogy-branded Sync Pulse and Test Generator product, featuring the Precision Time Protocol master clock required for IP-centric broadcast networks. 10.D29

360 degree motion replay, AI auto framing

EVS

By Mark Hallinger

‘virtually created’ camera angles using just one live camera feed. AI-powered auto-framing and social media publishing functions are also on show. The artificially intelligent system automatically adapts the frame view in live content, and can post near-live video content directly to an operator’s social media channels.

Several innovations are on display on the EVS stand, including a demonstration of its new 360° motion replay system. With the system, operators are given spatial and temporal control of 360° camera feeds 8.B90 which they can use to identify specific virtual camera angles, which can then be used to create and output slowmotion replays. The system allows users Being there: The initial view of the 360° motion to create endless replay system camera angle

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Visit the Launch Pad Underlining the rapid changes in the industry, this year IBC is encouraging new businesses with the Launch Pad. This dedicated zone brings together a whole host of new exhibitors with great new ideas. The unstoppable trend in the industry is to build functionality

around apps and micro-services. That is an ideal environment for startups with a bright idea. That is what you will find in the Launch Pad. New solutions on show range from workflow management to lens control; drones to audio processing; test and

measurement to weather cameras – and much more. You can find the Launch Pad in Hall 9. It is open throughout the IBC exhibition, and of course it is free to all visitors. It is a great opportunity to see the new ideas being brought to IBC for the very first time.

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OUTLINED

The Launch Pad is an ideal environment for start-ups with a bright idea

OPINION Cloud-based transcoding is better with acceleration When it comes to cloud infrastructures the latest video acceleration technology can make a big space, weight and power difference, argues Brian Carr, product strategist and marketing director, Advantech Video Solutions Division The movement towards virtualisation and cloud architectures, especially in the realm of OTT channel provision and the latest trend of self-broadcasting, seems to be the flavour of the moment. It is driven by new mobile and social video trends, and some predict that OTT viewing will even exceed traditional viewing consumption by 2020. This fundamental change in consumer behaviour brings great opportunities for media companies. Communication service providers (CSPs) are also looking to seize these opportunities and catch the mobile video wave. Using the cloud to deploy media services offers elasticity, speed of provisioning and scale. Cloud-based initiatives

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are driven by IT technologies such as virtualisation, software programmability and the economics of data centre hardware. However, software implementations on traditional data centre hardware are not well suited to video processing especially when multiple live UHD channels require realtime manipulation, and the performance differential between hardware accelerators and software for the latest video encoding techniques like HEVC is huge. For instance, while a 4Kp60 HEVC encode task would consume a high-end 600W dual socket server, the same task can be completed by a 6W encoder chip. This makes a compelling argument to use acceleration in clouds destined for video usage.

With many years of experience in embedded and industrial computing behind us, Advantech can offer commercial-off-theshelf access to this type of acceleration technology. By creating PCI Express card implementations with the unmatched performance of these video processing acceleration components, the enhanced density benefits can easily be integrated into standard data centre systems. In particular, the company’s latest VEGA-3318 PCI Express board family is the world’s first with the capacity of encoding eight channels of 4Kp60 HEVC or 32 channels of 1080p60. It’s possible to install four of these boards in a 1RU server supporting 32 channels of 4K

UHD – the highest density available in the market. OpEx savings are significant: up to a 20 times reduction in power consumption for large systems. To make it easier to deploy in cloud environments, Advantech provides a carrier platform together with software drivers that are virtualisation friendly, demonstrating the technology working within an OpenStack environment, so the risk and burden on developers is reduced. We’re also showing how similar ultra-low power acceleration technologies can provide benefits to OEMs in other areas of video processing infrastructure that feed into the new Ultra HD broadcasting landscape, including portable encoding

modules, media-over-IP cards for IP-based contribution equipment, and a new broadcast-edge server. Our encoding accelerator cards range from a single 4K card to the extremes of 8K HEVC encoding for 8K broadcast and 360º virtual reality (VR) live streaming. For the latter we show how a single low-power 1U system encodes and carries four 4K streams from a camera rig back to a cloud-based stitching and processing service. With off-the-shelf video acceleration components such as VEGA-3318, supporting the move to higher resolutions in a cloud architecture becomes economically viable. 11.C32

08/09/2017 10:28


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IBC’s C-Tech Forum: 5G OUTLINED

The broadcast, media and entertainment sector scarcely has time to catch its breath, yet there remain many questions, especially around 5G, where success requires partnering across the telco

stack, with tech leaders and with standards bodies. Like those that preceded it, the 5G-enabled Fourth Industrial Revolution will be built on disruption and opportunity.

Among the topics under discussion at today’s C-Tech Forum on 5G [09:10-16:00, Room G102-3] will be the 10Gb/s download and streaming rates, and whether this will truly lead to ‘UHD

for all’ as well as usage of the capacity for VR and AR holographic bi-directional download and upload. IBC takes a close look at the impact of 5G at this special invitation only event with C-level experts navigating a multitude of key questions that go beyond what 5G can do. With thought-provoking

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industry thinkers, leaders and a targeted audience of C-level professionals from across the telco and mobile and the broadcast, media and entertainment sectors, the programme will address how, when and what needs to be done to make 5G a success and how 5G will drive progress in the broadcasting industry.

Racing ahead with Sports Sunday CONFERENCE TOMORROW Sport, both traditional and electronic, plays a crucial role for broadcasters the world over, and is always well represented at IBC. This year’s IBC coverage is different in that most of the action takes place in the Forum on ‘Sports Sunday’ where fans, engineers and executives are encouraged to take their seats early, to avoid disappointment.

The day will include a fascinating panel hosted by Ken Kerschbaumer, editorial director, Sports Video Group, discussing ‘Beyond Live: New tech pushing the boundaries’ (10:30-11:15). It will cover next-generation TV formats like Ultra HD, high dynamic range (HDR) and Dolby Atmos, which are all designed to give sports fans an experience at home that beats – or equals – a seat in the stands.

The speakers are Dan Miodownik, deputy CEO and chief content officer, Host Broadcast Services, along with David Shield, senior vice president, global director of engineering and technology at IMG Media, and Sotiris Salamouris, chief technology officer at Olympic Broadcasting Services. IBC’s Sports Day continues with a panel (11:15-12:00) that looks at generating engagement with fans, and

which for many has supplanted reach as the ultimate measure of brand and campaign value. Sports, leagues, teams and platforms want to create compelling opportunities for fans, both serious and casual, to interact as often as possible, on game day and otherwise. Lewis Wiltshire, consuting partner at Seven League (and formerly Twitter UK’s first head of sport), moderates. Sports journalist and author Ross Biddiscombe will chair

‘Border Crossings: How alternative thinking is taking sports into new formats, sponsorships, audiences and countries’ (12:00-13:00) looking at the new entrants to the TV sport arena, including alternative sports – the exciting, quick and entertaining cousins to traditional competitions. Whether it’s Twenty20 cricket, rugby 7s, X-Games, MMA or the like, all of these have captured the hearts of fans and the cash of sponsors.

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Stop by Dejero Stand 12.B42, or visit www.dejero.com/cellsat to learn more.

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The IBC 50th Anniversary Charity Football Match

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A team of IBC Legends will take on the Lucky Ajax XI

See us at IBC booth 10.A31

THIS IS STATE-OF-THE-ART WIRELESS COMMUNICATION

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OUTLINED

IBC, the Friendship Sports Centre and the Edwin van der Sar Foundation thank you enormously for all of your support.

DI

The first IBC took place 50 years ago, in September 1967 at the Royal Lancaster Hotel, London. It attracted 550 visitors from 24 countries. There were 30 exhibitors and 40 technical papers. This year we will welcome more than 100 times that number of visitors. However, what is really important is that we are still creating a comprehensive exhibition, a visionary conference and the networking opportunities to share ideas. We are still looking forward and IBC is still the best place to meet, learn, debate and network with colleagues and peers from around the industry, and around the world. As part of our anniversary celebrations the IBC 50th Anniversary Charity Football Match takes place this evening to raise money for the Friendship Sports Centre and the Edwin van der Sar Foundation. Both charities provide support and rehabilitation, and improve the lives of children and adults faced with illness. A team of IBC Legends will take on Lucky Ajax, a team of sporting stars that will include former Ajax, Juventus, Manchester United and Netherlands goalkeeper Edwin van der Sar. Kick off is at 18:30 and IBC has arranged free transfers to and from the Friendship Sports Centre. Buses will depart from Entrance C (Holland Entrance) promptly at 17:30, 18:00 and 18:30. For more information, please visit show.ibc.org/bigmatch There will be lots of opportunities for you to support these worthy causes throughout the show. Look out for donation collections at the information desks and organisers offices at the Holland and Europa Lounges or stop one of our volunteers and put a donation in their collection bucket. You can also donate online at show.ibc.org/ donate

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Up to 10 beltpacks per antenna 100 antenna, 100 beltpack system capacity Best-in-class voice clarity “Touch&Go” beltpack registration 6-channel beltpack plus dedicated REPLY button Built-in microphone and speaker for Walkie-Talkie mode Smartphone integration via Bluetooth Ergonomic, robust beltpack design Sunlight-readable display with Gorilla Glass™ Decentralized AES67 IP networked antennas Seamless integration into RIEDEL‘S ARTIST intercom matrix

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theibcdaily Q&A OUTLINED

JP van Welsem, vice president sales and marketing, EMEA, Grass Valley Has IBC come at a good time for the electronic media industry? Why? Absolutely; it’s especially timely this year considering the impact of an increasingly and ongoing fast changing electronic media industry. 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.

What do you think are the key developments in, or threats to, your market sector at the current time? There are many exciting developments. Leading the way is the increasing availability of 4K Ultra HD and high dynamic range (HDR) capture in both HD and 4K, as well as advances in open standards-based IP networking. So much work is being done by the

industry and by the standards bodies, making it clear that IP is the way to go for broadcasters moving forward. With SMPTE ST 2110 on the horizon, we see a clear set of standards specifying the carriage, synchronisation and description of separate component streams over IP for the purposes of live production. The implementation of IP in broadcast is the next big step for the industry.

The Future and beyond

The focus is on multi-sensory virtual worlds and the imagery of the future

Although IBC is celebrating its 50th anniversary, it has never been an event which looks back. The exhibition is full of suggestions for the next big thing – and the IBC Future Zone is where you can see the latest ideas before they become the next big things. The IBC team scours the technology world for the latest thinking and the sharpest of cutting-edge ideas. The very best

are presented in the IBC Future Zone, which you will find in the Park Lounge, near Hall 8. This year the focus is on multi-sensory virtual worlds and the imagery of the future. How will these latest developments affect our work, our communications and our lives? Step through the ‘time tunnel’ into the domain of virtual, augmented and mixed reality (VR, AR and MXR), with

super-pixel displays, immersive experiences, holographic imagery, even – it is claimed – teleportation. Once you step into the future you can experience 3D audio, a new platform for personal interactive experiences, multi-sensory displays and haptic control of robotics. The ‘Virtual Arctic Expedition’ gives you a six-degrees-of-freedom opportunity to explore the frozen

Why should delegates visit your stand at IBC? We have several new enhancements to our live production portfolio that are comprehensively designed to handle customers’ emerging HDR, Ultra HD and IP plans while keeping them flexible and efficient. There are also the latest innovations in networking, including our Broadcast Data Centre with solutions supporting ST 2110. Upgrades to our suite of

content delivery solutions are also on show. 1.D11

north while staying warm, while the National Information Society Agency of South Korea will showcase plans for the 2018 Olympics in Pyongchang in Ultra HD, VR, IR, IoT and 5G. Other displays include stunning content in the sixmetre dome theatre, the latest in object-based video and audio, and video enhancement and restoration in the cloud. And that is before you pass through the ‘time tunnel’ into an area showing awe-inspiring visions. Try VR teleportation in the Holoportal facility, or the complete immersive experience using holographic telepresence images. Other displays look to take multi-device content out into the city with a new range of immersive ideas. Creative ideas include new position-mapping techniques, technologies for capturing visual parallax information for dimensional displays and tools to create and distribute cinematic VR. At the end of all this excitement is regular IBC favourite NHK from Japan with its 8K Super Hi-Vision

system, ready for public launch in time for the 2020 Tokyo Olympics. This year they are focusing on the practicalities of 8K in the home, with a remarkable OLED sheet display as the centrepiece of the Living Room of the Future. Also in the Future Zone is the IBC Future Reality Theatre, which is presenting a rolling programme of demonstrations and panel discussions, today through to Monday. This morning’s programme looks at data and technology, with speakers from Madgid, NBC Universal, AMD and Technicolor setting the agenda and sparking the debates. This afternoon the talk turns to delivery of 360º immersive experiences, with debates on VR broadcasting, live streaming, and the challenges and opportunities in VR storytelling. The IBC Future Zone is open throughout the exhibition hours of IBC, until Tuesday afternoon. It is free to all visitors, as are the interesting and important sessions in the IBC Future Reality Theatre.

Come Visit Us at

www.osee-dig.com www.oseeamericas.com

Booth D59, Hall 10

Wireless Video Transmission Stable wireless video transmission set - transmitter and receiver

WVT-501R WVT-501Ter

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Up to 1000 Meters line of sight range Resolution up to 1080p at 60fps 3G/HD-SDI and HDMI interface 5.8GHz FCC license-free frequency range

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Stand 9.A01

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Today in the Content Everywhere Hub OUTLINED

Alongside more than 160 fascinating exhibitors, Hall 14 is also home to the IBC Content Everywhere Hub which hosts a free programme of presentations and debates throughout the day. The two big discussion sessions today tackle some of the key issues in our industry. At 13:00 representatives from Ooyala, Cinfo and MPP Global will talk about how IP, the cloud and artificial intelligence

are reshaping the content value chain. Through case studies and their hands-on experience, the panellists will trigger a debate on how these technologies can be harnessed to update, and often automate, established workflows to create new content propositions. This afternoon, at 15:30, panellists from Vimond, nanocosmos and EasyBroadcast will tackle the

topic of live streaming. Online platforms like Facebook, YouTube and Periscope have democratised live content, opening up opportunities for institutions, event organisers and rights owners to take control of their own content. As well as the challenges in creating content, the debate will look at the user experience and how that can be used to stand out in an increasingly crowded live streaming market.

Around these two key debates there is a full schedule of 20-minute presentations from exhibitors, starting at 10:00 today. These include some important real-world experiences which those who have fought the pioneering challenges are keen to share.

Saturday night at the movies One of the great advantages of IBC is that, having spent the day discussing the latest in sound and vision technology, you can sit back on a Saturday night and see it put to good use. Once again IBC is using all the wizardry installed in the Big Screen to showcase one of the year’s hottest movies.

Tonight, thanks to Sony Pictures Entertainment you can settle down for 112 minutes in the company of Baby Driver, director Edgar Wright’s music-driven high-tension action adventure. Baby is a young, hearing-impaired getaway driver who can make any wild move

sound, paired with bright, sharp stunning images from the Dolby Vision dramatic imaging onto the Harkness Matt Plus screen: IBC is grateful to all the technical sponsors of the Big Screen. Baby Driver is free to all IBC visitors. It starts at 18:30, but demand for seats is sure to be huge so be ready when the doors open at 18:15.

with a car – provided the right track is playing. So when he is called in for the “one last job” – the one that always goes wrong – he makes sure the playlist is right. The movie is packed with great rock and soul music, with the auto action cut to the beat. The music will be pumping through the Dolby Atmos

All the presentations in the IBC Content Everywhere Hub are free to visitors, and you are welcome to attend as many sessions as you like. Full details can be found online at show.ibc.org/ CEHubProgramme, or on display at the Hub in Hall 14.

Baby Driver, directed by Edgar Wright, is a music-driven high-tension action adventure film

SEE U AT IB S C

BOOT H #7.G2 3

POINT-TO-POINT BROADCAST DISTRIBUTION Unparalleled HEVC video quality Reliable, low-latency stream delivery on any network Contribution-ready, 4:2:2 10-bit HEVC solution

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Medium power FM transmitters ABE Elettronica By Mark Hallinger WaveArt is showing its Wave transmitters which incorporate

an FM modulator with digital processing that includes stereo and RDS encoders, web radio receiver, satellite and terrestrial digital receiver, micro SD card reader and FM receiver

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The transmitters automatically adjust parameters of the RF stages for maximum efficiency OUTLINED

(for monitoring or for regenerative transposer). The ABE Elettronica spin-off said the typical efficiency of Wave transmitters is set to 75 per cent and, thanks to an

Visit us at Booth 10.D29 Most Capable Many Choices

‘adaptive efficiency boost,’ the units are able to automatically adjust the key parameters of the RF stages to achieve the maximum efficiency in any operative condition, without any retuning. Features include digital processing with DDS modulator; automatic input switching; audio monitor; static and dynamic RDS; environmental EffiSense sensors; and up to five years’ free warranty. 8.D38

Optimised for disaster recovery Marquis Broadcast By Carolyn Giardina

Eclipse HX 9.1 Remote & Dynamic Control on a Matrix Want to have SIP functionality through your Eclipse HX matrix? Now you can with the updated EHX software v9.1. SIP interfacing is just one new feature in the latest software version for your matrix frame. Now, any team member using V-Series keypanels, Agent-IC, FreeSpeak II beltpacks, or IFB circuits can make high quality SIP connections to VoIP phones. To further enhance workflow, Clear-Com delivers the unrivaled Dynam-EC: a real time lines management module for Eclipse HX. It delivers a host of capabilities including: SIP call controls, macros, audio metering, automatic alias labels, and a customizable UI for intuitive management of IFB’s and external lines.

www.clearcom.com

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An update to the Workspace Backup system now also offers cloud support. The system, designed for Avid ISIS and Nexis systems, enables entire workspaces to be backed up to S3 storage, whether ground or cloud-based. Project-aware analysis allows an individual project, or individual bin, to be restored to any location, together with only the media it references. Media may be on the workspace, or located in the cloud, but is not duplicated. Paul Glasgow, sales and marketing director, Marquis Broadcast, said: “The expectation of heads of production or operations, is that ‘recovery to live production’ should ideally take minutes, not a week. Our design brief was not just to come up with a ‘me too’ backup application, but to develop a system that’s wholly optimised for disaster recovery and business continuity for Avid ISIS and Nexis shared storage.” 7.G05

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theibcdaily OPINION OUTLINED

Understanding customer experience in OTT Many of today’s assurance solutions for OTT focus only on parts of the delivery chain and are not broad enough to understand the customer’s experience of the service delivery, according to Mikael Dahlgren, chief executive, Agama Technologies OTT technology is now a vital part of today’s video and TV distribution systems, accounting for an increasing part of the operators’ service delivery. Adaptive bitrate over IP is the obvious technology choice for VoD services, regardless if it’s for the main screen or ‘on the go’. Streaming video over various internet access technologies has added tremendously to the reach of

video services and enabled a massive increase in the amount of video we consume. As video service operators now rely on OTT technology for their services, they want to operate and manage it effectively. This includes everything from customer on-boarding to service operations and customer care. To achieve this, operators need an assurance solution that provides a 360º insight

into the service performance and usage. In spite of this, many of today’s assurance solutions for OTT focus on the distribution network performance and do not provide a holistic view of the customer’s experience of how the service is delivered. At Agama, we believe that to really understand how the customer is experiencing their service, you need an

assurance solution that covers the entire service delivery; from service creation, across the distribution network, and all the way to the performance of the player. The solution needs both passive monitoring to understand service consumption and active testing to verify service availability. Finally, and most importantly, the solution needs to offer powerful analytics capabilities that

transform the wealth of data into timely and actionable information for the operator. With our solid experience and our long-standing focus on end-to-end solutions and customer experience, we are uniquely positioned to support operators in understanding how their services are performing, regardless if they are based on OTT, legacy technologies or a mix thereof. 5.B72

Transportable terminal for dynamic duos Break-out panel system Actia Telecom

Barnfind

By Ian McMurray

By Mark Hallinger

The DEKA150F/100 FlyAwaySat, being showcased on the Actia stand, is a transportable satellite terminal designed to provide high data rate communications in Ka band anywhere. The terminal can be deployed in 30 minutes by two people, and is powered either from the mains or via a power generator. The electronics are integrated into air-conditioned boxes to allow deployment under the most severe operational constraints and transportation via road, rail, air or sea. The unit can operate in extremes of temperature – from

The new Stage Box Break-out panel from Barnfind allows front panels to be customised based on the required connectors. A selection of eight modules will serve as connection points to one or more BarnOne or BarnMini units. All eight modules and the 2RU chassis are made of solid aluminium, with high-performance connectors. Barnfind offers connectors for BNC’s, RJ45, XLR female and male, LEMO for Camera and LEMO for CCU, and LC’s among others. The device

makes installations simpler, safer and much more flexible, claimed Barnfind. 8.A33

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The FlyAwaySat can be deployed in 30 minutes by two people

-20°C to +50°C – and in wind gusts of up to 72km/hour. It can survive winds of 128km/hour. The antenna tripod is designed to be equipped with two amplifiers installed closer to the feed without constraining the azimuth or elevation motion. This design, said Actia, allows

dual band simultaneous X-Ka configuration or 1+1 redundancy configuration when high availability is required. Options for the unit include an optical link; multi-band (X, Ku and Ka); automatic pointing; and motorisation and tracking.

Docking: Eight modules serve as connection points

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FS-HDR

Academy Award® Winning Color and Dynamic Range Transforms, in Real Time FS-HDR, a 1RU, rackmount, universal converter/frame synchronizer, is designed specifically to meet the HDR (High Dynamic Range) and WCG (Wide Color Gamut) needs of broadcast, OTT, post and live event AV environments, where real time, low latency processing and color fidelity is required for 4K/UltraHD and 2K/HD workflows. Powered by Colorfront Engine™ proprietary video processing algorithms from Colorfront. FS-HDR also serves as a full, 1-Channel up, down, cross-converter for 4K/UltraHD/2K/HD HDR conversion and in 4-Channel mode, offers four simultaneous and independent channels of 2K/HD HDR and SDR transformations.

Input

Transform

Output

Whether your source is a truly dynamic camera Log format or a SDR or HDR video source, FS-HDR has you covered:

Powered by Colorfront Engine, FS-HDR’s extensive HDR and WCG processing support enables real time processing of a single channel of 4K/UltraHD/2K/HD including down-conversion to HD HDR or SDR or up to four channels of 2K/HD HDR processing simultaneously.

From multi-channel HD to true 4K, FS-HDR carries your dynamic video over 3G-SDI, optional fiber or 12G-SDI to wherever it needs to go; from switchers, routers, monitors, to huge LED displays and more. You can even convert your source to SLog3 for use further along the chain.

• • • • • • • • •

SDR BT.709 100 Nits PQ BT.2020 1000 Nits PQ P3D65 1000 Nits Hybrid Log Gamma BT.2100 Sony® S-Gamut3/SLog3 ARRI® Log C Wide Gamut Panasonic® V-Log RED® Log3G10 Wide Gamut Canon® Log 2

FS-HDR also enables the conversion of popular camera formats from multiple vendors into HDR formats plus conversion to and from BT.2020/BT.709 color spaces as needed.

• • • •

SDR BT.709 100 Nits PQ BT.2020 1000 Nits Hybrid Log Gamma BT.2100 Sony S-Gamut3/SLog3

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For more information Visit AJA at Stand #7.F11 or online at www.aja.com

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Ultra HD TV: on the rise or stalling? OUTLINED

Dr Hans Hoffmann, senior manager of media production technology, EBU Although the Ultra HD baseband and distribution standards are set, Ultra HD broadcast offerings are still exceedingly rare. Consumers get Ultra HD content mostly on Ultra HD Blu-Ray, via pay-TV operators such as Sky or via OTTs such as Netflix and Amazon, who ‘own’ their ecosystem. For broadcasters, there are several factors that are slowing down broader market adoption. Even though there is now a consensus that high dynamic range (HDR) is a must-have for any new service in Ultra HD and that it adds significant value even to HD TV, broadcasters are concerned about the operational impact and unsure about what the right investment decision might be. Industry players are being short-sighted in the belief that pushing individual HDR solutions will drive market adoption more quickly and to their own benefit. But the opposite has been the case: investments and new service roll-outs have been put on hold until the industry stabilises. Great hopes were placed in two associations designed to avoid this situation: the Ultra HD Alliance, “created with the consumer in mind” and focused on Quality of Experience; and the Ultra HD Forum, which is meant to “bring together market leaders from every part of the industry – broadcasters, service providers, consumer electronics and technology vendors – to collaborate”. The EBU became a member of both associations to ensure that broadcasters’ requirements would be taken into account, but rested its membership in the Ultra HD Alliance in July 2017 following a decision of the EBU Technical Committee.

The cross-conversion, logo and metadata battlegrounds Currently there is a lot of discussion about cross-conversion between different HDR standards, support for HDR in end-user devices,

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backwards compatibility and whether to use static or dynamic metadata or no metadata at all. In similar situations in the past, forward-looking and unique logos, such as Digital Europe’s HDTV logos, have served as useful orientation points for the market. For Ultra HD, several logos are currently competing. The current Digital Europe Ultra HD Logo concentrates on resolution only and a long-awaited update is pending. The Ultra HD Alliance has created a Ultra HD Premium Logo and maintains a short list of compliant products on its website. HDR10+, issued by Samsung and Amazon, uses dynamic metadata, based on a SMPTE standard, similar to Dolby Vision. And Eurofins has defined another scheme called 4K HDR Ultra HD.

Higher frame rate TV: the next big thing? Studies conducted by the BBC, EBU, the 4Ever project and NHK have proven the perceptible value of higher frame rate (HFR) television (for HD and Ultra HD), especially for fast-motion genres. Considering the cyclical nature of feature roll-outs by the consumer electronics industry for their large screens (from 3DTV, to 4K resolution, to wider colour gamut and today HDR), it would seem that HFR could well be the next big thing. It would also seem to be an easier transition, since there are only two main choices: 100 or 120Hz (120/1.001). In reality, a number of questions are still unresolved: will CE devices apply simple or more sophisticated frame rate conversion algorithms, or will they depend on a true higher frame rate broadcast signal? And what about interfaces such as HDMI to carry HFR signals? In distribution, the bitrate increase of an HFR signal would be moderate due to entropy gain. But backwards compatibility issues with legacy standard frame rate (SFR) systems need to be solved.

On the production side, HFR-capable camera systems are available, but handling the huge uncompressed bitrates is challenging and requires costly high-bitrate IP networks for live production. HFR-suitable mezzanine compression systems are an option, but they will require standardisation and add complexity in the production chain. With all the technology options of BT.2020, ideally, the industry would aim for an adaptive TV system that chooses the appropriate resolution, dynamic range and frame rate based

on the suitability for a certain content genre.

Suggestion to the industry The industry often asks the EBU for clear signals about when public service broadcasters will be rolling out Ultra HD TV services. The EBU, however, is obliged to act in the interest of its members by jointly working towards a manageable number of open and stable standards, by providing market guidance and by developing operational best practices. The industry has created a very fragmented environment,

which made it difficult for public broadcasters to jump on the Ultra HD train. If the industry really wants to introduce large-scale innovations such as Ultra HD TV and have that followed by rapid investments from broadcasters and content providers, then a different approach is needed: an alliance between users and industry around a limited number of clearly defined standards (and logos). The opportunity is still there for the next big thing – HFR television or even an adaptive TV system.

07/09/2017 23:22


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Comux centralises transmission for TTV Making a case for fibre OUTLINED

aQ Broadcast

Bexel

By Heather McLean

By David Fox

The UK Local TV Network, operated by Comux UK, this year upgraded to a centralised transmission system supporting all twelve That’s TV (TTV) city-based studios. The new system was specifically designed by aQ Broadcast to fit the TTV workflow, and the company is discussing its work with Comux here in Amsterdam. TTV channels run 24/7 with a mix of news coverage from the local studios along with long-form shows. Production and scheduling is handled locally and all transmission originates at the Comux network operations centre (NOC) in Birmingham, UK. All playout for the TTV group runs on aQ aVS transmission servers. In the central system there are five of these video engines, each providing support for up to three parallel channels, with four machines handling

The Fibre Mini Booth Kit is a compact unit that uses audio, video, intercom and IFB equipment to connect a commentary or presentation booth with an outside broadcast unit. The OB can be connected up to about 900m away, without signal degradation, over six strands of single-mode tactical fibre-optic cabling. It gives productions the ability to send and receive signals over 12 bi-directional video paths (six each way), 16 audio paths (eight microphones, eight intercoms), and four IFB channels, and offers an optional robotic camera interface with Ethernet control over pan, tilt and zoom. The lightweight racked module (which has

aQ nodes in the Comux network operations centre

the normal output and the fifth serving as an online spare. Each transmission server also provides caption, graphics and branding capability for the channels it supports, based on the specific transmission schedule. A critical piece of the centralised system and the element that links the dozen local studios to the NOC is the media asset management (MAM) system from aQ Broadcast. The MAM database is based on the aQ QSIA architecture and manages all content across the central system, both on the central store and at the local site-based

servers. This topology enables users to view all media assets, whether created centrally or by any of the local studios, and to input placeholders for content still under production. The aQ MAM automatically populates the placeholders when the matching asset is available. Neil Hutchins. CEO, aQ Broadcast, said: “An important aspect of the TTV operations is that the output of each channel is closely monitored, so that in the event a live feed fails or a schedule runs short, the system auto-inserts a holding graphic until the fault is cleared.”

suitcase-style handles and wheels for easy transport) is claimed to be very user friendly and can be moved around and set up within minutes, making it useful for smaller productions with only a single on-site technical manager to set up the various fibre paths. It “offers the same rugged functionality of its larger predecessor, but is housed in a custom case less than half the size”, said Edd Bonner, Bexel VP of engineering and operations. 12.E65 Well connected: Bexel’s new, smaller, Fibre Mini Booth Kit

10.A42

Quality Productions Affordable Price Rethink Grass Valley • Deliver big production value without busting your bottom line • Get Grass Valley quality, reliability and flexibility within your budget • Be secure in knowing that your equipment can grow as you grow

Come meet with us at IBC stand 1.D11, we’ll show you how. Visit grassvalley.com/IBC Belden, Belden Sending All The Right Signals, and the Belden logo are trademarks or registered trademarks of Belden Inc. or its affiliated companies in the United States and other jurisdictions. Grass Valley, Focus 75 Live, GV Matrix, GV Korona, K-Frame and V-series are trademarks or registered trademarks of Grass Valley Canada. Belden Inc., Grass Valley Canada and other parties may also have trademark rights in other terms used herein. Copyright © 2017 Grass Valley Canada. All rights reserved. Specifications subject to change without notice.

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Join the conversation

07/09/2017 23:22


THAT FEELING YOU GET WHEN YOU COLLABORATE SUCCESSFULLY G&D AT IBC STAND 1.B10

AT G&D, WE DON’T JUST BUILD THE BEST KVM SYSTEMS. BY WORKING CLOSELY TOGETHER, WE’LL BUILD THE BEST SYSTEM FOR YOU. To us, it’s not enough to have an unmatched reputation for reliability, usability and performance.

Our overriding aim is to put together a KVM system tailor-made to your needs.

Or to be an ISO 9001 certified company with the most comprehensive product range in the industry.

This involves exceptional levels of consultation from the outset – and exhaustive attention to detail during and after construction.

Or even to be continually developing innovations such as our compression algorithm that delivers the highest video quality whilst ensuring latency-free operation.

Investing in a G&D system will provide your business with tangible advantages now and into the future. Let’s make that first connection. Contact us today.

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theibcdaily Q&A OUTLINED

Achim Gleissner, commercial manager, broadcast and media, Sennheiser Has IBC come at a good time for the electronic media industry? Why? The speed of change in the media industry has become quite amazing, so for manufacturers and customers alike, it’s great to have NAB and IBC positioned so nicely about half a year apart in the calendar. IBC is a great opportunity to catch up with the latest trends and products, see ideas becoming a reality and tackle new projects.

What do you think are the key developments in, or threats to, your market sector at the current time? The democratisation of content creation is continuing, with various online platforms and especially social media enabling everyone to share news and content. Established media need to adapt and are doing so by using new tools and workflows. We can support

content creators in their work with our expertise and broad product portfolio in media production technology.

Why should delegates visit your stand at IBC? Because “we serve any camera”! We will show great microphones for anything from a smartphone to a fully-fledged broadcast camera. With Neumann. Berlin, we have fantastic studio monitors and recording mics on board. I also highly recommend the Future Zone, a true hub for tech exchange, where we will be demoing the Ambeo VR mic for smart 3D audio productions. 8.D50

Independent views on display Apantac By Mark Hallinger A series of fully featured video multiviewers has been expanded with the new MX-32. The MX-32 allows users to monitor up to 32 independent video (3G/HD/SD-SDI) inputs simultaneously, with four independent outputs. The MX-32 provides the functionality for any input source to be displayed on any of the four outputs. Each input source can be duplicated as well as resized on the display.

Each output can display a maximum of 32 windows. As with all Apantac multiviewers, the MX-32 includes a custom onscreen display for complete layout flexibility to show up to 128 audio meters per output, custom standalone labels, tally indicators, UMD, OMD, analogue and digital clocks, and count up/down timers. Each window in the display can be resized and positioned freely, and there is room to store up to 30 non-volatile presets in the unit. 8.E37

The last pieces of the puzzle come together Oscar Teran, head of technology and solutions, Eurovision Media Services For a number of years now, the media industry has been transforming itself and its production workflows to be more digital using IP-based technology and virtualisation. This has been done to meet increasing demands from consumers to access content on a multitude of different devices. However, this has not been an easy task and is far from perfect. Contributing to more channels means additional resources are needed and this has put pressure on traditional broadcasters to review their business plans in order to incorporate new workflows and develop their own digital platforms to showcase and manage their content within the same budgets. Today, the developments of IP production standards, such as SMPTE 2110, and the acceleration of cloud computing technologies are opening the doors to innovation and introducing systemic changes to traditional linear and non-linear production workflows. Our goal is to ensure that media organisations can also embed and process real-time data so they can provide a better user experience for any audience. Somehow, the pieces of the puzzle that were difficult to put together before (due to lack of interoperability, etc), now start to match and converge, allowing media organisations to connect traditional TV production facilities to new, software-defined platforms that push packaged content to multiple media consumption outlets. Once this is in place, big data and artificial intelligence will further spread these horizons in the future, helping media organisations to better engage with audiences and provide personalised content with more relevant advertising.

Since the last IBC, we see many new players entering the media industry, announcing disruption and promising access to all these enabling technologies. However, does the value only come in accessing technologies? Could we just say that massive OTT investments will help content owners and media organisations to gain audience engagement in a short period of time? The answer is not that easy and straightforward. Nowadays, we see that a large majority of successful companies do not reinvent the wheel. Instead, they focus their energy on understanding the needs of their clients and finding the best solutions to allow users to find what they need quickly and easily. This process has a lot of value at the moment, however, we aim to do more. By integrating and adapting technologies through software solutions, we give media organisations more than

just access and transport. In this respect, we combine virtualisation, robust network technology, operational expertise, and production functionalities to enable the delivery of fast, attractive media tools for producing, packaging and delivering content to multiple outlets. Over the last year, we have been developing a B2B service platform to support media organisations and content owners to re-purpose and personalise their content offerings. Content control is key so our new generation platforms and services (such as Eurovision FLEX or Eurovision NEX) are set up to allow media organisations to go beyond the flawless satellite, fibre, cloud or IP content distribution and gain true command of their content processing, packaging and distribution. Eurovision Media Services is proud to showcase our latest development at this year’s IBC. 10.F20

Functionality: The MX-32 allows any input source to be displayed on any of the four outputs

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07/09/2017 23:23


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ND filters put HDR in contrast OUTLINED

Arri By David Fox Arri has released its first external filter, with its new Full Spectrum Neutral Density (FSND) filter range. Designed for the Alexa Mini and Amira, they are claimed to offer the “highest contrast and true colour transmittance for HDR capture”. The two cameras already come with an internal FSND filter that is purely colour

neutral, and Arri wanted to offer external filters of the same quality. The Arri FSND filter comes in 6.6x6.6-inch and 4x5.65-inch sizes, using Schott B270i glass polished completely flat on both sides of the filter with completely parallel surfaces. This is important when using a wide-open telephoto lens, as areas of the focal plane can become soft. There are eight filters, ranging from 0.3 to 2.4 ND. Unlike most external filters, which have

Sports production in its Prime ChyronHego By Carolyn Giardina A line-up of technology for sports production is featured at the ChyronHego stand, including the latest version of its Paint telestration and analysis

system. Paint 7.3 includes updated 3D visualisation capabilities and support for 4K. The company is showing Virtual Placement, a tool for placing virtual graphics in live video. With version 7.0, ChyronHego has added features including a new

square edges, the curved edges of Arri’s FSND filter reduce chipping and make for easier mounting. The filter’s edges are also black to prevent light scatter. An engraved barcode makes inventory management easier. Multiple layers of ND coating, anti-reflective coating, hydrophobic coating, oleophobic coating, plus a final hard coating have been applied to both sides of the filter (something only offered by

I’ll get my coating: Arri’s FSND filters have multiple coatings on both sides

Arri). A normal air-facing filter has a 4-6 per cent reflectivity rating at each air-glass surface, but Arri has achieved 0.2 per cent reflectivity. Since users

at the downlink point or in the headquarters studio. Also at IBC, ChyronHego is showing Prime, a resolution-agnostic, Prime now supports 16-bit colour space with 10-bit I/O software-based downstream operation mode rendering engine for adding virtual graphics, that uses 64-bit GPU- and such as advertising or live CPU-based technologies. The production enhancements, latest version 2.6 includes

often stack filters together and reflectivity is cumulative, this makes a big difference to contrast, particularly for HDR. 12.F21

features for interactive graphics rendering, such as touchscreen capabilities, as well as updated functions for shaders and enhanced support for LUA scripting in addition to Prime’s existing scripting tools. Version 2.6 supports 16-bit colour space with 10-bit I/O, as well as the SMPTE ST 2110 IP protocol. 7.D11

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Laura Loredo

Tape storage takes a leading role in addressing growing data needs The LTO Program’s Laura Loredo (Hewlett-Packard Enterprise), Carlos Sandoval Castro (IBM), and Terry Cochran (Quantum) describe how tape storage can help address the industry’s capacity needs cameras shooting concurrently in addition to needing numerous takes and recording at a variety of locations, the amount of raw footage can compound very quickly. That’s where LTO tape technology comes in to keep costs down. Additionally, LTO technology with the Linear Tape File System (LTFS) has helped transform video storage in the media and entertainment industry. In an industry that requires access to specific files quickly, LTFS works in conjunction with LTO tape technology for ease-of-use, swift access and portability. Simply drag and drop a file from the workstation hard drive onto the tape icon for fast and

Focus on the future of the video ecosystem AWS Elemental By Ian McMurray Focusing on innovations in video production, distribution and asset management at IBC, AWS Elemental is also sharing insights into how it sees the future of the video ecosystem. The company is hosting a series of conference

sessions and on-stand technology demonstrations to help content providers take full advantage of next-generation video processing and delivery workflows. AWS Elemental is demonstrating a variety of workflows and technologies, all of which run in the cloud and on-premises. These include broadcast of HDR 10

and HLG channels using any combination of HLG, HDR 10 and SDR source content with AWS Elemental Live. The company claimed this enables broadcasters to launch HDR channels with a mix of existing SDR and HDR content, including promotions, advertisements, motion graphic overlay and program content.

Bolero and MediorNet make life simple Riedel Communications By Heather McLean The new Bolero wireless intercom system and MediorNet real-time network from Riedel Communications played a key role in crew communications for the Hillsong Conference, a spiritual gathering of more than

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22,000 attendees that took place earlier this year at the Qudos Bank Arena in Sydney. Riedel is talking about the project at IBC. With 55 Bolero belt packs distributed to production team members throughout the arena and backstage, the Hillsong Conference marked the world’s largest Bolero deployment to date, said Riedel. In addition, 40

MediorNet nodes provided the integrated audio, video and data communications backbone for all production spaces. Up and running only five hours after the truck doors opened, the MediorNet network transported, routed and processed every live and broadcast video signal from cameras to screens, with routing capacity of more than

intuitive protection. LTFS is supported on versions of Windows, Linux and Mac OS. Lastly, with a more forward-looking view, the current LTO Ultrium roadmap has tape technology mapped out through 12 generations. This provides confidence in the storage market that tape will continue to be a cost-effective and reliable option for managing post-production and high-volume storage in the media and entertainment industry for years to come. If your project is producing massive amounts of data, think of LTO technology for an affordable and easy-to-use solution. 6.A21

Also featured is Live Channel Playout, a software-based approach to linear 24/7 broadcast channel creation designed to reduce video workflow complexity, improve resilience and lower operational costs. Additionally, AWS Elemental is demonstrating its ability to manage massive VoD libraries, spotlighting the simplified management of VoD content libraries as a 1,000Gbps over 14 multicore fibre cables. The entire backbone was centrally monitored and controlled by the Riedel team. For intercom, the team deployed more than 200 Artist digital matrix ports for Bolero beltpacks, Riedel 1100 series panels and SmartPanel control panels. Thanks to Bolero’s proprietary Advanced DECT Receiver (ADR), communications for the entire main arena were easily handled from a single antenna location.

Terry Cochran

data. That’s a lot of raw data. Many media companies are already using LTO tape drives to store their digital files. This task is not an easy feat, however, given that 4K cinema cameras, for example, produce incredible volumes of data. With an increasing amount of video productions being shot in 4K, the need for reliable digital storage continues to grow. It is important to note just how large these files can be. UHD formats require about twice the storage as the standard 1080p HD resolution. On average, it is estimated that one hour of 4K video requires about 110GB of digital storage. With most productions using multiple

Carlos Sandoval Castro

It has been predicted that between 2013 and 2018, the media and entertainment industry will see a 5.8 times increase in required digital storage capacity. With this ever-growing demand for data storage, it is vital for entertainment professionals to find an economical, reliable, durable and high-volume storage solution to preserve their content. The answer is LTO technology. Not only do LTO tapes last for up to 30 years, but LTO-7 tape cartridges can also hold 15TB* of compressed data each. To put this number into perspective, one animated film can produce up to 65 million hours of footage, the equivalent of 250TB of

*Assumes a 2.5:1 compression achieved with larger compression history buffer available beginning with LTO generation 6 drives.

single AWS Elemental Delta node that manages one million VoD assets, stored in Amazon Simple Storage Service (Amazon S3) and each associated with a thumbnail and metadata. The company is also unveiling updates to cloud migration and workflow support as well as new capabilities for delivering superior augmented and virtual reality experiences. 5.C80

Ricki Cook, head of audio, Hillsong, said: “Bolero has reassured my confidence in wireless comms, as no other product on the market has performed to the level that Bolero did during Hillsong Conference. Deciding to use MediorNet as the abstraction layer and backbone interface between all companies and departments involved meant any changes to routing between audio, communications and vision was quick and easy.” 10.A31

07/09/2017 23:24


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Split bets on AoIP AEQ

By Mark Hallinger A new ‘split’ version of AEQ’s Forum IP mixing console is on show. The Forum IP Split is a direct result of customer requests for greater flexibility, said AEQ. The new version offers the control surface as a separate unit from the Engine or Core. Further, the control surface has been split into modules that can be installed individually. Interconnection between the

modules and to the engine is made with standard Cat5 wiring using RJ45 connectors. They also can be embedded in to studio furniture. From a configuration and operation point of view, Forum IP Split is no different from the original, self-contained version. However, this new model supports larger configurations with up to 24 fader channels. The set-up and configuration application is still ‘the easiest to use available on the market’, claimed AEQ.

Livemachine!

8.C55

...and a real team player! Expansion: Forum IP Split supports larger configurations with up to 24 fader channels

Secure Cloud announced Verimatrix By Ian McMurray Secure Cloud, described as a new deployment option that equips video service operators with a trusted, flexible, fully managed framework for video content security and analytics, has been launched by Verimatrix. Backed by the Verimatrix Global Services team and monitored on a 24/7/365 basis, the company says that Secure Cloud broadens the scope of deployment options available for operators who take advantage of Verspective, MultiRights OTT Plus and Video Content Authority System (VCAS) solutions of any size or scale. It is said to be a convenient and cost-effective alternative to on-premise systems and operations can be rapidly deployed and reconfigured as required, all while keeping operators in full control of their service offering and subscriber relationships. Steve Oetegenn, president of Verimatrix, said: “In order to drive their competitive profile and continued subscriber growth, operators are looking to more flexible deployment strategies for their critical service

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subsystems – that’s why Verimatrix is offering a managed cloud deployment approach. Verimatrix Secure Cloud puts operators at ease, knowing that their security and analytics implementations are expertly provisioned and updated by a trusted team, ultimately increasing their own business agility.” Secure Cloud is implemented via a customer-dedicated Amazon Web Services (AWS) virtual private cloud environment that includes private and secure storage for critical data and assets.

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All hail the viewer! OUTLINED

Peter White, chief executive, IABM Firstly, I’d like to congratulate IBC on its 50th birthday and welcome everyone to its biggest ever show – a record amount of stand space taken, a bulging conference and a predicted record number of visitors too. However, it is not just more of the same – in fact, it’s not really the same at all anymore. For so many of those 50 years, our industry has remained a recognisable entity. We may have moved from black and white to colour, analogue to digital, SD to HD but the fundamental business model always remained the same – principally one-to-many, advertising or subscription-based. Over the last few years, we have seen growth in internet-delivered VoD, but traditional broadcasting (or ‘managed linear’ as it is now becoming known) still commanded the vast majority of revenues.

Looking back just a year, IBC2016 arguably marked the point where the whole industry accepted that change was inevitable, and was happening fast. The IP Interoperability Zone at last year’s show personified the new world order, with suppliers and end-users seen to be working together in a way never before witnessed: towards a common goal, creating flexible production and delivery systems to enable end-users to feed their hungry, flighty audiences. One year on, and we are much further down that road. IABM’s recent survey of end-users showed that multi-platform delivery is the number one technology priority for broadcast and media companies, and their top consideration in choosing technology is improved efficiency and ROI.

Many have also either moved or are moving to the cloud for playout. We now have real-world IP-based facilities such as Telemundo’s $250m all-IP SMPTE ST 2110-based facility in Miami, Florida, which will come online in 2018. The momentum is building, and when the ST 2110 suite of real-time IP signal flow standards is finally published via the SMPTE digital library (slated for late 2017), those who have been holding back due to standards uncertainty and the fear of following an expensive blind alley will join the change. Even though 4K is yet to take off as a mainstream delivery format, the industry is already provisioning for 4K in acquisition. UHD TV sets are becoming commonplace in the home and demand for content is increasing. Explaining Telemundo’s investment in an

all-IP facility, Jeff Mayzurk, the senior vice president of operations and technology for NBCU Telemundo Enterprises, said: “To get format independence [and] be able to go to 4K and higher frame rates and high dynamic range and whatever the next standard beyond UHD-1 is.” Overwhelmingly IP is the answer for UHD delivery; IP will enable 4K – it’s just a matter of time. What’s driving all this change is a power shift in the industry; thanks to the internet and the growth in 4G mobile delivery, the viewer is now in charge, deciding what content they will consume, whenever and wherever they demand it. This means that broadcasters and media companies have to be agile and responsive to chase and retain this fragmented audience, and that requires a different business model – being able to scale up and down in moments or launch new services in the blink of an eye. In consequence, they are moving from a capex to an opex business model, aided by cloud and IP technology.

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The result is that as the viewers fragment, the industry is necessarily moving closer together; vendors and their end-user customers sharing roadmaps and collaborating to design and implement agile solutions to meet the new challenges and take full advantage of the opportunities – always driven by moment-by-moment ROI considerations, underpinned by subscription services. IABM’s 2017 Global Market Valuation and Strategy Report shows a largely static supply industry in market size terms, while confidence levels in the end-user business have never been stronger. However, just the fact that we have a record number of exhibitors at this IBC reflects the underlying confidence in the future for vendors too. Business models are indeed changing and causing pain for some in the short to medium term, but for those companies that transform their businesses to keep pace with the monumental changes going on, the future looks bright. All hail the viewer!

Video processing to meet OTT demands

KVM for physical and virtual servers

Advantech

Black Box

By Heather McLean The Vega-3318, released earlier this year, is a media processing accelerator supporting professional grade real-time AVC and HEVC transcoding of eight 4Kp60 video streams on a PCI Express card, with a power consumption below 100W. Here at IBC, Advantech is introducing the Vega-3318 to media service providers, showing them how they can integrate it into a variety of server configurations, using Advantech’s Linux and Windows SDK for reduced time to market cloud-based video delivery solutions. Up to four Vega-3318 accelerators can be integrated in a 1U GPU server, enabling 32 UHD transcodes per RU, which Advantech claimed brings ‘unprecedented’ density to large-scale data centre deployments.

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The growing demand for OTT-delivered live content is disrupting broadcasting and mobile business models, noted Advantech. This fundamental change in consumers’ behaviour opens up new opportunities for media companies and service providers but it also outstrips the processing capabilities of their infrastructure, which they look to optimise by using agile cloud-based architectures. The company claimed that traditional data centre hardware is not well suited to video processing, especially when multiple high-definition

live channels require real-time manipulation, yet it said the Vega-3318 fills this gap by providing the acceleration required to efficiently scale video processing across a wide range of live UHD cloud applications from OTT transcoding and broadcast encoding to gaming and mobile video. Advantech’s Vega-3318 integrates eight Socionext MB86M30 SoCs, supporting UHD, HD and SD formats and HEVC, AVC and MPEG-2 codecs including 10-bit profiles and 4:2:2 chroma subsampling. 11.C32

Up to four Vega-3318 accelerators can be integrated in a 1U GPU server

By Mark Hallinger InvisaPC enables high-performance and scalable KVM extension and switching for both physical and virtual servers. At IBC, Black Box is showcasing the product’s new design and improved feature set. The system is now housed in an industrial enclosure and expands KVM functionality to include audio and RS232 connectivity. The product’s updated physical architecture also allows for more convenient and dense rack mounting. Beyond these new features, the new model maintains all of its predecessor’s capabilities. It provides use of on-site and remote servers, and streamlines HD video and USB connectivity with the ability to access virtualised machines with the same single-user interface as traditional systems.

Updated form factor: Up to six InvisaPCs can fit on a single 1U tray

InvisaPC’s KVM-over-IP approach makes it possible to relocate computers and virtual machines from the desktop to a secure, climate-controlled equipment room or cloud environment. From the new location, the PC would be connected to an InvisaPC transmitter, supporting digital 1080p video, audio and USB peripheral extension across IP networks. Each desktop would also have its own keyboard, monitor, mouse and peripheral setup connected to an InvisaPC receiver. The result is a high-performance, real-time experience for the most demanding environments, claimed Black Box. 8.B59

07/09/2017 23:26


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Simplifying the IP transition OUTLINED

TSL Products By Heather McLean

great content while we take care of the complexities of an industry in transition to IP.” 10.B41

With the industry transition to software-centric, IP-based technology, the broadcast equipment manufacturer has updated a number of its control, audio monitoring and power management solutions. These aim to simplify SDI/IP workflows and streamline operations supporting customers during the transition to IP. The latest versions, including compliance with the emerging SMPTE 2110 family of standards, are being unveiled here. TSL Products’ catalogue of audio monitoring solutions provide practical functionality for various broadcast applications, from critical level metering, to integrity monitoring of surround sound for TV channels on transmission. IBC is witnessing updates to its MPA1 Dante confidence monitoring series to include support of AES-67 (and thereby further support for Ravenna and Hydra2 networks). AES-67 defines the IP audio transport layer in SMPTE 2110. TSL Products’ PAM-IP audio monitoring devices, which feature twin Ethernet ports, can also now be used either in Dante or AES-67, modes, making them ideal for use across the SDI-to-IP infrastructure transition, as the installation moves towards a unified SMPTE solution. Both ranges also now feature SNMP monitoring and control, which means they can be managed remotely by TSL Products’ TallyMan or other SNMP management systems for the first time. Existing users of the MPA1 can install the improved functionality as a free download. Chris Exelby, MD, TSL Products, said: “We are the trusted partner, providing solutions which support our customers, allowing them to concentrate on producing

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MPA1 Mixed Dante has been updated to now include support for AES-67

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The next century of SMPTE OUTLINED

Barbara Lange, executive director, SMPTE The Society of Motion Picture and Television Engineers (SMPTE), the organisation whose standards work has supported a century of advances in entertainment technology, celebrated its centennial last year and is now looking towards the next 100 years. Since its founding in 1916, SMPTE has received an Oscar and multiple technical Emmy Awards for its work in advancing moving imagery engineering across the industry. SMPTE has developed thousands of standards, recommended practices and engineering guidelines, more than 800 of which are currently in force today. These standards promote interoperability between systems and manufacturers while providing end users with a broad choice of products. An average of 50 new standards documents are generated each year focused on cinema, television, internet video, audio and associated metadata. The Society’s global membership today includes more than 7,000 individuals – approximately 15 per cent of whom are located in European SMPTE Sections including the Nordic region, Germany, Poland and the

UK – who volunteer their time and expertise to standards development and educational initiatives. A partnership with the Hollywood Professional Association (HPA) connects SMPTE and its membership with the businesses and individuals who support the creation, production and distribution of media content. As SMPTE marks the beginning of its second century, it continues to address the evolution of the media business and the tools and workflows supporting it. To this end, the Society has recently published two reports. The Time Code Summit Report presents findings on current user requirements, and the MXF Time Code Study Report facilitates a more efficient use of Time Code in Material eXchange Format (MXF). Both reports offer valuable insights into how the SMPTE Time Code standard (ST 12-1 Time and Control Code) can evolve to serve as a more useful tool in media production. The reports are now available at www.smpte.org/ committee-reports. The SMPTE Standards Community has also been working to complete and publish the SMPTE ST 2110 suite of standards, which allow for separate routing of video,

audio and ANC data flows over professional IP networks in real time to support broadcast production and playout applications. Several of the T 2110 standards documents are nearing completion, and publication via the SMPTE digital library is tentatively slated for later this year. SMPTE will host a session here at IBC2017 on Monday, 18 September, which will address the potential and practical implementation of ST 2110. Industry experts including SMPTE Fellow Thomas Edwards, vice president of engineering and development at Fox, and SMPTE president Matthew Goldman, senior vice president of technology at Ericsson, will provide an overview of the ST 2110 standards suite and describe how the tools within it can be used within an infrastructure of networked specifications to achieve agile and flexible solutions for professional media live production. To see ST 2110 in action, show delegates can also make their way to the IP Showcase, which will feature more than 40 vendors in a demonstration of interoperability based on the standards suite. SMPTE also recently announced that it will be

Dutti calls for low-profile Dolly Matthews Studio Equipment By David Fox The Dutti Dolly is designed to move quickly, get low and fit into tight places other dollies can’t go. It is compact and easy to transport, yet large and durable enough for standing or sitting applications, and is compatible with mounting tripods, bazookas, tilt plates and other accessories. Hollywood dolly grip James Saldutti created it for

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cinematographer James Muro ASC, who took it everywhere on Rush Hour 3 and now uses it on Longmire. “It simply makes for an intuitive operating experience,” said Muro. It is simple to set up, meaning: “I can be in and out of the location quickly and still have a massive amount of production value, just as if I had all the big gear.” “It is fantastic for small, tight working spaces,” said key grip Adrian Dominguez (Speechless, NCIS, Ray Donovan). “The design has

allowed me to get low to the ground and also have full camera movement. I’ve also found it very useful on

working with the Digital Production Partnership (DPP) on a joint pilot specification project to create an Interoperable Master Format (IMF) specification for broadcast and online. SMPTE ST 2067, or IMF, is a global standard for the file-based interchange of multiversion finished audio/ visual works. The joint pilot project will deliver a technical specification for IMF in broadcast and online applications as a breakdown of different elements — video and audio packages, composition playlists (CPLs), and output profile lists (OPLs) — with references to all relevant SMPTE standards. Once complete, this material will be made available to manufacturers so that they can design and build readers, writers and analysers. The draft and final proposal stages will move forward in conjunction with a series of plug-fests and product tests. The final publication of the IMF specification is expected to take place before the 2018 NAB Show. SMPTE specifications join the family of SMPTE technical publications, including standards, which help manufacturers, engineers and technologists to develop new products and services in broadcasting, cinema and online. handheld shows when the camera operators want to make a lateral move but don’t want to fight the wheel change of a traditional ‘butt dolly’.” It is less than 5cm high, rides on eight inline skate wheels mounted in pairs to the 0.5-inch

Shortly following the IBC2017 show comes the SMPTE 2017 Annual Technical Conference & Exhibition. This year the Society’s signature event will take place on 23-26 October in Hollywood, California. In addition to an expanded exhibits floor, the event will feature a daylong symposium on Artificial Intelligence (AI) and machine learning, three days of technical sessions, a student film festival, the Annual Awards Gala and a beer garden. Later this year, SMPTE will introduce a high-quality, full-colour hardcover book documenting its history. Magic & Miracles: 100 Years of Moving Image Science & Technology will feature more than 350 pages of historical photographs, insider stories, and milestone events. The commemorative book covers technological developments from the perspective of SMPTE contributions, with first-person descriptions of significant works and activities. As it enters its second century, SMPTE continues to shape the next generation of technology and provides education for the industry to ensure interoperability as the evolution into IT- and IP-based workflows continues. thick aluminium plate, and allows users to do hard whip pans and quick tilts because of its width, length and weight. It rolls directly on any smooth surface, speed rail or on tubing found in a local hardware store. 12.G71

Thin is in: The new Dutti Dolly is ideal in a tight spot

07/09/2017 23:27


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2017 IBC Booth 8.C07 www.panasas.com/DirectFlow

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theibcdaily Q&A OUTLINED

David Pollack, president and chief executive, Spacecom Has IBC come at a good time for the electronic media industry? Why? Central and eastern Europe are primary markets for the AMOS brand. Currently operating AMOS-3 and AMOS-7 for Europe from our 4W orbital position, Spacecom plays an important role servicing broadcast, broadband Internet and telecom clients throughout Europe. IBC presents an

excellent time and place to meet current and potential clients.

What do you think are the key developments in, or threats to, your market sector at the current time? Key developments in our industry are predicated upon adopting new technologies, such as wider use of HD and

4K broadcasting, low-cost satellite-based consumer internet access and more. Spacecom’s technical gurus work to provide our clients with solutions that take advantage of new and emerging technological developments. We are creating flexible, efficient and smart HTS solutions to add value for our video customers with broadband internet.

Export boost for ScreenFlow Telestream By Carolyn Giardina The latest version of Telestream’s video editing and screen recording software for the Mac,

ScreenFlow 7.0, is on show at IBC. The new version was designed to make it easier to export videos for users, including educators, vloggers/bloggers, marketers, online trainers, app developers or gamers.

Scott Murray, VP marketing, Telestream, said: “With ScreenFlow anyone can be a content creator and join the YouTubers, small business owners, educators and content creators who are

• Highest Density Cloud Transcoding • 4K/8K Broadcast Encoding

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Why should delegates visit your stand at IBC? We are setting our sights high and are already working with potential clients on deals for Africa on the AMOS-17, scheduled for launch to 17E in 2019, and AMOS-8, scheduled for launch in 2020, to the 4W position covering EMEA. We invite delegates to learn more about AMOS-17’s

using video to educate, inform and entertain. Whether you are making home videos or creating professional content, ScreenFlow makes it easy to edit your videos, record your screen and share.” With version 7, users can choose from higher quality or quicker auto-export options and ScreenFlow will

unique capabilities for the African market and enjoy special pre-launch terms. 1.C65

automatically pick the best settings, the company said. Users in a hurry to publish could use Intel’s Quick Sync Hardware Accelerated Encoding, while those who want that highest possible quality can tap Multi-pass x264 encoding. Custom export presets are also available. 7.B26

• 8K VR 360° Video • Anywhere Live Streaming

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Focus on IP and live production Ross Video

By Heather McLean The Canadian company is actively researching how IP can be effectively applied to live production broadcasts. The premise from Ross is that live production facilities producing content such as news will be increasingly based on data

centre technology because it promises the benefits of utilisation, automation, flexibility, scalability, resilience and even choice of business models. The systems that unlock this promise do so by distributing production content as IP video and audio, virtualising software production applications and orchestrating production workloads over their lifecycle, said Ross.

At the Ross stand here at IBC, an entire news production workflow has been virtualised, making use of Ross DashBoard. It includes inception news rundown authoring and control, OverDrive production automation, Streamline asset management and four channels of XPression motion graphics.

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Its media control plane uses MOS, and AV content is OUTLINED transported as NDI. The whole system deploys onto 2RU of COTS server and uses generic switches, to demonstrate a major increase in system density. In the next phase, the orchestration will be extended to manage SDI-based systems such as logically partitioned production switchers and routers; and the IP video options will be

augmented to offer ST-2110 in addition to NDI. John Naylor, technology strategist, Ross Video, said: “From the work done so far, we contend that hybrid solutions will be commonplace, and will include existing SDI equipment, new softwaredefined hardware and fully virtualised applications. It will require a new set of tools and open standards to deliver software-defined production.� 11.C10

T10 goes to Xtreme lengths for AR/VR Egripment By David Fox The carbon fibre telescoping Xtreme T10 crane has been designed to offer the precise and smooth operation required for augmented and virtual reality. Richard Villhaber, sales director, Egripment, explained: “Rather than first building a

crane, then deciding how to make it work for this fast-growing segment of the broadcast and film industry, we engineered the Xtreme T10 directly towards AR/VR utilisation.� The new crane is equally suitable for conventional telescoping crane use. All the axes of the crane arm, dolly and telescoping column may be fully

encoded to become an integral part of any AR/VR system. “The Xtreme T10 Telescoping Crane is the result of a perfect combination of top quality design and advanced engineering technology,� claimed Villhaber. The system is easy to switch from underslung to overslung operations, with a maximum arm height and length of 7.5m,

The Xtreme T10 carbon ďŹ bre crane being unloaded at a venue

and minimum length of 2.1m, with a telescopic range of 5.4m. The maximum telescoping arm

speed is 2.1m per second. The arm weighs 275kg. 12.A21

6-53")*()41&&%7*%&0/&5803,*/( 4FUUJOHUIF#FODINBSLGPS#BOEXJEUI*OUFOTJWF"QQMJDBUJPOT

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VeloVueRoad hits the road in Limburg OUTLINED

Broadcast RF By Heather McLean In June, the inaugural Velon Hammer Series, a three-day professional road cycling race, took place in the province of Limburg in the Netherlands. The introduction of this professional event gave Broadcast RF the opportunity to launch its brand new live onboard camera, the VeloVueRoad, which it is discussing here at IBC.

Live onboard cameras show Team Sky winning the Velon Hammer Series 2017

This system, an adaptation of VeloVueTrack that has

already been a success at the world’s leading UCI Track

Realistic VR audio G’Audio Lab By Monica Heck Spatial audio solution Works comes to IBC with an upgrade that sees G’Audio aim to deliver virtual reality experiences that sound like the real thing. The

company said this version offered creators a more intuitive workflow and new features. Works, which can be added to Avid Pro Tools as an AAX plug-in, allows creators to accurately place sound objects in 3D space. Each sound source then has specific positional

Cycling events, deals with the challenge of an outdoor road cycling environment. VeloVueRoad allows complete freedom for production, claimed the company, with the capability to transmit up to a pressurised RF relay overhead providing results no matter where the bike is on the circuit. The introduction of a bespoke in-built data control system designed by Broadcast RF is pivotal to the success of the VeloVueRoad. It allows remote switching of power, frequency and other RF parameters, as well as

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control of camera functions, all of which are essential in the effective deployment of an on-board road cycling camera. Chris Brandrick, Broadcast RF’s commercial director, commented: “The VeloVueRoad is the next step for us on the outdoor road cycling circuit. The difficulty is the scale of road cycling and terrain of road cycling courses. We didn’t want to rush the design, as it’s a compromise between pleasing the riders and ensuring the RF camera actually works.” 11.D12

metadata, which goes Ambisonics. There’s no through a binaural uniform VR audio format, rendering process to but G’Audio’s proprietary sound like it’s coming format is known as GA5. from that corresponding A new feature, called position. When content output format monitoring, built with Works is lets the creators The Works plug-in can accurately place sound objects in 3D space played on an HMD or VR hear the difference in headset, sound objects Works supports the sound quality between change according to user simultaneous use of three Ambisonics and GA5 while they interactions, synchronising what different kinds of audio are working on a project. 8.G12 they see with what they hear. signals: object, channel and

FROM EDGE TO PLAYOUT: KVM-OVER-IP Visit Black Box to find out about reliable solutions for broadcast control rooms, live & post production.

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07/09/2017 23:30


HOTBIRD at 13° East

REACH MORE THAN 135 MILLION TV HOMES IN EMEA Leading DTH, DTT, cable and IPTV delivery in Europe, North Africa and the Middle East, the HOTBIRD satellites are home to 10 premium DTH platforms and have close to 100% cable penetration. Deliver your HD content to a market where 60% of DTH homes, and 80% in some countries, are already equipped for HD reception. UHD channels are also choosing HOTBIRD to distribute content, with a potential market of over 5 million UHD-connected cable homes.

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theibcdaily Q&A OUTLINED

Neal Ni, product strategy manager, SWIT Electronics Has IBC come at a good time for the electronic media industry? Why?

from a wonderful relaxing summer holiday.

IBC2017 arrives at a good time, perhaps even the best time among all the global shows in this industry. It is deep autumn and a great time for manufacturers to bring out the latest technologies and communicate with customers who have just come back

What do you think are the key developments in, or threats to, your market sector at the current time? The move to 4K and 8K monitoring and transmission for live production is developing slowly. As

a professional monitor manufacturer, we think the various types of 4K transmission interfaces should become unified and standard. This could help the industry grow.

Why should delegates visit your stand at IBC? SWIT has exhibited at IBC for the past 15 years.

The prosperous European market is always the most important for us. Many of our new technologies and new products are first displayed at IBC. SWIT product managers are on the stand to answer any technical questions, and we also offer attractive promotions to all customers. 12.C61

Smarter two-way monitoring Affordable wireless Genelec

High-end: The 1032C is designed for music production, post production and broadcast

By Mark Hallinger

multi-camera VoIP JVC Kenwood By David Fox

Making its IBC debut is the 1032C two-way monitor. The company described the 1032C as a small footprint, two-way nearfield monitor that fuses the soffit-mountable classic styling of the established 1000 series with a host of new developments. This product features the company’s Smart Active Monitoring (SAM) technology. While the 1032C offers rear-mounted DIP switches to adjust response, the option of tailoring the response even more precisely using Genelec’s GLM software is a big upgrade. GLM also adds the possibility of building monitoring systems of any size using a variety of SAM models and the ability to mute, solo and switch between monitors when using the system. As a latest generation SAM device, the 1032C also

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includes features such as delay alignment, video compensation delay and level calibration, along with input sensing for automatic power saving and wake up (ISS). It is also said to offer a wide dynamic range, pristine

imaging and the on/off axis response of the Genelec 1000 Series. Other upgrades include auto-calibration and networking software, a digital input, higher SPL and increased low frequency extension. 8.D61

Software-defined wide area networks promise an affordable, reliable and flexible mobile backhaul system for video, which is why JVC has announced a partnership with Peplink, a specialist in SD-WAN bonding systems. It combines multiple connections to create a stable backbone for JVC’s new ProHD Wireless Bridge video-over-IP system for multi-camera live broadcasts. Using the PB-Cell200 cellular uplink and Peplink’s SpeedFusion technology bonds multiple 3G/4G/ LTE and network (WiFi and wired) connections and creates a secure virtual private network (VPN) that turns the ProHD Wireless Bridge into a remote broadcasting hub. JVC’s Bridge Command Center is used for the system management from the remote location. “As cellular networks have improved,

JVC’s new ProHD bridge can deliver live multi-camera broadcasts

bonded cellular solutions can now realistically be used in place of mobile microwave and satellite solutions,” said Alex Chan, CEO, Peplink. As well as being central to ProHD Wireless Bridge, the SpeedFusion SD-WAN technology “will be an essential part of other JVC video-over-IP wireless solutions for broadcasters and other live event producers”, added Gustav Emrich, European product manager, JVC Kenwood. 12.F31

07/09/2017 23:30


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Visual Radio friends social media Multicam Systems

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OUTLINED

Multicam has added dynamic social media moderation to Visual Radio

By David Fox A tight connection between Visual Radio and social media can help broadcasters engage online audiences, according to Multicam Systems. The company is demonstrating enhanced social media capabilities in its automated Multicam Radio system. New social media ingest and filtering features simplify social media moderation. Rather than displaying a continuous feed of all posts, operators now have full control of which tweets and Facebook comments to show. Operators can immediately filter and move approved content into the display queue, and quickly overlay graphic scenes. Beyond operational benefits for broadcasters, improved social media integration also has experiential benefits for viewers, said the company. Stan Walbert, CEO, Multicam Systems, said: “Visual Radio is all about engaging the audience in a broader way. Terrestrial radio remains a strong medium worldwide, and as broadcasters build onto their traditional audiences with strong online and mobile programming, social media is without a doubt a significant part of the visual element. Our new toolset makes it easier for broadcasters to moderate and deliver an engaging social media platform, while audience interaction is amplified through the ability to share video content and provide input across the social network.” Multicam Radio integrates with audio consoles and automation systems for video acquisition, mixing and playout, with fully automated, semi-automated and manual operation options.

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12.E56

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Cameras controlled OUTLINED

Norwia By Heather McLean Several new modules and frames to offer remote camera control flexibility are being exhibited by Norwia. The new frames, the miniHUB-1RU-4-0 and

miniHUB-1RU-3-1, form the base of a new platform on which customers can build flexible solutions to suit their individual needs. The new base frames are each able to hold a different amount of miniHUB cards, with the FR-1RU-3-1 providing space for a built-in multiplexer.

These additions to the Norwia range will add more signal density, while following the compact design of the FR-1RU-2-0, said the company. It added that RCONmini functionality will be available as standard with optional power redundancy for AC or DC operation. With

The new frames offer a customisable platform for remote camera control

this, the customer will be able to easily upgrade or change configurations when necessary. Norwia is also showcasing two new RS422/232/GPIO cards for transporting data control signals and tally, while simultaneously offering optional extras depending on the configuration of SDI or

Mobile lens evaluation checks in P+S Technik By David Fox The new LensChecker is a compact and mobile tool to evaluate lenses by projection, and can be used for a wide variety of cine, stills and vintage lenses, up to full frame format (image circle). It has been designed to fit

in a trolley case for easy transportation and can be used for presentation or in-depth evaluation of lenses during check-in or check-out at a rental house, or in the field. The €6,000, 3.5kg LensChecker can evaluate the optical performance of a lens (axis and off-axis), resolution, geometric distortion,

chromatic aberrations, breathing (image size change while focusing), back focus (fixed reticle), focus marks, and alignment of the optical assembly (spherical and anamorphic). For zoom lenses it also analyses centre tracking and zoom curve (back focus while zooming). It has been developed with StarKish and is manufactured

1Gbit Ethernet circuits. These new cards also provide data conversion between RS422 and RS232 over the optical data link, while giving the choice of multiplexing with other signal formats through the miniHUB optical transport system. 10.C10

by P+S Technik in Germany. It uses the Interchangeable Mount System, and currently works with Arri PL, BNC-R, B4, C-mount, Canon EF, Canon FD, Leica M, Leica R, Nikon F and Panavision. 12.B12

On the slide: P+S Technik’s compact new mobile LensChecker

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In Europe, call +33 (0) 78558-3735

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Gateway to new mobile connectivity OUTLINED

challenging. The kit converts the EnGo into a rack-mounted encoder, but can be quickly disconnected and placed in

a backpack, or mounted directly on a camera. Dejero is also demonstrating a novel implementation of

HEVC encoding that provides greatly improved picture quality in low bitrate environments, especially when combined

with real-time adaptive bitrate control and Dejero’s auto transport technology. 12.B42

Frusina: aiming to “solve connectivity and bandwidth challenges”

Dejero By David Fox Improvements to connectivity for sending video back over IP or bonded networks, particularly when on the move or having to cope with low-bitrate connections, are being shown by Dejero. Bogdan Frusina, founder, Dejero, said: “In order to speed up production workflows and overall operational efficiency, reporters and production crews need to be able to work in the field as if they were back at the broadcast facility. But for that to happen they need access to reliable and secure broadband connectivity while on location. We are showcasing an array of solutions here in Amsterdam that solve connectivity and bandwidth challenges that field personnel encounter trying to get content back to base.” This includes the Dejero Gateway in-vehicle mobile connectivity system, which allows crews working on location to send and receive large files and access newsroom or media asset management systems, or cloud services. Also represented is Dejero’s new EnGo Vehicle Mount Kit, which has an integrated signal booster, providing a mounting inside a vehicle that connects to roof-mounted high-gain antennas. This is of particular interest to crews broadcasting live while they travel to a location, and where cellular connectivity may be

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theibcdaily OPINION OUTLINED

Use the flexible IP network for your HDMI signals too The benefits of transporting audio and video signals over IP are not limited to applications that are based on SDI interfaces, says Jean-Marie Cloquet, product line manager, Barco Silex HDMI is one of the most common audio and video interfaces in use, particularly in the consumer space. But it is also the primary interface for many professional audio and video systems. The broadcast market, although largely dominated by SDI connectivity, also makes use of HDMI. HDMI connectivity can be found on many high-quality audio and video sources and displays. Bringing HDMI signals over IP enables increased flexibility and scalability of your installation, in the same way as it does for SDI. Actually, this is largely due to the nature of Ethernet/ IP networks rather than the physical multimedia interface. An IP network can be used to transport all types of data, including audio and video. It only makes use of regular

switches and cables, the same as are used in the IT industry. The network is then very flexible and scalable to the specific need of the application. It doesn’t require dedicated video routers. Of course, transporting real-time audio and video over IP brings other challenges such as synchronisation, latency and bandwidth. Our Viper solution for distributing HDMI signals over IP overcomes all these challenges. The system integrator or manufacturer can simply configure the hardware boards through a web interface or API. The network acts as a full matrix, where any source can be sent to any display. It is also possible to multicast or broadcast the same content to multiple displays. The sources and displays are synchronised

thanks to the PTP (Precision Time Protocol). Barco Silex is better known for its hardware implementation of the JPEG 2000 codec and more recently the VC-2 HQ. JPEG 2000 is well known in the broadcast market and enables the best compression/quality trade-off as an intra-frame codec. VC-2 HQ, however, is known for its simplicity. It is perfectly suited for relatively low compression ratio and extremely low latency, still guaranteeing a visually lossless image. Our current Viper solution embeds the VC-2 HQ codec. It effectively reduces the network bandwidth required by the video transport without affecting the latency. The compression ratio can be adjusted to the quality requirements of an installation including visually lossless broadcast quality.

Additionally, VC-2 HQ is an open standard initially invented by BBC R&D. The network stream generated by the Viper board is therefore not proprietary. Open source software or third-party applications can be used to generate or capture the video stream of the Viper boards.

System integrators and manufacturers that need an OEM solution to efficiently interface multiple HDMI sources and displays within a cost-effective IP network, please come by our booth for a live demonstration. 10.D31

Videohouse and Crosspoint in KVM supply deal Adder Technology By Carolyn Giardina Videohouse, a provider of creative and technical broadcast services, and distributor Crosspoint, have entered a multi-year framework agreement for the

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supply of Adder Technology’s KVM solutions. The deal enables Crosspoint to supply the range of Adder’s KVM products, including AdderLink Infinity, AdderView DDX and AdderLink XDIP, across the Videohouse group. Jamie Adkin, vice president, sales EMEA, Adder

Technology, said: “We pride ourselves on developing and delivering systems that offer users the performance and reliability they expect, particularly in fast-paced, high-pressure broadcast applications where accuracy, no latency and high quality are key. Part of the agreement

AdderLink Infinity provides high performance KVM over IP

also includes support and high service levels, and end-user training, which

we will be working with Crosspoint to deliver.” 7.C30

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Many mics: Multiple mic management made more mellow

OUTLINED

Dan Dugan Sound Design

By Mark Hallinger The Model E-3A automatic microphone mixing controller with AES digital I/O is designed to connect to standard mixing consoles via insert points. According to the company, this makes it a versatile and useful tool for sound engineers who frequently manage multiple microphones in live venues, such as television talk shows, sportscasts, town hall meetings, or corporate events. The Model E-3A replaces the prior Model E-3. The new version incorporates a bright OLED front panel which is used for automix gain display, management of six matrix mixing busses, and other control functions. The E-3A accommodates 16 channels of AES I/O at 48kHz or 96kHz, and may be easily linked to other Dugan digital mixers for system expansion, said the company. Alternatively, users may utilise AES and ADAT I/O simultaneously for a maximum of 32 channels at 48kHz. Up to six internal matrix mixing busses may be patched to any chosen outputs. Sixteen automixed channels, 16 unprocessed AES inputs and 16 unprocessed ADAT inputs are all available for a total of 48 inputs to each matrix bus. The internal matrix busses create additional flexibility in a user’s mixing configuration. For example, a matrix bus could be used to create an automix inside the E-3A instead of using console insert points, or the busses could be used to create mix-minus outputs for commentators’ cue speakers, or to taper the gain of nearby ceiling speakers in a conference room application.

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Providing more bang for the bit Through the lens OUTLINED

Brightcove By Ian McMurray Described as a new video compression technology that lowers the total cost of ownership and improves video quality, Brightcove’s Context Aware Encoding is on show. The company claimed that the system uses machine learning and deep video analysis to maximise visual quality, while reducing storage and delivery bandwidth requirements by up to 50 per cent. According to Brightcove, the technology is different from other encoding systems in that it takes into account the broader context of the video experience, creating a custom encoding profile tailored to the combination of each individual video’s content complexity and viewing environment. The result for viewers is a higher

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Jain: New technology will “enhance the user experience and significantly cut operational spend”

Datavideo By Carolyn Giardina Pan/tilt/zoom cameras, and a line of block cameras in three different versions, are part of Datavideo’s IBC display. The BC-50 is a Full HD block camera with built-in streaming encoding. The BC-80 is a Full HD block camera with a 30x optical zoom, while 4K block camera BC-200 has a 4K sensor and 12x zoom. Datavideo is also showing its pan/tilt cameras, including

the PTC-150. The regular PTC-150 features 3G-SDI output and several different types of control protocols, including its DVIP. The camera captures HD video at 1920x1080 resolution and has a motorised 30x optical zoom capability. There’s also an HDBaseT version available, the PTC-150T. This single wired camera features the same image quality and optical zoom, but the captured image, control data and camera power all travel through a single Ethernet wire. 7.D39

Three versions of the block cameras are available in the BC range

quality video that starts up faster and buffers less. Anil Jain, executive vice president and general manager, media business unit, Brightcove, said: “Context Aware Encoding provides more bang for the bit to Brightcove Video Cloud

customers. We’re proud of this new technology that simplifies the transcoding process and delivers on the promise to greatly enhance the user experience and significantly cut operational spend.” 5.B69

07/09/2017 23:35


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New companies, new business models: broadcast in transition OUTLINED

John Ive, director of strategic insight, IABM It’s very easy to cite the ongoing importance and persistence of broadcast as we know it; much of the available data shows stable viewing figures and revenues, with perhaps a small decline in the former but this varies across the world. For some reluctantly acknowledging the growth in other viewing options, reassurance is provided by research which indicates we are watching more video in total and a little less broadcast content. However, taking comfort from the current statistics and then extrapolating forward to make the case for broadcast as untouchable may, in hindsight, be seen as complacent and fatally flawed. Many business leaders recognise that the best time to make radical changes is when a company is operating at its peak, despite the temptation to sit back and enjoy the spoils of success. The seeds of disruption are often sown well before business performance or the viewing figures indicate radical change is happening. In fact, for many of us it runs far deeper; being in denial of the new era or innovation can

really be a threat. It’s easy to list all the weaknesses of a new enterprise in its formative days when comparing it to a mature fully developed incumbent approach. Two immediate examples come to mind and both relate to the world of IT. They are the use of IP in production and the internet.

In the studio In the case of IP, we are currently on the cusp of seeing traditional studio infrastructures replaced with IP routers and associated IT infrastructure; software, hardware and technology that until recently was declared not fit for purpose. Common defensive claims were that broadcast video runs at too high a data rate for IT systems to handle and that television requires deterministic video timing which IT systems don’t offer. A few years back that was true but with the huge investment in IT systems compared to broadcast, performance is much faster and with the help of smart (young) engineers a solution has been found to make deterministic video possible too.

So now the video production industry can take advantage of mass-produced technology, adapted for video use. Over a short period of years, chief technology officers are no longer planning to create large infrastructures based on traditional Serial Digital Interfaces (SDI). This entire part of the industry is adopting a dramatic change for the better – but one which runs much deeper than hardware products. Products are shifting from hardware to software focused, new workflows are being contemplated, and expanded use of the cloud in production is imminent. For technology suppliers, this means a significant change in products offered, skills required and business models. If plans for this were not made several years ago then it’s going to be a mad rush to transform the business and the culture of a company which has huge momentum based upon traditional business models.

Delivery to consumers Not so long ago it was easy to condemn Internet delivery as inadequate, in part because of a lack of bandwidth (or

data rates). At a time when most internet links to the home were less than 1Mb/s and penetration was poor, justifiably it could be argued that quality and reach were totally inadequate. There were two fundamental flaws in this argument; firstly, internet speeds have risen and in developed parts of the world 50 to 100Mb/s is not unusual, which is more than adequate for video delivery. The second flaw is the assumption that 100 per cent penetration is necessary for a successful business model. The obvious modern-day examples are YouTube and Netflix. Both have had a huge impact on the broadcast and media industry. The internet has several compelling benefits compared to broadcast which, with hindsight, make it the disrupter it has become. These include: easy access in the home; wireless use of mobiles; a single device for multiple applications (text, email, social media, etc); access to huge libraries of content; and commodity priced technology. There were several attempts to make dedicated portable mobile broadcast devices but when the

functionality list above is considered it becomes clear it was a lost cause. Broadcast television is now just one component in the mix of viewing options available. We are already seeing video replace what was previously communicated on paper or as audio only. With the new flexibility, video is becoming an online training tool, a two-way communication tool and much more. It has also given creatives without the resources to appear on mainstream television the opportunity to be seen and heard.

Endless possibilities The future is exciting as doors open to endless possibilities, no longer restricted by industry monopolies and expensive entry. However, taking advantage of these opportunities for enterprises with a long and successful traditional history requires radical action which is not easy to do; legacy commitments and legacy thinking are serious inhibitors. The biggest risk is assuming that today’s success will continue without radical change. By the time change becomes undeniable, it may be too late.

Ghost in the machine Calrec By Mark Hallinger Demonstrating its new features on the Calrec stand is the RP1 Remote Production Unit. The company said it addresses an increasingly prevalent requirement for high-quality content from remote events which cannot always justify the time or expense of sending dedicated resources. RP1 consists of a 2U core

56 IBC D2 2017 v1JRJMcK.indd 1

that contains an integrated FPGA-based DSP, enabling 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, said Calrec. The RP1 core quickly embeds audio into existing videotransport mechanisms, while its modular I/O backbone accepts any of Calrec’s I/O cards. This versatility means the RP1 can connect via analogue, AES, MADI, SDI, and the latest AoIP solutions such as AES67, Ravenna and Dante. At IBC2017, Calrec is introducing a suite of new features on the RP1: including a 2-band filter and 4-band EQ, expander and gate facilities,

RP1 enables a console surface at another facility to control all mixing functionality

compressor and sidechain EQ facilities, direct output for all remote faders (up to 5.1

wide), and remote aux sends via Calrec Assist. 8.C61

07/09/2017 23:35


Full Colour

theibcdaily

Published on behalf of the IBC Partnership by

White

57

Exhibitor list and floor plan

theibcdaily

OUTLINED

3 4

5 6

7

IBC Future Zone

Correct as of 4 August 2017

IBC Future Reality Theatre

A02

A04

A06

A05

BO5

AO1

B02

BO1

IBC Partners’ Pavilion

A11

B06 B07

CO1

B03

CO2 C04

D03 E02

A12

A15

BO8

D11

E04

B15

A20 A22

8

B20

A19

A24

A21

B22

A23

B24

C19

B25 B26

A25

Paris B36

A33

A34

E24

D24

E26

D31

E30 E31

D35

D32

C31

D37

E38

E39

C35

D38

E36

C41

B44

A43

A46

D40

E44 E45

D41

F16 F17

D44

D47

A48

B52

B51

LAWO B5O

A5O

3

D56

C58

B59

A54 A59

A58

B61

B68

A63

A64

B67

C60

C61

C64

C62

B71

A65 B70

A67 A70

B73

C71

C74

D70

A74 A82

Emerald Room & Lounge (1st floor)

Dalet Digital Media Systems B77

Fraunhofer Digital Media Alliance B80

A84 A86

C73

D74

C77

D7B

E81

D79

E83

E78

C8O B89

IBC Executive Lounge (ground floor)

DB2

D92

D91

D88 C91

C92

C95t C95u C95v C95w

C93

B96

C94

MS52

MS53 MS54

MS55

A03

A03

B27

B36

KAONMEDIA B16

A10 C31

B38

B41 A33

C22 C28u

C29

C28t C28v C28y C28w

DO1

B24

ARRIS B19 A16

37 38

33 34

29 30

25 26

21 22

15

First Floor Meeting Rooms G104

BO4

AO5

AO1 AO3

17 18

AO6

AO9

A18

A26

G107

A3O

G108

G109

A34

B52

A27 A30

G110

A33

B3Ou B3Ot

Atomos D25

B35

B43 B42

D4O

Panasonic Marketing Europe GmbH C45 Technicolor

C36

A46

A48

B44

B47

11

C42

C47

C49

B41

MS38

C51

A44

MS29

A14

A10 A12

D57

10

D45

B28

F51

A34

B12

D10

C11

Fujifilm Europe GmbH B20

A21

C21

D20

C25

D26

D21

B30

A30

B36

D31

D30

C31

A31 A34

D39

C35

A37

E30

E33

F30

E36

E37

F34

G29

A51

A41 A47

A48 A50

A53

A54

A55

D46

B52

B53

C72

A70 A73

A75

B75

C67

Sony A10 C73 C77

G37

F45

G4S

C75

E73 E75

D75

G53

G54

F55

Vitec Group E65

E77

F72

G55

G58

G61

F61

G64

F67

G68

F71

G74

F73

A20

F79

F78

G76

A03

B01

E01

D01

C01

B06

GO3 GO4 GO5 GO6

F01

D201

A12

A01 A02 A03 A04

A20

C01 C02 C03

C10

B20

A10

C11

C08 C15

C18

C17

B26

Broadcast Solutions GmbH E02

C36

C30

D01

E17

D14

F10

F05

F15

C37

D30

E26

D203

G11 G12 G14 G15 G16 G18

F11

F21

F32

JO2 JO1 D204 JO6 JO5 JO7

D14

C37

D30

F10

H15 H16 H17

H2O

MO5

LO2 LO3 LO4

E27A95

F16

A97

K06

D301

KO5

D302

D303

L12 L13 L14 L15

J1O

D304

D402

M24

D401

M28

LO9

L24 J14 J15

M3O

M31

M32 M33

F27

F37

PO2 PO3

PO4

NO6 PO5

NO8 D405

N12

D408

N16 N2O

KO2 K06

LO8

LO6 L10

KO1 KO5

MO5

LO2 LO3 LO4

ATEMEL12 D71L14

A91

P13 P14 P15 D407

N17 N18 P17

D503

D501

L17 L18 F76 L22 L23

J1O

L24 K14

D81 K16

K18K17

L3O

J2O

M3O

M29 M31

M32 M33

K13

Intel B65

B91

C90

PO4A77

PO5

N16 N2O

A81 P12

C91

F34

K14

J17

K18K17

P13 P14 P15

F71

C71

D201

D202

D203

D204

D301

D302

D303

D304

D402

D403

57-72 IBC D2 2017 FloorPlanFInal.indd 1

D401

D404

D405

D408

D406

D407

D502

D503

D501

D504

D508

D506

D507

Shenzhen Skyworth Digital Technology Co., Ltd. B61

C70

B75

C72

5

C65

B78

F86

D92

F90

1

C83

AWS Elemental

B78

C80

C95 C97

BS13

K16

BS27

C73 C74

AWS Elemental

C77

C83

C80

C85

L104

4

L103 L101

L102

Amtrium - Second Floor

Amtrium Restaurant (1st floor)

L

IABM Members Lounge

C85

B50

P16

Amtrium - First Floor

Taxis

P18

L104

4

A01

L103

14 - 18 September 15 - 19 Septmber

L101

L102

K2O

D92

Stairs

F94

F90

Amtrium Restaurant (1st floor)

L

15

9

11

13

2

D508

BS26

C71

A01

IBC Content Everywhere Hub

1 D505

BS27

BS12

CE Sales Office

C91

BS25

BS13

C75

C79

F94

BS24

Amtrium - First Floor

C77

C72

BS26

BS11

C69

C75 B75 F89

BS11

BS23

C67

5

B69

BS25

B50

M34 N21 N22 N23 N24 P24 P25 P26

Meeting Point

Amtrium - Second Floor

Step-free Access

Emergency Exit

Toilet

Cloakroom

Catering

First Aid

Wifi

Cash Dispenser

Information and Exhibitor Services

Smoking Area

IABM Members Lounge

FEATURE AREA

CONFERENCE

MEDIA CENTRE

Lost and Found: +31 20 549 1212 Emergency Number: +31 20 549 1234

Taxis

D507

Charging Point

Organisers’ & Sales Office

14

D506

Correct as of 1st August 2017

P21

M34 N21 N22 N23 N24 P24 P25 P26

14 - 18 September 15 - 19 Septmber

L3O

IBC Content Everywhere Hub

K2O

15 13

2 D505

C53

C74

C70

BS24

C79

FBO

F37

Elicium Fifth Floor

B72

BS23

BS10

BS10BS12

C51

C50

C69

A74

A77

F76

B69 D81

C95 C97

B68

A69

Hall 13 Meeting Rooms Elicium Fourth Floor

C49

Intel B65

P21

11

Elicium Third Floor

B66

BS22

PO7 PO8 PO9

N17 N18 P17

9

Elicium Second Floor

B64

C65

CE Sales Office

Visitor Registration Entrance Hall 14

A63

C63A65

C67

F33

E30

BS9

BS9

C43

C48

C52

BS21

BS8BS8

C73

FBO F89

B60

BS22

C45

B51

C53

A60

F70

ATEME D71

B68

B72

PO2 PO3

NO6

N12

M28

A59

A81

B66

A73

NO8

M16

M23

LO9

P16 D504 P18

F61 C52

F68

D69

B64

P12

PO8 PO9D502

C51

F59

Shenzhen Skyworth Digital D61 Technology Co., Ltd. B61

B60

Appear TV C61

BS21

BS7

B50

C49 Akamai Technologies B52

F49

F58

Elicium Fifth Floor

PO7 D406

C50

B53

NAGRA/Conax/SmarDTV/NexGuard C81

A95 A97

M1O

MO7

C42

B53

B51

C57

C65

A74

M21

F70M24

L13 L15 L16 L2O

H12 H11 H14 H13

H2O

F32

C90 F33

Eutelsat D59

B79

F71

B45

BS6

BS7

K13

J13

J2O

D404

M29

L17 L18 L22 L23

L16 L2O

M1O

MO7

G11 G12 G14 G15

F21

B91

F34

E30

M21Hall 13 Meeting Rooms M16 Floor Elicium Fourth M23

LO8

L10

KO1

A78

F68

C38

BS20

C35

C63

A69

F86 F15

E20

A91 E26

HO7 HO9

J14 H15 G16 J13 G18 H16 H17 NAGRA/Conax/SmarDTV/NexGuard F11 J15 J17 H18 H19 C81

A81

D20 D24 D27

D403

HO7 HO9

F27

E27

KO2

H12 H11 H14 H13

H18 H19

E20

D20 D24 D27

G1O

E13 E14

C15

MO4

Elicium Third Floor LO6

HO2 HO1 HO4HO3

14

EO5 E06 E09

D10 D11

D202

F03

F16

C20

C19

B27

A30

GOl

F02

BT Media & Broadcast D02

C11

E13

E14 OMNI REMOTES F05 founded E17 by Philips

NO2 NO3 NO4

B05

C03 New B07Visitor Registration Hall 13 Basement Entrance D

D10 D11

G80

Elicium Second Floor B04

C08

C36

C30

A30

LO1

A04

B26 B27

Visitor Registration Entrance Hall 14

IBC TV A08

C10

G75

14

EO5 E06 E09

D01

IBC Organisers’ C18 C17 Office (firstC19floor)C20

G71

Grand Cafe (ground floor) FirstG73Floor Restaurant (first floor)

C01 C02 C03

B20

A10

G63

G77

F76

A12

JO2 JO1

HO2 HO1

G1O

F47

F56

Intelsat Corporation C71

OMNI REMOTES founded by Philips A81

D69

Intelsat CorporationJO6 JO5 HO4HO3 JO7 C71

A59

A65

Cisco A71

MO4

B79

C55

Nevion B71

A76

B43

B49

C45A51 C48

F50

B49

B50

A63

C53

IBC Organisers’ Office (first floor)

LO1 GOl

A78

F40

A73

A60

A74

Great Britain & Northern Ireland B48

C43

F41

BS20

BS19

BS6BS5

C41

C42

C49

B59

NO2 NO3 NO4

Cisco A71

A74

A76

F38

C27 C33

C34

B37 B40

Ericsson

C55

C5B

Ericsson D61

2

Appear TV3 C61

F61

C30

B35

C41A45

B61

A62

B30

China A41

A69

C57

GO3 GO4 GO5 GO6

A01 A02 A03 A04

C50

B59

Nevion B71

New Visitor Registration Hall 13 Basement Entrance D

2

3

A51

C65

C53

C57

G49

B51

C28

C29

B32

C38

BS18

BS5

C21 C23

B33

F36

B45

D41

D51

A65

C51

A49

Grand Cafe (ground floor) First Floor Restaurant (first floor)

C55

A58

G45

F50

E53

Exhibitor Catering Point E71 (ground floor)

D66

C79 D73

G46

F51

E51

Canon Europe Ltd D60 B64

A69 B67

A68

D53

Paris E56

C61

B65

F41

(First Aid Hall 13 Elicium Basement)

D56

C59

F44

E45

D47

D52

C51

C54

D45 E42

C43

C40

China B61

Huawei Technologies Co. Ltd. A64 A06 A66

F38

D42 B45

B42

A58

A06

C5B

G43

A40

A01

IBC TV A08 B59

F35

D39

GreatC39 Britain & Northern Ireland B48

Akamai Technologies C51 B52

SES B51

F59 F58

A58

Exhibitor Catering Point (ground floor)

F34

B43

BS19

BS3 BS4

C24

B27

BS18

BS17

BS2

B21

A31

BS16

BS4

C13 C15 C19

Wyplay A28

C35

C34

B37 B40

A59

C49 C48

C16

F45

A51

C45

C12

B19

B20

C33

A30

A58

B61

A62

C30F33

B35

C30

F49

F56 C33

C41

B16

A19

C27 A26

BS15

C11

A18

C25

C28F29

BS3

C09

C25 Samsung D35

D30

C1O

B1O

B15

C29

BS15

BS17

BS2 C05

BO5

A16

F27

Evertz D31 B33

A49

F47

A05

C21

F13

F45

A54

K31

K40

BS16

C23

Net Insight B40 A51

J43

BS14

Korea A14

C24 F11

B27

C41

A41

A50

J42

C04

B06

A02

C19

A39

C31

A50

Sony C51 A10

B19

C29B32

A45

J40

K29

K30

C13 C15

C16

B30

ArabSat B38

H47

J31

Hall 1 Balcony Suites - First Floor

Grass Valley, a Belden Brand D11 B21

F41

A46

C27

Eutelsat D59B41

B40

C57

A52

A69

A50

G41

A38

C50

Ontario A41

A59 B59

E02

B20

ChinaC31 A41

K28

J30 J38u J38t

C11 C12

B15

B16

A31

B30

C25

Paris B39

B49

A47C55

A65

Harmonic B20

H40

G47

G45

C35 B32

Ontario A46

A58

C48

B51

A44

C32

DO1

B28

A33

B29

B31

C29

Humax C27

A29

C21

C28

D51

C51 SES B51

A51

C49

B49

A49

A47

Exhibitor Registration Holland Entrance Entrance C

A52

JVCKENWOOD F31

A52 A54

C45

Huawei Technologies Co. Ltd. A06

F38C15

F50 A52

Paris A36

(First Aid Hall 13 Elicium Basement)

B40

A40

F40

B21

B30

B22

H37

H39

C09

C37

C11

C1B

C28u

ARRIS B19

H30

C05

6

C23

Wyplay A28

A30

A32

C29

A29

C49

A31

A49

C41

B41

C1O

B19

A32 A34

F35

Hall 1 Balcony Suites - First Floor

Avid J20

BS14

C28t C28v C28y C28w

A19

C69

B28

MS39

C33

Paris B39

13

Ontario

A46 IBC Organisers’ Office (first floor)

G25 G27

12

B32

Ontario A41

G21

ARRI F21

F20

E28

Net Insight B40

A41

MS38

C35 A31

F11

E20

C32

B31

Paris A36

E16

E1O

MS37

Europa Foyer

E5O E51 E52 E59 Conference

A21

C41

A24

A18

F36

D41

B20

China A29

A16

B31

C67

B67

B1O

A30

C31 B30

D39

Dolby Laboratories, Inc. A11

A20

B29

G111

A29

C39

KO1u

K21

G38

G41 G43

C1O

B1O

A30

F34

B11

MS29

A50

C27

C29

G110

3, 4

A20

13

D59

A32

G11

A26

IBC Organisers’ Office (first floor)

A24

F41 F45

Europa Foyer

G111

rence

Belgium F42

D41

D46

B48

A49

D42

A46

C25

G109

A39

MS36 MS27

Technicolor MS7

B62

A09

A20 A06 B09

A26

A27 C59

C26

MS34 MS35

MS17

MS5

C28

A16

KO1t

K11

J15t

Blackmagic Design H20

Adobe G27

G37

C04F49

F41

C13

C22

A14

B24

A23

F33

B61

MS33

A44MS23

MS15

C21

C26

B20

A21

IBC IP Showcase E106 A30

F37

MS39 C49

F35

A42t

MS7

B49

B39

B44

A41

C1B

B21

G108

A20

F33

Belgium D31

MS36

MS5

C4O

B45

D30

C33

C15

ArabSat B38

B30

A33

BO5

A21 Korea

B1O

F29

C63

A61

C37

J07

K31 J15u

C11

C12 A15

KAONMEDIA B16

C46

D30

MS32

MS13

MS2

MS4

F27 F29

MS37

B19

G107

F23 F24

D29

GB & NI Pod A42

C1O

MS3

Dolby Laboratories, Inc. A11 G106

D26

C27

Riedel Communications GmbH & Co.KG A31 MS35

MS27

MS31

A40

C11

F21

A38

MS17

MS1

B11

G105

F20

C25

MS34

D3O

MS4 C32

C20 Axon Digital Design A21

MS33

MS23

B1O

B06

F39

A05

F27

A18

Samsung B45 D35C60

C30 AO8 A1O

J14

H35

G30

F31

D39

F13

A21

B52

ASPERA, an IBM company G20

F33

C10

A11

A08

A03

A10 C31

C41

B40

A63

B31

15

G104

A16

Diamond Lounge (ground floor) MS30

E30

A02

B01 B02 B03 B05 B06 B07

B39

Israel Export Institute B56

A62 A64

J03 J05

JO1

J15v J15w

H15

K25

D31

C30

C26

Evertz D31

B41

C31

A29

MS10

C69

A03 A04 A06 A07

F11

China B37

B38

A33

A54

A32

C67

B67

First Floor Meeting Rooms

A09

B27

B36

A31

C29

H09

K40

H1O

G15

G23

Rohde & Schwartz E25

D30

C21

B30

A27

A48

H05

HO1 H03

J43

D25

C28

B42

C18

B26

A29

A52

C59

C63

B28

Auditorium Entrance G

B62

D15

D12

A28

D12

MS15

D15

C23

B27

B26 B28

C1O

A26

MS13 D1O

D13

C17

MS3

D2O

A31

B12

B10

A4O A44

IBC IP Showcase E106

C15

Ross Video Ltd C1O

A61

AO8 A1O

A16

A24MS32

DO1

CO2

B4O

A35 A36

MS30

2

MS31 B12

China B24

A32

MS10 1

5 6

A1O

MS2

B10

A25

9 10

E02

A01

A46

C60

G09

J42

K27

B40

A45 A49

C17

B19

B25

A40

K30

G07

G11

K29

B29

B33 B35

A41

C27

Harmonic B20

B61

A63

C27

B30

Grass Valley, C16 Brand B15 a Belden D11

China A19

A26

C46

B45

Conference Registration Forum Lounge Entrance E

4 3

A12

China B22

G106

13 14

8 7

Conference

BO8

AO8 A18

12 11

MS1

AO4

G105

16 15

A31

D21

A18

A17

A28 Humax A30

G12

AJA Video Systems F11

J40

G16

C21

BO5

A60

A62 A64

Diamond Lounge (ground floor)

Auditorium IBC Launch Pad 20 36 32 28 G 24 Entrance 19 35 31 27 23

A30

A24

B22

A23

J31 G05

F07

E21 B26

Quantum B27

C23

A22

A21

F06

H47

C19

A18

K28

J30

F04

H40

ChyronHego D11

C12

A16

A60 A01 MS68

J15t

J38u J38t

FO1

D07

D05

B21

6

Vizrt A20

A44

Israel Export Institute B56

C11

B13

D03

H39

G47

G45C1O

B12

A15

C13

A21

B40 IBC Executive Lounge (ground floor)

A52

BO5

D01

C03

G41 G43

B11 F49

H30

G38

CO1

BO1

F41

A12

A1O

A09

A08

A07

China A21

C41

A46

A02

A06

A05

A20

B39

Emerald Room & Lounge (1st floor)

A31

A54

40 39

KO1u

K11

C11

C12

China A29

3

B1O

C26

China B37

MS62

Conference Registration Forum Lounge Entrance E

KO1t

Avid J20

H37

H35 G37

A14

A44

E96

A04

A14

A15

A06 B09

C21

B30

A29

A48

MS50 MS51

C10

A11

A20

B01 B02 B03 B05 B06 B07

B26

A27

A40

E95

D96 D97 D9B

A02

A23

E98

D93

D90

J15u

K21

Adobe G27

C18

B25

A28 A30

Press Registration Jade Lounge Entrance F

E92

J07

Blackmagic Design H20

F33 F39

A08

A01

A23

E97 B92

C17

B19

A24

E94

C90

B91 B93

A98

China A19

A03 A04 A06 A07

C16

B15

A17

A26

E91

D89 E90

J14

H1O

G15

G30

F31

B42

E93

EVS Broadcast Equipment B90

9

CB1

A45 A49

E85

DB3

J03 J05

JO1

J15v J15w H15

ASPERA, an IBM company G20

A18

A22

E89

B81

A96

A16 A18

Media Centre F004

E75

D77 E76

B40

China A21

E74 D75

G12

7

E30

D39

BO5

A20

E73

H09

K27

C19

E61

E72

H05

HO1 H03

K25

D31

A16

E69 D71

G09

G23

Rohde & Schwartz E25

D30 C30

IBC Partners’ Pavilion

D65

C70

A69

A41

E62

D60

C65 A66

A68

D25

C28

B33

B30

B35

F57

E60

D61

C27

A14

D5O

C55

A52

A31

G14

F51

E49 F54

C51

A30

F18

E40 E47

C49

C48

B45

F11

D21

IBC Future Reality Theatre

F14 F15

E43

B41 B40

A41 A44

G12

E41

A40 A42

IBC Future Zone

F1O

G07

G11

G16

C21

Quantum B27

G1O F12

G05

F07

B29

G09

E37

F06

AJA Video Systems F11

GO5 G06

GO8

E35

C12

B26

E33

D36 E32

B37

Great Britain & Northern Ireland B38

E25

F04

E21

G03 G04

G02

E34

D28

C30

B35

GO1

FO1

D07

D05

ChyronHego D11

B21

Vizrt A20

FO5

E27

C23 C29

A28 A30 A32

E19 D15

C25

C24

C22 B28

B27

E17

D16

C20 C21

B23

B31

B30

A26

D12

C07

C06

A14 A16

E11

C11

B13

A15

EO5

National Information Society Agency D1O

C05

D03

C1O

B12

E06

A09

D01

C03

CO1

BO1

B11

A14

AO8

A09

A08

A07

A12

A1O

14

Stairs

Meeting Point

Step-free Access

Emergency Exit

Toilet

Cloakroom

Catering

First Aid

Wifi

Cash Dispenser

Information and Exhibitor Services

Smoking Area

Organisers’ & Sales Office

Charging Point

CONFERENCE

FEATURE AREA

MEDIA CENTRE

Lost and Found: +31 20 549 1212 Emergency Number: +31 20 549 1234 Correct as of 1st August 2017

07/09/2017 23:56


7 A02

Full Colour

A04

A06

A05

A09

A08

A07

theibcdaily

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BO5

A14

White

C11

B13

D05

FO1

D07

F06

G05

F07

D21

H05

HO1 H03

H09

J03 J05

JO1

J07

KO1t

KO1u

J15v J15w H15

G16

C21

G09

G11 J14

J15u

K11

J15t

For the latest show news and updates follow

H1O

G15

E21 B26

G07

G12

AJA Video Systems F11

B21

Vizrt A20

F04

ChyronHego D11

C12

B12

A15

D03

C1O

B11

A12

A1O

D01

C03

CO1

BO1

Rohde & Schwartz E25

ASPERA, an IBM company G20

Blackmagic Design H20

Avid J20

Halls 1, 2, 3, 4, 5 & 6 theibcdaily Quantum B27

A30

OUTLINED

A31

C27

B40

A45 A49

D25

C28

B33

D31

C30

F41

F39 C10

A11

A16

C12

A18

BO5 A17 China A19

A20

B15

C16

B19

C17

A03 A04 A06 A07

A01

B26

A27

B30

A28 A30

B27

C23

C28u

C29

C28t C28v C28y C28w

DO1

KAONMEDIA B16

A10 C31

ARRIS B19

A44 A46

B41 A33

A48 A52

Grass Valley, a Belden Brand D11

A23

B24

C60

B52

C63

Humax C27

Harmonic B20

A27

F13

B16

A62 A64

B61

A61 B62

A63

B28

Samsung D35

A29

C69

D39

B1O

A09

A40

C11 B11

A16 Dolby Laboratories, Inc. A11

C1O

B19

C15

C1B

A46 B21

B20

A21

A24

C28

C29

C32

F47

D51

Net Insight B40

A41

A31

B32

F49

Ontario A41

C41

Eutelsat D59

A59

F59

C55

F61

C57

A60

A63

B64

A65

B66

B51

C50

A51

B59

C5B

A73

A62

C53

2

3

Intelsat Corporation C71

A78

OMNI REMOTES founded by Philips A81 IBC Organisers’ Office (first floor)

LO1 GO3 GO4 GO5 GO6 HO2 HO1 HO4HO3

JO2 JO1 JO6 JO5 JO7

KO2 K06

KO1 KO5

LO2 LO3 LO4

A91

F15

E20

F16 E26

E27 F34

E30

M24

oor D405

D408

D406

D407

M28

LO9

C65

BS26

BS12

5

BS13

BS27

C67 C69

B72

B69

C70

B75

C72

C74 C75 C77

A95 A97

B91

C90

PO2 PO3

PO4

NO6 NO8

N12

PO5

B78

AWS Elemental

C80

C83 C85

B50

F70

ATEME D71

Amtrium - First Floor

C91

C95 C97

1

D81

FBO

F86

F89

D92

F90

4

A01

F94

L104 L103 L101

L102

Amtrium - Second Floor

Amtrium Restaurant (1st floor)

L

IABM Members Lounge

P12

PO7 PO8 PO9 P13 P14 P15

P16

AdvancedTaxis Media Workflow Association

Allgolden UG ....................................... 12.F79

Anton Bauer........................................ 12.E65

(AMWA) ................................................. 6.A07

ALPHA NETWORKS ............................... 5.A28

ANYWARE VIDEO ................................ 8.B36c

G11 G12 H14 H13 24i Media ............................................14.D30 G14 G15 L24

Accenture ............................................. 2.B41 M32 M33 M34 N21 N22 N23 N24 P24 P25 P26

Advantech........................................... 11.C32

Alticast Corp. ........................................ 1.F36

AOTO ................................................... 11.C36

K13 J14 H15 G16 25-Seven Systems ...............................8.D47 J13 K14

AccepTV ............................................... 2.B39i

Advantech Wireless ............................. 1.F40

Amagi Media Labs Pvt. Ltd ................. 2.B19

14 - 18Corp. September Apace Systems ........................... 7.K27

2Sens ................................................... 3.B56l J17 H18 H19

ACCESS Europe GmbH .......................14.D14

AEQ........................................................ 8.C55

Ambient Recording GmbH ................. 12.E33

15 - 19 Septmber Apalya Technologies......................... 14.M10

2wcom Systems GmbH ....................... 8.E78

Everywhere Hub Accusys Storage LTD........................... 7.J31

Aeta Audio Systems............................. 8.A24

AMD….. ................................................ 7.H35

APANTAC .............................................. 8.E37

AceOffice Marketing Inc........3.A19, 3.A21, 3.B37, 3 ScreenF32Solutions ..........................15.MS30 CE Sales

AEV Broadcast - SIEL........................... 8.A34

amily GmbH .......................................... 8.E30 Stairs

Aperi...................................................... 2.C21 Meeting Point

J1O

L16 L2O

H12 H11

G18

F11

H16 H17

H2O

F21

J15

J2O

K16 K18K17

L3O

ABV International ................................. 5.B20 P18 L17 L18 L22 L23

M29

M3O

N16

N17 N18 P17

IBC Content

K2O

F27

3D StormF33............................................... 7.K21

5.A41, 6.A29, 11.B22, 11.B24, 12.B61

Agama Technologies ........................... 5.B72

AMIMON Ltd. ......................................12.G41 Apollo Microwaves .............................. 5.C09 Emergency Exit Step-free Access

42F37 Consulting Media & Telecom ......... 2.B20

ACE MEDIAS TOOLS ........................... 2.A36a

AheadTek............................................ 10.F33

Amino.................................................. 14.K20 Toilet

4MOD .................................................. 14.C15

Acetel Co., Ltd. ..................................... 2.A09

Airgain 15 9 ...............................................15.MS3

First Aid Amlogic Co., Inc. .................................. 5.A28 10.F42a Catering Appiness ...........................................

9.Solutions Technology ..................... 12.F72

Acorde................................................... 5.C49

AirTies Wireless Networks .................. 5.A73

Amos - Spacecom................................ 1.C65 Wifi

Actia Telecom....................................... 1.A32

AJA Video .............................. 7.F11 1 1Systems

Information aprile and Ampegon .............................................. 8.E62 consultingSmoking GmbH ....................... 8.E30 Area

A & C LTD ........................................... 12.E75

Actus Digital ......................................... 3.C69

Akamai Technologies .......................... 5.B52

Elicium Fifth Floor A.C. Entertainment Technologies ..... 12.E71

ADB ....................................................... 5.B60

AKD Sat-Comm .................................... 0.C01 2

Amptec..................................................8.D70 Aptoide................................................ 14.P14 Charging Point Organisers’ & Sales Office

Aaton - D501 TransvideoD505 ............................ 12.F30 D502 D506

Adder Technology ................................ 7.C30

AKG By Harman ....................................8.D60

Anevia ................................................... 5.B66 Limited ......................10.A42c FEATURE AREA CONFERENCEaQ Broadcast MEDIA CENTRE

ABC Poducts .......................................12.B53

Adobe .................................................... 7.G27

Akratek Elektronik ............................... 8.E04

Angelbird Technologies GmbH............ 7.J31

ABE Elettronica.....................................8.D38

adremes GmbH & Co. KG ..................... 8.E30

Aladdin................................................12.G80

Anglatecnic ........................................ 14.P13 Arbor Media+31 ..........................................7.D25 Emergency Number: 20 549 1234

ABonAir ................................................. 2.A58

AdsFluence, a division of

ALC NetworX ........................................ 8.F57

ANNOVA Systems GmbH...................... 3.B36

Correct as of 1st August 2017

ABOX42 ............................................... 14.C17

Aanicca Ventures Inc.......................... 2.A41i

Aldena ................................................... 8.A40

ANT Group SRL .....................................8.D65

Archiware GmbH .................................. 7.F06

ABS........................................................ 2.C48

Adtec .....................................................1.D01

ALi Corporation .................................... 5.C74

Antik Technology ............................... 14.L20

Arctic Palm Technology Inc. .............2.A46a

A

ms

C53

BS25

BS11

Accedo ................................................ 14.E14 P21 M31 N2O

HO7 HO9

14 F10

M16

M23

L12 L13 L14 L15

M1O

MO7

M21

LO8

LO6 L10

n Part of IBC Content Everywhere Europe G1O

F05

C51

BS10

F76

NAGRA/Conax/SmarDTV/NexGuard C81

NO2 NO3 NO4 MO5

A77

B79

MO4

E17

BS24

A74

A81

Cisco A71

A74

A76

Grand Cafe (ground floor) First Floor Restaurant (first floor)

F71

F68

D69

Nevion B71

C57

Hall 13 sement)

C65

C55

A58

E14

BS23

C71

B68

A69

A69

A50

E13

BS9

C79

A52

EO5 E06 E09

Shenzhen Skyworth Digital Technology Co., Ltd. B61 Intel B65

B61

C48

BS22

C73

Appear TV C61

A65

C51

A49

A47

GOl

B60

Ericsson D61

A59

C49

B49

Ontario A46

itor ing nt floor)

A58

C45

B41

B40

C52

F58

SES B51

A51

B59

Europa Foyer

C50

C63

A49

BS21

BS7

C43

C49

B53

C49

A52 A54

C33

Paris B39

C48

B51

F56

BS6

C45

F45 Akamai Technologies B52

BS20

BS8

B50

C35

Paris A36

C42

B49

F40

F50

C51

B31

B30

B45

F41 A51

C31 A29

A34

F38 D41

B29

A32

C38

A50

C27

B28

A30

B43

C35

C41 Great Britain & Northern Ireland B48

A45

C41

C25

B40

BS5

C27 C33

C34

B37

China A41

F35

A39

A44

C30

B35

F36

C39

C21

C26 A20

ArabSat B38

B30

A33

BS19

B32

F34

C30

C28

C29

B30

A31

BS18

C21 C23

B33

A30

C37 AO8 A1O

BS3 BS4

C24

B27

A26

F33

BS17

BS2

C15 C19

Wyplay A28

F29

D30

C31 B31

C67

B67

C16

B19

BS16

C13

C25

A60

Diamond Lounge (ground floor)

C12

B20

A30 A32

BS15

C09 C11

A18

A16

F27

Evertz D31

C29 C59

K31

B21

C46

B45

C1O

B15

B40

Israel Export Institute B56

A54

B22

K40

C05

BO5 Korea A14

F11 A21

J43

BS14

A18

C41

J42

K29

K30

C04

B1O

B1O

B39

B38

A31

J40

B06

A02

E02

A19 A40

H47

J31

Hall 1 Balcony Suites - First Floor

A05

C26

China B37

B36

A29

China A29

A06 B09

C21

A24 A26

A03

C22

H40

G47

G45

J38u J38t

C18

B25 A23

A20

B01 B02 B03 B05 B06 B07

China A21 A22

A21

A08

G41 G43

K28

J30

H39

6

C19

A16 A18

F49

H30

G38

K25 K27

C11 C13

A15

G37

F33

B42

H37

H35

G30

F31

D39

A14

3

E30

D30

B35

A41

Adobe G27

B29

B30

#IBCShow

K21

G23

D503

D504

D508

D507

57-72 IBC D2 2017 FloorPlanFInal.indd 2

13

Appear TV ............................................. 1.C61 Cloakroom Cash Dispenser Applicaster ......................................... 14.P17

Exhibitor Services

AnaCom, 14Inc. ........................................ 1.C97

Aputure ...............................................11.D10 ArabSat ................................................. 1.B38

Lost and Found: +31 20 549 1212

Arcadyan Technology Corporation ..... 3.B27

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Aperi is showcasing a ground-breaking Distributed Remote Production Network and the 2nd generation of our Virtualisation Stack Platform software managing many new SW apps that are all compliant with the latest industry standards including NAT/ Firewall, H.264, 4K TICO and SMPTE 2110. Let us show you how to migrate to IP while optimising the agility, processing power and eďŹ&#x192;ciency of your studio or network with our Live-IP Media Function Virtualisation (MFV).

IBC Future Reality Theatre

The reference for lossless correction of MXF

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

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

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Download the IBC2017 App Features include â&#x20AC;˘ Interactive map â&#x20AC;˘ Conference schedule â&#x20AC;˘ Meeting requests â&#x20AC;˘ Visit planner

Easily plan and orchestrate every video, audio and data connection in a single software view. Try NetGazer for yourself at IBC2017 www.medialinks.com

New technologies in RF distribution Visit us in Hall 1, Stand A33 www.etlsystems.com

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Areplus.............................................. 12.E56d

Backstage Equipment, Inc. ...............12.A69

Bryant Unlimited ................................10.D15

Cobalt Digital Inc................................10.B44

Danmon Group Denmark A/S.............. 8.B51

ARET video and audio engineering..... 0.E01

Band Pro Munich GmbH ....................12.D21

BT Media & Broadcast .........................0.D02

Cobham................................................. 5.A18

Danmon Group Norway AS.................. 8.B51

OUTLINED Argosy ................................................. 10.C51

Bannister Lake ...................................2.A46b

BTESA - Broad Telecom ...................... 8.C20

Coemar Lighting SRL. ........................12.B45

Danmon Group Sweden AB ................. 8.B51

Arion Technology Inc ........................... 5.A81

Barco Silex .......................................10.D31a

BuyDRM ................................ 14.N22, 14.N23

COLEDER Display CO., LTD. ...............11.B45

Danmon Group Systems A/S ............... 8.B51

Arista..................................................... 8.A21

Barnfind Technologies......................... 8.A33

BW Broadcast Ltd ................................ 8.E73

Collabora ............................................ 14.L14

Datavideo Technologies Europe B.V. ..7.D39

Ariston BTS SA ..................................... 8.E05

Barrowa ................................................ 1.F35

Collabrik ............................................. 9.LP34

Datos Media Technologies S.A. .......... 8.B51

Arkena/TDF........................................... 1.B79

BBC Research & Development ............ 8.G10

C2m Solutions ....................................2.B39g

Coman Photo Equipment (Zhongshan)

DAVID Systems .................................... 3.A31

arqiva .................................................... 1.B61

BBright ................................................2.B39a

Caldero.................................................. 5.B61

Co., Ltd ................................................11.B04

dB Broadcast ......................................10.A28

ARRI .................................................... 12.F21

BCE - Broadcasting Center Europe ..... 7.G15

Calrec Audio ......................................... 8.C61

Comcast Technology Solutions ....................

DB BROADCAST.................................... 8.B45

ARRIS .................................................... 1.B19

BCNexxt ................................................ 2.A31

Camera Corps Ltd .............................. 12.E65

.................................................14.E26,14.P04

DDN Storage .........................................7.D05

Artec Technologies AG ........................ 7.C28

B-COM................................................... 8.G14

Camgear Inc .......................................12.G74

Comigo.................................................. 3.B52

De Sisti................................................12.B45

Artel Video Systems............................. 5.A65

BDI INV., LTD ........................................ 8.C22

Canara Lighting Industries

Comrex Corporation............................. 8.E75

Decimator Design ................................ 7.B35

Artesyn Embedded Technologies ....... 5.C12

BE - Broadcast Electronics.................. 8.C19

Pvt. Limited......................................... 12.F45

COM-TECH Italia SpA ........................... 8.C41

Dedo Weigert Film GmbH ..................12.D31

ARTS&CRAFTS EXHIBITION KFT. ......... 1.A51

Beamr ..................................... 3.B56n, 5.C50

Canare Europe ....................................12.G64

Comtech Telecommunications Corp. . 1.F80

DEEP Inc / Liquid Cinema .................... 8.G04

Arvato Systems .................................... 3.B38

Beenius ............................................... 14.C30

Canford ...............................................11.D01

Conax .................................................... 1.C81

Dega Broadcast Systems Ltd ..............7.D01

Askey Computer Corp.......................... 5.C30

Beijing Feiyashi Technology

Canon Europe Ltd...............................12.D60

Concurrent............................................ 5.A08

Dejero..................................................12.B42

ASL Intercom B.V. ..............................10.A38

Development Co., Ltd.......................12.B61c

Cantemo ..............................................7.K01t

CONTENT ARMOR ...............................2.A36d

DekTec .................................................. 2.B40

Aspectra B.V. ......................................12.B36

Beijing HDY Technology Development

Capella Systems................................... 3.B39

ContentWise ............14.G05, 14.G06, 14.K05

Dell EMC................................................ 7.H10

ASPERA, an IBM company .................. 7.G20

Co., Ltd. .............................................11.B22c

Capella Systems LLC ........................... 3.A46

Convergent Design.............................12.A34

Delta Meccanica s.r.l. .......................... 8.E39

Assia ................................................15.MS34

Beijing Hualin Stone-Tech Co.,Ltd ....12.G77

Caringo ................................................. 6.B03

Conviva ................................................. 5.B27

DELTACAST developer solutions......... 7.A14

Associated Press/AP ENPS .................7.D30

Beijing Iviking Technology Co., Ltd. ... 1.A01

Cartoni ................................................ 12.E30

Cooke Optics Ltd ................................12.D10

DELTACAST sport solutions ................ 7.A14

Astro Strobel Kommunikationssysteme

Beijing Novel-Super Digital TV

Caspian One Ltd. .......................5.B48, 8.B38

Coptrz.................................................... 9.LP2

Deltron Italia SRL ................................. 8.E35

GmbH .................................................... 3.C41

Technology Co., Ltd ............................. 5.B51

castLabs ............................................. 14.L02

coralbay.tv .......................................... 9.LP28

Deluxe ..................7.H30, 15.MS37, 15.MS38

ATB - Automatic Testing Box .............. 9.LP5

Beijing Realmagic Technology

CastPal Technology Inc.,Shenzhen .... 3.C26

CORDON ELECTRONICS ITALIA SRL .... 8.E35

Densitron ............................................10.D42

ATBIS Co., Ltd....................................... 2.C50

Co., Ltd. ................................................. 2.A32

CASTWIN............................................... 2.C50

Core SWX LLC..................................... 12.F55

DENZ ...................................................12.A26

ATEME ...................................................1.D71

Beillen/JIADE......................................12.A37

Casu .................................................... 12.C79

Corning Optical Communications LLC 7.J31

Desktop Technologies Pty. Ltd. .......... 8.E38

Aten ..................................................... 10.C20

BEL (Digital Audio) Ltd.......................11.D01

Cataneo GmbH ..................................... 3.A63

Cornwall UK ........................................ 6.C28y

DEVA Broadcast Ltd. ............................8.D79

Atende Software ................................ 9.LP21

Belden ...................................................1.D11

CatDV (Square Box Systems) ............. 7.J38t

Coship Electronics Co. Ltd................... 1.F50

Dexin Digital Technology Corp. Ltd. .3.B37d

ATES .....................................................2.B39f

Belinter Media LTD............................... 5.C42

Caton Technology Corp. ...................... 3.A24

Cosmolight .........................................12.B30

DHD ....................................................... 8.B31

ATG Danmon UK ................................... 8.B51

Benel B.V. Falcon Eyes ......................12.A47

Cavena Image Products AB................. 2.C32

COVELOZ Technologies Inc. ..............11.B08

Diagnal................................................14.N02

Athensa............................................... 9.LP11

BenQ Europe .......................................12.G48

CCBN ..................................................... 6.A03

Cowe Co., Ltd. ....................................5.A14d

DiGiCo UK Limited ................................ 8.C62

Atomos.................................. 11.D15, 11.D25

BES ......................................................10.D57

CCI Paris Ile-de-France .................................

CP Cases Ltd.......................................10.A44

DiGiDiA .................................................. 8.E89

ATTO Technology, Inc. ......................... 7.F41

BETSO ELECTRONICS s.r.o................... 8.E34

...............2.A36, 2.B39, 8.B36, 8.D82, 12.E56

CPI (Communications & Power Industries)..

Digigram ............................................... 8.C51

Audinate ............................................... 8.A15

Bexel ................................................... 12.E65

C-COM Satellite Systems Inc. ............. 5.C85

............................................................... 1.C51

Digispot System GmbH ........................8.D03

Audio AG ...............................................8.D70

BFE Studio und Medien Systeme GmbH.......

CCPIT Electronics & Information Industry

CPI ASC Signal ..................................... 1.C51

Digital Comm Link/ Digicaster .......... 9.LP39

Audio Ltd ..............................................8.D97

............................................................... 8.B70

Sub-Council .......................................... 8.A41

CPI SATCOM PRODUCTS ...................... 1.C51

Digital Film Technology GmbH............7.D07

Audio Wireless Ltd ............................... 8.E98

BirdDog ................................................. 6.C11

C-Data Technology Co.,Ltd................3.A21a

CRAFTWORK ......................................... 5.A28

Digital Forecast CO., Ltd ....................11.A18

Audio-Technica Europe .......................8.D61

BIRTV .................................................... 6.A04

CDN Video ........................................... 14.P09

Craltech Electronica, S.L. .................. 11.C02

Digital Multimedia Technology ........... 5.B10

Audisi / Stereo Tool / NewsBoss ........ 8.E38

Bit Audiovisual, Audio-Visual Technology

Cedar Audio Ltd....................................8.D98

CreateCtrl AG ........................................ 3.A40

Digital Nirvana.................................... 14.P25

Autocue............................................... 12.E65

Trade Fair ............................................. 6.B02

Cedexis .............................................. 14.M21

Creative Technology Ltd ....................11.D12

Digital Screens LLC............................ 14.C10

Autoscript ........................................... 12.E65

Bitmovin, Inc. ........................ 14.E17, 14.F33

CEITON - expertplace solutions GmbH.. 3.A29

CreNova Multimedia Co., Ltd............... 5.A74

Dimetis.................................................. 1.B30

AV Stumpfl GmbH ................................ 8.A59

Black Box.............................................. 8.B59

Celeno .................................. 3.B56h, 15.MS2

CRM.COM .............................................8.B38f

DirectOut Technologies ....................... 8.E85

Avateq Corp. .......................................2.A41a

Blackmagic Design ...................7.H20, 7.J14

Census Digital Inc .............................. 2.A41c

Crucial IP .............................................. 5.B21

Dishstone Electronics Co. Ltd ...........5.A41g

Aveco .................................................... 3.B67

BLT ........................................................ 8.A69

Cerevo Inc............................................. 2.C41

Crucial IP Inc. .....................................2.A41b

Disk Archive Corporation ................... 8.B38i

Avere Systems ..................................... 7.J43

Blue Lucy .............................................. 7.G07

CHINA HUAXIN ANTENNA..................... 1.C95

Cryptoguard.......................................... 5.B37

Dissolve .............................................. 9.LP32

Avid ....................................................... 7.J20

Bluebell Opticom ................................ 10.F24

China Starwin Science & Technology

Crystal........................................5.B48, 8.B38

DK-Technologies .................................. 8.E60

Avioon ................................................... 5.B06

Bluefish444........................................... 7.J07

Co.,Ltd ................................................... 5.C35

Crystal Vision ....................................... 2.C28

DLP - Digital Tech Co., Ltd .................. 7.A10

Avitech International Corporation .... 9.LP20

Blueshape ...........................................12.A20

Christy Media Solutions - Broadcast

Crystop GmbH ...................................... 5.C33

DM Broadcast....................................... 8.B45

Aviwest ................................................. 2.B31

BMS Broadcast Microwave Services Inc .....

Recruitment Specialists ...................... 6.C29

CS Computer Systems (Aviion) ......... 14.G04

DMG Lumiere......................................12.A40

AVL Technologies................................. 5.A45

............................................................... 1.A91

ChyronHego ..........................................7.D11

CSG International .................14.M24, 14.P03

DMT ......................................................5.A14f

AVMEDA ................................................ 7.C10

Bohemian Unicorn s.r.o. ...................... 0.B07

Cinedeck / cineXtools .......................... 9.LP7

CSTB...................................................... 6.B06

Dolby Laboratories, Inc. ...................... 2.A11

Avolon ................................................... 3.A62

Boris FX / Imagineer ............................ 7.K29

Cinegy ........................................7.A30, 7.A41

CTE Digital Broadcast .......................... 8.B08

Domo Broadcast, DTC.......................... 1.F41

AVP Europa ......................................... 10.E52

BR Remote LTD .................................. 12.F67

Cinela .................................................. 12.E33

CTM ....................................................... 7.F33

DONGGUAN HUAYUN INDUSTRIAL CO., LTD.

AVT Audio Video Technologies GmbH 8.E76

Bradbury Lab ...................................... 14.H14

Cinematography Electronics .............12.D73

CTP Systems......................................... 8.E83

............................................................. 3.A21c

AWEX - Wallonia Foreign Trade

Brainstorm............................................ 7.C12

Cineo Lighting ....................................12.D39

Cube-Tec International GmbH..5.C41, 8.F15

DoPchoice...........................................12.D39

and Investment Agency .....................10.D31

Bridge Technologies ............................ 1.F68

CinePower ..........................................12.A41

CueScript Ltd...................................... 12.F41

Doteck................................................... 2.C49

AWS Elemental ..................................... 5.C80

Brightcove ............................................ 5.B69

Cineroid...............................................12.G27

Custom Consoles Ltd ......................... 8.B38e

DOTSCREEN ........................................ 2.B39e

Axcen Photonics Corporation ............. 5.C15

Bristol/Vfx...........................................12.A41

Cinescope Ltd..................................10.A42d

CW Sonderoptic..................................12.B75

Double D Electronics Ltd ....................1.F58c

Axel Technology SRL ........................... 8.B81

Broadcast Bionics ................................8.D71

Cinfo ....................................................14.N16

Cyanview ..........................................10.D31c

Doughty Engineering Ltd ...................12.A58

Axia Audio ............................................8.D47

BROADCAST INDIA SHOW 2018........... 6.A08

Cires21 Live Streaming Solutions..... 14.K06

CYTAGlobal ........................................... 1.B22

DPA Microphones ................................8.D70

Axinom................................................14.H15

Broadcast Partners .............................. 8.C81

Cisco ..................................................... 1.A71

axle Video ............................................. 7.F04

Broadcast Pix ....................................... 7.A15

City-Producer ....................................... 7.G12

dâ&#x20AC;&#x2122;accord broadcasting solutions GmbH.......

............................................................. 12.C31

Axon Digital Design ...........................10.A21

Broadcast RF ......................................11.D12

C-Kur TV Inc .......................................5.A14b

............................................................... 3.A33

Dream Chip Technologies GmbH ......11.A03

Ayecka Communication Systems Ltd. 1.A97

Broadcast Solutions GmbH ......0.E02, 8.A74

ClassX SRL ........................................... 7.A02

DAIWA/Tokina ....................................12.A30

DSQN Investment Co., Ltd ................... 8.B20

Azden Corporation ............................... 8.E81

Broadcast Traffic Systems .................. 2.C18

Clear-Com...........................................10.D29

Dalet Digital Media Systems ............... 8.B77

DTL Broadcast Ltd .............................8.B38g

Azercosmos/Satellite Operator ........... 1.A30

Broadpeak ............................................ 5.C72

ClearView Imaging.............................12.A75

Damery .............................................10.D31k

DTS ...................................................15.MS10

AZURE SHINE TECHNOLOGY CO., LTD. 5.C13

BroadView Software .......................... 2.A46c

Cloudian................................................ 8.A11

Dan Dugan Sound Design.................... 8.C94

DVB .......................................................1.D81

BroaMan ............................................... 8.C60

Cmotion GmbH ...................................12.G46

Danmon Asia Ltd.................................. 8.B51

DVBControl ........................................... 3.B41

Brother, Brother & Sons ....................12.B52

COAX Connectors ltd.......................... 10.F41

Danmon Group ..................................... 8.B51

DVEO ..................................................... 2.A34

B B&H Photo, Video, Pro Audio.............11.A10

57-72 IBC D2 2017 FloorPlanFInal.indd 4

C

D

Draka Comteq Germany GmbH & Co.KG ......

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Stand 7.G05

Booth 7.J15A

marquisbroadcast.com

masstech.com

Hall 7

7 A02

A04

A06

A05

C03

CO1

BO1

BO5

A14

C11

B13

D05

FO1

D07

ChyronHego D11

F04

F06

G05

F07

D21

C21

C27

G09

H05

HO1 H03

H09

J03 J05

JO1

J07

KO1t

J14

J15u

K11

J15t

H1O

G15

K21

G23

Rohde & Schwartz E25

ASPERA, an IBM company G20

KO1u

J15v J15w H15

G16 E21

Quantum B27

G07

G11

G12

AJA Video Systems F11

B21 B26

Vizrt A20

D03

C12

B12

A15

D01

C1O

B11

A12

A1O

A09

A08

A07

Blackmagic Design H20

Adobe G27

Avid J20

D25

K25

B29

K27 A30

A31

C28

B33

B30

B40

A45 A49

C30

A24 A26 A28 A30

A44 A46 A48 A52 A54

H40

G47

G45

J38u J38t

H47

J40

J42

K29

K30

J43

K31

K40

C11

Hall 1 Balcony

Euro Light System ..............................12.D46

Fraunhofer FOKUS ................................ 8.B80

DVMR .................................................... 2.A36

Elecard .................................................. 2.C26 A21 C22

6

Farseeing Co., Ltd. ............................. 12.C72

Eurofins Digital Testing ....................... 5.B45

FAST LTA AG......................................... 8.A01

Fraunhofer Gesellschaft ...................... 8.B80

Electric Friends ..................................11.B28

Eurotek S.R.L ........................................8.D88

FASTCOM Technology SA .................... 2.A47

Fraunhofer HHI ..................................... 8.B80

Eutelsat .................................................1.D59

Fidus Systems Inc..............................2.A41d

Fraunhofer IDMT .................................. 8.B80

DO1 Media GroupE02 A02 Event ............................... 8.A46

C04 B06 FieldCast .............................................11.A33

Fraunhofer IIS....................................... 8.B80

Embrionix Design Inc........................... 8.B92

Event Rent Roadshow Productions .... 0.A06

Fiilex....................................................11.A04

Friend MTS ........................................... 1.A58

Emotion Systems ............................... 6.C28v

Evergent.............................................. 9.LP14

C1O FileCatalyst ........................................... 7.B21 B1O C09

Fujian Newland Communication Science

C26 EaselA27TV .............................................. 14.H17 B30

ARRIS EMS Technical Personnel Ltd ............. 1.B09

C11 12.F30 Evertz .........................................1.D31, 1.F29 Korea Film & Digital Time ............................

Technology Co.,Ltd .............................. 1.C91

Easy Media Suite.................................. 8.C92

B16 Inc...............................8.D74 ENCO Systems,

D11 EVS Broadcast Equipment........8.A96, 8.B90

C12 Filmlight ................................................ 7.F31 C13 B15

Fujifilm Europe GmbH ........................12.B20

Encompass Digital Media.................... 5.B75

Funke Digital TV ................................... 3.C60 FXLION ELECTRONIC CO., LTD. ..........12.A14

C16 DynacoreA17Technology Co.,B15Ltd. .........12.D45

C13

A15

A18

A03 A04 A06 A07

A08

C28u A20 China A19 China Drive C17 B03 B05 B06 B07 | Syslink GmbH .................. 7.B08 Dynamic Pool.............................. 7.H15B01 B02 ELEMENTS B19 A29 C28t C28v ELEMENTS SYSTEMS 8.A19 Dynamic GmbH... 0.F01, 12.F71 A01 C28y C28w A03 A06 ........................... B09 A21 China Perspective

E

C18

B25

B26 EardaA23Technologies .............................C21 5.C67

B1O

B27

China

B19

KAONMEDIA

A10

C19

C23

C29

A05

Grass Valley, a Belden Brand

C05

BO5

A14

Enensys Technologies ......................... 2.B30

C15 Exalux .................................................12.A70 C16 A18 Filmpark..............................................11.A34 A16 B16 B19 F11 F13 Flanders Investment & Trade ............ 10.F42 Exir Broadcasting................................. 8.D28 A19 C19

EBS New Media Limited .................... 14.P26 B39

B22 A21 Designs, Ensemble Inc. ....................... 8.B91

Explorer Inc. ......................................... 8.C04

Flanders Scientifi c, Inc. .....................10.B10 B21

C41 EBU (European Broadcasting Union) 10.F20

ENTER..................................................14.N03 Humax

F27 Exterity................................................ 14.H13

Flow Works GmbH ............................... 3.B39 C24

ECS srl Gruppo Optoplast B41 ..................11.A35 C46

C27 Equinix .................................................. 3.B25 Harmonic

Eddystone Broadcast Limited ...........8.B38d

ERECA ................................................. 11.C49

Edgeware............................................ 14.F15 B45

Ericsson ................................................1.D61

F&V Europe B.V. ................................. 12.F51 F33

C27 Foam Conversion Audio....................... 8.A46

G’Audio Lab .......................................... 8.G12

Israel Export Institute EDITSHARE ........................................... 7.C27

ERSTREAM VIDEO DELIVERY COMPANY C29 .......

A31 F.A. Bernhardt GmbH, FAB .................. 2.A21 D35

C30 Archive C33..... 7.J15w B35 & QLS FocalPoint Server

Gazprom Space Systems..................... 5.B78

B37 EasyBroadcast ................................... 14.C01 C31 B36

A29

Easyrig ................................................ 12.C75 A40

C12

G41 G43

H39

J31

Elber SRL ..............................................8.D37

BO5

A22

C10

F49

H30

G38

K28

J30

DVLab.................................................... 5.C21

A16

A20

F41

F39 A11

G37

F33

B42

H37

H35

G30

F31

D39

A14

A16 A18

E30

D30

B35 A41

D31

A18

B38

A31

A33

B20

B40

C60

B56

B52

B24

A23

A27

C59

B28

B20

Evertz Wyplay D31 .......................................11.D13 A28 F29 eyevis GmbH

F A26

C21

G. L Optics........................................... 12.F76

C25 Flussonic Media Server ..................... 14.E09

GatesAir ................................................ 8.C30

C28

C29

B30

B32

BS3 BS4

G

Flowcine ............................................. 12.C75 C23 B33

A30

Samsung

B27

Furukawa............................................12.G21

BS2

BS5 BS6

C63 EDL-REC................................................ 7.A04 A30

............................................................. 14.K14

Facebook 360 ..................................... 14.B26

Focusrite Audio Engineering LtdC35......... 8.A52

GB Labs Ltd ........................................ 7.J15u

BS7

A60

Egatel S.L ..............................................8.D44 A32

Es’hailSat - Qatar Satellite CompanyC31. 1.B59 D30

Facilis Technology Inc. ........................ 7.B40 China FonixB40...................................................11.A26 F34 F35

GearCam .............................................12.D52

BS8

A62 A64

A61 Egripment BV......................................12.A21

Espial .................................................... 1.F89

Factum Radioscape .............................8.D90

FOR-A Europe S.R.L ............................. 2.A51

Gearhouse Broadcast LTD.................10.B39

Force Servo........................................... 8.B28

Gefei Tech Co., Ltd/GraVue Co. .........11.B27

AO8 A1O

B61

B31

B62

D39

F36

A41

B43

C38

C41

C67 B67 EIZOA63Europe GmbH ............................... 5.C04 C69

C30 Etere ...................................................... 8.B89

Fal Systems Ltd.................................... 0.F02

EKT ........................................................ 5.C48

C37 Etilux .................................................10.D31b

A45 Fara Afrand........................................... 8.A26

Elastic Media ....................................... 3.B56j

C39 B38 ETL Systems 1.A33 B30 ......................................... A33

Great Britain C42 B45 C43 & Northern Ireland Fortyeight.tv .....................................10.D31d B48 C45

F41 farmerswife .......................................... 6.A14

Fraunhofer Digital Media Alliance ...... 8.B80

A09

B1O

C11 B11

A16 Dolby Laboratories, Inc. A11

B19

C1O C1B

57-72 IBC D2 2017 FloorPlanFInal.indd C26 5 A20

A29

C34

B37

B21

C15

ArabSat

A40 A44

D41

A51

A41

Net Insight B40

F50 D51 F56

C49

F47

F49

GEN ENERGY .......................................5.A14a Genelec OY ...........................................8.D61

C49

B50

Akamai Technologies B52

BS10 BS11

F45 C41

A46

C48

B49

F40

A39

C21

C25

F38

BS9

B51 B53

C50 C52

C51 C53

BS12

07/09/2017 23:56

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General Dynamics SATCOM Technologies ...

Hitachi Kokusai Electric Turkey Yayıncılık

Intek Digital., Inc. ................................. 5.C38

LCA - Lights Camera Action ..............12.D39

Media Broadcast Satellite GmbH ........ 1.B79

............................................................... 1.A41

Sistemleri A.S. .................................... 12.F38

Intel ....................................................... 5.B65

LDA Technologies ................................ 5.B21

MEDIA BROADCAST TECHNOLOGIES (MBT) .

OUTLINED Generic Robotics Ltd............................ 8.F17

Hitomi Broadcast ................................. 2.C35

Intelsat Corporation ............................. 1.C71

LEADER ELECTRONICS CORPORATION .........

.............................................................8.D82a

Geniatech Inc,Ltd ............................... 5.A41e

HMS GmbH............................................ 3.A33

International Datacasting Corporation .........

.............................................................12.A10

Media Excel ........................................ 14.P05

Genmix Technology ............................. 5.C73

Homecast Co., LTD ............................... 1.A27

.............................................................. 2.A41l

LeaseWeb ........................................... 14.G16

Media Links EMEA ............................... 1.C31

GeoGuard ........................................... 14.M23

Horizon Teleports ................................. 5.C65

International Moving Image Society... 6.B01

Lectrosonics, Inc.................................. 8.C73

Media Motive SRL ................................ 3.A48

Geritel Giomar ...................................... 8.E33

HP Inc.........................................3.A17, 3.B05

Interra Systems .................................... 7.B13

LEDGO TECHNOLOGY LIMITED...........12.G68

Media Orchestration from Sensor to Screen

Gigatronix Ltd .....................................11.B47

HS-ART Digital / DIAMANT-Film Restoration

Intertrust ............................................... 5.B15

Leica Camera .....................................12.B75

(MOS2S) ................................................ 8.G06

GkWare e.k. .......................................... 2.C51

............................................................... 5.C41

Intinor ................................................. 14.J14

LEMO Connectors...............................12.D42

Media Utilities B.V. ............................... 8.B31

Glensound............................................. 8.E72

HTS Ltd.................................................. 8.A82

INTOPIX ..............................................10.D31f

Levels Beyond .................................15.MS29

MEDIABILITY.........................................8.D12

Glidecam Industries, Inc.................... 11.A31

Huawei Technologies Co. Ltd............13.A06

INTV....................................................... 8.A14

Levira .................................................... 1.B79

MEDIACTIVE........................................ 2.B39c

Global Distribution ............................... 7.J31

Hubee .................................................. 14.L04

Inverto................................................... 5.C83

Leyard ...................................9.MS50, 11.C40

MEDIAGENIX ......................................... 3.C59

Globecast .............................................. 1.A29

Hudson Spider ....................................12.D39

Inview .................................................14.D27

-LGDS- Les Gens Du Son ..................... 9.LP9

Medialooks ........................................... 3.B39

GLOOKAST ............................................7.D03

Huizhou Fosicam Technology Co., Ltd

IO Industries Inc. ................................12.D75

Liberty Global .......................................1.D39

MEDIALOOPSTER................................ 9.LP16

Glyph Production Technologies .......... 7.J31

...........................................................11.B22a

IPcopter GmbH & Co. KG...................... 5.C33

LIGHT & MOTION.................................12.D46

Mediamorph ......................................... 1.B79

GMIT - A Rohde & Schwarz Company.. 14.K18

Humax................................................... 1.C27

IPE .......................................................11.D30

Lightstar (Beijing) Electronic Corporation ...

MediaNet Vlaanderen ....................... 10.F42j

Gold Best .............................................. 5.C52

Hybrik, Inc ..........................................14.N04

Irdeto.....................................................1.D51

.............................................................12.G54

MediaPower ......................................... 7.J01

Good Mind Industries Co., Ltd............. 2.A52

Hyundai Fomex Co. Ltd ......................11.B10

Iris Gateway Satellite Services Ltd ..... 1.B22

Lilliput (Zhangzhou) Electronic Technology

Mediaproxy........................................... 7.J07

IRT ....................................................... 10.F51

Co., Ltd. ..............................................12.B61f

Mediaware............................................ 5.A26

Google .....................14.A01, 14.A02, 14.A03,

I

...................................14.A04,14.A10, 14.A12

IABM 8.F51a, 8.F54, IABM Members Lounge

Israel Export Institute .......................... 3.B56

Limecraft .......................................... 10.F42c

Megahertz........................................... 12.F20

Goonhilly Earth Station Ltd.................6.C28t

IB/E OPTICS Eckerl GmbH..................12.D21

Itelsis .................................................... 8.E19

Limelight Networks............................ 14.G01

Meinberg............................................... 8.B25

GORGY TIMING ...................................8.B36b

IBC Content Everywhere Hub Theatre14.J10

iWedia ................................................... 5.B40

Linear Acoustic ....................................8.D47

Merapar ................................................ 3.A54

Gospell Digital Technology Co., Ltd., .. 3.C67

IBC Future Reality Theatre .................. 8.F11

iZotope, Inc ...........................................8.D70

Litegear Inc.........................................12.D39

Merging Technologies ......................... 8.E96

Grabyo................................................. 14.K17

IBC Future Zone Smart AV Tunnel ...... 8.G09

IZT GmbH .............................................. 8.A68

Litepanels ........................................... 12.E65

Metrological ....................................... 14.E20

Gracenote ........................................... 14.H20

IBC IP Showcase .................................. E106

Lith Technology Co., LTD .................12.B61b

METTLE PHOTOGRAPHIC EQUIPMENT

Grass Valley, a Belden Brand ..............1.D11

IBC Partners’ Pavilion .......................... 8.F51

J.L. Fisher ........................................... 12.C40

Livestream .......................................... 14.F27

CORPORATION ..................................12.B61e

Graymeta .............................................. 8.C21

IBC TV .................................................13.A08

Jampro Antennas, Inc. ........................ 8.B96

LiveU ..................................................... 3.B62

METUS................................................... 7.A09

GREAT Britain and Northern Ireland NXTech

IBM ..................15.MS13, 15.MS31, 15.MS32

JBL by Harman .....................................8.D60

LiveWeatherViews ............................. 9.LP37

Microfilms .......................................... 12.F61

Pod Zone .............................................10.A42

IBM Cloud Object Storage ................... 7.G19

JetHead Development Inc. .................. 5.A28

Livewire Digital Ltd ............................ 5.B48c

Micromedia AG..................................... 8.B31

GREAT Britain and Northern Ireland Pavilion

IBM Watson Media ............................ 14.M16

Jiangsu Dongsheng Electronics Technology

LLC, Videosolutions Group .................. 7.A06

Microsoft ..........15.MS1, 15.MS35, 15.MS36

....................................................5.B48, 8.B38

Ideal Technology (Shenzhen) Co.,Ltd..3.A19b

Co., Ltd. ............................................... 3.A19c

LMP Lux Media Plan .......................... 10.F21

Microtech Gefell GmbH........................8.D77

Greenwave Systems .......................... 14.P15

IDX Technology Europe ..................... 12.C25

JK Audio..............................................12.G11

LockitNetwork GmbH......................... 12.E33

MICROWAVEFILTERS & TVC ................ 8.A09

Grip Factory Munich (GFM) ............... 12.E75

IEC TELECOM EUROPE........................ 2.A36e

JLCooper Electronics ........................... 7.C03

Logickeyboard...................................... 7.F49

Miller Fluid Heads (Europe) ltd..........12.D30

Gsertel................................................... 8.E26

IEEE ....................................................... 2.A50

JMR Electronics Inc ............................. 7.J05

LS telcom .............................................. 8.E43

Minerva Networks................................ 5.C34

GSS.................................................... 12.E56b

IEEE Broadcast Technology Society.... 8.F51b

JOANNEUM RESEARCH - VidiCert ....... 5.C41

LSI Projects Ltd ..................................12.A53

Minglvision ........................................... 8.F14

G-Technology ............................6.A15, 7.J31

IET - The Institution of Engineering and

JoeCo Limited....................................... 8.E97

LTO Program......................................... 6.A21

Minnetonka Audio................................8.D47

GT-SAT International s.a.r.l. ................ 3.C69

Technology .............................. 8.E90, 8.F51c

JU- SOFT CO., LTD ................................ 8.A08

LUCI- Technica Del Arte BV ................. 7.A45

Mirada................................................... 5.A63

Guangdong Nanguang Photo&Video

Ifootage international (HK) Limited .. 11.B40

Junger Audio ......................................10.A49

Luma Tech ..........................................12.D52

MiraVid................................................ 14.L03

Systems Co .,Ltd ................................ 12.E10

Igalia ...................................................14.N17

Justek Technology Co., Ltd ................. 2.A24

Luma Touch........................................ 9.LP19

MIS ........................................................ 2.A16

Gulfsat Communications Company .... 5.B49

Igloo Vision Ltd..................................... 8.F12

Jutel ...................................................... 8.E91

Lumantek.............................................. 3.C63

MISONICS............................................11.A06

Guntermann & Drunck GmbH.............. 1.B10

IGP b.v. ................................................ 1.F58d

JVCKENWOOD..................................... 12.F31

Lume Cube............................................ 6.B05

Mistserver........................................... 14.K13

Guramex ............................................. 10.C33

IHSE GmbH............................................ 7.B30

JW Player............................................ 14.E27

LUMENS ............................................ 12.E56a

mLogic LLC ........................................... 7.J31

Luminex Network Intelligence ........ 10.F42d

MNC Software .................................... 8.C95v

H

Ikegami Electronics (Europe) GmbH.12.A31

J

K

Haivision ................................ 14.L16, 14.L17

Ilionix .................................................... 3.B39

K2E ....................................................... 5.A14i

Lund Halsey .......................................... 2.B10

Mobibase ............................................ 14.P08

HANGZHOU XINGFA TECHNOLOGY CO., LTD.

Image Engineering ............................. 12.E16

K5600 Lighting ................................... 12.E28

Lupo SRL............................................. 12.E51

Mobile Viewpoint ............................... 14.F21

.............................................................5.A41d

Image Matters ...................................... 5.B21

Kaltura .................................................. 2.B29

Lynx Technik AG .................................. 8.C70

MOG - Technologies............................. 7.G30

Hanjin Electronic Ind Co., Ltd. ...........5.A14h

Imagen Ltd. ........................................ 14.B27

KanDao lightforge Co.,Ltd ................... 8.A23

Harman Professional ...........................8.D60

Imagine Communications ................... 4.A01

KAONMEDIA .......................................... 1.B16

M2A Media LTD ................................. 14.M04

Molden Media GmbH ........................ 14.M31

Harmonic Inc ........................................ 1.B20

Imagine Products Inc........................... 5.C05

KATHREIN-Werke KG ........................... 8.C24

Macnica Technology............................ 2.A20

Montage..............................................5.A41a

Hawk-Woods LTD ................................ 8.A32

ImmersiaTV .......................................... 8.G05

Keepixo ................................................. 1.C29

MACOM ...............................................10.D12

Morpho, Inc .......................................... 5.A30

HD&P ................................................... 5.A14e

I-MOVIX.............................................10.D31e

KenCast................................................. 2.A29

Magewell Electronics Co., Ltd............. 8.A84

Moso Power.......................................... 3.B19

HE@D digital.......................................5.A14g

In Aria! Networks Ltd. - Speedcast ...5.B48f

Kino Flo/Cirro Lite (Europe) Ltd.........12.D26

Magine ................................................14.N20

MOST Mobile Satellite Ltd ................. 3.B56e

HEDBOX...............................................11.D20

INA - Institut National de l’Audiovisuel... 8.A63

KLOTZ AIS GmbH .................................. 1.A06

Make.TV ................................................ 3.B40

Mo-Sys Engineering Ltd ...................... 8.G03

HEDD|Heinz Electrodynamic Designs . 8.A30

Indiecam ............................................. 12.G53

KOBA 2018 (Korea E & Ex Inc)............. 6.B07

Mandozzi Elettronica S.A. ...................8.D35

Movicom, LLC .....................................12.G75

Heden .................................................... 9.LP6

IneoQuest, a Telestream company ..... 7.B26

Kontron ............................................... 14.J20

Manfrotto ............................................ 12.E65

MovieTech AG ....................................12.B53

Hedge ..................................................11.A32

INESC Tec ............................................. 8.F16

Konvision ............................................ 10.F35

Mark Roberts Motion Control Ltd ..... 12.F11

MPP Global ......................................... 14.K01

Hefei Radio Communication Technology

Inetsat ................................................... 2.C53

KOREA AVICS ....................................... 5.A14j

Marquis Broadcast .............................. 7.G05

Mstar Semiconductor, Inc. .................. 2.A08

Co., Ltd. ................................................. 1.A03

Infomir ................................................ 14.L09

Korea Pavilion ...................................... 5.A14

Marquise Technologies ....................... 7.H03

MTF Services LTD ..............................12.G45

Hewlett Packard Enterprise ............. 9.MS62

Innodisk ................................................ 7.H09

Kupo Grip ............................................12.G63

Marshall Electronics ..........................12.D20

M-Three Satcom - a business division of

HEXAGLOBE ........................................ 14.L10

INNOPIA Technologies, Inc. ................. 5.C16

Kxwell ...............................................11.B22d

Massive............................................... 14.B20

Giglio Group SpA .................................. 5.B35

HGST ..................................................... 7.F39

Innowave Technologies, S.A ............. 14.L15

Masstech Innovations, including SGL ....7.J15t

MTS Media Technical System ...........12.B53

HHB Communications Ltd ...................8.D56

Inovativ ...............................................12.D52

L3 Narda-MITEQ ................................... 1.E02

Masterplay GmbH ................................ 8.A16

MULTICAM SYSTEMS ....................... 12.E56a

Hi Tech Systems Ltd ..........................10.A43

Inovonics Inc ..................................... 8.C95w

Lacie...................................................... 7.J42

MASV.io .............................................. 2.A41e

Multidyne Video & Fiber Optic Systems...11.D40

Hibox Systems.................................... 14.L12

Inrevium................................................ 5.B21

LanParte Technology Limited ...........12.A50

MAT - MAD ABOUT TECHNOLOGY .....12.A64

Murraypro Electronics .......................8.B38h

Hide-a-mic............................................ 8.E34

Inside Secure..................................... 14.M29

LaON Technology Co., Ltd ................. 10.F23

Matrix Solutions ................................. 9.LP22

MusicMaster | ON AIR .......................... 8.E06

Hiltron GmbH ........................................ 5.B80

instaDIGITAL ....................................... 14.P07

Laowa Lenses .................................... 9.LP18

Matrox................................................... 7.B29

Muvi LLC ............................................. 14.E06

HiMedia Technology Limited............. 14.G03

InSync Technology............................... 3.A18

Lasergraphics ...................................... 7.F01

Matthews Studio Equipment Inc.......12.G71

Mux ..................................................... 14.L18

Hisilicon Technologies co., Ltd ........... 2.A49

InsysPlay .............................................. 9.LP1

LAWO..................................................... 8.B50

MaxLinear, Inc.................................15.MS23

MuxLab ................................................. 3.A30

Hispasat ................................................ 1.C37

Inteca GmbH ......................................... 8.C05

Layer 3 Systems................................... 1.A78

Maxon Computer GmbH ...................... 7.K30

MWA Nova GmbH ................................. 7.E30

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M

Mogami UK ...........................................8.D56

07/09/2017 23:56


Making it rain.

OTT

OTT

Leveraging the latest OTT technology to deliver the greatest, most lucrative OTT content Broadcasters, studios and other content publishers are now realizing the full potential of over-the-top (OTT) content delivery, thanks to the ongoing maturation of video streaming platforms and services. Working with streaming and distribution technology partners, they can deliver programming and advertising that look, feel and act like traditional broadcast TV, but with a unique degree of personalization and the flexibility of anywhere, anytime viewing. An end-to-end platform for video streaming can give content publishers the tools needed to encode, package and deliver content to each viewer. They need to keep an eye on the full delivery infrastructure, even the “last mile”, and leverage this information in real time to offer the best possible and most personalized experience to all viewers. The aggregation and intelligent application of data on viewer habits and preferences allows publishers to go one step further and serve up timely, relevant content that’s likely to satisfy the individual viewer and extend his or her viewing sessions.

At the same time, today’s sophisticated end-to-end video streaming platforms are becoming increasingly effective and agile in supporting demanding applications and new use cases. Despite many obstacles to

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success, live streaming at scale has become relatively straightforward, resulting in the live broadcast TV experience that media consumers expect. Unprecedented personalization, smooth live streaming and support for new formats are examples of how OTT services can transform the viewing experience. The evolution of the technologies and platforms supporting OTT delivery is also changing the very nature of content creation workflows and the publishing business itself. By incorporating a cloud-based content intelligence system into the overall online video production and distribution pipeline, today’s streaming platforms are able to automate key processes across this pipeline and provide the timely and accurate cost, performance and revenue insights, into each piece of content, essential to building a profitable OTT service. Although TV Everywhere and OTT providers are finding ever-greater success in monetizing their multiplatform media streaming services, many still lack the data needed to determine if a piece of content they produced or licensed is generating dollars. Providers are

increasingly looking for ways to maximize revenue generation and are now looking into how advanced streaming platforms are using new technologies and workflow models to offer better business insights. This, in turn, raises the efficiency and profitability of OTT content delivery, all while lowering the overall risk of creating or acquiring new content. By orchestrating and streamlining the movement of metadata and digital media assets through production, approval, distribution, monetization and eventual consumption by viewers on connected devices, today’s leading-edge OTT streaming and distribution platforms not only enable users to optimize the end-to-end pipeline, but also empower them to be agile in offering content and services that are well-aligned with viewer demand. Working with such a platform, content creators and publishers are positioned to capitalize on the latest technical innovations, workflow efficiencies and business strategies; which, together allow for smarter, more profitable, and more engaging offerings and services.

Visit us in Hall 7, Stand C11

06/09/2017 08:03


Verizon’s Deliver application puts industry-leading compliance, monitoring and OTT Delivery in a single footprint The addition of Verizon’s Slicer application, an essential software element of the Uplynk Video Streaming service, into Volicon Media Intelligence’s Deliver application combines industry-leading compliance, monitoring and over-the-top (OTT) delivery. The Slicer application gives broadcasters the ability to take the same feeds currently used for compliance and monitoring, and encode and deliver them via OTT or TV-Everywhere (TVE) services, as well as through web and social media-sharing platforms. This unique combination enables existing Volicon Media Intelligence service customers to immediately address the OTT opportunity by launching offerings quickly and efficiently The Volicon Media Intelligence service offers the ability to define unique profiles to automatically place common metadata elements (show name, original air date, etc.) into formats that are suitable for each delivery platform, greatly reducing the amount of manual data manipulation that needs to be done. When broadcasters choose to distrib-

Volicon Media Intelligence Service overview Volicon on-prem appliance

ute OTT content to their own websites and portals, a much greater level of control becomes possible. The Uplynk Video Streaming service’s Slicer application takes a video stream, slices it into a series of content segments (a.k.a. “chunks”), which are then immediately encrypted and uploaded to a secure cloud environment. As soon as content arrives in the cloud, the Uplynk Video Streaming service goes to work creating multiple renditions of the content to cover the full range of viewing quality profiles associated with adaptive bitrate streaming (ABR) formats. OTT functionality can be accessed through the Deliver application on the Volicon Media Intelligence service dashboard. This feature provides direct access to the content management system and tools for the Uplynk Video Streaming service, all from a single user interface. With an integrated system like the Volicon Media Intelligence service, errors that occur at any point in the signal’s journey from source to destination can be brought to the

Uplynk Video Streaming Service

OTT origination (Slicer) Broadcast video

Viewer watching on device

CMS/OVP Clipping social media & website Broadcast monitoring & compliance

attention of the system operator for quick resolution, before they propagate downstream and are posted online. The Volicon Media Intelligence service can also be used to “close the loop” and monitor OTT signal quality at the output of a CDN to provide complete, end-to-end verification of a stream’s quality of experience (QoE). The proliferation of new delivery channels in OTT has made life more complicated for broadcasters, but this doesn’t mean that huge new investments need to be made to deliver and monitor content online. For current users of the Volicon Media Intelligence service, integrating the Slicer application couldn’t be easier. In most cases, the existing hardware is adequate or can easily be upgraded to handle the additional processing load of incorporating the Slicer.

A smarter platform for digital media

from content to experience.

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Visit us in Hall 7, Stand C11

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06/09/2017 08:04


NEED IMAGE OF OTT CONTENT (videos of myths... bigfoot...)

To succeed at a high level, content owners have to understand how to program for digital viewers. This means that the content experience must be personalized for each viewer.

Debunking the top four OTT myths There are many myths about OTT (over-the-top) that need to be debunked. Otherwise, we run the risk of misunderstanding the market and its opportunities. This goes for content producers, advertisers, those in TV business, and even consumers.

Myth #1: TV is dead Let’s start by saying that it’s not dead. Not even close. There is currently more content than ever; even Twitter has TV. The way to beat this myth is to realize that the definition of TV has changed. We no longer only watch linear TV. We stream, share and engage in a personalized model of video content. We’ve traded channel surfing for binge watching. It’s still TV. Netflix is no different to TV than HBO was to cable in 1980. They are companies that distribute and more importantly produce amazing content.

Myth #2: Content owners are ready The second myth I want to examine is the idea that organizations are ready for the shift from linear TV to OTT. Some organizations, such as the OTT natives like Netflix and Hulu,

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are more ready than others. But for most, they are still working through how they want to prepare for the not so distant future. They know how to make their content available for digital marketplaces, but they lack the data to fully understand the “where” and “how” to present it. One of the key takeaways from April 2017’s NAB show in Las Vegas, Nevada is that legacy TV and media companies are struggling with the move to OTT. They have been at the top of the game for 65 years. To continue to succeed at a high level they have to understand how to program for a digital viewer. This means that the content experience must be personalized for each viewer.

Myth #3: Consumers don’t like ads One of the most persistent myths around is that consumers don’t want advertisements. In fact, over 50% of Generation Z (the generation younger than millennials) enjoys watching ads. The key is that they have to be engaging, relevant (personalized) and inoffensive. A related myth is that subscription fees for

services are enough to maintain a fit ecosystem. This is simply not true. They aren’t enough.

Myth #4: Advertisers are ready Programmatic ads are the future of true OTT monetization, and the market is not prepared. In traditional TV, you are selling to an entire market. It’s one ad spot that is delivered to the entirety of your audience. But, with OTT, you are serving dynamic ads for each spot as the content is highly personalized. How we buy ads has to evolve. The programmatic space has a long way to go to be well stocked with high-quality video that is brand safe. We need traditional ad buyers to stop fearing the loss of their jobs, and become pillars for programmatic so that the entire industry can succeed. We saw this resistance in the OTT space when traditional leaders from broadcasting feared the inevitable. The leaders of those businesses now are the ones that embraced the change instead of fighting it.

Visit us in Hall 7, Stand C11

06/09/2017 08:05


What’s new for IBC 2017 Personalization and insights with Smartplay by Verizon

Volicon Media Intelligence service

At IBC 2017, Verizon Digital Media Services’ smarter platform will highlight how their unique 1 to 1 session management technology, Smartplay by Verizon, offers smarter delivery, insights, advertising, programming, discovery and protection by generating dynamic manifests for each and every user. Eliminating the complex systems and poor visibility associated with reliance on loosely stitched together supply chain providers, Smartplay also eliminates additional costs and delays in preparing content for different platforms and monetization strategies. As a result, Smartplay makes it easier and more economical than ever for content providers to launch and operate successful OTT services while still maintaining exceptional quality of service.

The Volicon Media Intelligence service enables broadcasters to use industry-leading video capture, archive, compliance monitoring and automated clip-creation technology to bring high-quality content to viewers quickly via OTT-based delivery. At IBC 2017, Verizon Digital Media Services will demonstrate how this service unites digital media transformation workflows from the worlds of traditional broadcasting and OTT delivery, in turn reducing the cost and complexity of multiplatform delivery. Deployed at more than a thousand broadcast locations worldwide, the Volicon Media Intelligence service records broadcast content across interfaces, including SDI, transport stream and analog, for purposes of monitoring, compliance and review. Integra-

tion of the service with the Slicer application, part of the Uplynk Video Streaming service, puts industry-leading compliance, monitoring and OTT delivery in a single footprint within a broadcaster’s facility. Activated as quickly and easily as flipping a switch, the Slicer application gives broadcasters the ability to ingest video, encode it into multiple bit-rate profiles, encrypt it, and distribute it via OTT or video-on-demand services, as well as through web and social media sharing platforms.

Visit us in Hall 7, Stand C11

The smarter way to stream live events. Stream live events with our end-to-end platform that solves the challenges of: location variability, event life cycle, resource scheduling, content delivery and monetization. Introducing our 1 to 1 session management technology, Smartplay by Verizon. With smarter delivery, smarter advertising, smarter insights and more, you can now give your viewers the live experience they’ve always wanted: seamless, personalized, smarter.

Visit us in Hall 7, Stand C11 to see Smartplay in action at IBC. verizondigitalmedia.com/ibc-2017/

©2017 Verizon Digital Media Services

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|

info@verizondigitalmedia.com

|

+1.877.334.3236

| verizondigitalmedia.com

06/09/2017 08:06


Full Colour

Published on behalf of the IBC Partnership by

White

theibcdaily

67

theibcdaily

Mware Solutions ................................ 14.F10

NovelSat................................................ 3.A27

PerceptionTV Ltd............................... 14.M34

Radionor Communications AS .......... 9.LP40

SatixFy .................................................. 3.B26

MX1 ....................................................... 1.B24

NTP Technology A/S ............................ 8.B52

Perceptiva Labs..................................8.D82c

Raidsonic Technology GmbH .............. 5.C23

Satmission............................................ 5.A19

NTT Group ............................................. 2.C58

Percon ................................................. 10.E51

OUTLINED RaLex Solutions ................................... 8.E69

SatService GmbH ................................. 1.F47

NAB Show ............................................. 6.A18

Nuance Communications .................15.MS4

Perfect Memory..................................8.B36a

Rambus Cryptography Research ........ 1.A40

Scale Logic ........................................... 7.H39

nablet GmbH ......................................... 7.A49

NUGEN Audio ........................................8.D56

Phabrix Limited ..................................10.B12

Rascular Technology Limited ............. 6.C19

SCALITY ................................................ 7.G16

NAGRA................................................... 1.C81

NXP Semiconductors ......... 9.MS54, 9.MS55

PhenixP2P Inc. ................................... 9.LP24

RatPac Dimmers ................................12.D39

Schill GmbH & Co. KG ........................ 12.C21

Nagra Audio.......................................... 8.E96

NyeTec Limited..................................... 2.C31

Phoenix7 Ltd......................................... 3.C21

Rausch Netzwerktechnik GmbH ......... 6.A20

Schneider-Kreuznach ........................12.D53

Phonak .................................................. 8.A48

RCS........................................................8.D16

Schoeps Mikrofone .............................. 8.C64

N

NAGRA................................................... 1.C81

O

nangu.TV............................................. 14.J15

O.C White Co. ........................................ 8.E27

Photon Beard......................................12.A41

RCW Technology Co. Ltd. .................... 5.C63

Schulze-Brakel Schaumstoffverarbeitungs

Nanjing Cleanwave Communication

Object Matrix Ltd................................6.C28u

Pilotfly .................................................11.A01

RED Digital Cinema ...........................9.MS68

GmbH ....................................................8.D75

Technology Co.,Ltd .............................. 5.B16

Ocilion IPTV Technologies GmbH...... 14.H19

Pixel Power........................................... 7.A31

Red Hat Ltd ......................................... 14.F16

SCISYS Deutschland GmbH ................. 8.B61

Nanjing Nagasoft Corporation...........6.A29b

OConnor .............................................. 12.E65

Pixellot ................................ 3.B56f, 15.MS39

REDCAP - 4K Videosolutions ............... 5.C43

Screen Subtitling Systems .................. 1.C49

NANJING YINGCHEN PROVIDEO EQUIPMENT

OCTOPUS Newsroom ........................... 7.G38

Pixit Media..........................................7.K01u

Reinhardt GmbH ................................... 8.A20

SCTE .....................................................8.F51e

CORP. LTD.........................................11.B24c

OFFHollywood..................................... 12.E65

Plaber S.r.l. - HPRC Cases ................. 12.C67

Remote Solution Co., Ltd. .................... 5.C53

SDVI Corporation................................ 14.H04

nanocosmos ....................................... 14.L13

OMB Broadcast .................................... 8.E95

Plastica Panaro ..................................10.D30

Research Concepts Inc...................... 1.F58a

SeaChange............................................ 1.F70

Nanuk By Plasticase Inc.................... 10.F37

OMNI REMOTES founded by Philips.... 1.A81

PlayBox Technology Europe Ltd ......... 1.A10

Revgo Global Inc. ................................. 1.F13

Seagate ................................................. 7.J40

Narda Safety Test Solutions GmbH..... 8.E24

Omnia Audio .........................................8.D47

PlayBox Technology Limited ............... 8.B71

Rezcom ................................................. 0.F03

Secced ................................................12.G73

National Information Society Agency .8.D10

Omniplayer/M&I Broadcast Services . 8.E17

Pliant Technologies LLC .................... 10.F29

RF-Design ............................................. 1.F45

Secure TV, LLC ................................... 9.LP38

National Information Society Agency (NIA) .

Omnistream ........................................3.B56k

Plisch - The Transmitter Company .....8.D32

RFE Broadcast srl................................. 8.C06

SED Systems ........................................ 1.A52

............................................................... 8.F10

Omnitek ..............................................10.A24

PLURA Europe GmbH ........................... 8.B73

RGBlink ...............................................10.A41

SEEDER ...............................................12.G76

Nautel.................................................... 8.C49

Onair Medya Ltd ................................... 8.A28

Pluxbox .................................................8.D96

Riedel Communications GmbH & Co.KG.......

SELFSAT................................................ 5.B33

ND SatCom ........................................... 5.A60

One Stop Systems ................................ 3.A16

Polecam .............................................. 10.C49

.............................................................10.A31

SemanticEdge GmbH ........................... 5.C53

NEC Corporation ................................... 8.B37

Onetastic SRL ....................................... 8.C31

Pomfort ...............................................12.A38

Rip-Tie, Inc ......................................... 12.E73

Sematron ...................................0.B04, 1.A78

NEETRA S.r.l. ........................................ 8.C02

Onframe ............................................10.A42e

Portabrace ..........................................12.D52

RiverSilica.......................................... 14.M05

Semtech Corporation ...........................8.D41

Neotion.................................................. 5.B53

Ontario, Canada ........................2.A41, 2.A46

Porta-Jib ............................................. 12.F30

RIZ - Transmitters Co. .........................8.D40

Sencore|Wellav......................................1.F76

NEP ...................................................... 14.A30

OOYALA ..................................14.D20, 14.P12

Portaprompt Ltd .................................12.G49

RJS Electronics Limited.................... 6.C28w

Senna innovation factory ..................12.G55

Net Insight ............................................ 1.B40

Open Broadcast Systems Ltd ............ 7.J38u

Portrait Displays/SpectraCal.............10.A26

RME .......................................................8.D70

Sennheiser Electronic GmbH & Co. KG .........

Netgem ................................................. 5.C70

OpenHeadend .....................................2.A36b

Postium Korea Co., Ltd. ..................... 11.A09

Robe Lighting .....................................12.B65

....................................................8.D50, 8.F18

NETIA..................................................... 8.C77

Opera TV ............................................. 14.A20

Prime Focus Technologies .................. 7.B12

RODE Microphones ..............................8.D56

SERAPHIC Information Technology

NETPA ................................................... 3.A20

Oppenheimer Camera Products........ 12.C73

Primestream .........................................7.D21

Rohde & Schwarz................................. 7.E25

(Shanghai) Co., Ltd. ...........................14.N12

NetUP .................................................. 14.J17

Optical Cable Corporation ................. 10.E59

ProConsultant Informatique ................ 2.B21

Roku .................................................... 14.G10

Servicevision ...................................... 12.C43

Network Innovations ........................... 5.A16

Optispeech.......................................... 14.H12

Prodys S.L............................................. 1.A39

ROOT6 Technology ............................... 7.E21

Servicios Especiales De Accion, S.L. .. 0.B07

NeuLion ............................................... 14.F34

Optiva Media ........................................ 3.C17

PROFITT Ltd .......................................... 7.A08

Rosco Laboratories ............................ 12.E45

SES ........................................................ 1.B51

NEURO MEDIA SOFTWARE ...............10.D31g

OptoMedia Technology Inc.................. 8.B26

Progira Radio Communication ............ 8.A50

Ross Video Ltd.........11.B08, 11.C10, 11.C23

Setplex LLC.........................................14.N06

Neutrik AG ............................................ 8.C90

Optoway Technology Inc. ................... 8.E41

Projects Department Ltd ...................12.A41

Rotolight .............................................12.G48

Sevenoak (Hong Kong) Technology Co.,Ltd .

Nevion ................................................... 1.B71

Oracle.................................................... 7.G37

Promax Electronica S.L. ...................... 8.E44

ROVER Laboratories ............................. 8.B67

...........................................................12.B61a

New Age Factory ................................ 9.LP30

Orban Europe GmbH ............................8.D93

ProMAX Systems.................................. 7.J01

rprobe ................................................... 8.E25

SGO........................................................ 6.A11

New Japan Radio Co., Ltd ................... 5.C71

ORCA BAGS Ltd. .................................12.D21

ProSup ................................................ 12.C77

RRIOO Technology Co.,Ltd................. 3.A21e

SGT ........................................................ 8.A98

New Tinxs ......................................... 10.F42b

Ortana Media Group Ltd .................... 8.B38c

ProTelevision Technologies ................ 8.C48

RSCRYPTO ............................................ 3.A22

Shanghai OTEC Technology & Information

Newtec .................................................. 1.A49

OSEE TECHNOLOGY CO., LTD. ............10.D59

Providius ............................................... 8.A42

RSG Media ............................. 14.J06, 14.J07

CO. LTD ................................................. 2.C29

NewTek ................................................. 7.K11

Osprey Video ........................................ 3.A60

Provision T.S Ltd .................................. 8.E93

RT Software Ltd ................................... 9.A01

Shanghai Tekcare Industrial Limited 12.B67

NEXGENWAVE ....................................... 5.C51

OVERLINE - Systems ............................ 8.E94

Provys ................................................... 2.B49

RT-RK .................................................... 5.B32

Shaoxing Rising Electronic Co., Ltd..3.A21b

NexGuard .............................................. 1.C81

Ovide Smart Assist.............................12.G43

PRO-X CO., Ltd.................................... 12.E53

RTS (Royal Television Society).......... 8.F51d

SHAPE ................................................. 12.C51

PSI Audio .............................................. 8.E96

RTS Intercom Systems ......................10.B48

Sharpstream........................................8.C95t

Pyras Technology Inc. ......................... 2.A52

RTW .......................................................8.D89

Shengzhen Yelangu Technology Co., LTD ....

Ruige ................................................... 12.E37

...........................................................11.B24b

Nexstreaming .....................................14.D24

P

NEXTO DI Co., Ltd. ..............................12.G37

P+S Technik .......................................12.B12

NGCodec ............................................... 5.B21

Packet Ship ........................................ 14.H11

NHK ....................................................... 8.G01

PacketLight Networks Ltd. .................. 6.A15

Qarva................................................... 14.E30

Russian Satellite Communications

Shenzhen BestView Electronic Co., Ltd........

Nice People At Work ..........................14.D01

PacketStorm Communcations ............ 2.C57

Qbit GmbH............................................. 8.E49

Company (RSCC) .................................. 1.B31

............................................................. 10.F45

Nicepower Tech. Inc ............................ 8.A22

PAG Ltd. ..............................................12.B36

Qligent................................................... 8.E47

ruwido ...................................................1.D69

Shenzhen C&D Electronics Co.,Ltd ..... 1.F90

Nila LED Lighting................................12.A48

Palladio Acoustics ...............................8.D11

Qorvo..................................................... 1.A46

Rycote Microphone Windshields Ltd .. 8.C64

Shenzhen Commlite Technology Co.,LTD ....

Nimbus, Inc. .......................................11.A48

Panaccess ............................................ 5.C42

Qtake...................................................12.G43

RYMSA RF............................................. 8.C65

...........................................................11.B22e

Ningbo Eimage Studio Equipment Co., Ltd ..

Panasas, Inc ......................................... 7.J31

Quadrille .............................................2.B39d

............................................................. 12.C54

Panasas, Inc. ........................................ 8.C07

Quadrus ................................................ 7.K25

S3 Satcom Ltd ...................................... 1.B91

CO., LTD. .............................................11.B26

Ningbo Haida Photo Supplies Co., Ltd.

Panasonic Marketing Europe GmbH. 11.C45

Qualstar Corporation ......................... 10.E50

Sachtler............................................... 12.E65

Shenzhen Datamax Technology Co,. Ltd......

SAE Inc................................................2.A41g

.............................................................3.B37a

Q

S

SHENZHEN CRYSTAL VIDEO TECHNOLOGY

.............................................................11.A46

Panda O.S ............................................ 3.B56i

Quantenna Communications..........15.MS27

Ningbo Suncy Electric Appliance Co., Ltd ....

Paneda .................................................. 8.B23

Quantum ............................................... 7.B27

.............................................................11.A30

Panodic Electric (Shenzhen) Limited .. 3.B37e

Quantum5X Systems Inc. .................... 8.B02

Nippon Control System Corporation .10.A12

Panther GmbH .................................... 12.E20

Quicklink............................................... 3.B30

Nisi Filters...........................................12.A55

Paradigm .............................................. 1.F49

Quintech Electronics ............................ 1.F38

NKK Switches Co., Ltd. ........................ 8.A70

Parallax LLC ......................................... 0.B07

Qumulo...................................14.N24, 14.P24

NOA Archive .........................................8.D91

PathPartner .......................................... 5.B21

Quobis .................................................14.N18

Samsung...............................................1.D35

Shenzhen HS Fiber Communication

NoisyPeak ........................................... 14.H16

Paywizard Group plc.......................... 14.F32

Quobyte GmbH ..................................... 6.A20

Sanken Microphone Co.,Ltd ................ 8.C93

Equipment Co.,Ltd................................ 3.A26

Nokia ................................................15.MS17

PBI ......................................................... 2.A30

Qvest Media .......................................... 3.B40

Sans Digital Technology Inc................ 7.B42

SHENZHEN IKAN ELECTRONIC TECHNOLOGY

Nokia OZO ...........................................10.D26

PCCW Global ....................................... 14.J13

SAP Brand Impact .............................9.MS51

CO.,LTD .............................................11.B24a Shenzhen Konka Information Network

R

SAF Tehnika JSC .................................. 8.B24 Sagemcom............................................1.D41 Salsa Sound Ltd. ...............................10.A42f ‘SAM’ - Snell Advanced Media 9.A01, 9.A02 Sam Woo Electronics Co., Ltd. ..........12.G29 SAMdesk............................................ 14.M31

Shenzhen Gizomos Technology Co., Ltd ...... ............................................................. 11.A30 Shenzhen Gudsen Technology Co. Ltd ......... .............................................................11.B18 Shenzhen Hollyland Technology Co., ..11.A25

Nordija ................................................ 14.L06

PDMOVIE .............................................11.A05

R Systems International Limited......... 5.A28

SAPEC ................................................... 1.F27

Norigin Media AS ............................... 14.C11

Peak Communications Ltd. ................. 1.A65

R.V.R Elettronica .................................. 8.E36

SatADSL .............................................. 9.LP13

Co.,Ltd. .................................................. 5.B08

North Telecom ...................................... 1.A44

Pebble Beach Systems ........................ 8.B68

Rabbit Labs .......................................... 3.A44

Satcube ................................................. 3.C16

Shenzhen Liantronics Co., Ltd ..........11.B43

Norwia................................................. 10.C10

Peer5 ...................................................3.B56g

Radica Broadcast Systems Ltd. ........ 8.C95u

Novella SatComs Ltd.......................... 1.F58b

Peli Products ......................................12.A73

Radio Active Designs ........................... 8.B02

57-72 IBC D2 2017 FloorPlanFInal.indd 7

Satellite Interference Reduction Group Ltd.. ....................................................5.B48, 8.B38

Shenzhen New Glee Technology Co., Ltd. .... ............................................................... 2.C45

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Shenzhen Nicent Electronics Co., Ltd. 5.C45

Shenzhen Sunlight Electronic Technology

Sichuan Changhong Network Technologies

Simplylive LTD...................................... 7.G11

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

Shenzhen NITZE Photo Industrial LTD12.E77

Co. Ltd. .................................................. 5.C19

Co., Ltd ................................................ 6.A29c

Singular.Live...................................... 14.M31

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

Shenzhen Olycom Technology Co.,

Shenzhen SVI Technology Co., Ltd. .. 3.A19e

Sichuan Jiuzhou Electric Group Co., Ltd ......

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

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

............................................................... 3.B45

Sinuta SA .............................................. 5.A02

Smart Fun ............................................. 2.C11

Ltd. ......................................................3.A19a

SHENZHEN TONGJIU ELECTRONICS

Shenzhen Raymo Electronics Technology

CO.,LIMITED ........................................3.B37b

SICHUAN VIDEO ELECTRONIC CO.,LTD 3.C31

SIRA-SISTEMI RADIO ........................... 8.C25

Smartclip ............................................14.N21

Limited ...............................................11.B22f

Shenzhen Vivant Technology Co.,Ltd5.A41c

Sielco SRL............................................. 8.A58

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

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

Shenzhen Ruijing Industrial Co., Ltd. . 1.A18

Shenzhen Xinghuoyuan Intelligence Tech

Sigma Corporation .............................12.B64

Sixty ......................................9.MS53, 14.C20

SMIT Corporation ................................. 1.F86

SHENZHEN SDMC TECHNOLOGY CO.,LTD .....

Co.; Ltd .................................................. 3.B61

Sigma Designs ..................................... 2.C33

SK Broadband ...................................... 8.A66

SMK Electronics (Europe) Ltd. ............ 5.B64

............................................................. 14.K02

Shooting Partners Ltd ........................11.B35

Signiant............................................... 14.L08

Skardin Industrial Corp. .......14.P16, 14.P18

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

Shenzhen Skyworth Digital Technology

Shotoku Broadcast Systems ............. 12.E42

Signum Bildtechnik .............................7.D31

SKB Europe BV ..................................... 8.B03

SOC Technologies ..............................2.A46d

Co., Ltd. ................................................. 5.B61

SHOTOVER Camera Systems .............11.B49

Silicon Philosophies – DVDLogic Software ..

SKW....................................................... 8.B27

SOCIONEXT INC. ....................9.LP23, 9.LP27

Shenzhen Sonirock Tech Co., Ltd. .... 9.LP17

Shoulderpod ....................................... 9.LP12

............................................................... 6.A16

Sky Vehicle Technology ...................... 0.B04

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

Shenzhen Soonwell Pro-Video Equipment

Shure..................................................... 8.B35

Silver Brain .........................................11.B44

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

SoftLab - NSK ....................................... 7.A07

Simplestream .....................................14.D11

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

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

57-72 IBC D2 2017 FloorPlanFInal.indd 10

SI Media. ............................................... 8.B93

L3O F37

Elicium

F03

Co., Ltd. .............................................11.B22b

F27

Elicium Fourth Floor

02 D201

F21

K2O

Hall 13 Meeting Rooms Elicium Third Floor

L24

L1 L2

E27

Visitor Registration Entrance Hall 14

Elicium Second Floor

L16 L2OF10

E13

Hall 13 Meeting Rooms

Elicium Third Floor

D204

KO1

D20

J14 D24 D27 J13 J15 D30 J17

L

LO6 L10

EO5 E06 E09

J2O

F33

D202

E30

D30

H15 H16 H17

F27

E27

D201

C15

C20

H2O

F32

K06

D14

C18

C19

C30

A30

F21

F16

Elicium Second Floor

D24 D27

F11

D10 D11

C17

B26

G16 G18

Visitor Registration Entrance Hall 14

F15

E20

D20

F10

F05

E17

D01

HO7 C10 C08 HO9

KO2

H12 H11 H14 H13

G11 G12 G14 G15 A20

C01 C02 C03

C11

B27

E14

D14

C11G80 C15

B20

A10

E13

D10 D11

C08G75

B05

B06

D01

G1O

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G63

G77

F78

A12

A01 A02 A03 A04

G61

G64

JO2 JO1 JO6 JO5 JO7

HO2 HO1 HO4HO3

G49

A12 F67 C01G68 C02 G71 C03

D66 C75

C72

B01

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New Visitor Registration G53 Hall 13 Basement F51 E51 G54 F50 Entrance D G55 E53

A01 A02 A03 A04 Canon Europe Ltd

A70 A75

G46 G4S

F61

C61

B64

A66

A01

Europa Foyer

3

D60

B65

A73

F41 F44

E45

D47

D52

C51

C54

China B61

A68

D45 E42

C43

C40

A55

A64

F38

D42 B45

B42

A47

A50

C5B

G41

A41

A48

B59

A58

E5O E51 E52 E59

G25

A38 A40

MS39

G111

Exhibitor Catering Point (ground floor) IBC Organisers’

G11

Sony A10 ARRI

E28

IBC TV A08

C50

Conference

F11

F20

A51

G110

F45

B51

3, 4

G27

12

D59

Huawei Technologies Co. Ltd. A06

A10 A12

F41

MS29

(First Aid Hall 13 F51 Elicium Basement) D57

10

Belgium F42

D41

D46

B48

A49

A20

Exhibitor Registration Holland Entrance Entrance C

C49

B41

A42t

A4O A44

B44

A41

C4O

B45

IBC IP Showcase E106

MS37

MS38

MS7

A52

G109

F37

GB & NI Pod A42

B4O B43

B39

F35

A49

A50Technicolor

G108

F33

Belgium D31

MS27

MS5

F27 F29

D30

C33

Riedel Communications GmbH & Co.KG A31

C32

B35

F24

D29

D15

C23

B27

B26

A31

A35 A36

A28

D2O

China B24

A25

D13

C17

China B22

A18

OUTLINED

C15

Ross Video Ltd C1O

C48

MS36 MS17

A47

Halls 12,13 & OUTSIDE EXHIBITION AREA AO9

B49

MS35

MS4

G107

B40

MS33

MS34 #IBCShow MS23

MS15

Ontario A46

G106

B41

MS32

MS13

G105 For the latest show news and updates follow MS3 F20

MS31

Ontario A41 MS2

Paris B39

MS30

Paris MS1 A36

Europa Foyer

D15

D12

C20

AO4 AO6

G104

A1O

CO2

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First Floor Meeting Rooms

G111 White

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40 39

B32

MS10

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F35

07/09/2017 23:56


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(First Aid Hall 13 Elicium Basement)

IBC Future Reality Theatre

A76

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G12Published on behalf of the IBC Partnership by

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8e

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G14

13 F51

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Huawei Technologies Co. Ltd. A06

Halls 14 & 15

Exhibitor Catering Point (ground floor)

Sony A10

IBC Partners’ Pavilion

A12

A01 A02 A03 A04

LO1 GO3 GO4 GO5 GO6 GOl

A10

Media Centre F004

A20

B26

D10 D11

C11

C15

D14

C18

C30

C36

E14 E17

F10

F05

C37

D30

E26

G16 G18

F11

F15

F21

KO2 K06

KO1 KO5

J1O

H15 H16 H17

A91

MO5

LO2 LO3 LO4

M23 M24

L12 L13 L14 L15

J15

J13 J17

J2O

K14

K16 K18K17

F34

M32 M33

PO2 PO3

PO4

C91

PO5

C95 C97

1

K2O

PO7 PO8 PO9 P13 P14 P15

P16 P18

N17 N18 P17

A30

P21

N2O

M34 N21 N22 N23 N24 P24 P25 P26

A41

F37

3

BO5 A16 A18

A17 China A19

D301

B19

C17

9

D302

Emerald Room & Lounge D303(1st floor) D304

D402

D403

D401

D404

C

A24

Elicium Fourth Floor

Elicium Fifth Floor D405

D408

D406

D407

D502

D503

D505

D504

D508

A28 A30

D506

C

B39

B38

A31

C26

China B37

B36

A29

A40

D507

B27

B30

A27

A26

D501

C18

B26

A23

D204

C16

B25

A22

Elicium Third Floor D203

B15

China A21

Hall 13 Meeting Rooms

D202

A4

IBC Content Everywhere Hub

CE Sales Office

Visitor Registration Entrance Hall 14

Second Floor

Vizrt A20

P12

A20

Press Registration Jade Lounge Entrance F

D92

L3O

F33

E30

M31

A12

K13

F27

E27

N16

M3O

M29

L17 L18 L22 L23

L16 L2O

N12

M28

LO9

D81

A1O A14

C90

NO8

M16

A07

71

NO6

M21

LO8

LO6 L10

A06

A05

NAGRA/Conax/SmarDTV/NexGuard C81

B91

A95 A97

M1O

MO7

A04

F86

NO2 NO3 NO4

L24 J14

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theibcdaily

H12 H11 H14 H13

H2O

F32

JO2 JO1 JO6 JO5 JO7

HO7 HO9

H18 H19

E20

D20 D24 D27

G11 G12 G14 G15

E13

F16

C20

C19

B27

A30

C08

G1O

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EO5 E06 E09

D01

C10

C17

HO2 HO1 HO4HO3

C01 C02 C03

B20

IBC Organisers’ Office (first floor)

MO4

IBC TV A08

ATEME D71

B79

OUTLINED

New Visitor Registration Hall 13 Basement Entrance D

F57

A78

OMNI REMOTES founded by Philips A81

White

Grand Cafe (ground floor) First Floor Restaurant (first floor)

Intelsat Corporation C71

theibcdaily

F14 F15 F16 F17

7

Cisco A71

A74

C

A44 A46 IBC Executive Lounge (ground floor)

B41 A33

A48 A52

B40

Israel Export Institute B56

A54

C46

B45

C60

B52

C63

C

A60

Conference Registration Forum Lounge Entrance E

Diamond Lounge (ground floor)

Auditorium Entrance G

MS10

First Floor Meeting Rooms G104

15

MS30

MS3

MS15

MS23

A20

F23 F24

F27 G108

F29 F35

F37 Belgium F42

F41

Technicolor MS7

MS37

F45 F51

G110

G111

C1B

A21

B21

C28

A34

MS38

B28

57-72 IBC D2 2017 FloorPlanFInal.indd 11

C

C

C

C A29

B30

C32

B31

C

C

MS29

A31

MS39

B32

Ontario A41

Europa Foyer

A47

B49

A49

C

B41

B40

Ontario A46

C

Paris B39

Paris A36

A52 Conference

C1

B29

C C48

C B51

C50

A50

5O E51 E52 E59

C6

C

A32

G109 IBC IP Showcase E106

B19

A30

MS5

F33

um 31

MS27

B20

A24

MS36 G107

C1O

C26

MS34 MS35

MS17

C67

C B11

MS33

G106 MS4

B67

B1O

A09

Dolby Laboratories, Inc. A11

MS32 MS13

B62

A16

MS31

MS2

B61

A61 A63

AO8 A1O

MS1

G105

F21

A62 A64

A51

B59

A58

C5B

C

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C 07/09/2017 23:57

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Full Colour

72 White

theibcdaily theibcdaily

For the latest show news and updates follow

#IBCShow

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

Tata Communications.....................15.MS15

Tinkerlist.Tv...................................... 10.F42g

VideoElephant .................................... 14.F05

Soho Editors ....................................... 9.LP25

Tata Elxsi Limited................................. 1.A50

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

VideoFlow Ltd.....................................3.B56d

Solid StateOUTLINED Logic ..................................8.D83

Tatung Technology Inc. ....................... 3.B27

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

Videomenthe ......................................2.B39h

XD MOTION ....................................... 12.E56c

SOLITON SYSTEMS............................... 2.B11

TBS Technologies International Ltd ... 5.C69

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

Videostrong Technology Co.,ltd. .......5.A41b

x-dream-distribution GmbH ................ 3.B39

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

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

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

Vidi GmbH ............................................. 2.C25

x-dream-media GmbH ......................... 3.B39

Sonnet Technologies ........................... 7.F07

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

TMT Lab Inc. ........................................ 2.A41j

Vidispine ............................................... 3.A23

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

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

Technicolor......................... 15.MS5, 15.MS7

Tolifo (Dongguan) Photographic Equipment

Viewz ..................................................11.A44

XIAMEN CAME PHOTOGRAPHIC EQUIPMENT

sonoVTS GmbH..................................... 8.B44

Techno Mathematical Co., LTD ........... 3.A28

Co., Ltd ................................................12.A66

Vigour.................................................. 14.G18

CO., LTD ............................................11.B22g

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

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

ToolsOnAir ............................................ 7.G45

Village Island ........................................ 2.C55

X-jib....................................................... 8.E02

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

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

Torque Video Systems ......................... 1.F34

Vimeo ................................................. 14.M07

X-Rite Photo Europe...........................12.G48

Spec TV ................................................. 7.A06

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

Toshiba ................................................. 6.C23

Vimmi Communications Ltd. ............. 3.B56c

Xstream A/S ....................................... 14.L22

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

TELE System Communications PTE Ltd........

Total Technologies, Ltd. ...................... 3.A52

Vimond Media Solutions.................... 14.L30

XTRMX .................................................. 8.B22

Spectral Edge ....................................10.A42i

............................................................... 5.C24

TradeCast.tv ....................................... 9.LP10

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

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

Speechmatics....................................... 8.C23

Telebreeze ..........................................14.D10

TRedess ................................................8.D24

Vintage Cloud A/S ................................ 8.C01

Spideo ................................................. 14.H03

Telechips .............................................. 2.C27

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

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

Yamaha Commercial Audio................. 8.C71

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

Teledyne LeCroy................................... 2.A10

Trilogy .................................................10.D29

VISICO Studio Equipment ..................11.A36

Yangaroo .............................................2.A41f

SPINNER GmbH .................................... 8.C29

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

TriVis Weather Graphix........................ 7.H01

Vision III Imaging, Inc. ......................... 8.F05

Yangzhou Jingcheng Electronics

Squadeo ..............................................2.B39b

Telekom Austria Group ..................... 14.M30

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

Vision Research ................................. 12.F44

Co., Ltd. ...............................................3.A21d

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

Telemetrics......................................... 12.F34

TRYO Communications ........................ 8.E40

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

Yegrin Liteworks ................................12.G25

SRTEK LTD ............................................ 0.A03

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

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

Visual Research Inc. ............................ 7.A12

Yella Umbrella ...................................... 9.LP8

SSI COMPUTER CORP........................... 5.C25

TelergyHD ........................................... 14.F10

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

VisualOn, INC ..................................................

Yellowtec .............................................. 8.B30

ST Video - Film Technology Ltd ........12.D66

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

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

..................... 14.G11, 14.G12,14.G14, 14.G15

YESTECH .............................................11.B42

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

Telescript International ..................... 12.F73

Turksat.................................................. 5.C10

Vitec ...................................................... 7.G23

Yospace Technologies Ltd ................ 14.C18

Stampix............................................. 10.F42h

Telespazio........................................15.MS33

TV Control ........................................... 14.H02

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

Yotta Media Labs ............................... 5.B48e

STARCOR .............................................. 5.C29

Teleste .................................................. 5.B68

TV Worldnet Ltd................................10.A42b

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

YoYotta ..................................................7.J31

Starfish Technologies Limited ..........8.B38b

Telestream............................................ 7.B26

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

vMix ...................................................... 6.C13

Yuan High-Tech Development

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

TELETOR, LLC ....................................... 7.A05

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

V-Nova .................................................. 5.A28

Co., LTD................................................. 8.E92

Steadygum ........................................... 8.A12

Televiz.io (Tecsys Video Networks Ltd)........

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

V-Nova Ltd. .......................................11.B30u

YUYAO LISHUAI FILM & TELEVISION

Stereo Tool ........................................... 8.E38

............................................................3.B56m

TVLogic ............................................... 10.C27

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

EQUIPMENT CO., LTD. ......................12.B61d

Stirlitz Media ........................................ 7.H37

TELIA ................................................... 14.P21

TVStorm ................................................ 5.C79

Voice Technologies manufactured by Audio

Stoneroos ........................................... 14.L24

Telikos .................................................. 5.B30

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

Bauer Pro AG ........................................ 8.C73

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

StorageDNA .......................................... 7.G41

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

TW Electronics (Newbury) Ltd ............ 5.B43

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

Zappware NV ........................................ 1.A81

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

Tellyo................................................... 14.H07

Twist Cluster .....................................10.D31l

Voices.com Inc. ..................................2.A41h

Zattoo International AG ..................... 14.C17

StoryMe.............................................. 10.F42i

Telmaco International Limited ...........7.J15v

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

Zaxcom, Inc. ....................................... 12.E33

Stream Circle........................................ 3.C18

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

UEC Multimedia ....................9.LP29, 9.MS52

VOYSYS VR ........................................... 8.E11

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

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

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

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

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

Zenterio................................................. 5.C11

StreamGuys ........................................ 14.L23

Telsat srl ...............................................8.D37

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

VT3 ...................................................... 2.A36c

Zero Density Yazilim A.S. .................... 7.K31

Streampunk Media Limited.............10.A42g

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

Ultra Media & Entertainment Pvt. Ltd9.LP35

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

ZHANGZHOU SEETEC OPTOELECTRONICS

Streamroot.............................14.H01, 14.J02

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

Unified Streaming .............................. 14.C36

VYDEOCORP .......................................... 9.LP3

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

Strong ................................................... 5.B61

Teracue GmbH....................................11.D13

Unilumin Group Co., Ltd.....................11.B35

VYUsync ...................................5.B21, 9.LP36

Zhejiang Guangda Pute Communication

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

Teradek, LLC....................................... 12.E65

UniqCast ............................................. 14.J01

Studer by Harman ................................8.D60

Teralink Solutions- Post Luxembourg Group

Unique Business Systems .................11.A08

W.B. Walton Enterprises Inc................ 1.A62

Zhengzhou Generalink Lighting Equipment

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

............................................................. 9.LP26

Unitron Nv .......................................... 10.F42f

Ward-Beck Systems Ltd. ...................2.A41k

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

StudioTech............................................ 3.A61

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

Unity Intercom ....................................12.G11

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

Zhengzhou Sanhe vision technology CO.,

STYPE.................................................... 7.B11

Texel VR ..............................................3.B56a

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

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

LTD. ..................................................... 10.C25

Suitcase TV................................2.C10, 2.C15

TGL ......................................................12.A68

UPRtek ................................................ 9.LP15

WaveArt ................................................8.D38

Zhengzhou Taiying Video Equipment

Suitest ................................................. 14.E05

Thales Angenieux............................... 12.E36

UTAD, INESCTEC, University of Warwick......

Weather Metrics................................... 3.A64

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

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

The Broadcast Bridge .......................11.B30t

............................................................... 8.F16

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

ZHONGSHAN XINHUANG ELECTRONIC CO

Sundog.................................................. 9.LP4

The European Metadata Group ......... 14.J05

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

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

LTD ......................................................6.A29a

SUNSHINE TOP CO., LTD ...................... 5.C75

The Qt Company ....................14.C02, 14.C03

WeTek ................................................ 14.M28

Zhuhai Gecen Electronic Co.,Ltd .......3.A19d

Sunway Media...................................... 5.C28

The Slow Motion Camera Company . 9.LP31

VANTeC Danmon Group Portugal........ 8.B51

Wheatstone Corporation...................... 8.C91

Zhuhai Yuxun Coaxial Cable Co., Ltd 3.B37c

SURE Universal ...................................3.B56o

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

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

WILDMOKA ........................................... 3.B40

Zippy Technology Europe GmbH ......... 8.A86

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

The Telos Alliance TV Solutions Group8.D47

VBOX COMMUNICATIONS ..................3.B56b

Wildmoka.............................................. 5.A28

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

Suydendorp Broadcasting Facilities... 0.A01

The Weather Company, an IBM Business ....

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

Winmedia............................................8.D82d

Zlense ................................................... 6.A06

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

............................................................... 7.G18

Vecima Networks ................................. 5.C27

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

Zodiac ................................................... 5.C48

SWISS TXT ............................................ 3.B15

THEFINE Co., Ltd................................. 5.A14c

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

Wisi Communications .......................... 5.B50

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

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

THELIGHT-VELVET .............................. 12.C59

VECTRACOM .......................................8.D82b

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

Zoom Corporation ................................ 8.A25

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

THEOplayer ..........................14.M32, 14.M33

Velankani Electronics Private Limited 1.F33

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

Zoom Media........................................ 9.LP33

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

Thimeo Audio Technology ................... 8.E38

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

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

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

Symply, Inc ........................................... 7.J31

ThinkAnalytics Ltd ............................... 1.A74

Venztech ............................................... 3.A26

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

ZTE ........................................................ 5.B19

Synaptics .................................... BS16, BS26

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

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

Wohler Technologies ........................... 8.A54

Zylight .................................................12.D47

SYRP Ltd ............................................. 12.F78

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

Verizon Digital Media Services ........... 7.C11

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

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

Thum + Mahr GmbH ............................ 8.B31

VESET SIA .............................................8.D31

Wooden Camera, Inc.......................... 12.E65

TICO ALLIANCE ................................10.D31m

Vestel ....................................................1.D30

Woody Technologies SAS .................... 3.B39

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

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

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

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

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

Tiffen International Ltd ...................... 12.F30

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

WorldCast Systems.............................. 8.C58

Talia Limited.......................................5.B48a

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

Vidcheck, now Telestream UK ............ 7.B26

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

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

Tilta .....................................................12.G58

VIDELIO - Media .................................10.A16

Wowza Media Systems ..................... 14.C08

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

Timeline Television Ltd........................ 9.A01

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technology Co., Ltd. ............................5.A41f

07/09/2017 23:57


NEW MODULAR MULTISCREEN SERVICE

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theibcdaily OPINION OUTLINED

Seamless integration is the key to broadcast IT Roland Ollek, chief executive, Guntermann & Drunck It’s no longer a valid comment to say that IT is making increasing inroads into the broadcasting world. IT is now fundamental to broadcasting and the two are virtually synonymous. However, the majority of IT products and systems that have made their way into broadcasting studios and OB vans have come off-the-shelf. This means that if these production areas are to function as bespoke units, integration between both IT systems and broadcast equipment becomes the key. Happily, for broadcasters, there is such a bridge: KVM (keyboard, video and mouse). KVM systems can be optimally linked to both broadcast equipment and IT systems. KVM will support all the ‘standard’ IT signals

such as keyboard and mouse, DisplayPort, audio and USB, as well as typical broadcast signals such as SDI and MADI. Technical support is not the only benefit. KVM allows powerful computers to be moved out of the studio into purpose-built air-conditioned equipment rooms, reducing excess noise and heat in the studio. Producers have access to all their systems when they need them without even realising they are operating remotely. At Guntermann & Drunck (G&D), we have ensured that all of our interfaces for the external control of our KVM systems work with the standard broadcast control tools such as KSC or VSM. Regardless of location, each computer can be connected to the

desired projection media and/ or operating screens and be operated from there. In this perfect symbiosis between IT and the broadcast world, G&D matrix systems can also automatically follow complex application processes. The more seamless the integration, the more flexible the studio’s operations. G&D’s CrossDisplay-Switching via mouse cursor has been specifically designed for multi-monitor workstations that access multiple computers – even with different operating systems – at the same time. The mouse acts as if it was on a ‘virtual desktop’, moving across connected displays. When the cursor is moved from an active to an inactive display, the focus automatically switches to the connected computer.

This allows users to intuitively operate multiple systems at the same time with just one mouse and keyboard set. LEDs indicate the active channel so that producers and post-production operators can always see which computer they are working on. One final example of our approach to integration is when an on-air system needs to be marked as such. G&D matrix systems enable operation of different systems and allow for simultaneous access from multiple users. But what happens when one of these computers is used for a live broadcast? To inform producers and users that a computer is working on-air, we offer a tally light function. This allows on-air information to become available to the user at any time, even before switching to a ‘live’

machine because the status is available as an on-screen display and in the computer selection menu. IT is now the dominant factor in the broadcast studio. With the integration benefits of KVM, I’d like to think that this dominance is always under the complete control of the studio and all who work there. 1.B10

Alexa, help me get more listener interaction Broadcast Bionics By Mark Hallinger

Easy: With a home smart speaker, contributing to a show is through simple voice command

With the Smart Speaker Toolkit from Broadcast Bionics and a home smart speaker, radio consumers are fully enabled to reach the studio by voice command, and through the information already stored in the smart speaker, contributions will be content fit and ready to air.

For example, say “Alexa, tell the studio I like this song” or “Alexa, tell the studio the answer is …” and the message instantly appears in the studio’s message queue. Audiences reactions are fresh and immediate and become a rich source of new content and contributors, claimed Broadcast Bionics. Stations can connect the Broadcast Bionics Smart

EH Series continues to expand Switchcraft By Heather McLean The EH Series connector system from Switchcraft offers an extensive line of modular audio, video and data connectors. All EH Series connectors have XLR-style housings and fit into the same industry-standard size panel

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cutout (24mm diameter), which makes creating and modifying custom I/O solutions fast and easy, said the company. The array of connector options includes the popular 9- and 15-Pin D-Sub, RJ45, LC/SC/ST fibre optic, 75-Ohm BNC, HDMI, USB, Mini DisplayPort and more. Here at IBC the latest additions,

Speaker Toolkit to Google Home, Apple HomePOD and Amazon Alexa. Broadcast Bionics said the latest research forecasts Amazon Alexa sales to hit 10 million this year, and the company said that it was keen to ensure that there’s a place for radio in the fast-changing way in which audio is consumed. 8.D71

Creating and modifying custom I/O solutions is fast and easy with the EH Series

including USB 3.0, can be seen on Switchcraft’s stand. Stephen Waldron, director of international sales, Switchcraft, said: “Because of its diversity and ease of fitting, our EH Series range is widely used by systems integrators, and is also one of our most popular exhibits at shows such as IBC.” 11.D45

07/09/2017 23:36


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AoIP on stream OUTLINED

Digigram

By Mark Hallinger The IQOYA *VIP audio-over-IP software provides high-performance encoding, decoding and streaming capacity for both Windows and Linux applications. Using IQOYA

*VIP to access and leverage Digigramâ&#x20AC;&#x2122;s established AoIP technology as a software service, ecosystem partners can quickly create their own live-streaming, processing and encoding systems, said Digigram. Martin Dutasta, product manager, Digigram, said: â&#x20AC;&#x153;IQOYA *VIP can integrate seamlessly

with any audio software solution on a physical PC platform, as well as on virtual machines, to provide a costeffective and flexible solution with performance comparable to that of hardware-based solutions. For users, these benefits translate to versatile and reliable encoding, decoding, processing,

routing and streaming of multiple high-quality audio programmes over IP.â&#x20AC;? IQOYA *VIP runs as a software service in Windows or Linux environments on physical or virtual instances. Among the first AoIP software engines to combine full-duplex ACIP capability with real-time audio AES67 connectivity, the new Digigram product enables a variety of value-added use cases ranging from a simple AES67 AoIP virtual sound card to a complex

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multiformat transcoding farm for headend distribution. Capable of accepting all major broadcast audio formats, the Digigram software features stereo and multi-channel audio I/O, accommodates up to 32 stereo virtual sound card devices, and offers multiple simultaneous encode/decode functionality, with support for AoIP streaming protocols including RTP/UDP, ACIP (EBU Tech 3326), AES67, Livewire, MPEG-TS, and Icecast/SHOUTcast. 8.C51

National Film and Television School goes 4K Sony By Monica Heck The National Film and Television School (NFTS) has opened a 4K digital content training studio and hub, and Sony is discussing its installation of 4K and HDR live production tools in the facility. The Sony Gallery is part of the new facilities at the NFTSâ&#x20AC;&#x2122;

Beaconsfield campus in England. The space will provide an opportunity for students to learn the ropes of television production and prepare them for the world of modern broadcasting, with the ability to shoot, record and stream live content in 4K. In order to deliver some of the UKâ&#x20AC;&#x2122;s first 4K native studio courses, the facility has been equipped with Sony 4K

technologies, including six HDC-4300 system cameras, an XVS-7000 switcher and a PWS-4500 live server system, all capable of supporting 4K, HDR and IP workflows. Nik Powell, director at the National Film and Television School, said: â&#x20AC;&#x153;Educating and inspiring the next generation of production professionals means ensuring they have access to

The NFTS is inspiring the next generation of production professionals â&#x20AC;&#x201C; credit Paul Grover

the tools theyâ&#x20AC;&#x2122;ll encounter when they enter the world of full-time employment, and

4K has become an absolute necessity for this.â&#x20AC;? 13.A10

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4K front and centre

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New Linux and Android 4K STBs make their debut at IBC

OUTLINED

Eagle Kingdom Technologies (EKT) By Ian McMurray 4K resolution is front and centre of everything EKT is showing and talking about at IBC. The company is launching a new 4K, UHD, HDR, HEVC Linux platform. EKT has ported its solidTV STB middleware,

delivering its pre-integrated solution for IP, OTT as well as hybrid STB needs. According to the company, this means that any existing or new customer looking for a future-ready product can opt for a 4K platform to ensure the longevity of their investments. EKT also noted that it has managed to create a solution with only a small cost uplift

from the existing HD solutions it is shipping today. Richard Smith, CEO, EKT, said: “Our goal is always to deliver something better for our customers. We were tempted to launch a 4K range last year, but believed that both the chipsets and the market were not ready for it. Now, we have the confidence we can deliver a future-proof solution ensuring

the best investment for our customers.” In addition to its Linux platform, EKT is also launching a range of Android operator STB solutions. Built with a 15,000 DMIPS SoC, EKT said

it delivers an operator quality and featured Android STB. Also being demonstrated is an upgraded 4K version of the Operator TV EKT launched at IBC last year. 5.C48

FT-One speeds into IBC FOR-A

By Will Strauss The latest version of the FT-One high-speed 4K camera is making its IBC debut. The FT-One-LS-12G is designed for fast-paced sporting events and is said to offer high-quality image

performance even in low light conditions. It supports 4K shooting at 500fps and up to 1200fps in HD. The camera is equipped with a sensor that enables noise reduction. Other FOR-A products making their show debut at IBC include the FRC-9000 and MCC-4K frame rate converters, and the

USF-10IP 10 GbE IP Converter. The latter is a dual 10GbE video over IP module series that changes signals to and from various IP video formats including Aspen, NMI, SMPTE 2022-5/6, SMPTE 2110 and TR-03/04. Another first for IBC is the Yem Eletex LMCC-8000 8K/4K linear matrix colour converter.

The FT-One-LS-12G has a sensor with built-in noise reduction

Jointly developed between FOR-A and Japan’s NHK, the unit converts colour gamut and dynamic range of dual

green or full resolution 8K signals, and also supports 4K-UHD and full 4K signals. 2.A51

New waveform rasteriser on display Omnitek By Heather McLean

Ultra TQ supports analysis and generation of all SD, HD and 3G-SDI formats

The Ultra TQ is a fully equipped waveform rasteriser, which inherits functionality from the Ultra 4K Tool Box and the Ultra XR products. The Ultra TQ supports analysis and generation of all SD, HD and 3G-SDI formats as standard, with an upgrade path to 4K/UHD if needed. On demonstration is Ultra TQ’s analysis of video over SDI or IP

link, for use as a SMPTE 2110/ SMPTE 2022-6 enabled waveform rasteriser. The analysis instruments within the Ultra TQ include picture, waveform monitor, vectorscope, gamut meters, video timing, video and audio status monitoring, event logging, closed caption display, closed caption logging, audio meter display, and loudness graph as standard. Physical layer analysis and advanced physical layer analysis are available as options for use anywhere signal integrity needs to be checked. All of the physical and functional

parameters of the video signal can be logged against timecode, making it ideal for programme QC, said the company. Rob Arnold, VP of worldwide sales, Omnitek, said: “The Ultra TQ provides a sophisticated range of tools for broadcast, supporting SD, HD and 2K video over SD, HD and 3G and SMPTE 2110 links. We believe that this new product will prove very popular with all those working in the ever-changing broadcast environment.” 10.A24

Enhanced remote production slomo.tv

By Mark Hallinger A key focus of the slomo.tv stand is its Dominator AT/3G server, which was launched at NAB and now features an enhanced AVC Intra encoder option. This means it is now compatible with both Panasonic

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AVC Intra and Sony XAVC media formats. Another key development is an integrated solution for remote broadcast, based on slomo.tv’s Dominator AT/3G server and a production MAM by industry newcomer HTS. This combination enables users to remotely create summaries

and special playlists as well as allowing event logging and pre-editing during the live recording of shows. Also of note at IBC is a new phase of development for the company. Mike Gilman, CEO, slomo.tv, said: “We are capitalising on our technological success, we are expanding into

The Dominator AT/3G server, now compatible with AVC Intra and XAVC formats

new markets. Kate Krivitskaya has taken on the role of general manager, which will leave me more time to work with

partners and investors around the globe. We are expecting the best IBC in our history.” 8.B40

07/09/2017 23:38


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Multi-channel audio gets down OUTLINED

Nugen By Mark Hallinger Making its European debut is Halo Downmix, designed for the precise downmixing of feature film and 5.1 mixes to stereo. Nugen said the product delivers accurate downmixes that are no longer limited to typical in-the-box coefficient-based processes. It allows for unprecedented adjustment, and provides visual controls for relative levels, timing and direct vs ambient sound balance. Dialogue level can be maintained effectively with

phantom centre ratio controls, and excess ambient sound from rear channels can be managed easily. Nugen said low frequencies can also be regulated to ensure appropriate levels in downmix, and timing artefacts in surround channels introduced by legacy upmix practices are now easy to fix, either manually or by using the Halo Downmix auto detection functionality. Halo Downmix introduces a surround-to-surround mode for adjusting existing 5.1 or 7.1 mixes for better downmix compatibility or rebalancing of the surround mix.

For the latest show news and updates follow

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Nikon-shod mod Pod Mark Roberts Motion Control By David Fox The MRMC Pod combines a modular robotic head with a Nikon D5 DSLR in a package that offers Ultra HD or HD video in a completely weatherproof unit (IP67), which is extremely accurate (0.00001º) and very responsive.

Because it uses a Nikon FX-size sensor it offers wide dynamic range, colour depth and low noise performance. It can also be fitted with a huge range of Nikon-compatible lenses. The camera is completely integrated into the head for full control. The MRMC Pod system, which breaks down into three key components, is designed to be simple to

quickly adapt from a wide-angle lens enclosure to one containing a long telephoto lens. Even the largest robotic pod can easily be installed by one person, and the Pod can be controlled using Mark Roberts Motion Control’s Multi Head Control (MHC) software, which can be run from a tablet device.

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And now in stereo: Halo Downmix can help make cinematic releases ready for TV

The MRMC Pod in use at West Ham United’s ground, the London Stadium

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The continuing need for KVM switching in the IP broadcast world Manuel Greisinger, head of sales, IHSE

The transition of broadcast infrastructure from a traditional SDI to IP-based workflow has been discussed within the industry for some time and will continue at IBC this year. In the main, broadcasters are already sold on the concept and advantages of IP and understand its intricacies and limitations. They are beginning to embrace this exciting new solution. Some broadcasters and production companies have already embraced complete IP workflows in their production centres and OB vehicles and more are being built. However, wholesale migration to IP-based infrastructures will not happen quickly. Constructing an entirely new broadcast production

centre is not a quick process, nor is refitting an established one that operates effectively on an SDI core. New ways of thinking will be required as the workflow becomes more IP-focused and content is handled in the cloud and physical interfaces are removed in favour of IP transmission and connectivity. Broadcast engineers are in the process of figuring out how to implement new IP techniques and technologies and a common approach is to introduce piecemeal solutions and integrate them into existing architectures, taking advantage of the benefits those IP solutions bring. While acquisition and production processes are

become more geographically distant from each other, thanks to the cloud, broadcasting will continue to operate from production centres that house operators, production engineers, content creators, editors and other professionals who are all essential to the process of creation and broadcast of video material. In every location there is still the need for staff to access the creative and content transmission tools that allow them to manage and manipulate content and they need, and want to, do that from their own workstations and desks. KVM (keyboard, video and mouse) switching solutions are an essential element of this infrastructure: giving each person

instant access to every computer and tool within their local facility. With just the press of a button, or a short keyboard sequence, a user can instantly flip between one machine and another, and access all devices from the workstation on their own desk. With no perceivable transmission latency or image degradation, performance is so good that users donâ&#x20AC;&#x2122;t even realise the hardware they are accessing is hundreds of metres away Not only does this allow centralised location of broadcast equipment in secure and environmentally controlled rooms, but operators benefit greatly from a much quieter and less-cluttered working environment. They also benefit

from being able to access any device from their own workstation, without needing to move to another location or disrupt colleagues. In addition, expensive production tools and facilities can be shared among users; reducing expenditure on capital equipment and system maintenance. KVM switch systems are already used by the worldâ&#x20AC;&#x2122;s leading broadcast organisations. With the move towards IP infrastructure we believe that KVM will continue to be an important tool and will carry on serving the industry, making it ever-more efficient and productive. 7.B30

DTT upgrade for OneBeam

Enensys

By Will Strauss Unified support for DVB-T and DVB-T2 has been

added to OneBeam via a version 2 upgrade. The Enensys OneBeam system provides the ability to use a standard satellite

CONNECTING VENUES ! #8.E85

DTH network to distribute services to DVB-T, DVB-T2 or ISDB-T transmitter sites. The version 2 support for DVB-T and DVB-T2 allows

both terrestrial services to be created from the same satellite feeds. The upgrade means that operators can now

also take content from multiple satellite transponders in order to create a terrestrial service. 2.B30

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Button up for TV OUTLINED

Hi Tech Systems By Heather McLean The Array range of control panels from Hi Tech Systems fully integrates with its Avita production control system to provide a configurable work surface where a ‘button’ panel is required.

According to Hi Tech Systems, many people prefer the confidence of a button press rather than a mouse click when working in a pressured environment such as live television. Tom Favell, managing director, Hi Tech, commented: “The beauty of Array is that we supply a number of different panels that join via a databus for power and

data, and have a range of button numbers and styles. This allows a customer to ‘build’ a control surface specific to their workflow using single or multiple panels with only one connection for power and communications.” Hi Tech Systems is demonstrating both Array and Avita on its stand.

The range allows a customer to build a control surface specific to their workflow

10.A43

Keeping a watch on live streams Immersing the audience, Mediaproxy By Carolyn Giardina A selection of Mediaproxy technologies are at IBC, including its LogServer software for desktop PCs and mobile devices, enabling broadcast monitoring, analysis and compliance. Mediaproxy is also highlighting its software approach to multiviewers with Monwall, developed to provide real-time interaction and customisation of individual layouts. The company said this would assist with isolating

transmission events from a Increasing interactivity and standard desktop PC and help flexibility is defining the next to enable rapid resolution of generation of multiviewing on-air incidents. and incident management Erik Otto, CEO of exemplified by our Mediaproxy, said: “While software-based approach to displays with static layouts broadcast and IP monitoring.” and configurations have their Also on show is the Aircheck place for presentation and mobile app. 7.J07 transmission monitoring, being able to adapt quickly to changing workflows requires engineers and operators to become more agile. Monwall is a multi-panel live stream monitoring application

Broadcast Waveform Rasterizer Supporting broadcast production, engineering, OB, operations & control rooms

New IP ion Opt

atomising news BBC Research & Development By Monica Heck An augmented reality project aiming to bring heritage and cultural artefacts into the audience’s homes is being demonstrated in IBC’s Future Zone. Over the past two years, BBC R&D has been examining VR, AR and other immersive technologies and as part of this launched an interactive 360 audio and video application, BBC Taster VR. The app allows

Stand 10.A24 Full QC instrument set Audio & loudness OP47, 608 & 708 CC TC-based event Logging Line pattern generator SD - 3G-SDI as standard PHY option IP option (SMPTE 2110) Data analysis option HDR option Advanced colour option Upgradeable to UHD

The Ultra TQ is the next generation broadcast waveform rasterizer built using Ultra 4K Tool Box and Ultra XR technology to ensure that it can perform QC and monitoring of SD-SDI/HD-SDI/3G-SDI signals as standard plus the option of SMPTE 2110 video. www.omnitek.tv | sales@omnitek.tv | +44 (0) 1256 345 900

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production teams to use light interactivity in the form of hotspots, plus immersive audio to tell stories that are impossible with linear 360. The company is also examining WebVR as a creation and delivery technology. Also on show is Newsbeat Explains, a mobile-first prototype aimed at younger audiences who broadcasters are typically finding harder to reach. The prototype is part of BBC R&D’s research on atomised news, which involves breaking down key aspects of a story into smaller, reusable, self-contained pieces of information loosely linked together by rich metadata. Atomising content enables non-linear and contextual content experiences. The pilot was built using existing news production systems and stories were written by BBC journalists, proving to be such a success that the atomised format was used in the BBC’s recent UK General Election coverage. The second prototype looks at ways of creating atomised-style videos in multiple lengths from existing content sources and articles not written with atomisation in mind. The concept takes headlines, dates, standfirsts and other sources of structured data and reassembles them to make adaptable video summaries so they fit a user’s preference, context or situation. 8.G10

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HDR monitors for 4K workflows OUTLINED

Plura Broadcast By Mark Hallinger

The PBM-4K series, a range of multi-format 4K/UHD capable monitors, is on show in Hall 8. The series comes in sizes ranging from 24-inch to 84inch, and supports up to 4096 x 2160 resolution. Additional features and functionalities can be implemented in the field via the Ethernet interface,

said Plura.The PBM-4K series offers HDR display capabilities, supporting PQ (ST-2084) and HLG standards. The Plura 4K Series also features the traditional software set built into most Plura monitors, including intelligent connections for calibration alignment, adjustable colorimetry, gamma correction and audio monitoring. Using Plura’s ICAC tool, production

staff can quickly and automatically calibrate multiple colour-related elements across the entire monitor network over IP, including the 4K Series, said the company. This ensures that the 4K Series can be quickly recalibrated to its reference standard, returning optimal brightness and colour consistency for 4K workflows.

PBM-4K monitors support up to 4096 x 2160 resolution, as well as PQ (ST-2084) and HLG standards

8.B73

LG, MStar sign up for 4K HDR UHD logo Eurofins Digital Testing By Ian McMurray The end-to-end QA and testing service has announced that LG Electronics and

MStar have committed to Eurofins’ 4K HDR Ultra HD logo technical requirements in their forthcoming products. The scheme identifies devices that have been fully tested and proven to deliver the highest picture quality currently

available, including high dynamic range, Ultra HD and wide colour gamut simultaneously, from broadcast and broadband sources, as well as HDMI. The 4K HDR Ultra HD logo scheme certifies that all qualifying

equipment successfully delivers the extended contrast range and colours essential for HDR and WCG, as well as ensuring that the full potential of UHD is met. 5.B45

Get your GUI ready Wheatstone By Mark Hallinger The flexibility and scalability of AoIP on the company’s WheatNet-IP audio network is being shown via the ScreenBuilder app. The company claimed a user can build his or her own on-screen virtual control interface for just about

any purpose. The ScreenBuilder app has faders, meters, labels, buttons, clocks, timers and other widgets that can be arranged on a PC screen to create custom control panels and touchscreens with quick-access tools for level adjusting and monitoring, and more. Graphics, logos, and other images can be added. Custom panels made with ScreenBuilder

have access to Wheatstone’s complete AoIP network, the WheatNet-IP Intelligent Network and all BLADEs, control surfaces, processors and partner devices on it. Once created, custom panels and touchscreen interfaces can be password protected to prevent unauthorised manipulation of the special graphics and functions. 8.C91

Custom power: ScreenBuilder offers access to Wheatstone’s AoIP network and its devices

Milvus and Batis ranges extended Zeiss By David Fox Zeiss has extended its Milvus and Batis families of lenses with the addition of new models for both. The tenth lens in the Milvus series is the f1.4 35mm full-frame manual-focus lens for Canon EF-mount or Nikon F-mount, while the new Batis 2.8/135 is the first 135mm AF

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focal length for mirrorless full-frame cameras from Sony. The Milvus 1.4/35 is particularly useful for shallow depth of field shots, with “creamy bokeh”. It should also have practically no chromatic aberrations thanks to a new optical design. The ten colour-matched Milvus lenses range from 15mm to 135mm and are suitable for filmmaking.

The compact, lightweight Batis 135mm includes an optical image stabiliser, and joins the existing f2.8 18mm, f2 25mm and f1.8 85mm. Features include smooth and reliable autofocus, weatherproof metal construction and an OLED display for focus distance and depth of field. They are compatible with all E-mount cameras.

The Zeiss Batis family: 2.8/18, 2/25, 1.8/85 and the new 2.8/135

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theibcdaily Q&A OUTLINED

Keith Bandolik, president and chief executive, Switchcraft Has IBC come at a good time for the electronic media industry? Why?

all manufacturers to display their solutions.

As video resolutions climb through 8K, the electronic media industry is demanding solutions that are able to handle high frequencies. Switchcraft has the solution with proven quality that continues to be manufactured in the USA since 1946. IBC is perfect timing for

What do you think are the key developments in, or threats to, your market sector at the current time? We see a continued transition to the use of IP and wireless communications, plus higher frequency and data rate signals being needed for 4K and 8K

video. Customers are looking for miniaturisation of components and finished products that allow the same functionality but have a smaller footprint and reduced weight. This is especially true for broadcast vehicles where size and weight are critical.

Why should delegates visit your stand at IBC? We are introducing our line

of UHD 4K/8K patching systems including patch bays, BNCs, patch cords and looping plugs. Also on display are Switchcraft’s line of customisable I/O panels that have a standard XLR cut out and over 60 different modular panel connectors including fibre optic, BNCs, RJ45, etc. We will also be promoting a wide selection of our audio and

video connectivity and harsh environment products. 11.D45

Fluid head rises above OB Skyline

Holistic approach to content protection

Miller Fluid Heads (Europe)

Nagra

By David Fox The new Skyline 90 fluid head is aimed at outside broadcast use, and can support payloads of up to 75kg. It is a collaboration between Miller and Ronford Baker Engineering, known for its work with heavy-duty fluid heads and tripods in the cinema industry, and combines technological innovations from both.

“The Skyline 90 was created with the demanding broadcast professional in mind and is the perfect fluid head for OB productions,” said Mike Lippmann, European manager, Miller Fluid Heads (Europe). It has a robust, all-alloy, heavy-duty construction. The Skyline 90 has a continuous counterbalance control that ranges from zero to 75kg at 30cm above the centre tilt axis and 15+0 selectable fluid pan-tilt drag positions, to ensure the optimum drag for

lenses of any focal length. The platform has 30cm of sliding range that easily balances

Miller’s new Skyline 90 head was built with Ronford Baker

heavy camera loads, and it comes with an auto safety lock to ensure a secure horizontal position when loading or dismantling heavy box lenses. Two bubble levels on either side of the head allow for convenient levelling. The floating calliper pan and tilt locks with large metal levers and can be operated simultaneously with one hand without causing picture disturbance. 12.D30

By Ian McMurray Being demonstrated on the Nagra stand is content protection for the end-to-end digital ecosystem. The company describes it as a holistic approach that combines content protection for any network and any device, with anti-piracy services and watermarking by NexGuard for content value protection. Featured solutions include Nagra Connect, the hybrid CAS/DRM client for connected networks and devices, and the Nagra Security Services Platform, the cloud-based, modular, scalable CAS and multi-DRM command centre for multi-network operators. Also on show are anti-piracy services to fight new forms of content piracy and what Nagra believes is becoming the biggest threat to the pay-TV industry, particularly IPTV and Kodi box-related piracy. Combined with Nagra’s software- and hardware-based security, they are designed to help both service providers and content owners create the ultimate closed-loop approach to piracy to secure, mark, monitor, detect, identify and act. Nagra is also featuring its IoT Security Centre of Excellence, leveraging the Kudelski Group’s device and network security expertise to support the secure deployment of connected objects, applications, networks and systems. 1.C81

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Small but powerful Plisch By Mark Hallinger According to the company, the new Series 5000

liquid-cooled transmitter offers a unique compact design with impressive power density, and is available with highefficiency Doherty amplifiers, IP seamless switching and an integrated pump unit. Key features include a multistandard exciter for DVB-T/T2/

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Lite, ISDB-T/TB, and ATSC 3.0; 1500W digital power per liquid OUTLINED cooled power amplifier with redundant power supplies; the ability to deploy up to six (eg 5+1) transmitters with 3kW COFDM in one 19-inch rack; and a user-friendly GUI with touchpad.

Configurations include single drive, dual drive, passive reserve, n+1 reserve (n up to 5), and active reserve with 3dB release. Customer-specified reserve systems are available on request, said Plisch.

8.D32

Flexible: The transmitter can operate in multiple standards and configurations

Thunderbolt 3 expansion Sonnet Technologies By Carolyn Giardina The eGFX Breakaway Box is Sonnet’s Thunderbolt 3-to-PCI Express expansion system designed for bandwidthintensive video graphics cards. It’s aimed at the use of popular GPU cards that support connecting to a computer over Thunderbolt, such as AMD Radeon R9 and RX and Nvidia’s GeForce GTX 7, 9 and 10 series, providing GPU support for computationally intensive applications and games. In addition to GPU cards, the Breakaway Box supports Thunderbolt 3-compatible PCIe cards and is Thunderbolt certified for Mac and Windows. Sonnet is also previewing the eGFX Breakaway Puck Radeon 560 and eGFX Breakaway Puck Radeon 570, two integrated Thunderbolt 3 external GPU systems. 7.F07 The eGFX Breakaway Box Thunderbolt 3 expansion system for desktop GPU or other PCIe cards

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Fibre for 12G video transport OUTLINED

Bluebell Opticom

For the latest show news and updates follow

MOM gets a makeover Enco Systems

By Heather McLean New at IBC2017 is Bluebell Opticom’s BC370, an optical converter that enables four discrete channels of 3G-SDI on a single card, eliminating the issue of fibre count. With four 3G-SDI inputs and four optical outputs, the BC370 represents the highest density of signals Bluebell has offered to date; 60 channels in a 3RU space or 24 channels in 1RU. Paul McCann, managing director, Bluebell Opticom, said: “Using fibre for 12G video transport has become a reality thanks to products like Bluebell’s new suite of 12G-SDI cards and standalone interfaces. Our BC370 highdensity optical converter makes the process even more efficient by multiplexing four discrete channels of 3G-SDI on a single card, eliminating the issue of fibre count. It’s the highest density of signals we’ve ever offered.” Also making its European debut at IBC2017 is Edgware, Bluebell Opticom’s new throw-down IP-gateway product that wraps a 3G-SDI picture into an IP-compliant format and sits on a 10G

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By Mark Hallinger Updates for the company’s MOM (media operations manager) system are on display. Designed for broadcasters, cable television operations and streaming media providers, MOM delivers a comprehensive platform for organising and managing a wide array of broadcast production and integrated channel playout tasks, said Enco. MOM integrates ingest, media asset management, graphics, branding, on-the-fly multi-format transcoding and 24/7

multi-channel playout automation within its single, unified platform. New for IBC is an integrated graphics generator for live channel branding, support for Network Device Interface (NDI) connectivity, and the ability to produce a live show with live camera and NDI inputs. This extends MOM beyond standard automation-related tasks and deeper into the TV production infrastructure. Support for NDI-connected devices is especially valuable given the ability to easily share bi-directional SD, HD and 4K/UHD video over a single, ubiquitous, standard

Gigabit network. MOM’s GUI allows a single operator to handle all of the media production and playout tasks required by the end-to-end broadcast workflow. Tasks like scheduling, logging changes and live insertion control can be executed with drag-and-drop functionality. MOM also provides a path for virtualised automation when integrated with the ENCO1 virtualised server. ENCO1 allows MOM and other ENCO software solutions to run efficiently via IP-based virtualisation to reduce costs and operational overhead, as well as minimise rack space. 8.D74

The BC370 multiplexes four discrete channels of 3G-SDI on a single card

Ethernet network. Edgware serves as a bridge between current 3G-SDI-based broadcast infrastructures and those built on IP technology, making it possible to use BNC and XLR technology to transport broadcast signals over IP networks. Minimal configuration and low latency make it an ideal ingest product, claimed the company.

New updates extend MOM deeper into the TV production infrastructure

10.F24

Visit us at Hall 11.A03

accelerate your video production

New in 2017: „ATOM one 4K mini” world’s smallest single 12G SDI 4K POV camera Dream Chip Technologies offers a complete range of SDI POV cameras under the ATOM one brand, ranging from Full HD resolution up to 4K. The cameras come with a rich embedded image processing feature set, enabling broadcast image quality in the smallest available form factor on the market. POV cameras from full HD to 4K Slow motion de-flicker systems 4G/LTE transmission systems for video, audio and data e.g CAN Dream Chip Technologies GmbH · Steinriede 10 · 30827 Garbsen, Germany Fon +49 (0)5131 / 908 05- 0 · info@dreamchip.de · www.dreamchip.de

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theibcdaily Updated broadcast graphics package OUTLINED

Dalet By Mark Hallinger Updates to the Dalet Cube broadcast graphics suite are on display. Natively connected to the Dalet Galaxy MAM and Orchestration platform, Dalet Cube can create and manage CGs, crawls, tickers, lower-thirds, logos, full frame graphics and complex 3D animations across the

entire news production and playout workflow. One new feature at IBC2017 is multilingual synchronised playout. Operators can slot graphics placeholders in the rundown and the system will populate the placeholders with the relevant CGs in the correct language on playout. Also new is the automation of the on-air graphics playout workflow, which lets operators manage multiple variations of a single

graphic element on playout, accommodating multi-studio playout scenarios requiring different languages and branding elements. Other features and workflow enhancements with this release include improved ticker management, the ability to trigger CGs from Dalet Galaxy without having to follow the playlist order, enhanced Twitter support and insertion macros. With the Twitter integration, Cube

Take a Magic Carpet slide Syrp By David Fox Magic Carpet Pro is a new professional level slider that can support full-sized video rigs, and is designed to make the most of Syrp’s upcoming Genie II three-axis motion control system.

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The slider includes an integrated flywheel and is available in 60cm, 90cm and 150cm lengths. The system also benefits from redesigned end caps and carriage, and users can swap gear more easily thanks to Syrp’s patent-pending QR mount. This can quickly integrate with any video head and enables the Genie

II to be simply clicked in straight to the carriage. Syrp is also offering Magic Carpet Carbon Fibre, which is claimed to be “infinitely extendable” with tool-less set-up. The lightweight track can fit easily in suitcases or packs and can be purchased in kits as individual 60cm tracks with end caps and

Big news: Automation of on-air graphics playout workflow is a new highlight

can pull Twitter information and put it inside Twitter Cube

templates for broadcast. 8.B77

Syrp’s new Magic Carpet Pro is built to smoothly transport larger cameras

carriage. Extensions (which have been designed to create a seamless join for fluid camera motion) can be purchased separately or as part of two other kits. 12.F78

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Scalable integrated VSAT solution Work Microwave By Ian McMurray Operators now have the option to integrate the AT-60 IP modulator and AT-80 wideband modulator with an encapsulator and IP routing system for large-scale VSAT systems. Work Microwave said the integrated solution can scale to every type of satellite network, from small networks with five remotes, up to the largest

networks encompassing tens of thousands of remotes. Work Microwave said its solution is designed with flexibility in mind, and based on a pay-as-you-grow business model. It can scale up or down to support any operator’s requirements, and is completely customisable in terms of adapting to existing infrastructures. Embedded Adaptive Coding and Modulation (ACM) is designed to enable each remote to operate at

its most efficient coding and modulation scheme. Based on customer feedback, Work Microwave has added C and X Band support to its Compact Satellite Up- and Down-converter, which is also being demonstrated. Claimed to be ideal for satellite operators, integrators and teleports working in classical bands, the converter is operational in C, X, and IF frequency bands, allowing users to support multiple simultaneous channels

Doubling audio network capacity Stage Tec By Mark Hallinger Users of the Stage Tec Nexus audio network, who had previously been able to interconnect up to 31 base devices, now have the capacity

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OUTLINED

Work Microwave’s modulator/encapsulator is for large-scale VSAT systems

in one unit to save significant rack space and costs. Also offered is a traditional modular converter series to connect a maximum of 63 base devices. Since its inception, Stage Tec said it has been continuously developing the system – Nexus can now manage up to 64,000 I/Os. The Nexus works with an internal bus system based on time division multiplexing and provides a wide range of I/O options, including IP technology.

suited for higher frequency applications, including Ku, Ka, Q and V bands. 5.A77

The system’s functionality goes beyond that of a pure audio router, claimed the company. It handles control tasks, switches external signals transparently through the network, performs DSP functions and offers many extra features. Even the oldest legacy systems can be upgraded, and today’s Nexus is fully backwards compatible. 8.C80

Powerful: Nexus can now manage up to 64,000 I/Os

Operator

LITE

MODERN

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Multiscreen Launch Platform showcased OUTLINED

WISI By Ian McMurray

HEVC integration can provide operators with an additional 60 per cent saving in compression

The company’s new Multiscreen Launch Platform (MLP) is being

showcased at IBC. Described as an all-in-one carrier-grade product, it is a high-density transcoder, packager and origin server in 1RU that is said to be ideal for high-value internet video services. This MLP inputs up to 12 HD or 24 SD sources and outputs

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HLS streams to up to 500 subscribers simultaneously. It’s designed as an OTT solution for video operators and integrators actively planning multiscreen trials, small deployments, or hospitality applications. The end-to-end multiscreen solution is multilingual-aware, to better serve global operators, with DVB-subtitle burn-in and multiaudio support. Set-up is claimed to be simple with VidiOS, WISI’s management and monitoring tool. Inca Networks, WISI’s transcoding team, is currently adding HEVC support to transcoding and streaming products with general availability expected in early 2018. HEVC integration will provide operators with an additional 60 per cent in compression savings, the company said. 5.B50

Accessory support at the push of a button Shape By David Fox There are two new magic arms from Shape to support camera accessories, such as monitors, viewfinders, microphones, or camera lights: one with two axes (costing €169); and a longer one with four axes (€299). “They use push buttons instead of the normal twists, so it locks right away,” said Dirk De Bont, international sales, Shape. Each button accesses 360º of rotation at each axis, making it easy to place the handle in the most suitable position. The length of the two-axes arm is 8.89cm, while the four-axes arm is 16.5cm. Both magic arms can come with a 15mm Rod Bloc. 12.C51

VISIT US

ON BOOTH

5.C72

Push, twist: Shape’s new four-axes Push Button Arm is just magic

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Mic base for d:screet DPA Microphones

theibcdaily Pro-Zoom LEDs on the spot OUTLINED

Zylight

Table talk: The DSM6000 comes as a ceiling mount or table version

By David Fox By Mark Hallinger The new DSM6000 microphone base caters to the different industry needs and wants of architects, AV consultants, system integrators and installing electricians. Designed to be placed on a table or podium, or attached to a ceiling or wall, the DSM6000 base is available in two colours â&#x20AC;&#x201C; black and white â&#x20AC;&#x201C; and comes with either a MicroDot connector, an XLR connector or unterminated leads for connections to Phoenix blocks. A d:screet capsule is mounted on a sleek boom that, for the tabletop version, has a gooseneck at the top and the bottom, which allows users to position the mic exactly where they want it. The ceiling version consists of one gooseneck. In both versions, the cable can exit to the side of or beneath the unit.

A new range of Pro-Zoom LED ellipsoidal lights has been introduced by Zylight, which can be used as a high-powered spot or gobo projector for television stages, broadcast news studios or live theatre. There are three 200W lights, with different optical zoom ranges to fit most stage lighting requirements: the Pro-Zoom Wide, with a 30-55Âş beam width; Pro-Zoom Medium, with an 18-36Âş beam; and Pro-Zoom Narrow, with an 8-22Âş beam. Zylight also offers DPAâ&#x20AC;&#x2122;s d:screet podium mic features a miniature d:screet supercardioid capsule that combines controlled directionality with rejection of background noise through its linear frequency response. The capsule has a uniform off-axis response, so even when

The AoIP Solution that Changes Everything

ceiling mounted, it will perfectly capture the sound of every speaker. The launch of the DSM6000 base adds the finishing touch by pairing this mic with an equally good-looking, versatile stand, said DPA.

the Pro-Zoom Plus Narrow with a brighter 230W LED engine and 8-22Âş beam. All Pro-Zoom fixtures are available in tungsten (3200K) or daylight (5600K), and feature a double condenser optical system for clean and precise gobo projection. The Pro-Zoom stays cool during operation, so delicate materials such as acetate films can be used to create low-cost, customised colour gobos using an inkjet or laser printer. ProZooms also include integrated shutters, built-in effects and full DMX control with RDM compatibility. The Pro-Zoom LED spots start at $1,899. 12.D47

Zoom to focus: Zylightâ&#x20AC;&#x2122;s new Pro-Zoom LED ellipsoidal lights

8.D70

Telos Infinity is a new AoIP solution that delivers a quantum leap in scalability, ease of integration, efficiency and Total Cost of Ownership. First in the new series of Telos Infinity solutions is the revolutionary Telos Infinity IP Intercom â&#x20AC;&#x201C; a comprehensive communications solution featuring: / &&!'%"#%','%"(&'!%&&)*%  / !!',&"%!'%!!+'%!"

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Leading the way in AoIP! TelosAlliance.com/Infinity

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The smart add-on to ST 2110-based infrastructures Gael Rouvroy, chief executive and director of technology, intoPIX The SMPTE ST 2110 suite of standards provides the tools to enable companies to move their workflows from SDI to IP-based networks, while still preserving the SDI baseband video quality. By separating the video essence from the rest of the audio and metadata information, broadcasters can build more agile and efficient IP-based workflows. The next major step in the optimisation of the live production workflow is a reduction of bandwidth required. Reducing the bandwidth means reducing the complexity of operations, while preserving the quality of the original uncompressed SDI. File-based workflows have already adopted mezzanine compression technology to allow real-time recording

and playback, while also reducing storage cost. The same logic of adopting compression technology applies to live transmission workflows. Reducing bandwidth need implies the use of a lower-cost network infrastructure and access to more COTS equipment. This is combined with support of more video streams, higher frame rates and higher resolutions within a more user-friendly network. This transition phase is not yet fully executed in all live production workflows, but it is already bringing tremendous advantages in cost of ownership for those who have adopted this approach. Although such transition might not be needed for every video format, it is a pre-requisite for 4K and 8K

workflows, and well worth applying to HD formats. In 2015, the TICO Alliance was launched to address this challenge. Two years hence, the TICO SMPTE RDD35 has been established as the standard of choice to carry HD, 4K and 8K over IP networks in live and remote production. A multitude of products are available at IBC this year from more than 50 vendors, including Grass Valley, Panasonic, SAM, NEC, Nevion, AppearTV, Axon, Rohde & Schwarz, Blackmagic Design, Imagine Communications, Aperi, Village Island, B&M Modern Media and others. At the same time, NHK will be showcasing its 8K workflow using TICO. The next step is the ongoing effort with the ISO JPEG standards committee to

Monetising podcasts StreamGuys By Anne Morris The streaming media specialist is demonstrating how its solutions help broadcasters maximise the scope and effectiveness of their monetisation efforts, using dynamic ad insertion within on-demand content such as podcasts. Complementing the company’s dynamic pre-roll and mid-roll advertising capabilities for live streams and part of its evolving SaaS toolset, the on-demand functions use the latest advances in targeting technologies to deliver advertisements most likely to resonate with each listener, while keeping ads timely and relevant for consumers downloading ‘long-tail’ evergreen content. Less effective approaches to advertising in podcasts and other on-demand content insert ads into the downloadable media when the files are

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initially published. As a result, all listeners hear the same ads regardless of their location or interests, and someone downloading the content years later would still hear the same, now-outdated commercials. In contrast, StreamGuys’ dynamic advertising capabilities insert ads into the on-demand files only at the time the content is requested, making use of available information about the listener – from geographic location to other demographic data – to select current campaigns from advertisers or underwriters that best align with that particular subscriber or consumer.

Embedded within the company’s SGrecast system for podcast and side channel creation, StreamGuys’ AdsWizz-enabled, server-side ad-insertion tools enable publishers to deliver dynamic advertising to listeners across a wide array of playback platforms without requiring specialised client software for each target consumer device. StreamGuys’ browser-based audio editing and ad break tagging tools also improve operational workflows, avoiding the need for additional software applications while accelerating turnaround times.

establish a new profile that will be called JPEG-XS: the next generation video compression for video over IP. The publication of the standard is expected to happen during 2018. With zero latency (0.1 milliseconds), visually lossless quality with no degradation, a low consumption on CPU or GPU, and a low footprint on FPGA, the TICO technology (soon to be the JPEG-XS) enables the reduction of the operating bandwidth by a factor x4 to x6. TICO compression is highly useful, because the added cost of moving uncompressed video over baseband everywhere is just not sustainable. The adoption of the compression promoted by the TICO Alliance is expected to be one of the major business drivers

behind the adoption of IP-based workflows as it significantly lowers the cost of operating the live production over IP, while enabling transmission of multiple broadcast HD, 4K and 8K video streams over IP networks. At IBC2017, 50 companies are showcasing new products supporting the new SMPTE 2110 standards, with several of them also carrying HD, 4K or 8K video using the TICO SMPTE RDD35 compression. 10.D31

Monitoring boost for IP video Phabrix By Heather McLean For OB trucks and broadcast monitoring, the Phabrix Rx 2000 rack-mounted generator, analyser and monitoring system has been enhanced with 2KSDI support and more flexible, built-in instrument displays. The Rx 2000 can monitor up to four channels using an external display, with up to 16 instruments per channel. The advanced Rx range provides faster fault diagnosis, using 3G, HD and SD video capture

for intermittent errors plus remote access. Neil Sharpe, head of marketing at Phabrix, said: “As the broadcast market adopts IP video infrastructures, there’s a need for new types of test and measurement tools, which can quickly diagnose problems like packet congestion and jitter. There’s also a demand for instruments that allow preventative stress testing of video networks. We’re excited to highlight new SMPTE 2110 IP tools that directly address these fundamental requirements.” 10.B12

14.L23

Dynamic ad insertion can make old podcasts ‘evergreen’ with new ads

Rx 2000 is now enhanced with 2K-SDI support and built-in instrument displays

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Monitoring shipping news Nautel By Mark Hallinger The big news on the Nautel stand is that the company has now shipped more than 7500 FM and MW transmitters equipped with its advanced monitoring and control capabilities. All major broadcast transmitters introduced by the company since 2008 have incorporated the companyâ&#x20AC;&#x2122;s Advanced User Interface (AUI). Recent updates to the AUI include the addition of an

oscilloscope view which monitors audio source signals in the time domain, and site control functions for management of items external to the transmitter, such as doors or generators.

The AUI is designed to help engineers proactively manage transmitter monitoring and service. A transmitterâ&#x20AC;&#x2122;s AUI is accessible from any location with an internet connection, and is also available via a 17-inch front panel touchscreen on some models. AUI takes advantage of the information available through

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the design of Nautelâ&#x20AC;&#x2122;s modern transmitters. Metering can be configured down to the level of OUTLINED every amplifier in the transmitter, and AUI displays include realtime impedance measurement, instrument grade spectrum and audio analysers, and IBOC/DRM modulation analysers. 8.C49

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AUI is designed to help engineers proactively manage transmitter monitoring

Cloud Channel Playout launched Globecast By Ian McMurray A new Cloud Channel Playout solution for SD, HD and 4K channels has been announced. This is said to significantly enhance its service deployment efficiency, time-to-market and flexibility and further enhances its geographical reach, as well as enabling fast start-up time. Also on show is an online portal to enhance the customer experience, My Globecast. This was developed to enable customers to manage Globecast services efficiently with a secure, simple digital tool anytime, anywhere using any device. The company says that My Globecast is designed for and by customers, to offer a simpler customer journey with a user-friendly homepage. Customers have access to all of their services and favourites in one click, and can use My Globecast to manage their media management and distribution-related services. 1.A29

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Drink in the 4K quality using S-IPS OUTLINED

Plura By Mark Hallinger The new UNB-4K ultra-narrow bezel series at IBC2017 is a response to industry demand, said Plura. Available in 49- and 55-inch sizes, the UNB Series is constructed with the latest panel technology, S-IPS. The monitors provide exceptional viewing angles and 10-bit colour depth to enhance image quality for all types of installations. In addition, direct LED backlight technology ensures lower power consumption and improves brightness

uniformity, dimming capabilities and contrast ratio. The ultra-narrow bezel panels are virtually seamless, and have a small pixel pitch to keep images sharp and clear at any distance. This series was introduced and designed for broadcast, commercial, digital signage and AV video wall applications. The Plura UNB-4K series can control up to 100 monitors via a LAN network and/or RS232 daisy chains using Plura Wall Express software. The Plura UNB-4K series supports SDI input as well as other inputs, such as HDMI, Display Port and DVI. The UNB-4K series supports up

The UNB-4K series controls up to 100 monitors via LAN network and/or RS232

to UHD (3840 x 2160) resolution through the HDMI

daisy chain capability to show one image across the

entire video wall. 8.B73

Testing times for IP streams Video Clarity By Will Strauss The newest member of the ClearView line of video quality analysers is on show at IBC. Designed for broadcast product manufacturers to use in their test labs, ClearView IP plays or records up to two channels of

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uncompressed video from a highcapacity testing server into a SMPTE-compliant network. It can apply new IP standards and play while recording in the IP domain. Video engineers can use automated or desktop controls to perform recording, alignment and other measurements that will help them to assess the progress

of their product development. Results can also be used to set encoding parameters for programme delivery, and to evaluate encoders from different vendors. Two ClearView IP models are available: the Extreme IP, a 3RU server with both IP and 4K SDI interfaces, and the portable Shuttle IP.

ClearView Extreme IP can play or record two channels of uncompressed video

ClearView Player IP, a high-capacity server specifically designed for use in an IP infrastructure, is also on show. This device has record

and playback functions for uncompressed video using new IP-related video transport standards. 2.C57

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OPINION

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Leading television’s migration to AoIP Martin Dyster, vice president of business development, TV solutions group, Telos Alliance The Telos Alliance was founded on bringing new technologies into the broadcast industry. We work every day to continue improving audio for broadcast radio and television, pioneering cutting-edge technologies to help global networks and local stations produce better programming, improve audience engagement and bolster ratings. In 2003, we invented Audio over IP (AoIP) for broadcast, and a decade later we supported the inception of the AES67 standard, establishing AoIP protocol interoperability and operational flexibility

across a wide range of technical operations. Today, more than 100 companies offer Livewire+ AES67-compatible products and countless other vendors produce interoperable AES67 solutions, enabling customers to build complete AoIP ecosystems. Radio has a long-established pattern of success with AoIP but, until now, television has been slow to embrace it. TV is finally looking at the positive impact AoIP has had on radio and realising that all the same benefits – cabling efficiency, simplified design and installation, flexible signal

routing, lower cost of ownership – translate directly to TV. Today, here at IBC, we are delivering a quantum leap forward with the debut of the next-generation AoIP solution: Telos Infinity. The first product built on this new AoIP platform is the Telos Infinity IP Intercom, an all-new, standards-based solution that challenges the notion of what an intercom should be. Livewire+ AES67 lives at the core of the system, but that alone doesn’t leverage the full power of AoIP. To do that, we realised we had to eliminate not only the physical card-based

matrix itself – the hardware – but the outdated concept of a centralised matrix. Combining traditional broadcast intercom functionality with broadcast-quality audio through distributed AoIP devices distributed across a COTS network infrastructure, Telos Infinity erases the line between traditional communications and contribution audio. This also makes Telos Infinity IP Intercom infinitely scalable and supports plug-and-play integration. It means that these products can co-exist with current systems, creating an

easy transition and expansion path. A customer can start small and integrate Telos Infinity into their current communications workflow over time if a full-scale replacement is neither practical nor feasible. For customers who are ready to overhaul an existing system, Telos Infinity IP Intercom offers a lower total cost of ownership than traditional intercom and represents a future proofed transition to IP. 8.D47

Little and large Yamaha

By Mark Hallinger The flagship Rivage PM10 is on demonstration with both the CSR-10 and the new CSR-10-S control surfaces. The CSR-10-S offers the same operability and functionality as the CS-R10, but is approximately 30 per cent smaller for use in environments

with limited space. The system also features the latest V1.5 firmware, which includes Dan Dugan Sound Design automated mixing, providing automatic gain adjustment of up to 64 speech microphones in real time. Also on show, TF-RACK is a high-quality digital mixing solution for mobile or local broadcast studios where space

TF-RACK is a digital mixing solution for broadcast studios where space is at a premium

is at a premium. Occupying 3U in a standard 19-inch rack, the 16+1 stereo in, 16-out digital mixer features 40 input mixing channels, 20 aux busses, eight DCA groups with Roll-Out, comprehensive I/O connections and ease of setup and operation. It can be set up and operated by wireless apps, allowing it to be used in even in the smallest space, claimed Yamaha.

Live film-making on the move Broadcast RF By Heather McLean Last January Broadcast RF was tasked with shooting a Hollywood movie with one camera in one take using a single wireless camera system. Lost in London, a semi-autobiographic portrayal of a night out in the city involving director Woody Harrelson, was the first Hollywood movie to be broadcast live to cinemas across the world. Speaking about the project here at IBC, Broadcast RF is

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discussing the challenges of this shoot, and how the company overcame them. While a project of this scale should usually take at least a couple of months,

Broadcast RF managed to get the whole project planned in just over a fortnight. Members of the Broadcast RF project management team were to be

A night to remember: Woody Harrelson’s Lost in London is a hot topic at IBC

Uniquely for digital mixers in this price range, all TF series consoles also feature Dan Dugan Sound Design automixing, which can be applied to up to eight channels.

found strolling the streets of London scouting for suitable receive positions, before spending days studying filming venues and mapping routes through the capital, all while the weather did its best to spoil the show. The eventual solution to this crazy idea of Harrelson’s was an HD transmitter built into a backpack along with batteries and sound equipment, which were connected to an Arri Alexa Mini using an umbilical cable and carried by a grip. Live video was transmitted and received at a total of 14 locations throughout central London through the use of 54 receive antennas, marking the largest

An optional NY64-D interface card and Tio1608-D I/O can be used to integrate it into a Dante network. 8.C71

single RF camera job Broadcast RF has ever done. The film was then seamlessly streamed to over 500 live cinemas. Mark Houghton, technical director at Broadcast RF, said: “What was achieved in London on a cold night in January was historic. It took the passions of Woody and his cast and crew, the drive of the production teams and the determination of a technical crew to turn fantasy into history. With more receive sites than the Wimbledon Tennis and the Open Golf Championships combined, and an arsenal of RF trickery, we joined 14 locations together to produce a cinematic first.” 11.D12

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Cost-effective, high-performance 4K/UHD multiviewer OUTLINED

Apantac By Mark Hallinger The company is demonstrating two new models in its HDMI 2.0 UHD Multiviewer series. The MiniDE-4-UHD and MiniDE-4-UHD-K are suitable for displaying up to four sources on a single UHD monitor or projector. An added benefit is that users can mix

input resolutions and sources all the way up to 4K on a single display, said the company. The family is designed for a variety of broadcast and pro-AV visual environments, including control rooms and digital signage. One model includes a KVM feature, whereby KVM input and a multiviewer work together with a UHD screen. The demonstration at IBC2017 shows four computers

connected, with KVM functionality in a multiviewer display environment. The MiniDE-4-UHD accepts four HDMI inputs, VGA input, DisplayPort input, analogue audio input, HDMI output and a DisplayPort output, as well as an analogue audio output. The MiniDE-4-UHD-K displays up to four HDMI computer inputs with keyboard and mouse functions on the same

The IBC2017 demo has four computers connected, with KVM in a multiviewer environment

screen. They both accept SD, HD and true UHD/4K @ 60Hz input resolutions. The output resolution can be set for 1280x720p @ 60Hz, 1920x1080p @ 60Hz or

Windows users get a shot at offloading Imagine Products By Ian McMurray Imagine Products has launched ShotPut Pro 6 for Windows. Designed for digital imaging technicians (DITs), data wranglers, postproduction professionals, and anyone else needing to offload media files quickly and securely with

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checksums, ShotPut Pro 6 is said to feature dramatically increased offload speeds over its predecessor. The counterpart to the Mac version released previously, ShotPut Pro 6 for Windows is said to offer a completely new user interface and many other new or improved features that give users much more control over offloading.

The software now offers desktop notifications in addition to email and text notifications, the ability to pause and resume offloads even when hard drives have been detached for multiple hours, and the capability to cancel all or some offloads. Michelle Maddox, marketing director at Imagine Products, said: “Since

Maddox: “The most feature-rich application we’ve ever created”

3840x2160p @ 30Hz or 60Hz, all with 4:4:4 colour sampling. Control and configuration is handled through a web interface, Ethernet and RS232. 8.E37

ShotPut Pro 6 for Mac became available, it has been incredibly well received by the media management community. It is truly the most feature-rich application we’ve ever created and the most robust offloading application out there. Now Windows users will have the same new user interface and the same powerful new features and functionality as their Mac-using colleagues.” 5.C05

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OPINION

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Protecting connected devices in the IoT age Petr Peterka, chief technology officer, Verimatrix The Internet of Things (IoT) market is generating new services and devices that need protecting against a range of existing and novel threats, as a few notable breaches and staged attacks have already shown. One aspect to IoT security that is widely misunderstood, even by some security experts, is that IoT is not really a new problem for the security industry. There is a widespread misconception that the IoT will raise new threats that can only be met by emerging technologies, such as artificial intelligence methods and blockchain technology. While such technologies will indeed come to play an important part in IoT as its threat landscape evolves, the challenges we face in the immediate future can be

met by existing techniques, especially those already widely deployed and well proven in the pay-TV revenue security industry. The point here is that we have had things connected to the internet for many years now, most relevantly the set-top box (STB). While the goal was to defend the video content rather than the underlying delivery infrastructure per se, this was impossible to achieve without protecting the IP STB itself against direct attack and compromise. Without that, it would be possible for pirates to get at the content by first circumventing the box where video decoding occurred. It’s also detrimental to protect the head-end where that actual content and keys may be hosted in the cloud.

Such measures begin with hardware root of trust, secure boot and other techniques to make sure that when the system starts up it is loading known authenticated software and not some malware or Trojan invading from the internet. We have also developed technology for updating the software securely during operation. Additional solutions that may be borrowed from the pay-TV industry include mutual authentication between devices and servers based on X.509 certificates, which leads to the ability to provision keys and other secrets, create trusted communication channels, and powerful authorisation and entitlement frameworks that enable rich services making individual IoT devices so much more valuable.

Of course, some new tools and techniques will be needed to counter emerging threats, such as those already used in proactive anti-piracy techniques. But again, these are not unique to IoT. Just about all telematics sectors face the common challenge of having to monitor for threats, some of which cannot be anticipated in advance, and be able to deal with them as they arise. Based on our experience, we have rallied around four key elements for an IoT security platform, with a fundamental requirement being that it can be renewed as required, not just to keep pace with the evolving threat landscape, but to stay one step ahead. These elements are 1) device integrity, 2) secure device authentication, 3) integrity of the device

communications and 4) the integrity, security and privacy of the data collected by IoT devices and processed in the IoT service cloud. Another key IoT security element is ongoing threat monitoring to detect unusual patterns that indicate a potential hack. For example, a well-trained machine learning model should be able to identify connections or nodes where unusual activity is occurring and shut those down, while leaving others open to minimise overall impact on a service. 5.A59

OTT monitoring grows up Qligent By Mark Hallinger IBC2017 is the international debut of Vision-OTT, a new fully virtualised cloud solution from Qligent to monitor and analyse over-the-top TV services. Though Qligent already supports OTT service providers worldwide with its Vision platform, Vision-OTT better serves the unique geographical and high-density requirements of a

widely dispersed OTT service, said the company. Vision-OTT leverages proven Qligent technologies, including the company’s highly scalable Virtual Probes; and introduces new efficiencies – notably Amazon Web Services – to deploy, host and manage Qligent Virtual Probes from anywhere in the world. Vision-OTT also integrates a remote multiviewer for signal processing and monitoring; and all-in-one compliance recording,

Easing into IP Appear By Ian McMurray The company’s X10 and X20 platforms, which assist broadcasters in the transition from SDI- to IP-centric operation, are being highlighted.

Both platforms are said to allow users to adopt IP easily and in their own timeframe – they provide a programmable option with modules that alternate between SDI and IP in either the compressed or lightly compressed domain. Key features include core IP security

which eliminates the need for an external compliance component or service. Qligent’s Virtual Probes can analyse IP-based streams from anywhere in the field, and present that data on a centralised Vision dashboard in the cloud. The Vision-OTT architecture includes an aggregated server that communicates with, and collects all field data from, each probe or edge device. Merged with Amazon Web as a firewall, video monitoring, video routing and video re-multiplexing. Three new processing modules added to both platforms allow for customisation, giving users the ability to meet specific requirements: a high-speed IP card that delivers both compressed and uncompressed video; a high-density SDI card; and a scrambling card for

Leverage: Vision-OTT uses Qligent technologies and adds new efficiencies from AWS

Services, the comprehensive Vision-OTT platform provides impressive reach and penetration, said the company. Qligent claimed, because Amazon Web Services is globally available, that Vision-OTT is an ideal solution operations that require secure content delivery. Appear’s Adaptive Bit-Rate (ABR) just-in-time packager and complete XC5000 chassis are also being shown at IBC. The ABR is an integrated software solution combining a video segmentation engine, high-performance storage

for special one-time events, such as a sporting event or political debate. Vision-OTT is designed as a SaaS with a pay-as-you-go model, whether deployed for single events or as a continuous monitoring platform, 8.E47

DRM engine and origin server as a suite of complementary elements. The company says that its XC5000 modular approach enables the user to easily adopt the system to meet future operational requirements without having to completely replace the system. 1.C61

The X20 platform assists the transition from SDI- to IP-centric operation

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08/09/2017 00:09


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Huge deployment of IPTV STBs Zenterio By Ian McMurray Having announced that it is working with Deutsche Telekom Group on an ambitious project to modernise the TV subscriber experience in Germany, Zenterio is using IBC to discuss the implications of one of the market’s largest deployments of IPTV set-top boxes. Deutsche Telekom is transforming the customer experience with international rollouts ongoing in Greece, Romania and Croatia. Powered by Zenterio OS, the first commercial launch in Germany is said to represent a major milestone. The deployment is part of a new Deutsche Telekom offer for an entry-level IPTV subscription package, providing around 100 TV channels, including 22 in HD quality, from just €2 per month. Jörgen Nilsson, CEO of Zenterio, said: “In today’s

Nilsson: “The customer experience is all important”

highly competitive market, the customer experience is all important. Viewing habits are changing incredibly quickly as more screens are added to the mix and on-demand services become increasingly intuitive. We’re incredibly proud to be working with Deutsche Telekom to empower the TV operator to drive better TV experiences.” Zenterio OS is a platform for set-top boxes from entry level

to high end, designed to return control to the operator with full software independence on client devices. The operating system supports a feature set that the company claimed will deliver advanced data collection and intelligent backend integration with any set-top box model across different countries, vendors and ecosystems. 5.C11

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Upping liquid-cooled efficiency OUTLINED

GatesAir

Featuring a software-defined modulator, the XTE includes By Mark Hallinger native IP inputs and eliminates the need to retrofit transmitters The Maxiva ULXTE is GatesAir’s with additional gear to enable new family of liquid-cooled, network connectivity for IP-enabled UHF TV transmitters. DVB-T2, DVB-T2 Lite, ATSC The line incorporates the latest 3.0 and other standards, LDMOS transistors and RF giving broadcasters an outdevices, which are responsible of-the-box way to simplify the for efficiency and power gains. input and output of multimedia GatesAir has raised overall services via a local or wide ULXTE transmitter area IP network. The efficiency from 42 to XTE-driven modulation 46 per cent, which reduces costs and represents a 10 per power consumption cent increase. The by lowering wattage 20 per cent power requirements at the improvement is also a amplification stage, significant operational without affecting benefit, allowing signal strength. broadcasters to get Maintenance is more power out of a streamlined in several smaller transmitter, ways, including a said the company. lightweight footprint The ULXTE also that enables true integrates GatesAir’s single-engineer latest-generation maintenance. Productivity: Overall transmitter efficiency 8.B30 Maxiva XTE exciter. is up 10 per cent

Radio & TV Broadcasting Equipment Stand: 8.B45 For more information visit our website:

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IDS ticks boxes for teachers OUTLINED

IPE By Heather McLean The Information Display System (IDS) from IPE has been deployed at Southampton Solent University in the UK. IDS, which IPE is featuring on its IBC stand, is composed of dedicated software and hardware devices that use a scalable TCP/IP backbone to provide monitoring and networked display functionality from touchscreens. The installation at Southampton Solent University is a central component of the university’s ability to monitor, analyse and, if required, rectify operational aspects of multiple studios. These are being used for the training the university provides

for its students, including live streaming, documentaries, web broadcasting, music festivals, sports events and many other projects. Jon Wills, specialist facilities team leader and technical instructor, Southampton Solent University, explained: “We were initially interested in IDS’s remote noise monitoring function. No other system would give us the ability to remotely monitor noise levels in such a neat and configurable way. There doesn’t appear to be a competitor for it. “IDS already ticks a lot of boxes for us, but its flexibility enables us to add further functions to the system, which we can pretty much plug straight into the existing network with some configuration assistance from IPE.”

Southampton Solent University has installed the IDS monitoring, display and control system

By Mark Hallinger The big news at the Starfish stand is that Inca Networks has confirmed interoperability with

TS Splicer, the Starfish transport stream content replacement system. Inca will recommend TS Splicer as part of future projects. Inca Networks is the North American subsidiary of WISI, a receive and distribution

Balancing act Peak Communications By Ian McMurray

Reuben Such, head of products sales and support, IPE, added: “Southampton Solent University is a prime example of how IDS puts users firmly in ‘remote control’ by providing the right information to the right people at the right time. Its scalability is important as it enables

Inca links up with TC Splicer Starfish Technologies

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Moving forward: Inca will now recommend TS Splicer as part of future projects

technology company, and a provider of products and

the system to grow with the university and the needs of its students. It’s a system that will provide familiarity to the students in their ongoing careers as it’s already used by household-name broadcasters all over the world.” 11.D30

solutions for video and broadband networks. TS Splicer from Starfish provides media insertion that combines multiple-channel, frame-accurate transport stream media splicing with integrated ad server capabilities, media storage and SCTE 35 opt-out signal decoding. 8.B38

Providing fixed gain or 30dB (0.1dB step) attenuation control of L Band or 70/140mHz based IF signals, the VGU010 system from Peak Communications can be used for balancing signals during commissioning to overcome differences in cross-site losses. It also provides a convenient facility for remote gain control of uplink/ downlink chains. These modular ‘field expandable’ units accept up to 10 channels and, being hot-swappable, can be inserted/replaced in the VGU010 unit from the rear without the need to remove power or disturb the other channels, enhancing maintainability. The modules can be fitted with fail-safe bypass switching options and the chassis is mains powered with dual redundant, modular, hot-swappable power supplies as standard, providing necessary system reliability/availability. Peak explained it is now able to provide an LNB powering facility from within each module, with current monitoring and user settable alarm levels for downlink applications. Adding further flexibility to the range, the company is now also able to offer splitter/combiner combinations that can be fitted into spare module slots. 1.A65

The VGU010 allows remote gain control of uplink/downlink chains

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Enhanced control and monitoring OUTLINED

Axon Digital Design By Heather McLean The Cerebrum control and monitoring platform, a strong control solution for production, master control and notably live sports production is being

demonstrated. It controls multiple devices on one interface, integrating with technology from manufacturers including SAM, Evertz, AJA, AXIA, Allen & Heath, Panasonic, Ross, Yamaha, Rohde & Schwartz and Blackmagic Design.

Axon Digital Design claimed Cerebrum offers control in IP environments, and said it simplified workflows by integrating legacy SDI and a variety of new IP technologies to facilitate the creative process and bring operational efficiencies.

TouchMonitor firmware rolls out RTW By Mark Hallinger The audio monitoring specialist is showcasing its latest updates in Hall 8, including the rollout of new firmware for its TouchMonitor TM7 and TM9 series. The current TM7/9 firmware update allows simultaneous monitoring of transmission streams, with the ability to see up to four

parallel instances of the stereo vectorscope at once. The RTA (Real Time Analyzer) feature set offers an even more refined graduated frequency distribution analysis, with the addition of a 12th octave filter bank. Extra security measures can be activated with the utilisation of a new feature, custom selected password, which will also protect the user against unauthorised adjustment changes.

This firmware also supports four-channel operation of a TouchMonitor, even without a multi-channel licence, which allows attractive combinations in operation with RTW’s TMR7. Ulrike Lauterbach, director of sales and marketing, RTW, said: “We listen to our customers’ feedback and support their changing needs with our regular firmware updates. The TM7 and TM9 are user favourites, so we have really put an emphasis

The team is available to discuss recent projects delivered for F1, BT Sport, MediaCorp, Timeline’s IP HDR OB, Arena, CTV, ITV and SABC. Axon’s IBC line-up also includes signal processing with auto formatting for HD, 4K, HDR, 3G, 12G and IP, and support for Dolby E encoding and decoding, as well as the AZilPix Studio.One Virtual on taking these products to the next-level of operation for our customers. These new firmware updates create a more efficient workflow with

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Camera System for live video capture and streaming in traditional or IP broadcast environments and VR video production. Also on show is Master Control for automation and transmission, driving integrated and productive broadcast operations, as well as DVB transport stream management tools. 10.A21

the option for customisation, while continuing to adapt to the ever-changing loudness standards around the world.” 8.D89

The firmware update supports four-channel operation of a TouchMonitor

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Big sound with small footprint DiGiCo By Mark Hallinger For small footprint OB, flypack and venue requirements, DiGiCo is showing its SD11B and S31 consoles. The latest console in the S Series, the SD11B is an

ultra-compact broadcast console with an 80 channel capability with full processing and routing flexibility, including LCRS and 5.1 mixes as well as stereo and LCR. In addition, the desk’s broadcast-specific features include a complete 5.1 monitor matrix with 48x6 source to

speaker selection; multi-channel folding; user-defined stem order selection; Mix Minus busses (one per mono channel); backstop PFL (over press) and auto PFL; and audio-followvideo implementation. The S31 includes 31 faders, and three 10-inch multi-touch

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The S31 includes 31 faders and three 10-inch multi-touch screens

screens. DiGiCo said it was suited to applications where more instant control and

feedback are critical to the operator. 8.C62

Getting a grip on remote cameras

The Starcam telescoping column equipped with a 306 remote camera head

Egripment

By David Fox A new line of remote heads designed for smaller box cameras, ENG handheld cameras or digital cinema cameras has been introduced by Egripment. The smallest head, the lightweight 205, can carry up to 10kg, and effectively replaces Egripment’s Mini Shot

and Super Shot heads. The 301 and 306 remote camera heads can both carry up to 15kg, but the 306 can cope with wider cameras. The heads are available as a standalone system for direct control of the remote head, suitable for live productions such as sports, concerts and shows. More sophisticated digital versions of each head can be used for remote broadcast applications. Based

on an IP platform they are part of a network and can be used simultaneously by multiple controllers. Presets, moves and recordings can be easily set up through Egripment’s touch panel, and are particularly useful for automated news studios. They are particularly suitable for programmable shots in combination with the G-track dolly and Starcam telescoping column. 12.A21

Analytics within the cloud Qligent By Mark Hallinger Unveiled at IBC2017, Qligent’s new delivery analytics module is intended to specifically help users better understand the end-to-end content journey. It helps gather intelligence on programme content, distribution chain service quality, consumer behaviour and other elements to gain a data-driven competitive advantage. Qligent said it is moving beyond QoS and QoE analysis and compliance

verification with its Vision monitoring platform to help customers cross-correlate performance data from origination to consumption. Ted Korte, COO, Qligent, said: “The continued migration towards servicing the consumer’s demand for a personal experience means that broadcasters and TV service providers must embrace the broader landscape of monitoring an OTT or SVoD service. “It’s a consumer’s market, and any type of provider will need to be data-driven, [thus] broadening the scope to supplement or mimic

the massive data collection capabilities of companies that specialise in one-to-one relationships, such as Facebook, Amazon and Google.” Qligent claimed to make data analytics easier by cost-effectively capturing data from streams and equipment at points along the stream path such as origination points, the IT backbone, CDNs, edge devices, ISPs, mobile providers and set-top boxes. Centralised to Qligent’s Vision dashboard, users can drill down as deep as desired to capture the required data sets around delivery analytics

OTT and SVOD: Service providers must embrace the broader landscape of monitoring

or automate consolidated reports. The delivery analytics module gathers field data

through Qligent’s Virtual Probes and Micro-Probes. 8.E47

Intuitive interaction on display

eyevis

By Heather McLean Solutions for monitor applications in master control

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rooms, as well as a range of products for high-quality streaming of broadcast signals and IPTV systems from eyevis affiliate Teracue, have been installed in a

mock-up control room desk, showing off their capabilities in a realistic environment. The company also claimed that ‘intuitive interaction’ with displayed

content is being presented, on an 85-inch EYE-LCD8500-QHD-V2 touch display from eyevis’ range of professional 4K/UHD LCD monitors.

Products from software partners Trackmen, Glare Productions/Ventuz and Trivis can also be found on the eyevis stand. 11.D13

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Choice vs quality in the age of innovation In a marketplace where consumer choice is considered as the foundation for successful growth, the standard of content delivery should not be allowed to slide, warns Keith Bedford, managing director, EBS In the early 1980s, Howard Moskowitz was tasked with finding the perfect pasta sauce for a struggling US food brand. He conducted an experiment in which a test group tried 45 varieties of pasta sauce, and voted on the best one. The results of this experiment led to one of the most influential business innovations of the 20th century. Moskowitz discovered that the group didn’t prefer one product, but that they liked plain, chunky and spicy pasta sauces in roughly equal measure. Based on this evidence, his client released all three sauces at once, and made

$600 million in profit over the next decade. The message was clear: customers didn’t want to be told which product was ideal: they wanted to choose the product that was right for them. Over the years this idea has changed businesses and industries worldwide. Broadcast entertainment has undergone decades of rapid innovation and segmentation in the name of consumer choice. Today the number of viewing options available to end users borders on the staggering. Content can be accessed in linear, pay-per-view, on-demand, download-to-

own, streamed and catch-up formats, with a plethora of companies offering a selection of extra service options and cost packages on top of this again. But has this segmentation left us with a market that is fractured almost to the point of being inaccessible? These days it is not unfamiliar to hear of consumers struggling to understand how to access their desired content, or even to find out which platform that content sits on. With that in mind, is it time to ask if our culture of innovation is serving the end user as well as it could be? At EBS, we work with our clients to provide exceptional

DataMiner SRM launched Skyline Communications solution available that delivers By Ian McMurray The DataMiner Service and Resource Management (SRM) solution suite is being launched at IBC by Skyline Communications. According to the company, this technology takes broadcast and media operations to an ‘entirely new level’ by providing sophisticated end-to-end orchestration and workflow automation. Skyline claimed DataMiner SRM is effectively the only

on two ‘indispensable’ characteristics for this key component of a modern broadcast operation. First, DataMiner SRM runs transparently across any vendor and technology boundaries. It offers end-to-end orchestration ‘from a single pane of glass’, across legacy SDI and IP-based infrastructure, supports live and file-based workflows, and interacts with hardware and software products, including on-premises and off-premises resources.

Secondly, the company explained that DataMiner SRM is natively designed for maximum agility and a dev-ops style of operation, with exclusive features that cater for continuous incremental evolutions in an ongoing operation. This, claimed Skyline, enables operators to continuously increase operational excellence, to integrate new technology on the fly, and to evolve their service portfolio along with market demands.

By Mark Hallinger The MAM software developer is showing a new concept in storage virtualisation systems, which won an IABM Game Changer Award in April. Tedial said that its Augmented

STorage (AST) addresses the needs of multi-site enterprise clients, and is the most secure method of controlling tiers of storage across departments or across continents. AST brings content owners a safe, reliable and cost-efficient storage system for cloud workflows

centralised metadata libraries are ready to be rolled out across whatever services they may be required on, either now or in the years to come. It’s a dramatic and exciting time in broadcast entertainment, and we need to be ready to adapt quickly not just to the changes that we have become used to, but also to the changes that nobody is yet anticipating. To this end, the amount of choice on offer may be crucial, but the quality of content delivery will always be paramount. 14.P26

Supporting Android STB deployments 3 Screen Solutions By Monica Heck The 3Ready rapid-launch multiscreen solution now supports set-top box (STB)-only deployments, delivering all 3Ready features as well as multi-device deployments. 3Ready helps service providers to fast-track launches and new feature enhancements for IPTV, OTT, satellite STB, cable STB and/or mobile. It aims

to optimise Android-based STB deployments, which are growing in popularity among operators. The 3Ready Custom Launcher is compliant to the latest Android TV operator tier guidelines and features of Android N, and is future-ready for upcoming Android O. In addition to Google Assistant and Voice Search, Netflix is integrated according to operator requirements. 15.MS30

1.A23

‘Cloud first’ design emerges Tedial

content data and scheduling information across all broadcasting services. Utilising our innovative metadata solution Pawa2, we offer content suppliers the ability to easily adapt their metadata to the requirements of any distribution platform, anywhere in the world. In this way, we can ensure that our clients are offering end users the same high-quality information however they are accessing their chosen content. Looking to the future, it’s difficult to say whether market fragmentation will continue at the same pace, but at EBS we have ensured that our

and hybrid scenarios as it virtualises file locations, said Tedial. For those customers managing a multi-site, distributed operation, AST can transparently manage the same content in multiple locations, automating task assignment and data transfers as needed.

Tedial said a resilient and scalable ‘cloud first’ design allows facilities to grow according to their needs, adapting to workload peaks,

and provides the highest level of security to protect content and limit access to only those authorised. 8.B41

AST can transparently manage the same content in multiple locations

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14 - 19 September RAI, Amsterdam

14 â&#x20AC;&#x201C; 19 SEPTEMBER 2017, RAI, AMSTERDAM

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Connecting higher fibre counts

Tough: The connector features a robust housing and heavy-duty strain relief

OUTLINED

Neutrik By Mark Hallinger New from Neutrik is opticalCON MTP24, a 24-channel fibre optic connection system based on MTP data connectors. With its small form factor, opticalCON MTP24 is an ideal solution for long cable runs and point-to-point wiring where high fibre counts are required,

said Neutrik. The system, based on the company’s opticalCON Quad, is optimised for broadcast, pro-AV and industrial applications. The opticalCON MTP24 Advanced cable connector features a robust metal housing and heavy-duty strain relief. The connector’s automatic spherical dust shutter protects the fibre from contamination and minimises maintenance.

For less rugged applications, opticalCON MTP24 LITE cable connectors are also available. Cable connectors can be factory terminated onto a variety of qualified multimode and single mode (PC and APC) rugged cables. The opticalCON MTP24 chassis connector accepts a standard MTP breakout cable at the rear, facilitating easy adaptation to LC, SC, or ST

optical fibre connectors. The built-in dust shutter ensures minimal maintenance. The

PTZ cameras offer graphic images JVC Kenwood By David Fox JVC’s white and black KY-PZ100 cameras with RM-LP100 controller

A new firmware upgrade for JVC’s KY-PZ100 PTZ camera now offers full screen graphics overlay to the camera. This means that information can be overlaid on recorded or streamed video, such as the programme name,

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reporter name, channel logo, time or live sports scores, all updated via smartphone or tablet. It’s also possible to include the watermark of the station and a ‘Live’ mark on the screen for live broadcasts. The KY-PZ100 has a direct drive system that delivers 0.03º accuracy with silent movement. It has a 30x zoom lens, built-in SD card recording and offers

sealing gasket provides colour coding and IP protection. 8.C90

good low light performance, said the company. Besides 3G-SDI and HDMI outputs, the camera features JVC’s IP-based communications engine, providing FTP and streaming HD video at a variety of bit rates with minimal latency. The camera can be controlled using the JVC full IP-based RM-LP100 remote control panel, a web browser or other third-party remote controllers. 12.F31

Budget HDMI/SDI conversion and sync Ensemble Designs By Mark Hallinger The NXT 910 four-channel HDMI/SDI frame synchroniser is the ‘perfect solution’ for Bluray players, satellite receivers, GoPro cameras and other HDMI devices, said Ensemble. For a competitive price point the

Stacked: Multiple units can be used in a rack environment to provide dense processing

device provides four channels of conversion with perfect synchronisation of video and

audio. Optional licences can provide colour correction or crop and scale.

Converters, amps and compressors Cobalt Digital By Heather McLean On show, the new 9904-UDX-4K 12G/6G/3G/HD/SD-SDI UHD up/down/cross-converter and frame synchroniser is designed for openGear frames. The 9904 can up-convert 3G/HD to UHD (3840x2160), providing either quad 3G-SDI-based square division or two-sample interleave formats, as well as single-wire ST 2082 12G-SDI. The unit

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can also perform the reverse in down-converter mode and has two HDMI 2.0 outputs for cost efficient monitoring. Cobalt has also announced plans to introduce options for HDR, as well as ST 2022-6 and 2110 uncompressed audio and video over IP. Also being introduced to the European market is the BBG-DA-12G-1X6 brick form-factor UHD distribution amplifier. With its cable-length performance of 100m over Belden 1694 cable at

12G-SDI, the unit is a problem-solving tool. Additionally, Cobalt has developed new features for its line of MPEG encoders and decoders, including the +RTP/ ARQ licence option that enables automatic repeat request (ARQ). Unlike SMPTE Forward Error Correction (FEC), the +RTP/ ARQ technology requests only actual unreceived packets to be resent, which keeps the stream bit rate as economical as possible, said the company. 10.B44

The NXT 910 offers four independent frame synchronisers. Each supports

automatic input format detection and conversion to the desired output format. A user can adjust video and chroma gains with a built-in proc amp, or adjust levels and swap/mix channels in the unit’s embedded audio. Even embedded surround sound (Dolby, AC-3) is synchronised from input to output. 8.B91

Smarter transmission monitoring Kathrein-Werke By Mark Hallinger A new Smart Monitoring system uses sensors to record all-important operating parameters in transmitter components. It does this in real time for comparison with target values from regular operation. All deviations are consistently logged to provide an early indication of a potential disturbance.

Transmitter operators can view the measurements via network access. If there are any critical changes in status or if threshold values are exceeded, an alarm is triggered and signalled via app, SMS message or email. The Kathrein Smart Monitoring system can be employed with new antenna system installations and it can also be integrated into existing systems. 8.C24

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Compact capture cards for OEM Magewell By Mark Hallinger The Nanjing-based company’s newest line of high-performance video capture hardware is designed for use in small and embedded systems where

full-sized PCIe slots are unavailable. The Eco Capture family of cards complements Magewell’s flagship Pro Capture series by offering OEMs and systems integrators a compact capture solution with low power consumption for space-limited applications.

The first four Eco Capture models each feature a high-speed PCIe 2.0 bus interface with an M.2 connector, enabling multi-channel HD or single-channel 4K capture. The Eco Capture HDMI 4K M.2 captures one channel of video

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OUTLINED

Mini: The cards are designed for use in systems where full-sized PCIe slots are unavailable

up to 4096x2160 at 30 frames per second via HDMI, while the dual-channel Eco Capture Dual HDMI M.2 and Eco Capture Dual SDI M.2 capture HD or 2K video up to 1080p60 over HDMI or SDI interfaces,

Game on for VR Viaccess-Orca

By Ian McMurray Designed for 360° virtual reality premium video management, interactivity and secure playback, the new Virtual Arena is on show. The product’s appearance at IBC follows Viaccess-Orca’s recent acquisition of Squadeo. It enables customers to leverage QuickPlayer’s playback

infrastructure to deliver both live and on-demand 360° streamed video content. At the stand, attendees are seeing a VR experience featuring sweeping views of 360° content at resolution levels of 4K and higher. A new app and multi-camera view are being highlighted, along with previously unseen sports content. Through advanced capabilities such as data collection via multiple

Being there: 360° VR experiences are being served up on the Hall 1 stand

sensors, extraction of insights and targeted advertising, Viaccess-Orca claimed its solution uniquely enables service providers to drive

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viewer engagement and create data-driven monetisation opportunities from immersive video experiences, while preserving privacy.

respectively. The fourth model, the Eco Capture Quad SDI M.2, doubles the latter offering’s channel density, capturing four HD or 2K SDI source signals simultaneously. 8.A84

Alain Nochimowski, EVP of innovation, Viaccess-Orca, said: “Our goal is to provide consumers with a compelling, immersive viewing experience and enable monetisation options for service providers. Combining state-of-the-art technologies into a best-ofbreed solution will unleash content creativity and majorly increase the audience that can be reached with VR services, while ensuring today’s investments remain future-proof.” 1.A51

RAI Amsterdam Conference 14 – 18 September : Exhibition 15 – 19 September

IBC Technical Supporters IBC thanks our supporters for providing the technology that powers the IBC experience

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theibcdaily Q&A OUTLINED

Junichiro Ohno, representative director and president, Canare Electric Has IBC come at a good time for the electronic media industry? Why? For many years IBC has been the place where the broadcast world meets. It was always the best place to learn about new products and trends. Nowadays, IBC is also more of social event for Canare. We would like to maintain and develop

good relationships with our customers as this is the most important way to increase our sales.

What do you think are the key developments in, or threats to, your market sector at the current time? Canare, like many other cable manufacturers, is looking

carefully at the development of IP TV in the studio and OB vans. This trend can be treated as a threat to the traditional audio and video cables and connectors market. Canare is also one of the market leaders in video patchbays. Our R&D team is working on IP development in order to follow this market trend.

Enhancements for compact sports server slomo.tv By Mark Hallinger First introduced at IBC last year, slomo.tv’s Simple RII compact production server has already attracted attention from sports broadcasters worldwide thanks to its advanced functionality and affordable price, according to the company. Here at IBC2017, the company is debuting an enhanced version, complete with extended 3G SDI support, six recording channels, search

capabilities on all six channels and two playback channels with transition effects. In addition, slomo.tv is to offer a new 8-channel 3G video refereeing option. Simple RII is a universal platform that enables remote upgrades to any configuration. Features include: SSD storage

capacity to 266 hours (of 100Mbps HD video); three graphics outputs for connecting three different interfaces at the same time; the possibility of obtaining a single-use licence for higher configuration; and two SD/HD video outputs in basic 332 configuration. 8.B40

By David Fox

The Rover smartphone camera cage used with a MicroGrip car mount

“Whether you’re a YouTube creator, mobile journalist or aspiring cinematographer, the ongoing challenge has been in transforming a smartphone into a professional-style camera rig,” said Bill Hines, Rover’s creator. “We aimed for a minimalist design that is strong and comfortable yet versatile enough to work with most smartphones, lenses, microphones, lights and other accessories.”

of Canare Electric, invites everybody to visit our stand. 12.G64

Vocal solution for AV control TW Electronics

Matthews Studio Equipment

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This year is exceptionally important to us. First of all we are showing the full range of 12G products, including new video patchbays. Secondly it is the perfect occasion to introduce our newly open Canare Europe office and its staff. Managing director Tomasz Kolaczyk, on behalf

Enhanced: IBC2017 sees the debut of an upgraded version of the Simple RII server

Smartphone shooters land Rover Rover is a new professional camera cage for smartphones that has been designed to provide a comfortable ergonomic position, so that hands and arms stay relaxed and the camera movement remains smooth and steady. Integrated dual handles connect to unique Perfect Friction mounts that can instantly adjust to any point of 360º rotation without additional tension adjustment or locks. This allows the handles to become a natural extension of the body, and they double as easel arms for low angle shooting, tabletop viewing or editing.

Why should delegates visit your stand at IBC?

By Ian McMurray According to TW Electronics, there is a rapid change taking place in how consumers are controlling their media equipment. The company observed that, until recently in Europe, infrared remote control technology has been the accepted norm for controlling the majority of AV devices. However, with the rapid increase in content availability, the need for quick and accurate searching via the remote control is vital. TW Electronics believes that voice control in a complex content environment gives a better user experience. Ease of access is critical, the company claimed, and a fast but accurate method is

required – and proposed a vocal searching solution. A simple key press and a spoken description of what the user is looking for will offer up not only stored content, but with the addition of internet access, a host of other content, said the company. This will allow set-top box manufacturers and operators to build new, innovative features into their offerings and ultimately increase the revenues generated through wider content access, claimed TW Electronics. Infrared is no longer adequate for today’s users, the company added, noting that it is now developing new voice-enabled remote controls based on Bluetooth Low Energy chipsets, and it is demonstrating these on its IBC stand. 5.B43 Voice is the best way of navigating content complexity

For flexibility, the $299 Rover has 16 points of freedom, which are industrystandard ¼-20 screw mounts for customising and accessorising the rig. Combined with MSE’s MicroGrip hardware it can be mounted almost anywhere (rails, windows, trees, cars, etc). It has an adjustable cold shoe mount for microphones and lights. 12.G71

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Beluga preps for playout Ancora offers OUTLINED

control for OB

Pebble Beach Systems By Mark Hallinger

Hi Tech Systems

Developed in partnership with Blue Lucy, Beluga is a new workflow engine, content management and video processing product that integrates closely with Pebble’s Marina automation system. It offers targeted file delivery, content preparation and integrated QC workflows without the need to deploy an enterprise MAM solution. Beluga’s content management approach focuses on the tasks of preparing content for playout and distribution, said

By Heather McLean

Expansion: Beluga adds transcoding and proxy creation to Marina’s existing toolset

Pebble. Checking segmentation, programme content, allowing for conformance editing, performing comprehensive QC and generating reports are all essential steps along the playout pipeline. Beluga also adds transcoding and proxy

creation to Marina’s existing toolset. As the number of users grows, Beluga’s simple web-based interface enables teams to interact with the media dynamically without having to install dedicated client software. 8.B68

ARG Quarra interoperability demonstrated Artel Video Systems By Ian McMurray Interoperability between Artel’s InfinityLink and DigiLink platforms and ARG’s Quarra and ARQ IP solutions is being demonstrated on the Artel stand. On display is the ARG Quarra 10000 10Gbps Ethernet PTP Switch, actively routing video, audio and data through Artel’s network. The ARG Quarra supports the SMPTE 2110-10 proposed standard for system timing and definition, as well as 2059-2, permitting interoperable use of IP-based media equipment with conventional genlocked SDI equipment. Featured in Artel’s live network is ARG’s 8000 ARQ IP streaming device, providing

By Mark Hallinger The SmartRig+ from Saramonic can record from professional microphones and guitars (or other instruments) to a smartphone, tablet, DSLR camera or video camera. Two independent channels allow a user to connect and control gain on multiple

10.A43

Silent, but deadly accurate Mark Roberts Motion Control Artel’s InfinityLink and DigiLink platforms are being showcased at IBC

what Artel describes as a simple-to-configure solution for the distribution of high-quality video over unconditioned IP networks, including wireless, internet and satellite. As it is scalable in single stream increments, the company said that broadcasters can quickly add additional ARQ licences

Smart recording with a phone Saramonic/DSQN

The benefits of Ancora for IP connectivity are being demonstrated here at IBC. Ancora is a system to integrate the control, management and monitoring of multiple devices in an OB truck or facility and provides a unified operator interface for clarity and consistency. Ancora provides a bridge between legacy equipment and new generation hardware and software with a system that is configurable, easily modified or expanded by the customer without Hi Tech’s intervention, said the company. Tom Favell, managing director, Hi Tech, said: “Our Ancora Designer application

is used to build GUIs and hardware panel layouts and the latter can be from our Array range or existing panels from other manufacturers; router control panels, for example. We’ve invested a lot of time making the Designer clear and easy to use and have adopted the latest technology behind the scenes to achieve this.” “We also have a wide range of device drivers in our database and are adding more by the day,” Favell continued. “We have local or remote databases that are replicated or clustered and are ideally placed to supply large or small systems working with best-of-breed products, as we don’t make any of the equipment being controlled.”

microphones or guitars at the same time. The interface also features three types of input to accommodate any set-up: two XLR mic inputs, two quarter-inch (6.35mm) guitar inputs, and two eighth-inch (3.5mm) jack inputs for connecting any instrument or microphone. It provides 48V phantom power for microphones, and

to deliver multiple UDP unicast and multicast services. Also on show is Artel’s FiberLink 3500 Series, which transmits 4K/UHD video at up to 60fps one way and which the company says supports nearly every type of video, audio and data signal. 5.A65

includes a 3.5mm headphone output for real-time sound monitoring. The two gain control thumbwheels make it easy to set precise levels, said the company. A user can toggle between mono and stereo output modes as necessary. It is powered by one 9V battery.

By David Fox The MRMC Whisper Head robotic pan/tilt/zoom unit is claimed to be not only completely silent, but also very fast, with pinpoint accuracy. The weatherproof (IP67 sealed) unit also offers full camera integration (zoom, focus, aperture, ISO, and so on), in a relatively lightweight and small package, controlled by an easy-to-use interface. It can accommodate camera payloads of up to 4kg.

Its pan and tilt manual control speed is 0.05° to 180° per second on both axis, with zero latency, and the system offers 360º continuous rotation panning, plus -170º to +170º tilt movement. Using MRMC’s control software (MHC) via Ethernet, the Whisper Head lends itself to live broadcasts and events that require fast operation of camera positions. With a touchscreen device (Surface Pro, iPad, etc) or traditional joystick console, the user has ample options to control, set and save preset positions. 12.F11

8.B20

Shhhhhhh…: MRMC’s robotic Whisper Head is quick and quiet

SmartRig+ connects pro mics and instruments to a smartphone, tablet, DSLR camera or video camera

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Easing the IP migration theibcdaily

OUTLINED

Digigram By Mark Hallinger The audio infrastructure company has just announced the release of Audioway Bridge, the first in its Audioway range of IP studio solutions. Serving as a gateway between legacy and IP audio equipment in the studio, or in multiple studios connected by a managed network, Audioway Bridge allows users to input MADI,

Audioway Bridge serves as a gateway between legacy and IP audio

AES67, Ravenna, Dante/ AES67, Livewire+, or AES/EBU and route audio to output in any one of these formats. By facilitating use of familiar legacy audio equipment alongside newer IP-based systems in both on-air broadcasting and production, Audioway Bridge reduces

the cost and complexity of migrating to IP, according to Digigram. Pascal Malgouyard, head of marketing at Digigram, said: “Audioway Bridge offers the smart studio interfaces that allow for a seamless IP migration. This first product in the Audioway range

demonstrates our depth of experience in designing mission-critical equipment for audio-over-IP applications.” As a complete single-box system, Audioway Bridge can replace more complicated gateways that can be too specialised to facilitate broadcasters’ migration

schemes, said the company. Occupying 1RU, the all-in-one gateway not only bridges audio-over-IP (AoIP) streams and legacy signals, but also ensures clock synchronisation between the two systems. The Audioway Bridge will be available in the fourth quarter. 8.C51

IP capability added on Cue Watermark aids

CueScript

IP-enabled: An Ethernet port on the new CueScript CSM17

By David Fox The latest CSM LED monitors from CueScript now offer greater flexibility, thanks to adding dual IP connections alongside HD-SDI and composite inputs to cope with all studio workflows. The CSM LED monitors are available in 15-, 17- and 19-inch sizes. Brian Larter, director, CueScript, said: “While the IP future is a given, we recognise that not all broadcasters are able to transition their entire workflows instantly or completely. “Our new LED monitors offer broadcasters the best of both worlds: the very latest prompting technology for today’s studios, together with IP connectivity

NexGuard By Ian McMurray

that can be activated when the time is right – whether that is tomorrow or in two years.” CueScript’s IP-enabled prompting system runs on CueiT prompting software, which the company claimed offers improved ease of use and a shareware style that allows CueiT to be loaded onto every laptop/PC in the facility.

Monitoring DAB and more Plisch By Mark Hallinger RF-DAB is a professional DAB monitoring receiver for transmitter, content and field monitoring. Key features vary by configuration but include Plisch’s field-proven DAB demodulator; parallel full ensemble decoding; complete EDI reconstruction from RF; full ensemble EDI output to

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piracy prevention

LAN; simultaneous decoding of all audio and data services; extensive RF measurements; and a browser-based HTML5 user interface with remote audio and data streaming. Applications include transmitter monitoring;

Also available is CueB, which offers connection via Ethernet or USB, and the connectivity of ‘near limitless’ scroll controllers that can also be connected over IP. The CueB produces an HD-SDI prompting signal, as well as a composite video signal. Multiple CueB units can run independently or simultaneously. 12.F41

RF measurements and synchronisation monitoring; content verification and monitoring; listening to DAB over IP; relay (ball) reception for FM; off-air EDI reconstruction for DAB retransmission; field measurements and verification; and short-term logging and analysis. 8.D32

Modular: The receiver’s design enables flexible configuration for various applications

Receiving its public launch at IBC is Network ID from NexGuard, in a technology partnership with Ericsson. NexGuard’s Network ID inserts what is described as a unique invisible and robust forensic watermark in primary distribution feeds for linear TV. The watermark is designed to provide clear evidence of the distribution path to determine the source of illegally distributed signals (for example, for live sports broadcasts). This allows content owners to focus their anti-piracy efforts on the sources of significant piracy. The Network ID watermark also serves as proof of ownership to enable the take down of pirated streams (such as from social media). Network ID has already been integrated with Ericsson’s RX8200 Advanced Modular Receiver for satellite distribution applications. Harrie Tholen, managing director, NexGuard, said: “Tracing illicit content activity is a necessary and critical first step in fighting today’s greatest piracy challenges,

Tholen: “Rights holders can focus their anti-piracy efforts where it matters”

such as the illegal re-distribution of live sports. NexGuard is honoured to be working with Ericsson to provide a solution that is pre-integrated with today’s TV and media industry workflows. Network ID offers a clear indication of the sources of piracy, so that rights holders can focus their anti-piracy efforts where it matters.” 1.C81

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Modules matched for audio monitoring OUTLINED

Wohler

By Mark Hallinger New modules, including Dante and Ravenna/AES67, offer AoIP monitoring for the AMP2-16V series. This 16-channel, 2RU AV workstation offers a complete suite of tools for analysing and managing audio quality, level and

loudness, and metadata. The new modules allow existing users to begin monitoring audio using Dante or Ravenna/AES67 without a significant additional investment and without changing existing workflows, said the company. Also on show, the AMP1-8-M offers fast operation for monitoring SDI audio for the most demanding production

The AMP1-2SDA offers 2-channel audio monitoring in a compact 1RU version

applications at an aggressive price-point, claimed Wohler. Suitable for in-studio or remote productions, the AMP1-8-M provides ‘instantaneous’ selection and summing of any

four SDI audio pairs, said the company. The AMP1-2SDA, intended for essential monitoring capabilities in environments such as OB truck/vans and network/

station facilities, offers audio monitoring in a compact 1RU 2-channel version. It also offers the capability to select from any available channel pair to monitor. 8.A54

Launch of UHD 8K-rated video patchbays Switchcraft

By Heather McLean

Being demonstrated here at IBC, the Ultra VideoPatch family is a full line of 8K rated

As video resolutions climb through 8K, the broadcast industry has demanded signal patching solutions able to handle extremely high frequencies. Switchcraft now offers an 8K solution – the new Ultra VideoPatch product line.

video patching solutions. It offers mid-size/mini-WECo single video jacks in a 2x32 The new Ultra VideoPatch product line is here at IBC

1RU patchbay, 8K-rated patch cords, 8K-rated BNC plugs for a range of Belden cables, looping plugs, and single and dual 75-Ohm terminating plugs. This product range meets and exceeds SMTPE ST 2081-1 and ST 2082-1 with low return loss and 75-Ohm impedance, said the company. Stephen Waldron, Switchcraft’s director

Go for Gold

of international sales, commented: “We have a long history of manufacturing broadcast-quality audio and video patchbays and these latest additions will help our customers upgrade their systems and equipment to meet the current and future market requirements.” 11.D45

14 - 19 September RAI, Amsterdam

To make the most of your time at the conference and exhibition, you should consider the IBC Gold Pass Experience. This provides access to everything IBC has to offer, with the addition of extra productivity benefits. Gold Pass benefits include: Exclusive access to the VIP Executive Lounge including: Complimentary beverages & lunch Concierge services Unlimited WiFi access Bookable meeting rooms Networking opportunities

VIP reserved seating in all conference sessions and at the IBC Awards Fast track registration Exclusive Gold Pass gift

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STARTUP FORUM AT IBC2017

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Sara Vogl Co-Founder, VR Base

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Multi-purpose encoding OUTLINED

Expanded API offers integrated video production Multicam Systems By David Fox

The MM08E features a range of system settings for managing multiple network interfaces

2wcom Systems By Mark Hallinger The new MM08E offers an extended application spectrum and is designed for contribution, distribution, in-house streaming as well as studio-to-transmitter links. 2wcom said the encoder features a complex range of system settings for managing multiple network interfaces,

yet it is simple to configure via web interface or jog wheel. The device supports all known audio coding algorithms (Enhanced apt-X, AAC, MPEG I/II Layer 2/3, PCM) and offers various control possibilities (HTTP, Telnet, NMS and SNMP) as well as a high standard monitoring and alarm concept. One unit can generate multiple streams independently, and transmission of ancillary

data and switching contact information (GPIO) is possible via integrated default interfaces. It features hot swappable slide-in power supply units. 2wcom said technicians can fall back on reliable and well-constructed redundancy opportunities (like Pro-MPEG FEC or dual streaming), and the activation of additional channels is possible by software update. 8.E78

BlueLine Transcoder Series launched WISI By Ian McMurray

#IBCShow

Easier integration with third-party tools is the promise for Multicam’s all-in-one production systems thanks to a new, expanded Application Programming Interface (API). It will also enable customers to create their own alternative interfaces to control Multicam systems and customise their workflows. The enhanced API supports all Multicam broadcast and professional AV solutions. It is based on the Representational State Transfer (REST) protocol, and allows every aspect of the systems – including configuring PTZ camera pre-sets, switching, recording, streaming and applying different scenes and titles – to be controlled remotely across a network.

Many third-party systems – from automation and playout systems to dedicated control surfaces – are already compatible with the REST-based API, enabling Multicam products to be easily integrated into existing workflows with only minor configuration or programming effort on the controlling devices. “The expanded Multicam API enables tight interoperability” with third-party products or with users own existing custom applications and management systems “while giving users the flexibility to control our systems from a variety of connected devices such as phones, tablets, automation systems and dedicated hardware controllers,” said Stan Walbert, CEO of Multicam Systems. 12.E56

The WISI BlueLine Transcoder Series features MPEG-2, MPEG-4 AVC IP transcoding

The BlueLine Transcoder Series (BLT) IP video transcoding platform is being launched by WISI at IBC. Developed and built by WISI’s transcoding team in Canada, Inca Networks, the WISI BlueLine Transcoder Series features MPEG-2 and MPEG-4 AVC IP transcoding in a 1RU slot, with density options for up to 24 channels. Validated against thousands of broadcast streams worldwide, the BLT offers a variety of models

Toolkit: A loudness meter, true peak limiter and a loudness correction tool are included

to transcode, transrate or downscale HD and SD sources. Supported features include multilingual DVB subtitle burn-in and optional high-density audio transcoding. Third-party video and audio technologies have been certified with all WISI transcoders and the appropriate licenses are properly protected. The BLT is said to be compatible with other WISI video delivery platforms such as Tangram and Chameleon for a full end-to-end headend

solution. Configuration and troubleshooting are claimed to be simple with its web-based management interface as well as automated handling and recovery of ‘challenging’ video sources. With the BLT series, WISI says that operators can affordably launch new HD and SD programmes in cable or IPTV headends, and reduce business risk by replacing end-of-life transcoder products. 5.B50

No need to shout Nugen Audio

By Mark Hallinger The audio company’s new Loudness Toolkit 2 contains the VisLM-H 2 Loudness Meter, the ISL 2 True Peak Limiter and the LM-Correct 2 Loudness Correction Tool. All are also available individually. The loudness meter provides smarter metering

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A remote, tablet-based interface developed using the API’s new features

with full history and logging, said Nugen. The true peak limiter provides transparent brick-wall limiting for the assurance of true peak compliance at all times, and the loudness correction tool enables quick check and correction processing at up to 100x faster than real time, in a NLE or as a file-based stand-alone application. Also on display is the AMB

Processor, which expands on Nugen’s established loudness management batch-processing technology. According to Nugen, AMB enables post-production facilities to accelerate workflows significantly and reduce delivery times for a range of different tasks such as loudness correction, dynamics adaptation and upmixing. 8.D56

08/09/2017 07:39


Sunday 17 September 2017 RAI Amsterdam

You are invited to the IBC Awards The IBC Awards celebrate the personalities and organisations best demonstrating creativity and collaboration. Presented in a lively and inspiring celebration during IBC, the IBC Awards showcase some of the most exciting and stimulating content from the year. All visitors to IBC are invited to join the winners and finalists at the awards ceremony. Sunday 17 September 18:30 RAI Auditorium Business Attire

Your ticket to the ceremony is included in your IBC Exhibition pass!

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More space Making mermaids cry on screen OUTLINED

BBC Research & Development

AEQ

By Mark Hallinger The Series 8000 broadcast monitors with the ‘Kroma by AEQ brand,’ were launched last year, and now AEQ is presenting Series 9000 versions that use 10-bit processing, with higher resolutions. They come ready for 4K/ UHD signal monitoring, with a

24-inch version with a resolution of 3840x2160, and a 31-inch version with 4096x2160 pixels, being shown. The Series 8000 is available in 9-, 18- and 24-inch versions with 1920x1080 Full HD resolution. They feature 10-bit processing, greatly improving the representation of grey scales, interlacing, colour depth and monitor linearity, said AEQ. 8.C55

By Monica Heck

Using the BBC’s IP Studio platform, BBC R&D is developing the tools, formats and protocols required to produce and deliver object-based content. On show at IBC is The Mermaid’s Tears, the company’s interactive audio drama where visitors can follow any one of three characters through the story and which was produced using the BBC R&D

system. It was broadcast live, making it the first live interactive object-based broadcast. To produce this experience, BBC R&D developed a novel audio control interface to generate the ADM metadata that describes the mix for each character. ORPHEUS, a European collaborative project that aims to create an end-to-end object-based audio broadcast system, has a major presence at IBC on the BBC R&D stand, as well as on the stands of B<>com (8.G14), Fraunhofer IIS (8.B80) and the EBU (10.F20).

In addition, visitors can see BBC R&D technology within collaborations across the show floor, including the Opera TV stand (14.A20), where the company is showing what HbbTV 2 media synchronisation and companion screen features make possible. On the EBU stand, BBC R&D is using clips from the BBC’s award-winning Planet Earth II series, to demonstrate the set of video conversions required in a complete high dynamic range television ecosystem. 8.G10

Alexa, play jazz! StreamGuys

By Anne Morris

Better: The benefit when increasing from 8 to 10 bits is significant

Back in place for IP production Bluebell Opticom By Heather McLean The BCX-760 Series 10G Ethernet point-to-point fibre link is being showcased. This camera-back interface allows easy connection and signal transport between a camera and an OB truck or a base station. Visitors to the Hall 10 stand can see new features and powering options, along with audio, Ethernet and control-data enhancements. In a first for the industry, according to Bluebell Opticom, BCX-760 interfaces map all signals presented at the back of any broadcast camera onto a 10G Ethernet point-to-point link, ensuring safe, robust, interference immune and high-quality transport over much longer distances than have been possible before.

Paul McCann, managing director, Bluebell Opticom, said: “Our point-to-point fibre links and related gear accommodate just about any application and make customers’ lives easier, especially as 4K and IP production workflows become more prevalent.”

The content delivery network and streaming media provider is showcasing a new service that offers custom Alexa ‘skills’ creation for broadcasters using any streaming host or CDN. Amazon’s Alexa voice service lets consumers use spoken commands to trigger actions on devices such as Amazon Echo, Echo Dot and Echo Tap smart home speakers. Much like adding functionality to smartphones by installing apps, StreamGuys’ custom Alexa skills add capabilities to Alexa-enabled devices that

allow listeners to access live and on-demand content on radio stations through intuitive voice instructions. Alexa skills allow broadcasters to choose the words that users speak to launch the station’s programming, as well as defining the interactive experience surrounding their content. In addition to live streams, the skills can provide verbal access to podcasts and on-demand archives, with easy voice navigation between episodes. Listeners can access their favourite station’s voice-prompted menu by saying instructions like “Alexa, open WWOZ”, or go directly to desired content with commands

such as “Alexa, tell WWOZ to play traditional jazz”. Like web domain names, Alexa invocation names – the words users speak to open a custom skill – must be unique, making it important for broadcasters to act swiftly to secure their preferred Alexa identity. Jonathan Speaker, COO, StreamGuys, said: “It can be hard for users to find a station if it’s listed only by call letters, or if multiple stations use the same marketing brand. By affordably offering custom Alexa skills creation, we’re enabling them to quickly establish their presence on this important platform.” 14.L23

10.F24 The BCX-760 provides high-quality transport over long distances

Amazon’s Alexa can help listeners find radio stations and choose the music they like

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08/09/2017 07:43


IBCâ&#x20AC;&#x2122;s 50th Anniversary Charity Fundraiser Saturday 16 September 2017 To mark its 50th anniversary IBC is organising a charity football match to raise money for the Friendship Sports Centre and the Edwin van der Sar Foundation. Both charities provide support and rehabilitation, and improve the lives of children and adults faced with illness. Find out how you can take part or make a donation at show.ibc.org/charity-football-match.

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theibcdaily OPINION OUTLINED

Making sense of data Jon Folland, founder and chief executive, OnFrame Video is the fastest growing type of data in the world. This comes as no surprise as there is an explosion in commodity video cameras, sensors, mobile devices and IP connectivity. The Internet of Things market is set to generate $1tn of value by 2020 with 50 billion devices online. Commercial applications for drones are growing and this market will balloon to $127bn by 2020. These trends are leading to the creation of trillions of frames of potentially actionable video data. The value lies not only in being able to see what is happening at any given second, but also in extracting valuable metadata, analysing multiple trends over time, combining multiple feeds and repurposing

dynamically. Not to mention the huge value in personalising and augmenting such video in real time to create ad inventory and a more personalised broadcast experience. So how do you capitalise on the vast amounts of video data being produced when it cannot all be manually processed by humans? We launched OnFrame, a new company created by the founders of Nativ, as we believe there is an increasing need for automated live video processing to make sense of all this data and enable valuable business insights and personalised video experiences. With cheaper hardware and connectivity and recent breakthroughs in artificial intelligence (AI) and

cloud-based GPU and FPGA, now is the time to solve this problem. Many existing solutions on the market are ‘black box’ monoliths, offering silos of functionality. Some are file-based and others are live and stream-based. Some offer transcoding, some offer QC and others graphics. Most are not cloud-native and cannot scale to meet demand. Although advances in AI offer benefits to the video industries, most solutions do not offer an open approach to accessing all present and future AI-based services. It is rare for existing solutions to provide a software developers kit (SDK) so that anyone can develop or integrate AI or video processing algorithms of their own.

Upping the quality of guest interviews Comrex By Mark Hallinger Scheduled for release this autumn, Comrex Opal provides quality interviews with simple set-up over common web browsers. With Opal, a remote guest doesn’t install a thing, they just open up a link, click a button, and go live. The system works by activating the Opus encoder built into commonly used browsers. All a remote guest needs to transmit audio is a browser and a microphone, said Comrex.

By Heather McLean

Opal provides near-studio quality audio over familiar equipment

Opal provides near-studio quality audio by leveraging equipment guests are already familiar with (ie smartphones and laptops). Perfect for co-ordinating call-ins with guests who have no technical

By Ian McMurray A major government contractor’s software defined radio (SDR) systems laboratory has taken delivery of a Quintech NEXUS-4 16-port mesh test matrix switch, and the switch is on show at IBC.

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David Chan, vice president of sales and marketing, Quintech Electronics, said: “The NEXUS-4 was chosen by the global security company for their SDR transmitter development to exploit its capability to rapidly change network configurations to emulate real-world deployment scenarios.

experience, the company said Opal makes it possible to do long interview segments in HD voice quality, without requiring guests to install apps or fiddle with settings. 8.E75

data as it happens; develop and deploy your own plug-ins with our SDK; source video from any IP-enabled camera, drone or webcam; hook up your existing file archive and process at scale and in parallel; support files and streams in a single unified platform; and set up a trial account and start developing your own applications. Visit us at IBC to find out how to create AI-enabled analysis, processing and repurposing pipelines and scale them out effortlessly and at low cost. 10.A42

Show debut for Sx Tag

Phabrix

Port mesh test matrix switch on show Quintech Electronics

With OnFrame we took an API-driven, developer-centric approach and aimed to unbundle black box feature sets and offer a single, pluggable and unified platform for real-time video and audio processing. We offer powerful APIs so people can extend and build upon OnFrame with basic web development skills only. No more paid for APIs and expensive training. With Onframe you can: build and deploy video processing pipelines in minutes and scale them out in the cloud; automate AI-based video analysis using custom and public AI services; transcode, render and augment video in real time; create, process and search actionable event

The portable Sx Tag signal generator, analyser and monitoring instrument is now available with SMPTE 2022-6 IP encapsulation and decapsulation. Being shown at IBC for the first time, the Sx Tag also operates with 3G/HD/SD-SDI and analogue video. It can be used in

remote locations, with monitoring over a network. Key instruments include multiformat waveform and vectorscope, as well as video monitoring using a 16:9 screen plus 16-channel audio monitoring. A colour-coded interface speeds testing workflows, and operation with mains or battery power provides versatility on the move, said the company. 10.B12

Quintech’s NEXUS-4 passes channels with a frequency range between 200mHz and 4000mHz and allows any of the 16 ports to connect to any or all of the remaining 15 ports. All configurations from full mesh connectivity to a string network can be changed in seconds by loading saved configurations. 1.F38

The portable generator and analyser supports SMPTE 2022-6 IP

08/09/2017 07:44


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Pay-TV rivals vie to become the ‘omni-channel’ of the future OUTLINED

By David Wood Pay-TV operators are facing some tough short- and long-term challenges. That was the conclusion of a panel of pay-TV experts speaking at a Platform Futures conference session at the Forum on Thursday (14 September). Jeff Hunter, chief architect at on-demand and cloud-based TV service YouView, told delegates: “Unfortunately not everyone can be the world’s biggest pay-TV provider. Those that are destined to be successful will need to be simple, relevant, seamless and indispensable. The key is to understand the user and personalise their experience. You also need to get smarter – driving insights from the data you collect.”

Hunter added: “For pay-TV operators the battle is on to develop deeper insights into the interests of customers – giving touch points for the provision of a much wider range of services. To, in effect, become an ‘omni-channel’. The battle is on for such companies to make themselves ever-present and indispensable to the consumer – so no wonder there is so much competition.” Companies such as Amazon and Netflix, which have deep pockets for investment in original content and a lot of data at their fingertips about customer preferences would be in a strong position, said Hunter. Justin Hewelt, global director of brand product and marketing at PayMedia Consulting, said that OTT propositions are

evolving and converging in the current marketplace. “Now we are seeing the emergence of more linear OTT propositions, and propositions targeted at different market segments, such as YouTube TV, aimed at millennials, or Sling, which targets non-traditional segments and cord cutters, and Hulu, focused on changing the OTT model with new, personalised relationships.” Hewelt added: “We have entered a landscape where consumers expect to access lots of different content from service providers. For the pay platform operators there is a real challenge to work out who your partners are, when to differentiate and when to collaborate. Pay-TV ops have been working hard

Breakfast session reveals research quirks

The ‘50 Shades of Pay’ panel discuss the pay-TV landscape

to reinvent their products using personalisation and recommendation. “At the end of the day for pay-TV it’s about locking in customer relationships you have built up over time. The

Partnership on HD studio-quality video contribution solution V-Nova By Heather McLean

By George Jarrett Yesterday’s IABM breakfast session was dominated by the word consolidation, and quirky research contradictions. Giving his traditional industry report, CEO Peter White started with media company performance that indicated nine per cent growth but a seven per cent decline in profits. Thankfully, 93 per cent of companies polled are profitable. The split between traditional and non-traditional broadcast operations stands at 41 per cent to 59 per cent, but traditional will slide further to 36 per cent within two years. On the buying side the big risers are IP infrastructure, social media broadcasting and cyber security. White suggested UHD is in the slow lane compared to AI and VR, but asked how VR will be monetised. The big stats were around the transition to IP – interoperability being vital to 98 per cent of users, 72 per cent of whom also want best of breed. “The quirk is the rise of internal development to 35 per cent. Maybe we are going back to bespoke inhouse development,” said White. “Profit margins are

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Consolidation and contradictions punctuate IABM session

not there for the new media methodologies, so we will see considerable consolidation,” he added. Avid Technology president Jeff Rosica highlighted opposing views in the report. He said: “On the one hand it was all about efficiency and cost reductions, but on the other it was best of breed and interoperability, but this is hard for technology companies who can’t get agreement on IP and HDR standards. That just makes it more expensive for us. “Our customer base is struggling with 1,800 vendors in a relatively small industry. $50 billion is just a Monday at Microsoft,” he added. Charlie Vogt, CEO at Imagine, said: “Our industry is getting ready to go through

a bit of a revolution. We have been trying to figure out how we consolidate around a customer base that is consolidating around us.” A hundred key customers have become 20, which has put a lot of strain on suppliers. Chris Wagner, executive VP, market strategy with Neulion, said: “I did not see much in the report about what’s actually driving all this – the smartphone. That has the ability to deliver high-quality video, and you add into that the consumer’s preferences for personalising experiences. “That is driving a lot of multi-screen and the repackaging of content, and it is driving a lot of choice for consumers to pick and buy the things they prefer.”

newer landscape is all about building deeper relationships – in a world in which the use of apps and the popularity of no contract services means that users can come and go much more easily.”

Eutelsat Communications and V-Nova have unveiled a new satellite-delivered studio-quality HD contribution solution that offers broadcasters and video service providers an alternative or back-up to fibre in terms of quality and bandwidth efficiency. The solution uses V-Nova’s Perseus Pro technology to replicate typical fibrebased video contribution links, including full colour resolution and individual frame compression, and combines them with satellite delivery that adds the benefits of ubiquity and flexibility. This allows broadcasters to contribute studio-quality feeds, essential to maintain quality and to benefit from editing capabilities from

any location. These features are combined with compression that enables 80Mbps of HD 4:2:2 10-bit video feeds to be uplinked by off-the-shelf flyaway antennas and routed through a standard 36mHz transponder on Eutelsat’s global satellite fleet. Using recognised broadcast industry metrics and with independent third-party support, Eutelsat and V-Nova have completed a quality assessment of Perseus Pro via Eutelsat satellite capacity versus reference compression standards normally used via fibre. The assessment validated the superior quality of Perseus versus legacy contribution codecs at rates typical of satellite delivery, completing previous assessments which had demonstrated an average 30 per cent bandwidth gain of Perseus Pro versus JPEG2000. 11.B30u

All together in the cloud Signiant By Anne Morris Software-as-a-service specialist Signiant is showing how new technologies developed by partners such as Fortium and Hybrik are interoperating with the company’s SaaS platform.

The company’s user-centric offering, Media Shuttle, now connects 25,000 companies in 200 countries. It provides an interface to on-premises and cloud storage, allowing authorised people and processes to share large media assets across globally distributed locations. 14.L08

15/09/2017 14:57


Buzz-USB the exciting range of USB recorders

Buzzcaster-USB Record & Stream

BuzzBox-USB Record, Stream & Playback

Buzz-USB Multi 5 Up to 5 USB Recorders

Buzz-USB-Sport 5 USB Recorders

Buzz-USB-XFR 2 Recorders, 5 USBs, Logo, Timecode & Clipping

Buzz-USB-Super 16/4 8 Inputs, 4 Recorders, 16 USBs

Sports, production studios, shows, compliance, security, police

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15/09/2017 14:14


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Entertainment broadcasters embrace social OUTLINED

By Ann-Marie Corvin In entertainment at least, broadcasters and social media networks are more friends than foes as they harness social media to innovate new content and increase ratings. In Thursday afternoon’s session on the relationships between broadcasters and social networks, Joanna Wells, VP of Comedy Central, said that embracing social media and putting it at the heart of Viacom’s strategy has allowed it to achieve a social reach of ‘unsurpassed levels’. She said that Viacom now boasts over 1.6 billion fans, followers and subscribers worldwide across all social media platforms and websites. The broadcaster also boasts six

billion video views a month – a yearly increase of 61 per cent. Central to Viacom’s strategy, said Wells, has been an investment in mobile and short-form content. “Content is still king but the definition of content has shifted. It’s as much about a Snap or a GIF as it is about long-form TV shows.” Original shows for social include dating show Single AF, which puts the romantic fate of seven single celebrities in the hands of its MTV Facebook followers. The show, which will also be a 10-episode series due to TX in late October, has to date enjoyed 100 million views on MTV’s digital platforms and social accounts. And while many traditional news organisations have criticised social media

Facebook’s Daniel Danker states the case for the social networks

platforms for their handling of news content, MTV is embracing it and this year replaced its long-form journalism with short-form video pieces – a move that Wells said has led to over 150 million video views per month. Fellow panellist Nick Dandy from Australian pay-TV broadcaster Foxtel also took a

social-centric view to help build momentum for series five of its internationally popular prison drama series Wentworth. Key features included launching an integration room on Facebook Live, which allows fans to ask a different character questions each week after the show had aired. Foxtel also added a Facebook messenger chatbot

which is updated with three story arcs each week. Dandy adds that discoverability is the key advantage to using platforms such as Facebook, but he adds that this comes with a caveat if the social networks want to remain ‘friends’: “We want to keep our content in our environment,” he said.

LivePanel launches IRT presents NewTek By Carolyn Giardina Launching at IBC is the NewTek LivePanel, a customisable browser-based control system that is now included with NewTek IP Series multicamera production systems and optionally available for TriCaster TC1. Accessible from smartphone, tablet, laptop, or desktop devices – wired or wireless – NewTek LivePanel

allows users to access their workflows from any web browser on the same network. Users can also preview and monitor videos of any video source within the browser. It’s built for video content producers of all types, including live sports, news, venue signage, live events, corporate meetings and education. “Producers who want to leverage the cutting-edge IP production workflow and horsepower of NewTek live production systems without

requiring highly trained production personnel can now use NewTek LivePanel to simplify the user experience and create high-quality, consistent programming,” said Brian Olson, vice president of product management for NewTek. LivePanel ships with panels designed to control various aspects of the workflow including switching, audio, media playback, scoreboards and macro triggering. 7.K11

Laying foundations for digital future dB Broadcast By Heather McLean UK systems integrator dB Broadcast has just completed a key part of a connectivity transition project that transforms the way the BBC provides and manages its core technology. In this time of unprecedented technical change, the overall project involved upgrading to an IP infrastructure on a network that has more than 4,000 circuits

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interconnecting over 90 sites. And the company is talking about the project here at IBC. dB Broadcast worked with BT to survey the major sites throughout the UK, install new bays and over 150km of cross-site cabling, in readiness for installation and migration of new equipment, including routers and conversion equipment. The project included significant upgrades to the BBC infrastructure at all key London sites, with larger SAM and Lawo routers at Broadcasting House.

The work allowed the BBC to start using the state-of-the-art broadcast network in March in a phased migration. The network paves the way for future digital innovation, as well as delivering considerable cost savings. The new network links all UK sites, including 21 broadcasting centres and local radio stations, as well as connecting to the main overseas bureaux and partners for playout of BBC TV channels. 10.A28

enticing demo By George Jarrett One of the sharpest stand demos, designed and provided by IRT, is the DVB look at targeted advertising as an application of hybrid broadband broadcast specs. It is built on a combination of DVB and HbbTV technology. “It opens a business case, especially for the free-toair operators because they now have a standardised solution in place for improved monetisation,” said DVB project director Peter Siebert. “We provide the forward channel and the necessary signalling, and HbbTV provides the requisite protocols to synchronise the two streams very tightly. That is the critical element,” he added. “The consumer should not see a glitch when the TV switches from normal broadcast mode and stitches in the targeted advertising content, which comes from the internet.” Entry and exit are the critical factors, so the demo highlights

DVB’s Peter Siebert looks to address market demands

one normal broadcast with targeted commercial content, and the no glitch option. Given that HbbTV 2.01 is just emerging but is crucial to this implementation, the demo counts as an enticing prospect. “With HbbTV we have created a study mission group to look into targeted advertising, to see if the solution as seen addresses all the relevant demands of the market. If more specs are required we will produce them,” said Siebert. 1.D81

15/09/2017 14:48


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15/09/2017 13/09/2017 14:25 10:29


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4K video with TICO Deltacast

By Carolyn Giardina Deltacast’s TICO-supported products include its TICO IP video capture card, which is on its IBC stand. It is also in use at the TICO Alliance stand – part of a demo with the Grass Valley Densité IP Gateway (IPG-3901), from which it receives 4K/UHD

video over a 10GbE connection, to be visualised on a 4K screen. “With the visually lossless 4:1 TICO compression technology, broadcasters are able to move 4K signals across their existing SDI networks, making it easier for them to implement their IP transitions at a time that makes sense for them,” said Daniel Collin, product manager, interfaces, Grass Valley. “In

the IBC demonstration with Deltacast, we are showing how this technology is impacting hybrid workflows.” Deltacast CEO Christian Dutilleux said, “We are in a transition period between SDI and IP and it is not obvious to determine how long this will take. TICO is a very interesting opportunity in this context.” 7.A14

Industry must ‘Rise’ to the challenge of bolstering female leadership roles By Ann-Marie Corvin The majority of people in the industry believe that working practices need to be improved in the broadcast manufacturing and services sector if it is to retain and increase the number of women working in senior leadership positions, according to a new survey. To celebrate its relaunch as Rise, the gender diversity organisation formerly known as Females in Broadcast has published the results of its survey at IBC, examining the paucity of women in senior management roles in the industry. Of the 100 broadcast industry professionals of all genders who were quizzed by Rise, 70 per cent said that their company’s working practices could be improved for women, with the

main issues including career path progression, childcare provision and flexible working. The survey exposes the lack of women in senior management roles, with just 15 per cent reporting that their senior management team featured 50 per cent or more women; 60 per cent had a minority of women in senior roles and in most cases no women at all on their senior management team. “Gender inequality is a serious issue for our industry that needs to be better recognised, particularly at the top of organisations,” said Rise founder Sadie Groom, who added that there were good economic reasons for companies to increase their gender diversity. “What does it say to women with aspirations to

climb the corporate ladder, when fewer than two per cent of CEOs in our sector are female? We need to work with manufacturers to promote the female developers and users of their equipment. It sounds almost petty, but if young women don’t see ‘people like them’ providing technical support, designing products or leading a team, they are less likely to consider these kinds of roles.” Rise aims to hold quarterly networking events, seminars and a mentoring scheme aimed at opening more opportunities for female broadcast professionals. It will also look to collaborate with similar groups in adjacent sectors and around the world to share ideas and success stories. For more info visit www.risewib.com

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ISO5 provides excellent support OUTLINED

AMWA By George Jarrett The principal enabler around IBC is SMPTE ST 2110, but every lead dancer needs excellent support. This has come with the emergence of AMWA’s ISO5. “ISO4 provided a rudimentary point-to-point connectivity as part of discovery and registration, but modern TV facilities need to replicate what routing systems did. You need to take multiple sources and multiple destinations, and you need to be able to do salvo connections where you configure a whole control room all at once,” said AMWA executive director Brad Gilmer. “ISO5 takes us past the door and down the corridor to the facility where you can make many connections between many sources and many receivers,” he added. “The revised JT-NM is on a timeline, and the move to dematerialisation is something some people are experiencing now.”

In the main, dematerialisation will come further down the IP road. But what is the status of ISO5? “We had an ‘interop’ event prior to IBC and over 20 companies successfully interoperated with ISO5. We learned a few things and they have been incorporated in a revision of the document,” said Gilmer. “After the show we will be calling for an AMWA board vote to publish it. “The most pressing things evolve around that area of dematerialisation. The EBU has done some studies, and we have the AMWA Labs,” he added. “We are looking at how to address security built in as a subset of any kind of new media facility.” A set of pointers to help people move into the realm of dematerialisation may look at best practices in security, virtualisation and architectural design. “There are two components to that, one being running just on generic IT infrastructure, and then to be cloud fit, which is another step up,” said Gilmer. 6.A07

Connect, convert, scale, sync, split – repeat Atomos By David Fox Atomos had a reasonable success with its handful of Connect converters a few years ago, until the chipset was discontinued, but was never seen as a serious player. However, having developed extensive conversion technology for its recorder/ monitor products, it has decided to give broadcasters and systems integrators what they want: the full range.

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It is now launching a colourful new family of 15 units, which are software controllable (using a subset of its AtomOS operating system) over USB, as well as via dip switch control. Some of the models can also overlay timecode, waveforms and up to eight channels of audio. The range includes connectors (from analogue to digital and interlace to progressive), converters (SDI, HDMI and fibre), scalers (4K, HD, SD), sync (genlock and timecode), SDI splitters (which

can be used for multiviewers), and SDI repeaters. They will ship soon after IBC. “We’ve been working on them for a year and a half, but didn’t want to release them piecemeal,” said Atomos CEO, Jeromy Young. “We think this is a great chance to get a foothold in this market.” The boxes come with removable mounting ears, lockable HDMI and DC power ports, and dual AC/USB power, and cost from €95 to €398. 11.D25/11.D15

Space invaders: Young with his new Connect range

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There’s no place like dome

#IBCShow

Igloo Vision’s domes are portable and provide 360° 8K video

OUTLINED

Igloo Vision By Neal Romanek Igloo Vision, UK makers of immersive and 360° screen technology, are offering what they say is the world’s first 360° 8K monitoring system. In the IBC Future Zone, Igloo is projecting the 8K video inside one of its signature projection domes (or igloos). The projection allows content creators to view and work with 360° content without having to wear VR headsets.

The wrap around screen also gives production teams the opportunity to work collaboratively on immersive content, just as a team would on any dubbing stage or screening room. The dome is also being shown with a 5.1 surround system. At its booth, Igloo is live-streaming 360° 8K content from a miniEYE 360° camera rig. NewTek’s NDI plug-in for Adobe Creative Cloud is being used for the sending of full-resolution, real-time video across the network.

Israel’s Channel 2 News goes for major studio upgrade

“People need to work on content collaboratively,” said Igloo Vision MD and founder Colin Yellowley. “We’re showing how this can work within a VR production. In the booth we’ve got an edit suite and can edit on the monitor. With 360° and VR filming, you can’t have anyone on set, because once you have the camera up, everyone’s in shot, so it’s also a great remote monitor solution. “The dome can also be used for viewing dailies and rushes. If you have an editor editing a 360° film with a VR headset

By Heather McLean As part of Channel 2 News’ major studio upgrade to HD, the Israeli news broadcaster has selected Clear-Com’s Eclipse HX digital matrix intercom system for critical communication between galleries, studios and production teams on location. The system will be supplied and installed by Clear-Com’s channel partner Onset Systems Engineering. Channel 2 News is a long-standing user of Clear-Com systems but the studio refit presented an ideal opportunity to upgrade to the latest technology, and Clear-Com is discussing

the implementation here in Amsterdam. Rami Daniel, CTO, Channel 2 News, said: “We selected to work with Clear-Com again because we have been very pleased with our current communications system. The new Eclipse HX system is able to respond and deal with the requirements of complex TV broadcasts in a synchronised way.” The system installed at Channel 2 News comprises the Eclipse HX digital matrix intercom; Production Maestro; MADI and IVC cards; LQ-R and the new 32 Key Lever panels. The system will seamlessly integrate with Channel 2 News’ new Calrec Artemis console. 10.D29

DRM delivers in Hall 8 Thomson Broadcast, Nautel, Ampegon By Mark Hallinger Digital Radio Mondiale (DRM) is hosting a series of events in Hall 8 over the weekend where participants are being updated on global DRM market developments and seeing demonstrations of the latest DRM broadcast equipment

hours to put together the dome currently on display. Igloo has also built a 360° cylindrical video display for the Nokia stand, which is demoing high resolution, high frame rate 360° content. 8.F12/Future Zone

Metadata support Ooyala

Clear-Com

on, he can’t even see his own equipment, let alone see the director.” Igloo Vision’s domes are portable and can easily be set up on location. Yellowley said it takes two people about four

By Anne Morris Video software and services specialist Ooyala is showcasing the latest enhancements to Ooyala Flex, the media logistics platform that connects the different elements in a production pipeline, and its integration with Microsoft Azure. Ooyala Flex enables users to streamline the creation and delivery of media in a

time-critical market. The update includes temporal metadata support and a new dynamic timeline, creating richer metadata that enhances contextual search and enables rapid asset discovery and distribution. New support for growing files means that customers can work with files in near real time, speeding up delivery and generating quicker returns. Ooyala is also showcasing its integration with Azure

One for the money Accedo By Anne Morris Video experience specialist Accedo launched a new cloudbased video experience platform called Accedo One at IBC2017. The platform comprises a portfolio of products and tools that Accedo said put

operators, broadcasters and brands in control of how they build, manage and deploy high-quality and engaging video experiences. Mano Kulasingam, SVP of products at Accedo, said the company’s aim had been to “do away with the traditional, one-size-fits all model of video app development”.

and receivers. Thomson Broadcast will host an event on Saturday from 11:00-13:00 at stand 8.C35; Nautel will host in the afternoon between 15:30 and 17:00 at 8.C49, and on Sunday Ampegon’s event from 11:00-13:00 at stand 8.E62 will see the winners of the DRM Enterprise Award (Africa) announced. 8.C35, 8.C49, 8.E62

Transcode Services, adding new cloud-based transcode resource from within Ooyala Flex. There is a preview of its integration with the Azure Video Indexer. Ooyala Flex automatically passes assets to Video Indexer, which extracts metadata such as the dialogue, people and text in the video. This metadata is returned to Ooyala Flex travelling with the asset, automatically offering a deeper set of metadata. 14.D20

“Accedo One is born out of the need to help our customers to effectively scale and grow their video experience as the market and content strategies evolve,” he said. Fredrik Andersson, SVP of business development at Accedo, noted that broadcast is no longer restricted to just broadcasters, “and OTT is no longer just the premise of online video providers. We are starting to see attractive video services from a whole plethora of other providers.” Accedo’s latest VR and IoT products are also at IBC. The company has teamed up with Nokia’s OZO Player SDK in the area of VR to help enable pay-TV operators, broadcasters and brands to rapidly create, manage and publish immersive video and VR experiences across devices. 14.E14

The Accedo stand features the latest VR and IoT products as well as Accedo One

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IBC2017 Daily D2 Saturday 16 September 2017  
IBC2017 Daily D2 Saturday 16 September 2017  

The official newspaper of IBC2017