Content+Technology July-August 2012

PP: 255003/06831

VOLUME 9 ISSUE 4 JULY/AUGUST 2012

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

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BROADCASTING THE GAMES ABE2012 Australian Broadcast Exhibition

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7 – 9 August

ABE2012 Preview ISSN 1448-9554

The Third Dimension

Asia-Pacific News

VOLUME 9 ISSUE 4 JULY 2012

Also see C+T in PDF at www.content-technology.com

Cover Story – Nine at the Olympics

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EDITOR’S WELCOME NEWS Global TV Win Commonwealth Games and Makes Appointments, Harris Boosts Sales Team, AVE Installs Ross, Hogg to Harmonic

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CLASSIFIEDS AND EVENTS OFF-AIR What Happened on Tour, Gets Printed Right Here!

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TIME SHIFTER Look Back at the 2000 Games Coverage

TAKING STOCK Miranda Selling, Kit digital Divests, Avid Doing the Same

FEATURES

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ABE PREVIEW Exhibition Preview 3D – THE THIRD DIMENSION Mistika Brings 3D Grandeur to Prometheus, Cinetech Opens, BTV Gets a 3D Truck

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SPORTSCASTING Olympics News, Outside Broadcast with Gearhouse, Technology at Wimbledon

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NEWS OPERATIONS HD for Seven Melbourne, Channel 24 Launches with Etere, Royal Graphics, New Delhi TV in HD

POST-PRODUCTION Fuel for Prometheus’ Fire, Shotgun Streamlines for Prime Focus, TMD in the National Archives

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RADIO 3D-FM Rebuilds with LAWO, Digital Event Stations for ABC, 50 Years of Radio NZ News

ACQUISITION SeeSense Zooms in on New Lenses, MediaCorp Buys Sony, FOR-A Into 4K Super SloMo, Vaddio CCU’s

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AUDIO Jünger Controls Loudness in Asia,

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TRANSMISSION Igloo DVB-T2 Launch

Malaysian Royalty use HARMAN Delayed, HD Expansion in Hong Kong, Broadcast Pix Multi-Screen, Delivering Video to Connected Devices for London 2012

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CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN: 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel: +61-(0)2-9211 8205 Fax: +61-(0)2-9211 8208 Mob: +61-(0)414-671-811 papers@broadcastpapers.com

SUB-EDITOR: Keith Ford PRODUCTION MANAGER: Lucy Salmon Tel: +61-(0)29211 8205 production@broadcastpapers.com DESIGN & LAYOUT: Wide Open Media Tel: +61-2-9690 2835 info@wideopenmedia.com.au PRINTING: Pegasus COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under

Australian Commonwealth Copyright Laws.

No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.

DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

EDITOR’S WELCOME

Television – Look how far You’ve Come!

By Phil Sandberg

ON JULY 12, 1962, the first transatlantic television transmission was sent from the town of Pleumeur-Bodou in Brittany, France, to Andover, Maine via the Telstar satellite, launched only two days prior.

Developed by Bell Telephone Laboratories for the American Telephone and Telegraph Company (AT&T), Telstar was the world’s first active communication satellite. It demonstrated the feasibility of transmitting various types of information via satellite, gained experience in satellite tracking, and studied the effect of Van Allen radiation belts on satellite design. Spherical in shape, the satellite was spin-stabilised to maintain its desired orientation in space.

Power to the spacecraft’s onboard equipment was provided by a solar array in conjunction with a battery back-up system.

Although operational for only a few months, and although it could only relay television signals of a brief duration, Telstar immediately captured the imagination of the world. The first images, of President John F. Kennedy from the United States, and of singer Yves Montand from France, along with clips of sporting events, images of the American flag waving in the breeze, and a still image of Mount Rushmore, were the precursors of the “global village” as envisioned by Marshall McLuhan and now something we all take for granted.

Visit http://telstar50.org/ Exactly fifty years later, in an event organised by the U.S. Smithsonian Institution and the French Embassy in Washington, this milestone in broadcasting history was commemorated with a live link between France and the United States – thanks to SNG and uplink services provided by Globecast.

The original Telstar was part of an agreement between AT&T, Bell Telephone Laboratories, NASA, the British General Post Office (GPO) and the French National Post Telegraph and Telecom Office (PTT).

It was a similar spirit of cooperation which lead to the development of the DVB or Digital Video Broadcasting standard. In 1991, broadcasters, equipment manufacturers and regulatory bodies in Europe came together to discuss the formation of a group that would oversee the introduction of digital TV. A consensus-based framework and Memorandum of Understanding (MoU) were drawn up and signed in 1993, setting out the basis on which competitors in the marketplace would come together in a spirit of trust and mutual respect.

The Digital Video Broadcasting Project (DVB) now boasts a membership of over 250 broadcasters, manufacturers, network operators, software developers, regulatory bodies and others in over 35 countries – all committed to designing open technical standards for the global delivery of digital television and data services. Services using DVB standards are available on every continent with more than 500 million DVB receivers deployed.

This includes Australia where the final timetable for completion of national switchover from analogue to digital TV, based on the DVB-T standard, was recently announced.

The proposed switchover dates are: Adelaide – 2 April 2013, Tasmania – 9 April 2013, Perth – 16 April 2013, Brisbane (includes Sunshine Coast and Gold Coast) – 28 May 2013, Darwin – 30 July 2013, Sydney (includes Gosford) – 3 December 2013, and Melbourne – 10 December 2013.

According to the Australian Minister for Broadband, Communication and the Digital Economy, Senator Stephen Conroy, “The Digital Switchover is a significant moment in Australian television history and the biggest technological change in broadcasting since colour TV was introduced in this country more than three decades ago.”

This milestone, too, could not have been reached without industry cooperation – between government, regulators, broadcasters, receiver manufacturers, and technology suppliers and installers.

With the home stretch in sight, it would be more than appropriate that, as well as accessing new technologies, August’s Free TV Engineering Seminar and associated Australian Broadcast Exhibition be used as an opportunity to reflect on the achievements of a resilient industry.

Thanks for reading Phil Sandberg Editor/Publisher papers@broadcastpapers.com T: +61-(0)2-9211 8205

2012 C+T DEADLINES AUSTRALIA/NEW ZEALAND EDITIONS SEPT–OCT 2012 VOL 9 ISSUE 5

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NEWS + PEOPLE For the latest news visit www.content-technology.com

Global TV in Winning Bid for 2014 Commonwealth Games THE HOST BROADCASTER CONTRACT for the Glasgow 2014 Commonwealth Games has been jointly awarded to Sunset+Vine and Australia’s Global Television.

The winning bid brings together two highlyrespected independent television production companies who, in their first joint venture as SVGTV, will capture the excitement and thrills of the Games for a potential world-wide audience of more than one billion people.

Through their newly-established joint-venture, SVGTV, Global Television and Sunset+Vine will deliver High Definition multi-camera coverage of 17 sports, plus the Opening and Closing ceremonies, to a world-wide audience.

The design, installation and operation of the International Broadcast Centre (IBC) in The Scottish Exhibition and Conference Centre will also be managed by SVGTV, as will a team of more than 1000 broadcast technical experts.

In addition, thousands of UK-based and visiting television broadcast professionals and rightsholders are expected to work from the venues and IBC during the Games to bring the sports coverage, commentary and news reports to their home countries.

This is the third consecutive Commonwealth Games contract that Global Television has won; the company provided the IBC technical build for the 2006 Melbourne Games and the design, installation and operation of the IBC for the 2010 Delhi Games.

First Minister of Scotland Alex Salmond said, “It will not only mean an enormous contribution towards the successful delivery of the Games, but will give a huge boost to Scotland’s creative industries. During the Games up to 1000 broadcast-related job opportunities will be available – leading to huge demand for the talented broadcasters and technicians we have here in Scotland.

“The positive legacy that Sunset+Vine and Global Television will leave behind is also pivotal. At least 120 graduates from Scotland will work with them during the Games, creating a talent pool that I know will be highly sought-after when Scotland hosts other sporting events in years to come – not least of which will be the 2014 Ryder Cup.” Global Television CEO Keith Andrews added, “The Commonwealth Games Host Broadcaster role is a big responsibility encompassing every aspect of the production and technical delivery

Global Television CEO, Keith Andrews.

of the international television and radio signals.

Around the world, perceptions of the Games will depend on flawless, timely international distribution of material.

Jeff Foulser, Chairman of Sunset+Vine said, “We believe that in partnering with Global Television we can deliver a broadcast solution that rivals any sporting event in the world.”

Visit www.globaltv.com.au and www.sunsetvine.co.uk

AVE Installs Ross Video Carbonite Switcher AVE PTY LTD HAS EXPANDED their production power by adding Ross’ Carbonite production switcher in their Outside Broadcast vans. An independent television production house based in Artamon, Australia, AVE produces over 250 hours of television content annually in Australia and internationally. The addition of Ross’ Carbonite 2M-24 Multi-Definition production switcher provides AVE the necessary tool to meet

the growing production needs on their sports productions – which include ‘Speedweek’ and ‘Inside Speed’.

“The Carbonite’s 24 input channels and eight configurable outputs allow us to meet the changing needs of our production locations. The built-in MultiViewers have cleaned up a lot of cable mess and Carbonite’s internal media stores make adding

billboards a breeze. Our clients are very impressed by the additional production power that we can now provide them,” says Peter Bell, AVE Owner.

“Additionally, we’ve added Ross’ XPression RealTime Motion Graphics System which complements Carbonite, allowing us to offer the graphics ‘look’ that our clients want to achieve.”

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NEWS + PEOPLE

Briefs Senior Appointments at Global Television

Stephen Wong Heading Exset Sales in APAC

SBS Appoints Technology and Distribution Director

Global Television has made two senior appointments aimed at strengthening the company’s client service. Andries Theron joins Global in the newly-created role of General Manager – Outside Broadcast Services,. Concurrently, Global has promoted Adam Miller to General Manager – Project Services from his previous role of Operations Manager – Outside Broadcast, Melbourne.

Exset, a leading provider of Conditional access and Middleware solutions, announced that it has appointed Stephen Wong as Head of Sales, Asia Pacific. Mr. Wong will be working directly with local partners in ensuring Exset solutions for the Digital operators are successfully deployed.

SBS has appointed John Paul as its Technology

Theron has most recently been a senior consultant to Gearhouse Broadcast, delivering the June Rugby Test series to host broadcaster FOX Sports. Global’s Technical Managers will report to him, enhancing the company’s outside broadcast services. Theron will also train and develop up-and-coming Global talent.

“It’s our honour to have Stephen on board, and we believe his vision and experience will make Exset a strong local leader in the region, populating our Digital Monetisation System in response to the analogue switch off,” said Mr. Alex Borland, CEO of Exset

has been working at SBS since December 2011

A television industry veteran with more than 25 years’ experience, Miller is renowned for his technical and management capabilities.

His expanded role encompasses national responsibilities for the preparation of all projects for Global customers, with Global’s Project Services Managers reporting to him.

Mr. Wong has been in the Broadcast and Telecommunication industry for more than 20 years, holding various technical, operational and sales functions at HBO, SingTel, Global Access, Nagravision, Intelsat, etc. in support of broadcasters and Pay TV operators across South Asia and South East Asia region.

Visit www.globaltv.com.au

Visit www.exset.com

and Distribution Director, effective immediately.

Paul brings to the role extensive experience and expertise in technology and product development in the Australian media sector and the United States, including Austar where he pioneered interactive television applications. He and has been acting Director of Technology and Distribution for the past three months.

SBS Chief Operating Officer Richard Finlayson said, “SBS’s Technology and Distribution Division supports the delivery of high-quality content to Australian audiences via television, radio, online and mobile as well as the myriad of emerging platforms. John’s role will be instrumental in transforming an already efficient operating system into a best-practice media distributor.”

Visit www.sbs.com.au

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Briefs (continued) Harris Boosts APAC Sales Team

Doug Chapman to Head Amnesia Razorfish

Hogg, Bickerton Join Forces with Harmonic

Harris has strengthened its Asia-Pacific sales and operational team with the senior appointment of two key industry personnel from the region’s media and entertainment sector. Raymond Tse and Tat Ng have been appointed to the posts of vice president, sales for China and vice president sales for SE Asia respectively. Both roles report to Dario Choi, vice president, sales and service, Asia-Pacific.

Amnesia Razorfish Australia has announced that, effective immediately, MD Doug Chapman will head the agency following a restructure. Chapman has extensive client service experience, more than 21 years of industry insight, and joined Amnesia Razorfish in 2010 as Client Services Director. CEO Michael Buckley is leaving the agency to pursue other interests, and the CEO position will no longer exist.

ANZ solutions provider Techtel has partnered with Harmonic Inc to launch a focused operation in the region. Dedicated resources will be provided for the new venture, both by local appointees and Harmonic Inc’s existing in-country personnel.

Tse, who comes to Harris with over 30 years of industry experience in management, sales, service and support, will head up sales operations in China. Tse joins Harris from Harmonic Inc., where he held the position of vice president of the Asia-Pacific region.

Razorfish Regional CEO Vincent Digonnet said, “Doug is an outstanding leader who has demonstrated strong operation management skills in the past two years, earning respect from both clients and staff.”

Tat Ng takes on the mantle of vice president of sales for the SE Asia region. Ng comes to Harris with a heritage of 20-plus years of industry experience gained in general management, sales, service and operations.

Michael Buckley concluded, “I have had a great seven years at Amnesia Razorfish, with brilliant staff and amazing clients to follow. It has been an honour to work with them all and I wish them the best.”

Visit www.harris.com

Visit www.amnesia.com.au

Andrew Hogg joins the new venture as Director of Business Development. Andrew’s responsibilities will lie with the broader Harmonic portfolio, focusing on content delivery and new media in both Australia and New Zealand. He comes with over 25 years’ experience in the media industry, most recently as CEO of MediaHub Australia.

Jo Bickerton joins as Business Development Manager – Production, Playout and Storage.

Geographically, she will focus on the Australian market. With 20 years’ experience in the industry, Jo has a strong production and operations background in a range roles, including Head of Operations at The Playroom.

Visit www.harmonicinc.com and www.techtel.com.au

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NEWS + PEOPLE

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NEWS + PEOPLE

Monahan Heading Asia Pacific Sales for BE

ILOURA ADVERTISING in Melbourne has

BROADCAST ELECTRONICS (BE) has appointed of John Monahan as Sales Manager for Asia Pacific. Effective immediately, Monahan will manage BE’s established, local representatives to specify and sell RF equipment, AudioVAULT studio automation, and the back-channel products and services of newly acquired Commotion. Monahan has over 15 years experience in the radio industry.

appointed Lars Magnus Holmgren as its new Head of CG and Director of Animation, taking over from Josh Simmonds, who is moving over to Iloura’s Film department.

Lars joins the Iloura team with an impressive list of stints at Double Negative, MPC, Buck and most recently Againstallodds, Rushes and Locomotion UK, working with international brands including Coca Cola, Sony, Nintendo and completing broadcast work for the BBC, MTV and the Discovery Channel.

“John’s unique and significant experience in the specification, purchase, and installation of large, complex broadcast studio installations will be of immense help to our customers and representatives,” said Joseph Roark, BE President and CEO.

Lars said, “Having spent several years abroad, I am looking forward to working alongside the Iloura team back on home soil again, and making some serious CG and animation waves!”

Visit www.bdcast.com

Visit www.iloura.com.au

Simon Hackett to Join iiNet Board INTERNODE FOUNDER and major iiNet shareholder Simon Hackett has announced that he intends to leave his executive role at the company to join the iiNet board in August 2012.

“The integration between Internode and iiNet technical systems has gone much faster than expected,” said Mr Hackett. “While I will continue to represent Internode as I always have, I am keen to contribute at a group level, influencing the strategy of the entire iiNet group.”

Mr Hackett established Internode in 1991 and grew it to become a national Internet Service Provider with close to $200 million in revenue and more than 180,000 broadband customers.

Grass Valley Appoints New Vice President of APAC GRASS VALLEY HAS appointed Laurent Valluy

NEWS + PEOPLE

as Vice President of Asia Pacific (APAC) Customer Support & Professional Services. Valluy’s priorities are to strengthen the Service delivery capability, and improve customer satisfaction and the profitability of the Service business, aimed at elevating Grass Valley’s market position in the Asia Pacific region. He will be based in Singapore.

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“Laurent brings a wealth of experience and knowledge to Grass Valley and has been providing professional service solutions in the technology space for over a decade,” said Andrew Sedek, Senior Vice President for Asia Pacific for Grass Valley. “He has a strong network of contacts in Asia, which will help Grass Valley to serve this growing region.”

Prior to joining Grass Valley, Valluy was most recently the General Manager of APAC Communications and Media Solutions at HP. Visit www.grassvalley.com

Holmgren Heading CG & Animation at Iloura

In December 2011, it was announced that he was selling Internode to iiNet for $105 million in a transaction that was completed on February 1, 2012. This was paid partly in cash and partly in iiNet shares, establishing Mr Hackett as one of iiNet’s largest shareholders. iiNet CEO Michael Malone said, “Simon Hackett has an enormous amount of experience and credibility in the industry. We are very pleased that he is willing to step up and join the board.”

A number of other Internode staff are also stepping into key group roles within iiNet. Visit www.iinet.net.au

Straker Coniglio Heading Sales for Telecast TELECAST FIBER SYSTEMS has made Straker Coniglio director of international sales. In his new role, Coniglio will manage Telecast’s worldwide sales operation including the direct sales force and channel sales.

“We’re pleased to have someone of Straker’s calibre join our team in such a pivotal role.

Not only has he had an outstanding management career in the broadcast technology field but he also has the customer’s perspective through his prior career in TV news,” said Steve DeFrancesco, vice president and general manager of Telecast Fiber Systems.

Coniglio joins Telecast Fiber Systems from Avid Technology, Inc., where he served for more than 12 years in key director-level sales and marketing positions in Asia Pacific.

Visit www.telecast-fiber.com

Softel Adds Reseller in South East Asia SOFTEL HAS APPOINTED Ideal Systems as a reseller for the South East Asia region.

The appointment allows Softel to continue its push into the growing Asian market.

“We see the South East Asian market as essential to our continued sales growth,” said Gordon Hunter, Softel Chief Sales Officer. “Ideal Systems will be a key partner to take Softel’s proven multi-format and multi-language subtitling and captioning solutions and other technologies into this fast growing region.”

Visit www.softelgroup.com and www.idealsys.com

SatLink Expands With New Asian Office SATLINK COMMUNICATIONS LTD. has expanded its Asian operations by opening a new office in Singapore. Rajeev Kaushik, SatLink’s new Director of sales for Asia, will head the office.

SatLink will be connecting East and West to provide broadcasters and content owners with the ability to deliver Asian content to Europe, Africa, Middle East and Americas. Satlink operates two MCPC (Multi Channel Per Carrier) platforms on the AsiaSat 5 C-band satellite, delivering content for tier 1 international and news broadcasters to Asian Pay TV markets.

Mr Kaushik brings to the role more than 15 years experience in the Satellite and Broadcast market within Asia and the Middle East. In his role at SatLink, Rajeev will be responsible for establishing and developing partnerships with leading industry operators and broadcasters within Asia.

Visit www.satlink.tv

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TAKING STOCK Moves in the business of content + technology

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Belden Aiming to Buy Miranda MIRANDA TECHNOLOGIES INC. (TSX: MT) has entered into an agreement with Belden Inc. (NYSE: BDC), pursuant to which Belden has agreed to offer to purchase all outstanding common shares of Miranda by way of a take-over bid at a price of C$17.00 per share in cash.

The Offer represents the culmination of the strategic review process initiated by the Corporation’s Board of Directors in March 2012 in order to review opportunities to further enhance value and build on the Corporation’s momentum. A special committee of the Board of Directors led the review process. The Special Committee considered how best to ensure that any transaction would both recognise Miranda’s value and its success to date, as well as its future prospects. During this process, the Corporation received enquiries and proposals and had discussions with a number of parties, including

Belden, who expressed an interest in acquiring the Corporation.

After consultation with its financial and legal advisers, and after receiving the unanimous recommendation of the Special Committee, Miranda’s Board of Directors has unanimously determined that the Offer is fair to the holders of Miranda common shares, is in the best interests of the Corporation, and has agreed to recommend to shareholders that they accept the Offer. The Offer represents a premium of 42% to the 90-trading day Volume Weighted Average Share Price of C$11.99 as of June 4, 2012, the last trading day before the announcement.

Strath Goodship, Miranda’s President and CEO, stated, “The offer by Belden reflects the value created by our employees, management team and Board of Directors. This is an attractive opportunity for Miranda shareholders to realise a

Avid Divests Consumer Businesses AVID (NASDAQ: AVID) HAS initiated a series of strategic actions to focus the company on its Media Enterprise and Post & Professional customers. As part of these actions, the company is divesting its consumer businesses.

“By streamlining and simplifying operations, we expect to deliver improved financial performance and partner more closely with our enterprise and professional customers. Our objective remains to provide these customers with the innovative solutions that allow them to create the most listened to, most watched and most loved media in the world,” said Gary Greenfield, CEO of Avid.

TAKING STOCK

Avid has agreed to sell its consumer audio and video product lines. The company’s consumer audio products are being sold to inMusic.

The products involved in this transaction include M-Audio brand keyboards, controllers, interfaces, speakers and digital DJ equipment and other product lines. Avid will continue to develop and sell its Pro Tools line of software and hardware, as well as associated I/O devices.

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Separately, the company’s consumer video editing line is being sold to Corel Corporation, a consumer software company headquartered in Ottawa, Canada. The products involved in this transaction include Avid Studio, Pinnacle Studio, and the Avid Studio App for the Apple iPad, as well as other legacy video capture products.

The divested product lines contributed approximately $91 million of Avid’s 2011 revenue of $677 million. As part of the transactions, certain employees of Avid will transfer to each acquiring company. Avid estimates that the proceeds from these transactions will be approximately $17 million.

Avid also plans to reduce the number of its employees as it streamlines operations, with approximately 20% of its permanent employee base impacted by the divestitures and headcount reduction plans. The company currently expects to incur a restructuring charge of approximately $19 to $23 million related to these actions and other associated measures.

Visit www.avid.com

significant premium for their shares in an all cash deal. Belden has a strong portfolio of successful businesses, proven experience with many of our broadcast customers, and a solid reputation in Canada and Montreal. Our businesses and technologies are highly complementary and bringing them together will generate a more complete set of end-to-end solutions for our customers. Together, we can continue to build on our success as a premium provider to the broadcast industry.”

Miranda and Belden will develop an integration plan that leverages the combined capabilities of the two companies. Belden has no plans for any changes to Miranda’s existing operations and it is not expected that there will be any significant changes to employment levels.

Visit www.miranda.com and www.belden.com

KIT digital Completes Divestiture KIT DIGITAL, INC. (NASDAQ: KITD), the video management software and services company, has completed a previously announced divestiture of its content solutions business.

Netherlands-based Content Solutions International NV bought the business for $18.8 million, comprised of initial cash payments and multi-year earn-out payments, subject to customary conditions.

KIT digital management previously announced its plan to divest non-core assets, including the content solutions business, during the company’s Q1 2012 earnings call.

The sale follows management’s previously indicated sharper focus on IP video software solutions and services for tier-one customers.

The company “expects to book a loss” on the sale, but the size is dependent on accounting and calculations that aren’t currently complete, Kit said in a regulatory filing.

Visit www.kitd.com

Make the Most of Your Media with Avid InGame Your media is your lifeblood. From it ows the two most essential elements of your business: creativity and proďŹ t.

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TAKING STOCK

Are You an Adventurer?

Media staff & strategy by Karl Jansson In the 1850’s to 1870’s for those who travelled to Australia from Europe, the journey was often long and dangerous, taking as long as four months at sea.

However a well-run clipper ship with favourable winds could make the journey in a little over half this time. With their streamlined hulls and acres of sail designed to catch even the slightest breeze, these ships represented the pinnacle of sailing ship technology.

They were built primarily for speed.

NOW LIFE AT SEA WAS uncomfortable and often hazardous, to say the least. If you travelled cheaply in ‘steerage’ (the lowest deck and below the water line), you were confined without ventilation or light, which were the ideal conditions for the spread of disease.

You would also be living in cramped conditions with timber, straw mattresses, hemp (rope) and tar caulking, which meant that the use of candles or oil lanterns was restricted and sometimes forbidden, because it meant that a fire could spread with terrifying speed.

So why would you risk travel under these conditions and for that amount of time at sea? Maybe you were travelling with your family to start a new life in a new territory, or in the case of being single, searching for a new life path that could lead to wealth, and possibly a family as well.

Point is, the unknown was there to be conquered and it was exciting.

They were hungry for change and life had the real possibility to be more challenging and interesting. Back then it was measurable by weeks and months, not by hours and days, and sometimes minutes as it is today.

So, have we lost that spirit of adventure? Only you can answer that personal question. However if you’re managing a company and in a senior management role where you have the ability to steer the company into new waters, ask yourself of the company, “Have we lost that spirit of adventure?”

The interesting fact is that if you ask ‘yourself’ that question, you may find that the company could reflect with the same answer.

Now this is not a point to witch hunt people within the company to blame for your lack of a spirit of adventure, if that is the case. Remember that we are all interlocking cogs in the wheels of business, and it takes more than one cog to move it forward and efficiently.

What is does mean is that you need to input more of ‘you’ into those reactive situations. For example, in a repetitive role offer a possible better way as it may improve the efficiency and quality of the task.

As mentioned earlier, check your business along the same lines. Are you reactive to the market and your competitors, or are you creating market ripples?

By the way chances are, no, you haven’t lost that spirit of adventure, particularly these days when the internet and mobile devices are able to guide you effortlessly through new experiences, and in a short time period! The question is, how much was adventure and how much was direction by others?

I’ve been recruiting for over 20 years and for well over 15 years within broadcasting, and without doubt I worked with companies who have listened to their staff, and worked through numerous think tanks in order to be successful.

TAKE THIS SIMPLE TEST

They are the companies with proactive staff who have their creative ear to the ground, and without a prompt to do so, because they are genuinely interested in listening to the market.

This applies to most things we do. Are we proactive or reactive? Check yourself honestly at the end of today and for the rest of the week, to see if you are a proactive adventurer.

TAKING STOCK

If you find an imbalance ratio of 2:1 or more of reactive over proactive, this is the target area where you need to be considering some input. By this I don’t mean you need to change jobs, move house, shave your head, or live in a commune and start chanting to the moon so you can appear to be more adventurous! (But if any of these float your boat, enjoy it!)

OK, here are some potential answers to some of the potential realisations you may experience.

At the end of each day you should ask yourself, how much of my day was proactive actions, or reactive to someone else’s? It would be nice to think that we all have an equal blend of both in our day.

12

NZ freelance cameraman Geoff Mackley prepares to hurtle into another volcano.

Visit www.rambocam.com

Now bear in mind that being reactive could also place you into a problem solving role, so class this action as proactive. Having someone ask you to carry out a known action or perform a repetitive role is a different scenario.

It’s more reactive.

Apply the above criteria to both work and home and best I give you the heads up, keep this to yourself for the moment. A piece of a jigsaw puzzle may lend itself to many pictures, so best wait till all the pieces are in place.

The culture created by these successful companies is one of mutual respect between employer and employee. They crave adventure!

They are more than likely the companies, with new product launches, road shows and, most importantly, solid staff retention.

Start looking at how you can input more of ‘you’ into your day, so that you influence others around you to do the same. Start a culture change today!

Karl Jansson previously owned and managed “J-Curve Broadcast Recruitment”.

He has since merged his business within “Interlogic Placements” at North Sydney.

Contact: karl@interlogic.com.au or 9922 2711 or 0408 274 413

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TAKING STOCK

Briefs Technicolor Board Recommends Transaction

SeaChange Reports Q1 Results

D-Tools and Dove Net Integrate

The Board of Directors of Technicolor has unanimously resolved to recommend to the Company’s shareholders that they vote in favour of the resolutions relating to the implementation of the transaction agreed between Jesper Cooperatief U.A., an entity controlled by JPMorgan Chase & Co., and Technicolor.

SeaChange International, Inc. (NASDAQ:SEAC) has reported revenue of $36.6 million and nonGAAP operating income of $1.8 million or $0.06 per share for the first quarter of fiscal 2013. In comparison, first quarter fiscal 2012 revenue was $40.2 million and non-GAAP operating income was $2.0 million or $0.06 per share.

D-Tools, Inc. has announced that Dove Net Technologies has developed an integration that allows for the import of D-Tools System Integrator 5.5 project files to manage inventory with The Project System and provide a bridge to third party accounting systems.

The Board of Directors concluded that Jesper provided the best offer, including from a financial standpoint, but it also concluded that significant long term value would be derived

by Technicolor from being supported by JP Morgan Chase & Co., the leading worldwide entertainment financier.

The proceeds from the capital increase would amount to up to €158 million corresponding to up to 99,193,696 shares Visit www.technicolor.com

Graham Sharp Guiding Corporate Development Grass Valley has appointed Graham Sharp as its new Senior Vice President of Corporate Development. Sharp will be responsible for the overarching corporate strategy, M&A activity, strategic alliances, and various strategic projects. He will report directly to Alain Andreoli, President and CEO of Grass Valley.

With more than 25 years of executive management experience in the media industry, Sharp was most recently Director of Media Asset Capital and interim President and CEO of Xtranormal Inc. Prior to that he served as Executive Vice President and General Manager of Avid’s Video division, and has held Executive management positions at Post Impressions, Discreet Logic, and Dynatech Corporation.

Visit www.grassvalley.com

The Company’s first quarter financial results reflect the impact of the sale of both its broadcast servers and storage and media service businesses in May 2012.

Visit www.schange.com

Leadership Change at NETIA NETIA has announced a major organisational change with the appointment of Philippe Fort as CEO and the departure of NETIA founders Christophe Carniel and Pierre Keiflin.

Fort is the former president of NETIA’s Supervisory Board, and has more than 20 years of experience in the telecommunications sector. Fort joined France Telecom in 2000 and has been managing director of GlobeCast since 2011. NETIA was acquired by GlobeCast in 2008.

Visit www.netia.com

Viaccess and Orca Unify Viaccess and Orca Interactive announced they will merge their management structures.

Viaccess-Orca’s solutions help Pay TV operators leverage their brand’s knowledge of subscribers, quality of content and delivery, and strong relationships with content owners into crucial assets to succeed in the TV Everywhere world.

This new organisation comes on the heels of France Telecom-Orange’s announcement in March that it will migrate its entire Orange IPTV installed base of 5.1 million subscribers to Viaccess and Orca’s Unified Platform.

Visit www.viaccess.com

New gTLD Name Applications Revealed

TAKING STOCK

The Internet Corporation for Assigned Names and Numbers (ICANN) has revealed who has applied for which generic Top-Level Domain (gTLD) names in what is expected to become the largest expansion in the history of the Internet’s Domain Name System. A total of 1,930 new gTLD applications were received during the application period of the new generic Top-Level Domain program.

14

Future Reality Takes on Avid Blonde Robot has announced that Future Reality will be providing Avid software and hardware solutions to film, broadcast and post-production customers in Australia.

The applications will now be subject to a public comment and objection period, and a rigorous, objective and independent evaluation system.

Under the new partnership agreement, Future Reality will add Avid software and hardware solutions to its portfolio of software and service offerings. Future Reality also provides a range of system design, installation and integration services, hardware and peripherals, and highspeed international network connectivity.

Visit www.inmarsat.com

Visit www.future.com.au

The integration provides D-Tools System Integrator users with a method for inventory control as Dove Net provides full inventory management. As a support tool, The Project System provides immediate access to the inventory system to manage the ordering, stocking, and delivery of products.

In addition to D-Tools’ QuickBooks integration, Dove Net will provide integration with many different accounting systems including Peachtree, ACCPAC, MAS90 / MAS200, Microsoft Dynamics, Timberline, Platinum, and more.

Visit www.d-tools.com and www.dovenet.com

IABM Training Academy Adds to Curriculum The IABM (International Association of Broadcasting Manufacturers) Training Academy has launched a new course, “Technology Product Finance — Making Decisions That Add Value.” The two-day course ran for the first time July 11-12 in Reading, U.K. The course tackles underlying product and service economics with an emphasis on product lifecycle costs, including costs of development, deployment, and maintenance. Students will gain an understanding of where cost decisions occur and where and how they impact the saleability and profitability of the product or service.

Visit www.iabmacademy.org

Class on Demand Partners With Focal Press Class on Demand has announced a partnership with Focal Press, a provider of training products around the world. Under the terms of the agreement, Focal Press will make part of their extensive library of video-based training covering film, video post-production, visual effects, and motion graphics products available via Class on Demand’s secure online delivery platform.

“We have built our reputation by delivering incredibly high quality titles,” explains Paul Holtz, CEO at Class on Demand. “The Focal Press titles deliver the same quality and breadth of learning.”

Visit www.classondemand.com

Graphics-enable your journalists

Template-driven graphics and video management Advanced integration with all major newsroom systems Customizable real-time playlist

Viz Content Pilot offers the optimal environment for the editorial staff to create templatedriven graphics and manage video content. Day-to-day content creation can be totally independent from the design department, giving the editorial staff flexibility and control of their story.

For all your broadcast media workflow requirements visit vizrt.com and see us at ABE 2012

TECHNICAL STANDARDS www.content-technology.com/standards

ATSC Launches M-EAS Standardisation Effort THE ADVANCED TELEVISION SYSTEMS COMMITTEE (ATSC) has begun to standardise an all-new broadcast emergency alert system as an addition to the ATSC A/153 Mobile Digital TV standard, making it possible for future viewers to receive more than just text alerts when dangerous weather or other emergency conditions threaten public safety.

The Mobile Emergency Alert System (M-EAS) enhancements to the A/153 standard will provide capabilities for delivering multimedia alerts (utilising video, audio, text, and graphics) to mobile DTV-equipped cellphones, tablets, laptops, netbooks and in-car navigation systems. M-EAS requires no additional spectrum and is an additional use of existing TV transmitters and towers.

FOLLOWING THE RECENT adoption of

AFTER 10 YEARS IN OPERATION, the MPEG

intoPIX JPEG 2000 compression solution

by NTT-AT, intoPIX and NTT-AT have signed an agreement on 4K interoperability based on the new JPEG 2000 Broadcast Profile to ease 4K adoption in the Broadcast & Video Production market.

Industry Forum (MPEGIF) will wind down operations as of the end of the month. In a written statement, the MPEGIF ‘declared victory’ and announced that all remaining assets would be put into the hands of the Open IPTV Forum (OIPF). This follows news from March that the two groups were merging.

These markets have always been challenging for new format transmission and for new interfacing between sites.

The requirements for 4K, 3D and HD 60p content exchange is pushing system integrators and manufacturers for new achievements.

“Our task was to educate and evangelise an emerging standards based solution that became known as MPEG-4 Part 10, aka AVC, aka H.264,” said the statement.

“As an involved member of the Video Services Forum (VSF), we are delighted to set the Broadcast Profile as the corner stone of interoperability”, says Gael Rouvroy, CTO and founder of intoPIX SA. Visit www.intopix.com

TECHNICAL STANDARDS

The ATSC’s decision to standardise M-EAS follows a pilot project that delivered rich multimedia emergency alerts to prototype mobile DTV receivers and proved the viability

MPEG Industry Forum Shutting Down

intoPIX and NTT-AT Sign 4K Agreement

16

“The ability to reach millions of people with a single transmission avoids the chronic congestion of other communications networks during emergencies. This inherent scalability always has been one of the biggest public service benefits of broadcasting in times of emergencies. And, at this stage of mobile DTV’s evolution, we believe the time is right to standardise mobile emergency alerts. We’re moving ahead with a proposal to include the methodology for providing emergency information to mobile/personal/ handheld TV receivers,” said ATSC President Mark Richer.

“Our efforts drove in many directions including many informational events – the MPEG IF Master Class series – and, crucially, a series of important interoperability test rounds combined with some very active tech-lists (that will now be closed on July 1st). Slowly but surely H.264 gained mind share and then market share and today is clearly the dominant codec of choice, replacing MPEG-2 around the world. Hence the declaration of victory.”

Visit www.oipf.tv

of M-EAS. The year-long pilot project was undertaken by the Public Broadcasting Service and LG Electronics, co-funded by the Corporation for Public Broadcasting, LG and Zenith, and received technical support and additional funding from NAB Labs, Roundbox and Harris Corporation.

The development of an standard for Mobile Emergency Alerts has been assigned to the organisation TG1/S4 Specialist Group on Mobile DTV. Work is underway to consider backwards-compatible changes to the A/153 Mobile DTV standard to accommodate the new M-EAS capabilities. The changes will not affect the performance of current gen mobile DTV or fixed ATSC receivers.

Visit www.atsc.org

ATSC Standard for NRT DTV Content THE ATSC HAS APPROVED the ATSC NRT (Non-Real-Time) Content Delivery standard, a backwards-compatible enhancement to digital TV broadcasting that provides a framework for the delivery of a broad range of new services, designated as A/103.

The delivery of NRT services via the A/103 standard will now allow broadcasters to deliver file-based content. The new ATSC NRT broadcast standard will support terrestrial transmission to both fixed location and mobile DTV receivers.

“Non-Real-Time services, or NRT for short, represent just one element of the emerging ATSC 2.0 Standard that also is likely to include new advanced coding technologies, Internet-related features, enhanced service guides, audience measurement, and conditional access capability for TV broadcasts,” said ATSC President Mark Richer.

Visit www.atsc.org

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ABE2012 PREVIEW Australian Broadcast Exhibition

August 7-9 2012 Novotel Manly Pacific Hotel, Sydney

ABE2012 – the Australian Broadcast Exhibition Scheduled for August 7-9 at Sydney’s Manly Pacific Hotel and designed to compliment the Annual Engineering Seminar of Free TV Australia, the Australian Broadcast Exhibition provides a hands-on update for technology users from the converging worlds of broadcast and IT. While the Free TV Seminar is a members-only affair, ABE is open to all comers and is designed to showcase solutions that reflect the technical concerns of the free-to-air broadcast sector.

The Australian Broadcast Exhibition has become the country’s pre-eminent specialist television broadcast technology exhibition servicing Australia, New Zealand and beyond. ABE2012 will provide a unique opportunity to evaluate the latest technology developments from all points in the content production and delivery chain.

EXHIBITORS

VENUE

REGISTRATION

Exhibitors at ABE 2012 include: Amber Technology, BroadcastONE, Ericsson, Gencom Technology, Grass Valley, Harris Broadcast Communications, Magna Systems & Engineering, Panasonic Broadcast, Quinto Communications, Ross Video, Sony Australia, Techtel, TekMark Australia and VizRT.

The setting for ABE2012 is the Manly Pacific Hotel, managed by Novotel, in the beachside Sydney suburb of Manly.

If you haven’t already, you can register to attend ABE2012 via www.abeshow.tv For other ABE related enquiries, contact the organiser, Dennis Stokes via stokes@triode.net.au or call+61(0)408 336 001

Address: Novotel Manly Pacific Hotel, 55 North Steyne, Manly, Sydney NSW 2095.

ABE2012 Exhibition Highlights AMBER TECHNOLOGY Unit 1, 2 Daydream Street Warriewood, NSW, 2102 Tel: 02 9452 8600 Email: sales@ambertech.com.au www.ambertech.com.au At ABE, Amber is delighted to be hosting the first public showings in Australia of: + Avid Motion Graphics – full Broadcast graphics from character generation to full 3D animations. Incorporating a bridge to the Deko product family, Avid Motion Graphics makes it easy for existing users to migrate their assets to the new platform and transition at their own pace;

ABE 2012 PREVIEW

+ KudosPro, the next-generation image processing platform from Snell delivering high-quality format and frame rate conversion in a compact, affordable, formatflexible package;

18

+ ICE from Snell the most feature rich and flexible Channel in a Box solution available delivering a cost effective, reliable and scalable route to distributing anything from a single SD channel to multiple 1080p channels; and + eFF – Emotion File Finish, a cost effective software application that auto analyses, detects and normalises audio loudness

violations in file-based media. eFF complies with the latest standards, based on ITU-R BS.1770 and BS.1771, ATSC A-85, OP59, TRB32 and EBU R128.

BROADCASTONE Suite 4.17 32 Delhi Road, North Ryde NSW 2113 Tel: +61 (0)2 9870 8811 Fax: +61 (0)2 9887 1114 Email: Sales@BroadcastONE.com.au www.BroadcastONE.com.au Broadcast ONE is the premier RF Systems and broadcast communications Integration Company on the Asia-Pacific region. Broadcast ONE provides a diverse range of engineering services, RF integration teams and is also the representative for a number of key “best-inclass” manufacturers.

Featured on Broadcast ONE’s inaugural ABE 2012 booth with be: + HHB – Global leaders in Pro Audio Technology; + ARG - Network Accelerator; + GeoStrut – Carbon Fibre Towers and Mount Products;

+ Meinberg – Time Servers; + TWR – Obstruction Lighting; and + Harris – Maxiva and Flexiva Transmitters.

Come and visit Broadcast ONE at ABE 2012, and speak to the team about your broadcast requirements. Broadcast ONE, ABE 2012, Booth #12.

ERICSSON Level 8, Building C, 11 Talavera Rd Macquarie Park NSW 2113 Tel: 02 9111 4017 Email: tvsupportanz@ericsson.com www.ericsson.com/television Ericsson will attend the 2012 Australian Broadcast Exhibition (ABE) on 7th-9th August.

Attendees will have the opportunity to learn and engage with Ericsson’s TV experts at a number of levels, as well as experience live demonstrations of its award winning solutions for content management, video processing and multi-platform, multi-screen TV. The Free TV Engineering Conference, held in parallel with ABE 2012, will see speakers from Ericsson tackle hot button issues of video compression and delivery, including High Efficiency Video Coding (HEVC), also known as H.265 and MPEG-H Part 2.

ABE 2012 PREVIEW

Hot Button Topics at the Free TV Engineering Seminar COMING UP at the start of August is the Australian Broadcast Exhibition 2012, coinciding with the Free TV Australia Engineering Seminar. Director of Engineering for Free TV Australia, Roger Bunch, spoke about what the main points of focus will be for the seminar, specifically to do with the delivery of broadcast services. This covers DVB-T2, 3DTV, UHDTV and the place of these formats within the standardisation pipeline.

DVB-T2 IS THE SECOND GENERATION of the DVB-T standard; the world’s most widely adopted and deployed digital terrestrial transmission (DTT) system. DVB-T2 uses orthogonal frequency division multiplex (OFDM) modulation, the same as DVB-T, and is more spectrum efficient. DVB-T2 introduces multiple physical layer pipes and constellation rotation to increase robustness, extended interleaving, and future extension frames to enhance future compatibility.

At this point in time, there have only been four countries to implement DVB-T2 as a free to air platform, with the UK being the first. “In order for you to migrate to any other technology you first of all have to be cognisant of where it is elsewhere,” said Roger.

of the standards that we need to go through to make sure it’s going to work, because neither broadcasters nor consumers want a disappointing deployed system.”

explained Bunch. “One production system, one interchange system which then allows the next stage which is the integration of that production system into the transmission systems.

Much like the change from analogue to digital, a migration from T to T2 would require simulcasting during that period. This means that a significant amount of spectrum planning would need to be conducted in order to facilitate a migration. Due to the standard still undergoing development and not knowing how T2 will operate in less spectrum, planning for a changeover would be all the more difficult.

“So now that this has been developed we’ll start to see development for transmission.

Anything that has been done before including the trial that we have here in Australia has purely been a vertical not a horizontal presentation.

Now we have the opportunity for the receiver manufacturers to then turn around and have a look at how DVB or ATSC will connect this in receivers. That will probably take another twelve months.”

Bunch adds, “Of course a lot of countries are jumping to T2 straight away and you can understand that, but they’re only going to jump when it’s completed.”

The ITU Recommendations focus on 3DTV programme production and broadcasting in the two formats that are in use worldwide: the “Inside the planning criteria we have only just ‘720p’ and the ‘1080i/p HDTV’ completed some of the parameters environments. Recommendations for T2. If we just finished that work were also agreed on the digital and there are four countries that interfaces used in studios for 3DTV are just learning to implement it, What we haven’t had is a transmission system programme production, and on the how early do we go? And therefore design. Now the ITU has developed all the general requirements for 3DTV. do we make the same mistakes

“

techniques for production and program interchange globally of one standard for 3D TV

The first workshop of T2 was only brought to the ITU (International Telecommunication Union) in April. The ITU has currently created a recommendation for error correction of T2, which is the coding standard, but a protection criteria is still being developed. Combined with the relative immaturity of the standard and the small number of deployments worldwide, it is difficult to look at implementing T2, particularly when the digital switchover is yet to be completed.

“When we started investigating in 1997 and ’98 the DVB-T standard, the single frequency network component of it hadn’t been deployed.

So because it was first deployed here in Australia and in Spain and Portugal, we and the Spanish engineers found some deficiencies in the standard which we had to feed back into the standards process to improve it,” Bunch explained. “So there’s that realisation process

“I see T2 and the discussions at the conference as still being exploratory. In other words what the real issue that is uppermost in television broadcaster’s minds at the moment is the restack of the broadcasting spectrum in both VHF and UHF bands to achieve the digital dividend,” said Bunch.

A standard that has been completed is that of 3D TV. Up to now, 3D in the home has been kept almost exclusively to a playback system, with Blu-ray discs being the most prevalent way of watching 3D at home. Television boadcasting of 3D content has been much more limited, confined to trials and only used for high profile events, such as the State of Origin previously and the upcoming London Olympics Coverage.

“What we haven’t had is a transmission system design. Now the ITU has developed all the techniques for production and program interchange globally of one standard for 3D TV,”

”

Another format that is going to be discussed at the Engineering Seminar, and has had a standard developed by the ITU, is ultra-high definition television (UHDTV).

The ITU Recommendation lays out the quality standards for UHDTV in two steps. The advances made with each of these quality steps are roughly similar to the step from standard definition television to high definition television (HDTV). HDTV pictures today have the equivalent of between 1-2 megapixels.

The first level of UHDTV picture levels, 4K, has the equivalent of about 8 megapixels (3840 x 2160 image system), and the next level, 8K, comes with the equivalent of about 32 megapixels (7680 x 4320 image system).

“They’re saying silicon, meaning chip sets, will be available in 2015, so it’s going to take at least another two to three years for those to get into production in the receivers. Probably by the end of the decade you’ll start to see development on these systems,” said Bunch.

Along with these different broadcasting standards, IPTV, wireless microphones, loudness standards, and ENG are among the other areas of focus at this year’s seminar.

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that they may find or errors that may find or techniques that they may find that they have to improve the standards. Aren’t we better to consider these issues when the standards are fully mature?” he added.

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Ericsson’s TV experts Matthew Goldman, Head of TV Compression Technology and Tony Moran, Regional Head of TV for Australia, New Zealand & South East Asia, will be speaking at the event and will be taking part in speaker sessions.

Live demonstrations of Ericsson’s latest solutions that are designed to help operators maximise the value of content, run efficient video networks and deliver multi-screen experiences to consumers will include:

Demonstrations also include nCompass Control, Connector and Director, which offer a unique control and management layer, on both IP and satellite networks, enabling control of distributed content exchange systems, content protection, scheduling and much more.

CONTENT ACQUISITION, EXCHANGE AND DISTRIBUTION

MULTI-PLATFORM AND MULTI-SCREEN LINEAR TV DELIVERY

Ericsson’s new multi-codec, multi-function video compression and processing platform, AVP will be on show. This platform provides greater performance, scalability, flexibility and efficiency for broadcasters and TV service providers than any other video processor on the market.

The Ericsson Video Processor Chassis will be on display, which delivers the highest video compression efficiency, coupled with operational flexibility for operators’ needs today. The platform’s modular design allows service providers to upgrade functionality and add new services incrementally, avoiding costly headend upgrades.

AVP functions like a high density headend that packs everything into one single device and provides a sweet spot for higher performances of multi-channel. The AVP family is the only one of its kind offering support for MPEG-2, MPEG-4 AVC and JPEG 2000 within a single hot-swappable chassis.

ABE 2012 PREVIEW

For those seeking to exploit MPEG-4 AVC efficiencies in their distribution network, Ericsson’s RX8252 Program Transcoder represents the ideal solution for customers

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requiring support of legacy systems further down the chain – and the new RX8305 Distribution Receiver, the cost-effective solution for SD platforms.

The Ericsson SPR1100, a highly dense hardware-based multi-screen transcoder, will be demonstrated to show it enables operators to launch additional television services to the home, manage and migrate to MPEG-4 AVC, simply time-shifted TV ingest processing, and enable cost-effective disaster recovery sites for business continuity.

Ericsson will also demonstrate how the Ericsson NPR-1200 Multiscreen Network

Processor, a flexible multi-screen network processor (ready for all DRMs and streaming formats, including MPEG-DASH) for packaging and publishing linear multi-screen content, perfectly complements the Ericsson SPR1200 transcoder.

MULTI-SCREEN CONSUMER EXPERIENCE Ericsson’s triple award-winning Multiscreen Middleware is designed to meet the consumer demand for a personalised and interactive experience on TVs, phones, tablets and other connected devices, across multiple networks.

It enables broadcasters to augment traditional TV with services such as multi-screen catchup and blending of the viewer experience with social interaction.

Demonstrations will highlight cutting edge user experiences and consumer scenarios such as; watching content on one screen, pause, continue to watch on another device, schedule and view recording of content across multiple devices, and using the companion Media Connect device to decide what to watch before sending it to the screen.

A variety of user interface clients will also be on show, highlighting the benefit and flexibility of the SDK.

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Unit 3, 1 Talavera Road, North Ryde, NSW 2113 Tel: +61 2 9888 8208 Fax: +61 2 9888 8206 Email: info@gencom.com www.gencom.com

+ Triveni Digital, Satellite content distribution platforms, test measure and monitoring transport streams, SI/PSI systems for DVB. + T-ViPs, HD and SD JPEG 2000 transmission equipment. IP transmission equipment.

Multiplexing and management equipment for contribution and distribution links. + Plura Broadcast, Broadcast monitors from 7” to 70” for all uses and formats. Rackmount and multi-unit monitors with built-in audio monitoring. Windows based Character Generator.

The Gencom team and their partners look forward to meeting you to discuss your media technology requirements.

GRASS VALLEY Integration by Gencom, ABC Studios Brisbane.

Gencom, a leading provider of integrated broadcast solutions, will be at ABE2012 this year with some key technology partners, featuring system solution capabilities and a range of products from leading technology partners.

Experts will be available to discuss a comprehensive mix of relevant technologies to suit the modern broadcast environment including MAM and workflow, newsroom, IP transmission, audio monitoring and control, post production and broadcast storage, playout, production switchers, conversion and distribution, logging, archiving, transmission, cameras and monitors.

Technology partners represented at the Gencom booth at ABE will include: + Annova Systems (Open Media), Advanced News Management System. Story-centric News Production. TV, Radio and Online Workflow. + BMS, Video Transmission Systems, low latency COFDM wireless SD/HD camera systems, 2 way and 6 way diversity receive systems, airborne digital transmitter systems. + Cobalt Digital, Distribution and conversion products on OpenGear™ platform, audio solutions including up-mixing and loudness processing & metering, modular conversion products. + Ensemble, Avenue frame based conversion and infrastructure modules, Bright-eye standalone modular conversion and infrastructure modules, distribution, conversion, sync, monitor interface and fibre modules. + Fairlight, audio editing & audio mixers, audio post-production, audio production and recording. + JVC, Professional HD video cameras, Professional video monitors, 3D conversion and monitoring solutions, projectors. + Pixel Power, Character generators and graphics systems. Channel branding. Master control switchers with built-in branding.

Unit 4/310 Ferntree Gully Road, Notting Hill, Victoria 3168 Tel: 1300 721 497 www.grassvalley.com

The LDK 8000 Elite captures true progressive HD images natively, and switch instantly among multiple formats and frame rates. This includes 1080p origination and selectable frame rates up to 1080p60. The LDK 8000 Elite has three 2/3-inch, 9.2 million pixels CCD imagers to capture of the highest quality images.

Finally, the Grass Valley LDK 3000+ is a cost-effective multi-format camera system that offers great picture quality and superb flexibility, supporting 1080i50/60 and 720p50/60 resolutions. The LDK 3000+ features three 2/3-inch, 2.4 million pixels CMOS imagers specially developed for broadcast applications.

HARRIS BROADCAST COMMUNICATIONS 1015-1018, 10/F., Tower 1 Grand Century Place 193 Prince Edward Road West Kowloon, Hong Kong Tel: +852 2776 0628 Fax: +852 2776 0227 Sydney Sales and Support: +61 2 9975 9700 www.broadcast.harris.com Harriswill showcase the latest features and functions for its Selenio media convergence platform — with hardware and software enhancements that deliver more customer value, and enhance ease of use and integration.

Grass Valley STRATUS Media Workflow Application Framework.

Grass Valley invites ABE2012 attendees to take a hands-on look at its latest high-image quality, file-based technologies for live events and pretaped studio programs.

This includes the new Grass Valley STRATUS Media Workflow Application Framework, Karrera Video Production Center switcher, the K2 Dyno Replay System, and the LDK 8000 Elite and LDK 3000+ high-definition (HD) cameras.

The Grass Valley STRATUS platform takes a new approach to broadcast production and content delivery workflows. Based on a user-configurable GUI, STRATUS provides only the necessary and specific tools for the desired task, without any additional processes affecting equipment resources.

Karrera is a lower-cost, yet fully featured HD switcher that makes sophisticated production capabilities readily available to more production types and more users.

For sports producers and other professionals that need to capture live events in crystal-clear HD resolutions and instantly play them out at variable speeds for critical analysis during fastpaced events, Grass Valley’s K2 Dyno Replay System is ideally suited. It also increases productivity for shared storage production facilities.

Selenio combines traditional baseband video and audio processing, video and audio compression, and IP networking technology into a single platform.

Incorporated in the line up will be the compression and networking features for Selenio that will greatly augment its video contribution capabilities and software-enabled support for the DVB-T2 digital transmission standard.

Harriscontinues to enhance value for its customers by adding linear frame rate conversion for baseband applications — a provenHarrissignal processing strength.Harrisis also simplifying configuration and usability through an efficient and more intuitive user interface.

NETWORKING AND COMPRESSION At ABE2012Harriswill show its 10-bit, H.264 4:2:2-capable contribution encoder integrated within Selenio. This will provide multiplegeneration encoding without signal degradation that comes from repeatedly compressing and de-compressing signals. The new contribution encoder will also significantly reduce latency (delay), giving broadcasters, satellite providers, mobile production companies and other customers a highly advanced, comprehensive and high-performance encoding portfolio.

Harriswill also demonstrate how Selenio is capable of helping local and national broadcasters establish a cost-effective, compact and fully-functional DVB-T/T2 video

ABE 2012 PREVIEW

GENCOM TECHNOLOGY

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ABE 2012 PREVIEW

headend in a single box. Selenio now includes a built-in DVB-T2 Gateway solution featuring an integrated single-frequency network (SFN) adapter, enablingHarristo supply a complete DVB-T2 solution with DTV transmitters, the video headend, andHarris Videotektest and measurement equipment.

SOFTWARE ENHANCEMENTS The Selenio architecture is designed to maximize operational efficiency for customers.

This is especially proven through its built-in, graphically rich Web-based interface for easy configuration, monitoring and management. The latest user interface software enhancements include simplifying how customers set up connections by graphically mapping out each link in a “block” approach, and highlighting how video is routed through the frame.

Selenio meanwhile retains all the valuable customer features that have professionals taking notice around the world. This includes support of MPEG-2 and H.264 compression standards for SD, HD, 3 Gb/s and mobile; and support for virtually any advanced audio capability on a single module — including bestin-class loudness control. Operational benefits include intelligent, efficient management of IP, compressed and baseband signals; reduced control complexity; simple deployment; and increased functionality in a space-saving, energy-efficient footprint.

MAGNA SYSTEMS & ENGINEERING Unit 2, 28 Smith Street, Chatswood, NSW 2067 Tel: +61 2 9417 1111 Fax: +61 2 9417 2394 Email: sales.au@magnasys.tv www.magnasys.tv This year’s ABE show once again sees Magna Systems and Engineering demonstrating a wide range of products and systems integration capabilities.

Magna Systems will focus its efforts on multiplatform and OTT workflows which will include multi-screen demos to mobile, tablets and TVs. Our principals this year include: + Miranda multi-viewers, i-Control, branding – ITX, Vertigo Branding, Enterprise Suite + Thomson video compression headend – VS7000, EM4000, Sapphire, Amethyst, Granite

ABE 2012 PREVIEW

+ Telestream video transcoding and processing – Vantage

22

ABE is always a good show for Magna Systems and Engineering’s clients and follows on from our success at NAB and Broadcast Asia where we also demonstrated a wide range of multiplatform and OTT systems integration solutions.

PANASONIC BROADCAST Ground Floor, 1 Innovation Road, Macquarie Park, NSW, 2113 Tel: +61 (0)2 9491 7400 Email: mathew.alexander@au.panasonic.com

www.quinto.com.au

The teams from Quinto and Snap TV.

Panasonic Corporation is one of the largest electronic product manufacturers in the world, comprising of over 634 companies and operating across the globe. It designs, manufactures and markets a wide range of products and technologies for the broadcast, production, live event & staging and education industries among others.

At ABE 2012, Panasonic will be exhibiting a selection of its innovative and award winning ENG and Production products including the exciting new AG-HPX600 P2HD camcorder mock-up (pictured) and the latest AW-HE120 HD Integrated camera. Both of these products are ideal for the challenges of modern television production and news gathering.

Other products on display include: + AJ-HPX3100 P2HD 3CCD 2/3” Camcorder + AG-HPX255 Working Sample of new P2HD handheld camcorder with ECU control option (is addition to AG-HPX250 not replacement) + AG-HPX250P2HD 3MOS 1/3” Handheld Camcorder + AG-AC160AVCCAM 3MOS 1/3” Handheld Camcorder + AG-AF102AVCCAM 1MOS 4/3 Handheld Camcorder + Micro-P2 card- Working Sample of Card + Micro-P2 Adapter + AW-HE50S1MOS HD Integrated Camera

+ Dalet MAM – Enterprise, Galaxy

+ AW-HS505 I/P HD Live Production Switcher

+ Telex (RTS) comms – V-Link

+ AV-HS41013 I/P HD Live Production Switcher

+ TVU 3G backpack – TM8100

+ BT-LH1710 17” LCD Monitor

+ Chyron CG – HyperX3.1 with shout

+ BT-LH1850Production Model of New 18.5” LCD Monitor

+ Front Porch Digital storage and archiving – DivArchive

Unit 4, 7 Salisbury Rd, Castle Hill, NSW 2154 Tel: (+61 2) 9894 4244 Fax: (+61 2) 9894 4822 Email: sales@quinto.com.au

www.panasonic-broadcast.com.au

+ Interra QC – Baton

+ witch Media video management – Video-OnDemand, Video Portals / Apps, VCMS, DRM, Real-Time Video Analytics

QUINTO COMMUNICATIONS

+ BT-LH2170 Working Sample of New 21.7” LCD Monitor + TH-42BT300Production Model of New BT300 Series of Broadcast Plasmas

The Quinto Communications stand at this year’s ABE Seminar in Sydney will feature a range of new innovative products specifically aimed at digital file-based workflow technology.

Evertz engineers will be presenting a paper on digital workflow efficiency, very relevant in a world where viewers require more programming to be available on an ever increasing number of devices.

Elemental Technologies will also take up this challenge and their success at the London Olympics by presenting their solutions employing technologies such as advanced compression, adaptive streaming, and content delivery networks to broaden coverage and raise the visibility of major events such as the Olympic Games As file transfers become commonplace, so Quality Control (QC) becomes an important consideration. Amberfin in their paper on Media QC will demonstrate the analogies between QC for broadcast and the successful QC methodology employed by major manufacturers such as Toyota.

Subtitling is an important function in modern broadcasting and at ABE, Softel will showcase its range of feature-rich subtitling and closed captioning products. These enable the creation, repurposing, encoding, insertion and transmission of subtitles and closed captions in a wide variety of file formats, while increasing reliability and productivity.

During the frequency relocation project in the USA, Nucomm gained great practical experience in operating ENG links where operation was required at the band edges, without causing interference to cellular companies, and without the cellular companies degrading the ENG link performance, especially with long length microwave paths. At ABE, they will present a paper that discusses their practical experiences, and what was done to ensure that the TV broadcasters and cellular operators could co-

ABE 2012 PREVIEW

exist in peace next to each other.

SONY AUSTRALIA

In addition to the above presentations, Quinto Communications will demonstrate a range of relevant products including those from Autocue, Blackmagic, AJA, Marshall, Snap TV and Snell.

33 – 39 Talavera Road, North Ryde, NSW 2113 Tel: 02 9887 6666 Fax: 98051175 Email: production.au@ap.sony.com

ROSS VIDEO Tel: +61 (0)4783 54122 Fax: +61 (0)3 97207662 Email: spreece@rossvideo.com www.rossvideo.com The Free TV Engineering Conference, held in parallel with ABE 2012, will see Jeff Moore, EVP & CMO with Ross Video present on the topic of Automated Production Control Essentials.

Automated Production Control (APC) is changing the way production is done around the world. This is especially true for news production, with more than half of the newscasts in North America now automated.

This trend continues to expand with more Automated Production in Europe and beginning in Asia.

As APC has evolved, it has become more than simply a way to reduce staff, APC is all about driving a more consistent, sophisticated and fast paced productions. Jeff ’s paper will provides an overview to APC, the benefits, return on investment considerations, change

www.sony.com.au/production Featured on the Sony Australia stand at ABE2012 will be the new NXL-IP55 Networked Live Production unit, announced at this year’s NAB Show (pictured). This allows up to three genlocked HD-SDI sources to be transmitted over a standard Ethernet LAN, together with return video and associated tally, control, intercom and audio signals. With full HD quality and minimal latency, the NXL-IP55 is ideally suited to both broadcast and non-broadcast applications in environments lacking existing triax or fibre infrastructure such as sports venues, studios within office or educational facilities, conference centres or churches. It can also be used in conjunction with the Ethernet trunk facility found on Sony s latest HDC-2000 Series cameras.

management and new APC extensions that can automatically drive content to your website thus further enhancing production workflow, efficiency and timeliness of web content.

Ross Video designs, manufactures and supports a wide range of innovative products for use in live production applications. Ross’ award winning product line includes Vision, Vision Octane, Carbonite and CrossOver Video Production Switchers; openGear, RossGear and GearLite Terminal Equipment; BlackStorm and SoftMetal Video Servers; OverDrive Production Control Systems, NK Routing Systems, XPression Character Generators and Furio Robotic Camera Systems. Ross products are installed in over 100 countries around the world, where they are used daily by top broadcasters, production companies, sports stadiums, government agencies and houses of worship.

Showing in conjunction with the above system will be Sony s latest addition to the BRC Series of remote pan/tilt/zoom cameras the BRC-H900. This camera incorporates 3-CMOS ½ sensors to deliver class-leading picture quality even under very low illumination levels.

COOL, CALM COLLECTED STRATUS In a file-based production, the need to ingest, manage, edit, and play out content is a big task.

But it needn’t be, with STRATUS™. STRATUS is an integrated set of software production tools that lets users quickly and easily create programs and stories in studio and newsroom facilities. more info at: www.grassvalley.com/products/stratus

WATCH THIS Grass Valley Product Sales (Australia): Toll Free: 1 300 721 497 (mobile call charges also apply)

See us at ABE 2012

ABE 2012 PREVIEW

The foundation for all STRA STRATUS ATUS systems systems is provided by the th K2 media server platform. Systems can be built around distributed standalone K2 clients or integrated into a K2 SAN. K2 provides a single unified infrastructure for ingest, playout, replay, editing, and file transfers.

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ABE 2012 PREVIEW

Also on the stand will be the new PDW-680 camcorder, which brings shooting with XDCAM optical disc to a new level of affordability.

Stop by the Sony stand to meet with the team and learn more about these and other exciting new products. Take the opportunity to discuss how Sony can provide a complete solution including complex systems integration, building on our expertise of a variety of OB vehicle and studio facility projects.

TECHTEL 26 Whiting St Artarmon, NSW 2064 Tel: +61 2 9906 1488 Fax: +61 2 9906 1480 www.techtel.com.au The Techtel stand at this year’s ABE will include: TELEMETRICS – REMOTE/MANUAL PAN/TILT HEAD The Telemetrics PT-RM-1 Pan/Tilt Head is a precision pan/tilt head featuring quiet, smooth variable operating speed. Multi-axis control includes pan, tilt, zoom, focus, track, televator, dolly, iris and master pedestal. Manual smooth motion is accomplished using advanced digital servo control. 255 presets are available, memorising all axes. Camera and lens control is provided via direct serial or analog connections.

APANTAC US-3500 UNIVERSAL SCALER Launched at IBC2011, Apantac s TAHOMA Cynergy virtual mouse and keyboard controller is a software option that lets users seamlessly control all computer inputs on one or multiple TAHOMA Multiviewers with a single mouse and keyboard. Users can move the mouse across all windows on single display or multiple displays, as well as copy and paste information between connected computers. Cynergy can be used with the TAHOMA-DE Universal and TAHOMADL Hybrid lines of Multiviewers.

Techtel will also show Apantac’s US-3500 Universal Scaler featuring HDMI/DVI/VGA/YPbPr Input, SDI Output and Genlock.

HARMONIC/OMNEON – SPECTRUM CHANNEL PORT

ABE 2012 PREVIEW

ChannelPort is an integrated channel playout device that works with the complete family of Spectrum media server components. Channel Port speeds the deployment of new channels and reduces costs by integrating flexible branding and master control switching with clip playback on the industry’s most trusted playout platform. Fully compatible with all Harmonic Spectrum media server components, ChannelPort fits seamlessly into existing infrastructures to simplify the launch of new services.

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CISCO – DCM SERIES D9901 DIGITAL CONTENT MANAGER Today’s digital systems demand powerful, flexible, and compact solutions that will allow the service provider to support new network

architectures. The Cisco DCM MPEG Processor is a compact 1RU platform capable of processing a high number of MPEG video streams. The DCM is the next generation of intelligent headend processing equipment where the combination of compactness and flexibility leads to a costeffective solution.

MASSTECH – DIAMOND Masstech’s new ‘DIAMOND’ collection of workflow & interoperability Apps’ provide simple drag-and-drop functionality directly from the desktop ‘gate’.

Key product features + A high speed portal that enables interoperability and connectivity for simplified workflows within an Avid or FCP ecosystem. + Integrates with Avid and FCP NLE’s as a standalone utility or it can fully integrated to a MAM system like Emerald, Topaz or Indigo. + Drag and drop files to the desktop Diamond Gate. + Selectable file based workflows that bridge broadcast systems and IT infrastructure. + Built-in HQS engine performs the flattening of the Avid video and delivers the required file format to the desired destination server. + Ability to create proxies from source content.

PIXELMETRIX – PELICAN VIDEO ENCODER The recently announced Pelican family of video encoders are built smaller than a 3.5 inch hard drive, making the compact, rugged encoder ideal for remote newsgathering, enterprise video, hospitality, government, education and healthcare applications. Set up and configuration is a breeze with the built in HTML5 web interface. All Pelican models support live IP streaming from the built-in Ethernet port.

TEKMARK AUSTRALIA Suite 302, Level 3 18-20 Orion Road Lane Cove NSW 2066 Tel: (02) 9911 3888 Fax: (02) 9418 8485 Email: enquiries@tekmarkgroup.com www.tekmark.net.au Since it’s incorporation in 1994, TekMark has continuously strived to be a trading company with a distinctive difference. One that not only just sells products but is in the business of providing total commitment to rendering total customer satisfaction in the products we sell.

In line with this aspiration, we have invested in two ISO/IEC 17025 internationally accredited precision Service and Calibration Centres to ensure the continuous operationability of our products to international standards of precision. We have sited branch offices in strategic locations across the region and beyond to extend

maximum care and conveniences to our customers.

We have set up Projects and Systems Integration Units to provide optimal solutions and interconnectivity and compatibility of our products to customers’ existing systems.

We have also established an Advanced Technology Training Centre to enhance customers’ knowledge to expedite technology transfer of leading edge technologies and competencies to keep abreast and stay ahead of competition.

And finally, to ensure we can fulfil the continuity and sustainability of our commitment and continuous improvement in our services to our valued customers, TekMark has put in place Quality Management Systems and Processes in accordance with international standards. TekMark is proud to proclaim our distinctive difference of being a leading ISO9001:2000 Trading Company in Malaysia certified by SGS, the world’s largest verification, testing and certification organisation. Simultaneously, TekMark also receive accreditations from both UKAS of United Kingdom and Standards Malaysia.

VIZRT Suite 2, Level 7, 56 Clarence Street Sydney NSW 2000 Tel: +612 9299 9886 Fax: +612 9279 1880 Email: gbailey@vizrt.com www.vizrt.com Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry and media houses – from award-winning animations & maps to online publishing tools.

Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online.

We propose a new vision for content creation, management and delivery with an end-to-end solution from conception to multi-format distribution. Through constant innovation and a good measure of fun, we create software and services that push creative boundaries and develop new ways of telling stories.

Vizrt counts around 550 employees worldwide, spread across 36 local offices and installations in more than 80 countries, powering over 3,500 TV channels and around 600 Internet media sites. Our local presence in all the major markets around the world makes this possible.

Vizrt has offi ces in the following countries: Argentina, Australia, Austria, Bangladesh, China, Hong Kong, India, Indonesia, Israel, Japan, Korea, Norway, Philippines, Russia, Singapore, South Africa, Spain, France, Portugal, Sweden, Switzerland, Thailand, UK, and the USA.

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Your global partner in media technology solutions, providing you with design, full integration services and technology.

GENCOM TECHNOLOGY - SUPPLIER OF QUALITY EQUIPMENT INCLUDING

PROFESSIONAL VIDEO TRANSPORT HD and SD JPEG 2000 transmission equipment.

IP Transmission equipment.

Multiplexing and management for contribution and distribution links.

â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C;

www.t-vips.com

CAMERAS, RECORDERS AND HD STUDIO MONITORS â&#x20AC;&#x201C; Professional HD video cameras â&#x20AC;&#x201C; Professional video monitors â&#x20AC;&#x201C; 3D conversion and monitoring solutions

www.jvc.com.au/professional

SIGNAL DISTRIBUTION PROCESSING â&#x20AC;&#x201C; Avenue conversion and infrastructure modules. â&#x20AC;&#x201C; Brighteye stand alone conversion units. â&#x20AC;&#x201C; Distribution, conversion, sync, monitor interface and fibre modules. www.ensembledesigns.com

BROADCAST GRAPHICS SOLUTIONS Character generators & graphics system Channel branding Master control switchers with built-in branding

â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C;

www.pixelpower.com

LIVE PRODUCTION SYSTEMS â&#x20AC;&#x201C; Cost effective vision mixers â&#x20AC;&#x201C; Built in multi-viewer, clips & CG â&#x20AC;&#x201C; Camera & VTR/DDR control

www.broadcastpix.com

BROADCAST MONITORING SOLUTION â&#x20AC;&#x201C; Remote monitoring & logging of broadcast transmission â&#x20AC;&#x201C; Comprehensive reporting on video and audio errors â&#x20AC;&#x201C; Reporting on content play-out with error logging www.digital-nirvana.com

CONVERSION PRODUCTS Distribution and conversion products on OpenGearâ&#x201E;˘ platform â&#x20AC;&#x201C; Audio Solutions including up-mixing and loudness processing & metering â&#x20AC;&#x201C; Stand alone conversion modules â&#x20AC;&#x201C;

www.cobaltdigital.com

CONTENT DISTRIBUTION Satellite content distribution platforms Test measure and monitoring transport streams SI/PSI systems for DVB

â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C;

www.trivenidigital.com

Australia tel | +61 2 9888 8208 NZ/Asia/Africa tel | +64 9 913 7500 Email | info@gencom.com www.gencom.com

THE 3RD DIMENSION Stereoscopic production & exhibition

www.3d-day.tv

Mistika Brings 3D Grandeur to Prometheus Californian facility Identity FX chose SGO’s Mistika technology for the majority of its stereoscopic work on the recent science fiction film, Prometheus, directed by Sir Ridley Scott.

PROMETHEUS WAS PRODUCED as a separate story, preceding Scott’s classic Alien, but not directly connected to it. Written by Jon Spaihts and Damon Lindelof, the film is set in the late 21st century, and focuses on the crew of a spaceship named Prometheus who are following an ancient star map in a quest to find man’s origins, only to discover a sinister threat to humanity’s very existence.

The film depended on superior visual effects and CG for the on-set previsualisation of the external space visuals. A combination of Stereo 3D cinematography, CGI and new tools and workflows were implemented to realise the story.

To meet the Stereo 3D post production challenges, Ridley Scott’s team entrusted Identity FX and its Mistika system, with 2K and Stereo 3D real-time capabilities.

Visual Effects Supervisor, Richard Stammers and VFX Producer, Allen Maris, supervised over ten post companies for Prometheus, which included Identity FX, who made a significant contribution to the stereo optimisation on the film. These companies included Australia’s own Fuel VFX (see separate story page 44).

Identity FX was responsible for all of the native stereo 3D correction for almost half of the film, which involved geometry and colour alignment.

Leo Vezzali, Co-Founder and Stereoscopic Supervisor at Identity FX, predominantly used Mistika for his work, alongside the film’s Stereo Supervisor, Sean Santiago, to complete the optimisation.

Prometheus contained approximately 1300 digital effect shots. The work achieved by Identity FX included 49 minutes of the film completed at their North Hollywood facility on the Mistika. The main focus of the 3D optimisation for the film was to remove any impediments that might have worked against the illusion of depth.

As Leo Vezzali explains, “Using Mistika’s advanced stereoscopic capabilities, we were able to address any issues that might have occurred in the native stereo capture, enabling the director to maximise the 3D medium by optimising it to support the narrative.”

Leo also identified shots that contained excessive noise, leading him to request the original R3D files to test a Debayer pass in Mistika.

THE 3RD DIMENSION

“I would have to say that the large number of brightness/flare disparities were quite challenging to deal with, as were the steadicam shots.” Leo expands further, “Zoom and exposure mismatches were really the most prevalent challenges that we encountered. In many cases, the difference in exposure, lead to a soft focus issue in one eye, which can cause eye fatigue over the course of a scene. To solve these issues we employed extensive use of masks and power windows to mitigate the disparities.

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“Mistika was a vital tool in the process. Most of the time, I would provide a colour balanced version of the shot to our compositors – taking advantage of Mistika’s real time colour alignment capability - so that they could focus on the additional geometry needs of a shot. For the more problematic geometric misalignments, the team at Identity FX worked repetitiously, running multiple colour or alignment passes as needed, which helped to resolve inconsistencies in the depth and disparity map generation.”

One particularly challenging scene for the Identity FX team was Dr. Shaw’s horrifying C-section in the medical-pod.

“There were many long hallway shots in and out of the med-pod, that had shaky camera movements and massive lighting shifts,” says Leo. “These required a ton of key frames, and involved more of a compositing approach to correct the shots than I had anticipated initially. I basically had to ‘rotoisolate’ elements of the shots, so that I could apply very specific parameters, and then composite them back together in Mistika. The most difficult shot required twelve composite layers to correct. Mistika’s compositing tools are very fast and robust, and the tracker is extremely solid, all of which made my life a lot easier.”

Juan Carlos Ertze, CTO at Identity FX, and Mistika Specialist in the Pipeline division of the company, elaborates further on the file management, toggling and QC capabilities for the mammoth project. “Having to deal with over 140,000 files with associated meta-data, specific naming convention for deliverables (usually different from ingest) and time-code (frame numbers) to be maintained, is never an easy task. Mistika gave us the chance to deal with different versions of the same shot, with different previews for each version, smooth integration of external layers for paint or roto jobs, scooping with LUTs, and everything into the very same timeline, in real time and with a clear and real trace to the original ingested file. File management became transparent and compatible through the entire pipeline, without any data reduplication, and having the ability of QCing within the same timeline where the optimisation was carried on, without having to render proxies or intermediates, therefore saving storage space and valuable machine time.”

Juan adds, “A big difference was the client’s QC sessions, with an environment in full resolution and real time performance. Toggling between before and after, re-framed or original framing, LUT or original colour space, colour alignment or not, vertical geometry alignment or Vertical+Horizontal, really makes a difference for the Stereo Supervisor’s decisions and requests.

One of the most interesting features was the ability to preview the scene with a temporary convergence point for a more comfortable preview, and continuously toggle this on or off. Several display modes of analysis tools could be previewed to understand the peculiarities of a particular shot.”

Production for the technology development and creatures for the film com-

THE 3RD DIMENSION menced back in April 2010, while principle photography began in March 2011.

steadicam use, which was only used when required.

After Cinematographer Darius Wolski persuaded Ridley Scott to film in Stereo 3D, it was shot entirely using 3D cameras on an estimated US$130 million budget. 3ality Technica provided some of the rigs and equipment to facilitate the process and train the crew. The production team used five 3ality Technica Atom 3D rigs, four of which were configured with RED EPIC 3D cameras set-up for use on camera dollies and tripods, which were continuously in use during filming. The fifth rig employed EPIC cameras for

On-location filming took place in Scotland’s Isle of Skye, England’s Shepperton Studios, Iceland’s Hekla volcano and Dettifoss waterfall, and Spain’s Ciudad de la Luz audiovisual complex in Alicante. Exterior scenes of the alien world were also captured in Iceland. Filming also took place in the Wadi Rum valley in Jordan. Green screens were avoided as much as possible in production, with the CGI presence later added in post.

Visit www.identityfx.com and www.sgo.es

3D Briefs VEFXI FOUNDER AND INVENTOR, Craig Peterson, is a 30-year Intel

to support both HD production, and simultaneous 2D and 3D production.

veteran who, among other achievements, managed Intel’s electronic graphics design technology and workflows.

For HD production with 10 HD cameras, two XT3 servers are used in an eight-channel HD configuration with Beijing Television’s main and back-up Sony switchers. For simultaneous 2D and 3D production with five 3D cameras and four 2D cameras, the XT3 servers are used in a six-channel 3D configuration. One switcher produces the 2D signal while the other operates in 3D mode. The Sony switcher’s DVE board combines the 2D camera signals to create 3D signals.

Now, Craig and his team are looking to help broadcast and postproduction professionals remove the obstacles to more pervasive 3D content and to help them expand their 3D monetisation opportunities with a professional-class 2D to 3D editor – the Diamondblade Pro System.

The Diamondblade Pro System is now available as a beta prototype. From rendering and frame-accurate editing and playback to adjusting 3D focus, optimising short scene depth, inserting comfort zone control, and ensuring continuity across scene cuts, the VEFXi Diamondblade Pro System is an advanced human-guided 3D conversion automation platform which automates traditionally manually-intensive tasks to give 3D and VFX professionals more time for creative content production – with minimal impact on existing workflows.

Visit www.vefxi.com

SCHEDULED TO BE HELD IN LIÈGE, BELGIUM, on 3-6 Dec 2012, 3D Stereo MEDIA is an umbrella event covering a Scientific Conference (IC3D), a Professional Conference, a 3D Film Festival, a 3D Film Mart (of coproduction), a 3D Academy (in 3D movie-making and stereography), the I3DS-Europe Awards (in collaboration with the International 3D Society, Hollywood, CA), B2B Meetings, and a Gala Evening.

IC3D, the International Scientific Conference on 3D Imaging 2012 will be held at the Royal Opera House of Liège and address all modalities/types of 3D, including stereoscopic, multiview (or multiscopic), lightfield (or plenoptic or integral), volumetric, holographic, range (or depth), acoustical, and print.

An invitation for conference paper submissions has been issued with a deadline of 3 September 2012. Information for submitting papers and for registering for IC3D can be found at www.3dstereomedia.eu/en/IC3D. Meanwhile, the 3D Film Mart (3DFM), now in its 2nd edition, is the first European co-production market for stereoscopic-3D (S-3D) movies.

Producers looking for financing are invited to submit their S-3D projects to the market. A jury will select the 20 best projects submitted. The submission deadline is 31 August 2012.

Visit www.3dstereomedia.eu

EVS HAS EQUIPPED Beijing Television’s new 3D outside broadcast (OB) unit with XT3 servers, as well as IPDirector and XFile software. The truck is designed as a general purpose unit but will primarily be used for sports production, enabling the network to cost effectively capture and broadcast sporting events in both 2D and 3D. The OB truck is equipped with 10 HD cameras, including two Sony 3D cameras and two super slow motion cameras. Six of the cameras can be combined to create three 3D cameras. EVS’ XT3 servers can be configured

Beijing Television’s operators maintain total control over their productions with EVS’ IPDirector suite of production content management applications, while material is archived during capture using EVS’ XFile application.

VOLFONI’S SMARTCRYSTAL PRO currently works with any DLPcapable 3D-ready projectors and is a suitable size for smaller rooms that want to go 3D while using the low-cost circular polarised glasses.

The SmartCrystal Pro is useful in situations where a lot of 3D glasses are needed, and low-cost passive glasses are preferred over active glasses.

A newer version designed to work with LCD projectors for increased luminosity was shown as a sneak preview at InfoComm 2012.

At the recent CinemaCon conference in Las Vegas, Volfoni unveiled a passive 3D theatre system, called SmartCrystal Cinema. Another mediumsized polariser is in the works, which will have a window size between that of SmartCrystal Cinema and Pro, and will be designed with the high-end AV market in mind.

Volfoni’s EDGE line of active glasses, both DLP-Link and IR (infra-red) versions are lightweight and durable, with a comfortable universal nosepiece. The DLP-Link glasses are popular with schools because they turn on with just the touch of a button, and they work with 3D-ready DLP projectors and white screens. The IR glasses work with Volfoni emitter kits, which come in various sizes, depending on the size of the space where 3D is being shown.

Visit www.volfoni.com

CINETECH ENTERTAINMENT INDIA PTY LTD, a new digital cinema deployment company, has set up its head office in Mumbai, India, to provide 4K 3D digital cinema systems and specialist integration services to theatres throughout southern Asia. The new company will supply, install and maintain solutions in compliance with international standard JPEG 2000 Digital Cinema Package (DCP) formats. Cinetech is a subsidiary of Filmlab (I) Pvt Ltd, one of India’s largest film processing and digital post facilities.

Cinetech has already established partnerships with manufacturers of highquality 4K and 3D digital cinema and audio processing systems, including Sony and Datasat. The company will supply Sony’s 4K digital cinema integrated projection system.

Likewise, Cinetech will supply the Datasat AP20 audio processor which features 16 channels of digital and 8 channels of analogue inputs coupled to 16 digital and 16 analogue outputs. The company will calibrate the AP20 using Dirac Live room optimisation technology that ensures audio set-up and sound clarity are optimised at every installation.

Visit www.filmlabindia.com

THE 3RD DIMENSION

To date, VEFXi has been focused on retail, leading in the gaming market with its 3D Bee Platinum and Diamond real-time 2D to 3D convertors and also offering autostereoscopic products to markets such as digital out of home display advertising and sports bars and venues.

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ACQUISITION www.content-technology.com/acquisition

CAMERAQUIP Takes First Oz Alexa Studio from ARRI mirror shutter and an optical viewfinder that provides a real-time, high contrast image.

Richards continued, “The ALEXA Studio’s 4:3 sensor makes it the only digital camera, aside from the ARRIFLEX D-21, to boast true anamorphic capability – something that was becoming increasingly important to our clients. Anamorphic lenses create a unique, cinematic look that has been appreciated by directors and cinematographers for over half a century, and cannot be created in post. The 4:3 sensor allows people to work in the same way as they would with a 35mm camera and produces a standard 2.39 ratio anamorphic image. Also, we haven’t really been able to use anamorphic lenses with their correct coverage for the last couple of years due to cost restrictions.”

Richards also found an increasing number of clients enquiring about the effectiveness of the new ALEXA Studio’s optical viewfinder.

Malcolm Richards and CAMERAQUIP’s new ARRI ALEXA Studio camera

AUSTRALASIAN RENTAL HOUSE CAMERAQUIP has purchased the first ARRI ALEXA Studio camera in Australia. CAMERAQUIP already has the largest privately owned rental inventory of ARRI 35mm, 16mm and large format digital motion picture cameras and lenses in Australia, having operated in Melbourne for 30 years, Brisbane and Adelaide for 17 years and in Singapore for 22 years.

CAMERAQUIP MD Malcolm Richards said, “We had been eagerly awaiting the launch of the ALEXA Studio camera due to the fact ARRI had said it would come with a 4:3 sensor, something our clients have been asking for for some time.”

Launched earlier this year, the ALEXA Studio features a quiet, adjustable

He added, “We were keen to get an optical viewfinder as opposed to an electronic one for many reasons and the optical viewfinder on the ALEXA Studio didn’t disappoint. It’s much more like a conventional viewfinder and can be used without turning the camera on. ARRI viewfinders have just been getting better and better and this is the best yet.”

As with other ALEXA models ARRI has placed particular emphasis on the image quality and versatility of the new ALEXA Studio.

Richards added, “The picture quality is extremely good, slightly better than previous models in my opinion mainly due to the large sensor. I’m delighted to say our ALEXA Studio has already been used on several shoots including one for The Sweet Shop and Crown Casino that was full anamorphic and used full ARRIRAW recording with excellent results.”

Visit www.cameraquip.com.au and www.arri.com.au

Videocraft Sells First Sony F65 to DOP Peter Beeh SONY PREMIUM DEALER VIDEOCRAFT recently sold its first F65 camera to Peter Beeh, the Sydney-based cinematographer who specialises in commercial, aerial, documentary and factual programming. Beeh has taken delivery of a Sony F65 with SR-R4 recorder, HDVF-C30WR viewfinder, SR-PC4 data management unit and Sony SR Memory cards.

According to Peter Beeh, “When Sony announced the F65’s price point I realised that it could be viable for an independent owner. After much research and analysis of original footage I weighed up all its strengths and weaknesses and that’s when I called Andy (Liell) at Videocraft for his professional opinion.”

ACQUISITION

Since taking delivery of his F65, Beeh says he has used the camera with excellent results. “So far, I have used the camera on several TVCs. It’s performed admirably and hasn’t skipped a beat. I’ve also used it to shoot background plates for an overseas production and we’ve shot some fashion - lots of need for good skin tones and in particular the need to accurately reproduce colour in garments. We’ve done a whole series of lifestyle type shots for another project. Everything you can imagine - indoor moody, to outdoor sunny, to dusk lantern light. To make shots like this sing it’s essential to have tools with wonderful dynamic range and an ability to perform brilliantly in very, very low light. The F65 does all of the above and more.”

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Beeh also took time to reflect on aspects of the F65’s workflow that were particularly appealing. “What Sony does really well is to make robust systems that go from camera to post to finished master. The F65 is the only blue chip digital camera which at the flick of a switch offers 4K RAW

recording, or high quality 10-bit HD recording. All this with a frame rates ranging from 1 to 60 fps and the ability to go to 120 fps soon. To Sony’s credit they have also been very active in supporting the development of post production software and systems in order to make the system as user friendly as possible.

Peter Beeh on set with his Sony F65 camera.

“What I feel when I look at the pictures I’m making is that I see images that are taking another step away from looking ‘electronic’. This camera has an amazing ability to resolve subtlety in colour. I see nuances in colour that I’ve never seen before. Reds and all its related shades are wonderful, and those all important skin tones are beautiful. The mechanical shutter is a corker. It completely resolves any issues with rolling shutter artifacts. The resolution is a major selling point for the camera. Put images of the F65 on a test chart and you’ll find no other camera can come anywhere close to resolving the same number of lines. The F65’s sensor also generates very little noise for a device that carries something like 18 million pixels - the noise that is there is very, very fine.”

Visit www.videocraft.com.au

Evolving Your Workflow — P2 cam Wireless Solution

A wireless network connection helps integrate metadata effectively in Video Production or stream Breaking News. The AJ-HPX3100 P2HD camcorder and new AG-HPX600 P2HD camcorder have built-in web applications to allow remote operation from a WWW browser when the new optional AJ-WM30 Wireless Module is installed with a wireless upgrade software key. Ask your Panasonic representative for more information if wireless camera connectivity is something that you want in your workflow.

s #AMERA RECORDER STATUS DISPLAY Information such as video format, card/battery remaining capacity, time code, rec status, optical filter position, metadata and others can be checked remotely. s 0ROXY VIDEO 3 PLAYBACK AND STORAGE 4 Recorded video clips can be viewed on PCs/Macs, tablet devices, smartphones and portable media players. By connecting a PC/Mac to the AJ-HPX3100, you can save proxy data in the PC/Mac and also transfer files over the Internet. s -ETADATA INPUT AND EDITING Settings before recording, addition of shot marks and text memos during recording, and editing after recording are possible. Text memos can also be entered with one-touch operation.

PC such as Panasonic Mobile computer Wireless LAN IEEE802.11b/g AJ-HPX3100

AJ-WM30 Wireless Module

Tablet terminal such as iPad Smartphone*2 such as iPhone Portable media player*2 such as iPod touch

PC Browser

Smartphone Browser

AJ-HPX3100 AG-HPX600 Memory Card Camera Recorder “P2 cam”

High-End Performance in a Compact, Lightweight Design.

This 2/3-type P2 HD Camera Recorder Ushers in a New Level of Mobility to Nature, Dramatic, Documentary and ENG Production. *1: Connection of up to three units is possible in ad-hoc mode only. *2: Playback of proxy data recorded in HQ or SHQ mode is possible with iPhone4 and iPod touch fourth-generation and newer models. *3: To use proxy video, optional AJ-YDX30G video encoder board is required. *4: Proxy data can be saved only in PCs/Macs. *For the latest information, see “Support & Download” on the Panasonic website (http://pro-av.panasonic.net/).

www.panasonic-broadcast.com.au Phone: (02) 9491 7400 Email: broadcastsales@panasonic.com.au *Mac, iPad, iPhone and iPod touch are trademarks of Apple Inc., registered in the U.S. and other countries.

ACQUISITION

Sony Provides MediaCorp with HD Cameras and Tech SONY IS PROVIDING SINGAPORE’S MEDIACORP with professional cameras and broadcast technologies for its ongoing HD upgrade. Sony has supplied MediaCorp with PDW-700 XDCAM HD422 camcorders, HDC-1400R/T CCD Studio Cameras, PVM-2541 OLED professional reference monitors, MVS-7000X multi-format switcher processors, PDW-HD1500 recorders and PDW-U1 disk drives.

“We chose Sony because it was able to cater to our needs in upgrading our broadcast and production capabilities,” said Mr Yeo Kim Pow, Senior Vice President, MediaCorp Technologies.

“By embracing HD technology from the onset, MediaCorp had an advantage when it came to using a file-based workflow,” said Chris Grey, Sony Corporation of Hong Kong Limited. “Today, the workflow has migrated to HD with Sony’s strong line-up of robust and cost-effective solutions.”

The procurement of PDW-700 XDCAM HD422 camcorders, PDWHD1500 recorders and PDW-U1 disk drives are used primarily for producing the network’s TV dramas, documentaries and general entertainment programs. The rest of the equipment are rolled out for the HD upgrade of MediaCorp’s Theatre.

Visit http://pro.sony.com.au

SeeSense Announces New HD Zoom Lens MINIATURE CAMERA SPECIALISTS SEESENSE have announced the

Magnum XG13 Tripod and FX13 Head. The advanced Magnum XG13 Tripod supports professional DSLR and video shoots.

“No other tripod manufacturer in the market today has the depth of design and engineering experience like Davis & Sanford. A landmark release, the re-engineered Magnum XG13 is the digital imaging industry’s first advanced DSLR/video tripod developed with a switchable counterbalance to prevent the common problem of camera dumping with the freedom to unlock the balance and fully control the camera movement,” comments Steve Tiffen, President and CEO, The Tiffen Company.

The Davis & Sanford tripod’s switchable counterbalance helps keep the camera stable on the platform while the photographer/videographer’s hands are not controlling the camera with the option to turn off counterbalance to enhance certain shooting styles.

Shipped with the Magnum XG13, the FX13 Head is manufactured with the new Davis & Sanford advanced, built-in fluid system. The fluid system is ideal for DSLR shoots in video mode as well as shooting stills of fastmoving subjects like birds.

Made of high-quality, low-weight aluminium alloy, the FX13 can carry a capacity of up to 13 lbs. The three-way head has 360-degree pan, 90-degree down, and 60-degree upward tilt plus landscape and portrait tilt mode.

VIsit www.tiffen.com

Arrow Rolls Out 10 Sony F65s SONY HAS BEEN AWARDED a contract by Arrow Cinematic Group in Taiwan to provide and maintain its HD broadcast equipment. This deal will see Sony supplying 10 F65 CineAlta digital motion picture cameras. Arrow will be putting the cameras to use in its commercial and film rental business, plus its rapidly-expanding commercial production business.

The 10X 7.5 – 75mm F1.8 – 16 HD motorised zoom produces zoom angles of 38.5°-3.85°. It weighs 313 grams with a footprint of 45 x 44 x 88mm. The Z10-HDCF comes with an interchangeable rear lens assembly that permits use with 1/3” 1-CCD (and 1-CMOS) as well as 3-CCD cameras. Furthermore, the lens is available in 2/3” 1-CCD format.

“We selected Sony’s F65 because the cutting-edge 8K sensor delivers true 4K image quality, corresponding to our commitment in offering our customers the best quality and services,” said Lin Tian-Guei, General Manager of Arrow Cinematic Group. “Picture performance is of utmost priority, and the F65 came out on top in terms of picture quality.”

SeeSense MD Nigel Paine said, “Initial results indicate that the picture quality from this new lens is stunning. Several large users have already seen the lens and are in discussions to order quantities from the first production run.”

“The F65 camera is the pinnacle of 30-plus years of research, experience and engineering breakthroughs. It is the latest example of Sony’s ongoing pursuit of the highest quality content creation and production,” said Chris Grey from Sony.

Manufactured by Resolve Optics, SeeSense has been appointed as an official distributor for the new zoom lens as well as other products in their range.

At the heart of Sony’s F65 digital motion picture camera is a 20 Megapixel 8K CMOS Sensor that delivers true 4K resolution at the point of image capture. The sensor can run up to maximum 120fps, and with 16-bit Linear RAW File output capability, the F65 creates the gateway to an end-to-end 4K file-based mastering workflow.

Marshall’s Next-Gen Camera Top Monitor MARSHALL’S NEW HIGH-RESOLUTION 5.6” Modular Camera Top Monitor with advanced features is now available from Quinto Communications or any of their dealers. Designed as a “must have” accessory for serious photographers, videographers, producers and directors alike, this camera-top monitor features a high-resolution backlit screen boasting 300-nit brightness with adjustable backlight.

ACQUISITION

THE TIFFEN COMPANY HAS UNVEILED its redesigned Davis & Sanford

availability of a new HD miniature zoom lens, the Z10-HDCF. The new lens complements all 1/3” C-mount miniature HD cameras offered by SeeSense including the Toshiba IK-HR1S, IK-HR1H (1-CMOS) and IK-HD1 (3-CCD).

Visit www.seesense.org

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Tiffen Unveils New XG13 and FX13

Building on the features of previous V-LCD monitors, the V-LCD56MD model includes a waveform display with dual audio bars, headphone output, plus Marshall’s false colour filter for easier focus assist. Other features of the V-LCD56MD range include multiple DSLR Presets, six User Presets, Adjustable IRE Clip Guide, and HDSDI inputs. A wide variety of optional Battery Adapters are available.

Visit http://quinto.com.au

Visit http://pro.sony.com.au

Avid® ISIS® 5000

MAKE THE MOST OF YOUR MEDIA YOUR MEDIA IS YOUR LIFEBLOOD. FROM IT FLOWS THE TWO MOST ESSENTIAL ELEMENTS OF YOUR BUSINESS: CREATIVITY AND PROFIT. Avid® ISIS® 5000 is a new advanced, affordable video storage solution that offers the world’s best means of maximizing both.

It provides the proven reliability, performance and collaborative capability you need to put your media to work more effectively than ever before—at a price you can afford.

SYDNEY 5/18 HOTHAM PDE ARTARMON NSW 2064 612 9436 3050

MELBOURNE 148 HIGHBURY ROAD BURWOOD VIC 3125 613 9888 8511

CANBERRA 4/70 DACRE STREET MITCHELL ACT 2911 612 6241 2122

VIDEOCRAFT.COM.AU

KNOWLEDGE / SOLUTIONS / SUPPORT

ACQUISITION

FOR-A Introduces World First 4K Super SloMo Camera FOR-A COMPANY LTD has unveiled the FT-ONE full 4K high resolution variable frame rate camera – the world’s first full 4K super slow motion camera – at Cine Gear Expo.

Harnessing the power of a FOR-A developed, high-sensitivity CMOS colour sensor “FT1-CMOS”, the FT-ONE records and plays back full 4K (4096 x 2160) film look imagery. To achieve its full 4K super slow motion capabilities, the FT-ONE records up to 1,000 frames per second.

Images are captured as uncompressed raw data on the system’s internal (RAM) memory, which has a recording capacity of 8.5 seconds. This data is then stored on one of two hot-swappable SSD cartridges. Each cartridge is capable of storing 75 seconds of full 4K resolution images, enabling up to 150 seconds with a maximum of two SSD cartridges.

The FT-ONE is capable of simultaneously recording and playing back in full 4K resolution. At the user’s preference, one output channel can provide either full 4K output, or four 1080p HD-SDI outputs; while the other output channel provides down-converted HD-SDI for live viewing and the control menu.

“While digital cinematography has been widely adopted within the motion picture production and post production communities, there has been a technology gap – the ability to record super slow motion image at full 4K resolution,” said Hiro Tanoue, President for FOR-A Corporation of America.

The FT-ONE camera uses a PL mount lens and the global shutter system makes the FT-ONE free from the picture distortion caused by the rolling shutter system. The FT-ONE is designed as a self-contained unit that weighs 7kg in a size of 235mm(W) x 294mm(H) x 384mm(D).

Visit www.for-a.com

Vaddio Debuts New CCU’s VADDIO HAS DEBUTED the new Universal Quick-Connect CCU for the ClearVIEW line of HD PTZ cameras at InfoComm. Outputs now include HD-SDI/SDI, HDMI and analogue HD component for flexibility in system design and integration. A new industrial design enables the adjustment of white balance, colour, pedestal, gamma, knee, chroma, detail, iris and gain functions with the press of a button.

The Universal Quick-Connect CCU delivers high-quality HD video, power and control over three Cat 5 cables up to 500 feet without the loss of video quality or latency. A new advanced Auto-Skew differential cable conditioning system automates skew adjustment, and a new Fine-Tune mode is also available for excessive cable loss.

ACQUISITION

Vaddio has also announced a wireless version of the system. The Wireless Universal Quick-Connect CCU system is based on the Universal Quick-Connect CCU platform that provides complete image control, and

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simultaneously outputs HD-SDI/SDI, HDMI and analogue component YPbPr video from the Wireless CCU Receiver. The Wireless Universal Quick-Connect CCU will deliver this video up to 100 feet – line-of-sight.

“Wireless PTZ camera systems have been requested from our customers for a long time,” explained Rob Sheeley, President of Vaddio. “The rental and staging markets need an easy, effective way to add high definition pan/tilt/ zoom video to their live events.”

Built for the ClearVIEW HD-20 PTZ Camera, the WallVIEW CCU Wireless system includes the Universal Quick-Connect CCU Wireless, the HD-20 with Wireless Slot Card/HDMI Transmitter and the Quick-Connect Air Antenna.

The wireless technology is based on WHDI technology, which allows for the delivery of uncompressed HD video with video rates up to 1080p and at a very low latency.

Visit www.vaddio.com

Poetry in Super Slow Motion Shoot slow, work fast, capture everything

E-mount lens

A-mount lens with LA-EA2 adaptor

Use a variety of lenses via 3rd-party adaptors

There’s more to the NEX-FS700 than meets the eye. The latest in Sony’s growing line-up of NXCAM interchangeable lens camcorders, the full-HD FS700 lets you push your creative boundaries using a range of E-mount or a wide variety of other lens choices.

The FS700 is designed for high-speed shooting, high resolution and high sensitivity image capture thanks to its new 4K Exmor Super 35mm CMOS sensor. With playback at up to full-HD 10x super slow motion you can count on capturing breathtaking images. Other highlights include built-in ND filters, multiple shooting profiles and 3G HD-SDI output. No matter how you look at the FS700 it is every bit a winning performer.

NEX-FS700

For more information, email us at sonypro.anz@ap.sony.com

pro.sony.com.au

SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Nine and Foxtel Go for Gold AS LEAD RIGHTS HOLDER for the Australian market, the Nine Network presides over 2500 square metres within the Olympic International Broadcast Centre. The space also houses subscription TV and mobile rights holder Foxtel as well as Macquarie News Radio (2GB) and ABC Radio.

According to John Brandon, Head of Technical Operations, Nine Network Australia - Foxtel Olympic Unit, “There’s a large studio for Channel Nine, there’s a large studio for Foxtel, there’s voice over suites and edit suites, as well as technical areas, as well as space for the workers and the reporters and whoever else needs a computer and a desk to work at.”

While they may be sharing real estate, the two television networks will run their own show in terms of production.

“It’s different styles of production. Nine’s is more of a traditional free-to-air coverage of about 300 hours, so it’s 18 hours a day coverage of the Olympics. Foxtel are producing eight twenty-four hour channels.

channel as well as GEM, while Foxtel is offering a package of eight HD channels.

In addition to the host broadcaster feeds, Nine will use footage from a variety of cameras supplied by UK company Presteigne Charter.

“So, all the kit has been hired out of the UK,” says Brandon. “There’s probably 15 BVW 700 ENG kits running around between Nine and Foxtel. There’s probably 12 HDC 1500s between the three studios of Nine and Foxtel and an additional six or so HDC 1500s out at the venues between fixed zone positions at stadia and unilateral camera positions at stadia and aquatic.”

Files from the XD-CAM ENG kits will be transferred to an Avid platform and then into EVS IP Director for distribution to EVS XT2 and XT3 servers.

Meanwhile, Graphics production will differ

SPORTSCASTING

“It’s a turned around package, so it will include a highlights package, that runs for approximately an hour, or 47 minutes or whatever a TV hour is. There’s a highlights package that will cover as much of the Olympics that’s produced that day in 3D, either aquatics, athletics, gymnastics. There’ll be slabs of aquatics in 3D, slabs of athletics in 3D. But, it’s all dependent on the competition schedule as well.”

With most Olympic venues within 20 miles of Olympic Park, aside from some far-flung soccer venues, Brandon says the logistics for covering the 2012 Games are quite reasonable.

Nine will take the Olympic International Feed, produced by European sports specialists Outside Broadcast Services (OBS), and supplement it with commentary of its own at select venues such as the main stadium, aquatics, gymnastics, rowing, velodrome and the equestrian venues.

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“It will come through the IBC,” says Brandon. “We will pass it on to TCN. They’ve got a 3D presentation suite in TCN where they’ll insert commercial breaks, do replays and those sorts of things.

Regular programming will be distributed back to Sydney by Telstra International via two fully redundant paths – one to Foxtel in North Ryde, one to TCN 9 in Willoughby. There is also a crossed, closed loop between North and Willoughby. Nine has opted Telstra’s encoding equipment while Foxtel will compress on-site using their own equipment.

“Nine have got the ability to go to the last five minutes of the hockey game that Australia’s in and cut away to the next boxing match, follow the Aussie’s around - a little bit more in that tradition.”

All host broadcast feeds are being provided in HD. Both Nine and Foxtel are producing HD with 5.1 audio. Nine is simulcasting on its main

Another feature of the 2012 Olympics is the amount of native 3D coverage that will be produced. Nine will broadcast about 90 hours of Olympics in 3D which will consist of an international feed with international commentary.

The 3D material will be sent back to Australia via satellite distribution. A separate fibre circuit will provide redundancy.

“The Primary difference between the two is that Foxtel format involves long form sport so if you go to a hockey match, you have that from whistle to whistle. That’s how they’re populating their eight channels.

“The unique thing for these games is the commentary we produce will be appear on both Nine and Foxtel,” says Brandon. “So the commentators are all under Gary Fenton who is the team leader. We’ve got commentary positions at twenty-nine odd venues. The commentators will go out there, their signal comes back into the IBC, we marry it with the host broadcaster’s pictures and make that available to Nine and to Foxtel and take it either live to air, or record, or turn around, or whatever as they see fit. The only exception to that is the Opening and Closing Ceremonies. Nine and Foxtel have their own commentary positions, and also at aquatics Nine and Foxtel have their own commentary positions.“

THE THIRD DIMENSION

between Nine and Foxtel with each taking a data feed from OBS and using it to power their own systems – VizRT and Chyron respectively.

“The biggest concern or the biggest distance for us is Weymouth and Portsmouth which is the sailing venue,” he says. “We’ve got five people in facilities down there. It’s about 120 miles from London so a bit of a journey distance where we can’t expect people to go back and forwards, so we’ll base a crew and commentary team, a reporter down there.”

Archiving will also be undertaken on site using a platform supplied by EVS.

Counting both summer and winter events, this will be Brandon’s eighth Olympics and the most security intensive.

“We’re recording everything,” says John Brandon.

“So, every sport that Australians are competing in and every sport that we have commentators at is recorded on EVS. There’s a library system that’s available to Nine and to Foxtel and also there edit suites where they can come in and grab something for updating. If there was a particular event that’s now relevant that happened on day two, they can go back to our EVS-based archive, pull up that on a lo-res browser, tell our guys where it is and they can go off and find the X file that it’s being stored on and reload it in the HD pictures and edit it into their story or roll it into the studio as overlay or whatever they need to do.”

“The London games were declared a high security risk a year ago so that’s just impacted on our planning, our logistics, every truck has to be scanned before it goes into London Olympic park. There’s a whole lot of security based around the people that we use, everybody has to have a security check, everybody has to do various numbers and inductions and get various numbers of passes, so it’s drawn out the timeframe of what we would normally have been able to shorten it up if it was at a different venue. Because it’s London, because it was the high security scenario, we’ve had to spend a bit more time to make sure that we’ve got time to get in and get the job done.”

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Briefs EBU Brings London 2012 to Europe At the International Broadcast Centre (IBC) in London, where the EBU and its Members occupy more than a square kilometre of floor space, the EBU will be running 12 simultaneous multilateral transmissions and three unilateral feeds for up to 13 hours a day for the duration of the Games. The set-up will ensure that more than 70 rights holders will have the pick of all 40 sports on offer.

The EBU will also provide Member reporters, commentators and technical staff with any space, equipment and logistical support they need in London to cover the Games for their home nations.

Visit www.ebu.ch

Panasonic’s Largest Ever Olympics Panasonic Corporation will deliver the largest supply of its audio visual equipment for any Olympic Games in the company’s history to support London 2012. Panasonic will provide support at sporting venues, broadcasting sites and homes, and will also bring the first-ever 3D Olympic Games to homes.

Panasonic will provide its 3D equipment and technology, such as its latest integrated twinlens 3D camera recorders (AG-3DP1). Panasonic will also offer a wide range of broadcasting equipment and devices to the IOC, including the solid-state memory ENG product P2HD series.

For the opening ceremony that will be held at the Olympic Park, the world’s smallest and lightest 20,000 lumens projectors (PT-DZ21K and PT-DS20K) will be installed. Panasonic will provide LED Large Screen Display Systems, and at the indoor event sites, 103-inch PDP displays will be adopted for the first time.

Visit http://panasonic.net

IOC Live Streaming in 64 Territories

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The International Olympic Committee (IOC) will live stream the London 2012 Olympic Games in 64 territories on the IOC’s channel on YouTube.

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During the Olympics Games, sports fans in these territories across Asia and Africa will be able to enjoy live coverage of the events as well as highlight clips on this digital platform - freeof-charge. Viewers from these territories will be able to watch the streams on the IOC’s YouTube channel, accessible online or on Internetenabled devices like smart/mobile phones and other YouTube-enabled devices.

The live-streaming on the IOC’s YouTube

channel will provide exclusive digital access to the London 2012 Olympic Games in territories where digital broadcast rights have not already been acquired by the IOC’s broadcast partners, and in 42 Sub-Saharan African territories on a non-exclusive basis. The IOC’s live streaming on its YouTube channel will consist of 11 different simultaneous high-definition broadcasts, all with English language commentary.

Visit www.olympic.org

Elemental Sweeps Multiscreen Video Elemental Technologies has announced that leading international broadcasters with multiscreen delivery rights for the 2012 Olympics will use Elemental products to power their IP video delivery initiatives.

The broadcasters are distributing over-thetop video to viewers in the United Kingdom, Canada, Japan, and more than a dozen countries in Latin America. The companies will use Elemental to deliver live and on-demand coverage of the XXX Olympiad to Internetconnected devices such as set-top boxes, PCs, tablets and smartphones. Elemental has also been selected to create transnational video streams for multiscreen delivery to viewers worldwide.

Expected to be the first truly “digital Olympics” with a multitude of viewer offerings, this year’s event will be one of the largest in the history of live video streaming.

Visit www.elementaltechnologies.com

NYT and Reuters Collaborate for Olympics The New York Times and Reuters have come together to launch an exclusive product available to online publishers for coverage of the 2012 Olympics. This newly-developed publishing technology delivers coverage across images, text and video with technology, tools and data displays.

The product is available at three tiers and, in its simplest form, the product is a customisable widget that automatically displays data like medal counts and results. Publishers can also opt for hosted, customisable Web pages that incorporate athlete biographies, historical data, round-by-round results modules, breaking news and infographics.

The total access package includes fully customisable templates that may also feature the publisher’s own stories, slideshows and multimedia, combined with content provided by The Times and Reuters.

Visit www.reuters.com and www.nytimes.com

BBC News Expand Coverage with LiveU BBC News is extending its use of LiveU LU60 mobile uplink solution for newsgathering in both the UK and the US. The broadcaster will use the technology to enhance coverage of both the 2012 London Olympics and Paralympics, and the US Presidential election campaign.

BBC News has been using LiveU technology for upwards of three years. The BBC deployed LiveU’s cellular uplinking technology for coverage of worldwide events including the Queen’s visit to Ireland in 2011, the recent anniversary of the Tsunami in Japan as well as the US mid-term elections during 2010.

Visit www.liveu.tv

GlobeCast Bringing Olympics to Asia in HD ATEME is setting up the first HD video head-end that will relay coverage of the London Olympics to Asia Pacific. GlobeCast has selected ATEME’s Kyrion encoders for deployment with a major cable operator in the region. GlobeCast used the video head-end at the European Football championships in Poland, before moving the platform to London for the Olympics.

The head-end turnkey design includes ATEME Kyrion encoders, IRDs (Integrated Receiver Decoders), multiplexers, routers, all with in-built redundancy controlled by an open vendor Dataminer Network Management System.

Visit www.ateme.com and www.globecast.com.au

48 Dedicated BBC Olympic Channels BSkyB will broadcast 48 new BBC channels dedicated to London 2012 Olympic coverage.

Over 40 of the new channels will broadcast in the UK through the ASTRA Satellite System. The 24 HD and 24 SD channels will cover each of the Olympic locations and show the full range of different events during the Games.

“The ability to stream these live Olympics channels shows the strength of satellite in delivering high bandwidth video, especially in HD”, said Norbert Hölzle, Senior Vice President Sales Europe at SES. “Two dozen live feeds from the different Olympic locations will give viewers a fantastic opportunity to follow multiple events live, in both SD and HD.” Visit www.ses.com

SPORTSCASTING

IBM Serves Up Enriched Fan Experience A VIBRANT NEW DIGITAL ENVIRONMENT has greeted tennis fans at this year’s Wimbledon, as the All England Club and IBM launched an all new Championships’ website. Wimbledon.com was completely re-designed to offer the 16 million anticipated unique website visitors a more creative and immersive experience.

Built on IBM’s SmartCloud infrastructure to meet surges in demand, the website integrates a new online broadcast channel, Live @ Wimbledon, alongside the interactive analytics-enabled IBM SlamTracker scoreboard.

Live @ Wimbledon, featuring both TV and radio, blended live action from around the grounds by dropping into matches at crucial points in play. In addition to the minimum of five hours live broadcasting per day, viewers could enjoy pre-packaged content such as previews and reviews, match highlights and archive footage. The Live @ Wimbledon radio service offered an enhanced version of its predecessor (Radio

Wimbledon), and was available worldwide online and on the three local FM channels.

IBM SlamTracker uses predictive analytics technology to enable fans to gain deeper insight into the match. SlamTracker is a multifaceted feature of Wimbledon’s digital presence that leverages historical and real-time data to add depth and insight to the Championship experience. The ‘Momentum’ capability maps a match in real-time, visualising key turning points and their causes.

Following on from the 2011 pilot on Court 18, this year for the first time on Centre Court, IBM trialled player movement tracking. IBM SecondSight tracks the fastest moving players and how their performance changes, set-by-set and match-by-match.

Visit www.ibm.com

Q-Ball Captures Wimbledon Commentary heads have been used by a major UK-based outside-broadcast company as commentator cameras at the 2012 Wimbledon tennis tournament.

controlled pan and tilt heads plus Minishots. One Hotshot is mounted on the stadium roof.”

“Q-Ball systems have been installed for the duration of the event, capturing 1080i high-definition live video of the commentary for relay to broadcast networks across the world,” explains Camera Corps Equipment Manager, Neil Ashworth. “Each Q-Ball is equipped with Camera Corps optical-fibre transmitter and receiver units linking the commentary studios with the master control room.

Housed in a robust and fully-weatherproof 115 mm diameter aluminium sphere, Q-Ball is an ultra-compact remotely-controlled camera equipped with a 2 megapixel CMOS sensor and capable of operating in daylight or infra-red illumination. Pan and tilt slip-rings allow unrestricted rotation of the camera head at a wide range of speeds with precise control of acceleration and deceleration.

“In addition to the Q-Ball systems, we have installed Hotshot remotely

Visit www.cameracorps.co.uk

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SPORTSCASTING

Outside Broadcast with Gearhouse Established in 1998, Gearhouse Broadcast Australia is a leading outside broadcast (OB) company with facilities in both Sydney and Melbourne. As part of the larger Gearhouse Broadcast family, which also has arms in the UK, US, Qatar and India, the company has been able to thrive in the Australian market, despite being a comparatively new presence.

IN LATE 2010, Gearhouse acquired On Site Broadcasting and Broadcast Rentals Australia (OSB) from Prime Media Group, strengthening their position in the region. The purchase also marked a rapid expansion of services and equipment.

“Gearhouse, prior to two years ago, consisted of one HD truck and one SD truck. The acquisition of OSB brought over one HD truck and two SD trucks but the contracts were all HD, so two years ago we quickly started to build or upgrade facilities to the fleet that we have today, which is two double expanding HD trucks, two single expanding HD trucks and two SD trucks,” explained Gearhouse Broadcast Australia General Manager, Ray Martin. “In the pipeline now is another double expanding truck, which will be here in December, and also in the pipeline is another double expand that will be here in March.”

“We also have some other resources that augment the main facilities that we have and some of those are what we call the broadcast express trucks, which were principally designed to get in and out of small locations,” added CEO, Graham Elliot.

As dictated by the necessities of the Australian market, the majority of work done by Gearhouse is sport related, including the Australian Open tennis, the AFL, both Super Rugby and International Rugby, the A-League soccer, and the Melbourne Cup. Reality television work is another area with a large amount a work for Gearhouse.

“When it came to entertainment we branched fairly hard out into music, rock & roll and comedy, and then second to that, we ended up being engaged in drama and now we’re involved in some of the billion entertainment projects like Australia’s Got Talent and Everybody Dance Now,” said Elliot.

Australia’s Got Talent is currently using a Gearhouse studio build at Dockland Studios, which will then host Everybody Dance Now, and is just one facet of the company’s flexibility.

“One of the interesting things about our fleet of trucks, where we have that point of difference, is that there is scalability. Even though we’re a trucking based company, we come from a history of large flyaway units as a worldwide business and we’ve tried to keep that scalability and agility even into the trucks,” Elliot said.

“One of the advantages of building a fleet so quickly is that they’re all the same model of switcher, they’re all the same model of audio mixer and things to that extent,” explained Martin. “So as far as the guys working and the clients and the technical people operating the trucks, it’s all very similar equipment, all very similar layout for them. They feel very comfortable no matter what truck they sit in because it’s the same monitoring, it’s the same devices that they’re using, because we had the advantage of either upgrading or building all these facilities within an 18 month period.”

SPORTSCASTING

Inside the trucks, which are built by A Smith Great Bentley (ASGB), is an array of equipment that is kept as similar as possible to strengthen compatibility.

In HD-1 for example, there is Sony MVS-8000 series switchers, Sony PVM OLED monitors, a Lawo MC66 digital audio console, a number of Sony HDC-1500 camera chains, and EVS servers. When compared to HD-2, the only changes are the Lawo audio console being an MC56 and a few less HDC-1500’s and the addition of HDC-3000 cameras. This allows operators to switch between trucks if they need to and minimises build times.

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“All our resources in all of our trucks, as the base point, are conformed and then anything that we call auxiliary resources can be plugged in and cross pollinated across any of our trucks,” said Elliot. “Operator familiarity is a big, big thing for us. Rather than have a multitude of different audio desks and vision mixers and recording devices where one person can operate in one truck but can’t necessarily operate in another, all of our staff are cross skilled right through the whole fleet.

“Build times are probably the most challenging aspect of any outside

broadcast. Building up to the project itself determines when you hand the event over; it determines a large part of the economies for the client and so forth. So when we talk about optimisation, it’s more around how do we rig faster, how do we de-rig faster and we really get that optimisation into the build quality without impairing the end service,” he added.

The equipment that Gearhouse utilises is also regularly replaced in order maintain the highest possible quality for clients. The recent purchase of a number of new Sony camera chains and switchers highlights this, as the current equipment is by no means obsolete.

“We have a very aggressive strategy around the turnover of our resources.

Maintaining modern resources in this business is your real point of difference, it really is the higher selling point of your company,” explained Elliot. “So we have a sales division that’s set up around the globe and that takes our products and, before they get to what we would classify as aged, we turn them over and reinvest. That allows us to make that reinvestment quite quickly for cameras, lenses, recording devices etc.

“If we take our EVS relationship for example, the upgrade schedules that we have with EVS are probably one of the most aggressive in the world. We are consistently upgrading, and we’re consistently investing in peripheral devices and workflow devices.”

Gearhouse also has the benefit of being able to scale up and down particularly well depending on the needs of the event. Being part of an international company with resources around the globe allows for extra equipment or personnel to be brought in and out if needed, making no project too big.

“Things like I’m a Celebrity and the Australian Open Tennis are massive, massive projects but we have the capacity to pull in resources from both the US and the UK, as well as they do it from us as well. So there is a position there where we share facilities globally between the businesses to help with the peaks and troughs of each other’s schedules,” said Martin.

As can be seen by the addition of more HD trucks to Gearhouse’s line up, the majority of broadcasters want to acquire in HD, even if the event isn’t initially being broadcast in HD. “Some of our clients for example, that are comfortable in the SD domain, they end up with HD trucks organically by nature of dealing with a company

SPORTSCASTING

that stays on the cutting edge of technology. There really isn’t many clients that are receiving our SD technologies, even if they are in SD,” Elliot said.

“We even have clients that specifically request HD cameras, even though they’re operating in SD, because they look better than the SD cameras do, even in SD. That’s just one of the operating advantages of some of the more current gear, so it’s a funny situation that even though you’re not acquiring in HD, they want some of the features or the benefits of the HD facility,” Martin expanded.

While the demand for the company’s SD trucks has declined, used almost solely for horse racing, they do provide opportunities for the training of operators.

“Not only are we linked in with TRP (Thoroughbred Racing Productions), we’re linked in with TTOC (TAFE Technical Operators Centre) and they’re linked in with TAFE as well. One of the things we were looking to try and do at this moment in time is to give the students grounds to which they could operate and function in a fully operational broadcast level environment. TRP could get their horse racing coverage, we could deliver in to them the engineering competency, we could deliver in modern, late model SD at a price point that suited them, and then we drove forming that circle where again horse racing gets their content. The training college ends up with an environment that they can operate in and we contribute our SD into that environment,” finished Elliot.

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NEWS OPERATIONS www.content-technology.com/newsoperations

Asia-Pacific Media Markets: Today, Tomorrow While ABC is currently celebrating 80 years of broadcasting across radio and television, Managing Director, Mark Scott, has given a speech at the Asialink Public Luncheon about Soft Power, Public Diplomacy and the Role of the Public Broadcasters.

One point of focus was Asia-Pacific media markets and the ABC’s place in them.

AUSTRALIA NETWORK’S TARGET MARKETS are becoming acutely competitive. There’s been an increase in domestic media activity, a substantial expansion of commercial and government-supported international broadcasting. Carriage fees on satellite and rebroadcast platforms are rising as a result.

China, France, Germany and Japan have all introduced additional services in Asia and the Pacific in the past 18 months. Other nations are expanding their services in the region. This is the site, after all, not just of Australia’s strategic and economic interests, but of 21st century power. With digital and mobile technologies on the rise, television services are no longer enough.

Regional audiences increasingly expect content on demand and via mobile devices with smaller screens. Mobile devices are already the dominant form of internet access in some countries.

However, digital technologies also create considerable opportunities – both for lower-cost distribution, and to tailor content to specific audiences, and to the platforms of their choice. Our news and current affairs programs are, of course, integral to Australia Network and Radio Australia. Each network is regarded in Asia and the Pacific as a credible and reliable source of news and information from a uniquely Australian perspective.

In Fiji for instance, Radio Australia’s news and current affairs are the credible alternative to news filtered through official censors. In every country where there is no media capable of challenging Government, Radio Australia is there. People trust it, rely on it. With technology limited yet growing, with more limited access to services, and a strong demand for educational content, the Pacific region wants what every market in the Asia-Pacific wants – depth, breadth and quality in entertainment, sport, information and language services – not just in news.

The ABC does however, clearly have advantages in regional news coverage.

Asia Pacific News Centre (APNC) currently provides 24-hour television, radio and online news coverage of Asia and the Pacific for international audiences to both services.

NEWS OPERATIONS

It has some 60 editorial staff, including reporters in the field, such as the APNC’s Pacific news correspondent Sean Dorney, with long experience of filing for both television and radio. The centre’s multiplatform, multilingual rolling coverage of the devastating Pacific tsunami and Sumatra earthquake at the end of September 2009 showed its great potential. That coverage included the detail on Australia’s aid response and reports from eyewitnesses and ABC correspondents on the scene.

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Australia Network itself provides comprehensive news reporting from and for the region, including six 30-minute news bulletins per day, news analysis and business programs. It draws on over 30 ABC editorial staff in eight bureaux across Asia and the Pacific. It has its own dedicated foreign correspondents in Beijing, New Delhi, Jakarta and the Pacific. And by augmenting the APNC with journalism out of our new ABC 24News service, AN’s news service will become even stronger.

I would stress though, that even so impressive a news service is not a trump card in international television. Global TV news services have grown from one channel – CNN – in 1980, through eight in 2000, to a dozen in 2010. They’re all competing with hundreds of dedicated local and regional news channels.

No one is crying out for yet another service devoted exclusively to news.

Meanwhile, Australia Network stands out as the only one showing news from an Australian perspective. Our regional platform providers tell us time and time again that the interest in and success of Australia Network stems from the breadth of its schedule. They want to carry the service because their audiences want that mix of genres.

And this range of programming enlarges Australia Network’s impact as it reflects Australian culture to the world. The dramas, sport, entertainment, movies and lifestyle, even children’s programs work well for us as a point of difference in the market where news channels are a dime a dozen.

But they also work well for us as a nation, as audiences develop a more complex understanding of who we are as Australians – a picture that goes beyond our civic life to our cultural interests. Giving our international neighbours a chance to share in the Australian emotional experience builds empathy. It helps create a goodwill that is beyond the power of government – the goodwill of the national spirit.

Our news services, for example, showed the remarkable transition from Prime Minister Rudd to Prime Minister Gillard that symbolised the maturity of Australian democratic life – or at least political change with only metaphorical bloodshed. But those other program strands might just better explain why who wins Masterchef matters more to Australians than who wins the Federal election debate. And why the leaders’ debate had to be shifted to avoid that timetable clash on television.

Visit www.abc.net.au

NEWS OPERATIONS

Centurion Launches Safety Book Internet Download CENTURION RISK ASSESSMENT SERVICES LTD has launched a new website, which makes available for the first time an updated and downloadable version of the HEFAT Aide Memoire (Hostile Environments and Emergency First Aid Training). The Centurion HEFAT book, which has been substantially revised since it’s last paperback revision in 2007, is now available to buy online for £12.99, and is formatted for iPad, Colour Tablets, Jet Book, Kindle, Sony Reader and many other formats.

The Safety Book is designed to supplement subjects taught through Centurion’s practical HEFAT training courses, and covers a wide range of current safety and security topics, including tips and information aimed at minimising risk for those who live and work in volatile environments worldwide.

This is Centurion’s first internet-hosted safety book. The new format enables Centurion to post regular, updated versions the book when required, and also follow-up books on many different safety topics in response to ever-changing world safety concerns for media, aid workers, NGO’s Condo workers and other travellers to volatile regions.

The the site provides a helpful “How To Guide”, offers a link to free Calibre multiplatform software, and Support for problem-solving.

Centurion are the first safety training company in their field to offer a book in this downloadable format.

Visit www.centurionbooks.co.uk

New Delhi TV Goes HD With Grass Valley INDIAN NEWS NETWORK New Delhi Television Limited (NDTV), has converted its entire master control and content distribution infrastructure to full high-definition (HD) operations with the purchase of the latest K2 Summit Transmission Server technology from Grass Valley.

The new Grass Valley equipment is now fully operational and working in tandem with an OmniBus automation system to help NDTV streamline its current network of channels, launch new channels, and meet the demand for HD content. The project includes a new series of transmission servers that allows NDTV to quickly improve and expand its business, while being fully compatible with the broadcaster’s legacy systems (Grass Valley Profile SD servers), as well as an existing content archive.

The migration to HD file-based workflows was seen by NDTV as an investment to support HD transition in the near future. Offering a comprehensive solution, Grass Valley Summit Transmission Servers — each of the six servers with 16 TB of storage — have facilitated nextgeneration, integrated file-based workflows to support the playout and production of NDTV’s three nationwide news channels.

“We recognised that in order to stay one step ahead of the competition and to keep our business moving forward, we had to make the move to HD,” said Dinesh Singh, NDTV CTO. “We have had a great working relationship with Grass Valley over the years — in terms of system reliability and customer support — and its server technologies are the best in the industry. The one hurdle was transferring all of our exiting content to the new servers, and Grass Valley made that process easy as well.”

Visit www.grassvalley.com

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NEWS OPERATIONS

Seven Melbourne Gets HD Ready with Quantel AUSTRALIAN FREE-TO-AIR BROADCASTER, Seven Network, has upgraded its Enterprise sQ News and Sports fast-turnaround production systems to the latest V5 software and HD capable hardware. The systems wide upgrade prepares Seven Melbourne for a future transition to HD broadcasting. The upgrade delivers comprehensive, scalable file-based workflows and the ability to handle SD and HD material simultaneously.

Technical Services Manager at Seven Melbourne, John Albiston said, “We have been using Quantel systems in both news and sports operations in Melbourne for eight years now. Quantel Enterprise sQ continues to offer us the fastest time to air, great file handling and support we can always rely on.

“We are quite excited with QTube being added to the system which will be used primarily for inter-station transfers. With Quantel’s proven track record and industry-changing broadcast technology, upgrading our systems with Quantel was a natural next step for us in planning our HD future.”

Chyron Graphics Fit for a Queen U.K.-BASED GRAPHICS COMPANY, MOOV Limited, relied exclusively on Chyron HyperX³ on-air graphics systems for the Diamond Jubilee honouring Queen Elizabeth II. “We rely on Chyron graphics for many of the U.K.’s highest profile events, and this historic, once-in-a-lifetime celebration of Queen Elizabeth II’s reign was certainly no different,” said Duncan Foot, co-founder of MOOV. “During the four days of events featuring concerts, parades, ceremonial processions, and more, we used Chyron’s HyperX³ and LyricPRO graphics software to create and play out specially branded graphics for the BBC’s live coverage watched and enjoyed by viewers around the world.”

NEWS OPERATIONS

Through the use of Chyron’s solutions, MOOV supported the BBC’s live multichannel coverage by providing on-screen graphics containing information about key people and places seen during the numerous Diamond Jubilee ceremonies, parties, and processions. In addition to providing lower-third graphics and animations, MOOV provided a live tracking map showing the Queen’s barge as it made its way along the River Thames route.

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“We are very pleased that MOOV relied on our award-winning solutions to create compelling on-air graphics for one of the world’s largest and most respected broadcasters during such a historic occasion,” said Matt Hughes, regional sales director, EMEA, at Chyron.

Visit www.chyron.com

In addition to the latest software and HD hardware, the News system upgrade expands the operation with the addition of sQ Record and sQ Load applications handling video and file ingest, and MOS integrated sQ Play applications for playout.

Extra sQ Edit desktop editing applications have also been added to handle the increased workload.

Seven Melbourne’s Sports system has also been upgraded to Version 5 and expanded with additional sQ Record, sQ Load and sQ Play

applications and three further sQ Edit editing applications, increasing the ingest, editing and playout capabilities.

Quantel Sales Director, Martin Mulligan said, “Seven was one of the first channels in the world to rely on Quantel Enterprise sQ, so we are delighted that the network continues to recognise the value of our solution. As Seven Network grows and expands, our systems are able to adapt and grow with them to cater for their unique operational requirements.”

Visit www.rossvideo.com

Channel 24 Launches with Etere ETERE HAS PARTICIPATED in the launch of Channel 24, the newest Bangladesh TV channel.

Etere has provided Channel 24 with its Etere Automation, and the reliability of the Etere Clone redundancy system.

Channel 24 is Bangladesh’s 24-hour entertainment TV channel set to join the fleet of media stations frequenting its television sets. The new channel 24 features hourly news updates and entertainment programs throughout the day.

The basic need of Channel 24 was to achieve the maximum security and protection for the

on-air transmission, that’s why besides the Etere Automation playout software, Etere Clone advanced technology was added to the system.

Redundancy is one of the methods for making a system more reliable and Etere’s goal was to make the system as fault-tolerant as possible.

Etere has been able to ensure the playout reliability thanks to the use of two synchronised systems for the automation controllers that run two independent copies of the same playlist, enabling the system to switch in case of fault.

Visit www.etere.eu

Sencore Supplies G20 Mexico Summit SENCORE’S SMD 989 DVB-S/S2 modulator has been used to supply broadcast video contribution and distribution feeds for the Group of 20 (G20) world economic forum held from June 18-20 in Los Cabos, Baja California Sur, Mexico. The SMD 989 was supplied and installed by International Media Services Inc., which holds the contract from the Mexican government for broadcast services for the G20 Mexico Summit.

“We have worked with Sencore on several projects, so we’re well-acquainted with the superior quality and reliability that is built into every Sencore product. When it came time to source broadcast equipment for the G20 Mexico Summit, Sencore’s SMD 989 was an easy choice,” said Don Hughes, vice president, International Media Services Inc. “The SMD 989 is a reliable product that we know we can always count on. It’s extremely easy to

install and bring online; you just set it once and leave it alone.”

The SMD 989 offers efficiency, flexibility, and reliability for all types of satellite digital video delivery applications. The modulator’s intuitive user and remote interfaces, and out-of-box support for ASI and IP inputs ensure fast set up and system integration. At the G20 Mexico Summit, the SMD 989 was used to modulate signals from NTT encoders for distribution to international broadcasters.

“The G20 Mexico Summit is a significant milestone for the SMD 989, which has been steadily gaining market share as global broadcasters and service providers recognise the system’s reliability and versatility in large-scale contribution environments,” said Jeff Briden, vice president of product management at Sencore.

Visit www.sencore.com

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Fuel VFX Creates the Spark for ‘Prometheus’ SYDNEY’S FUEL VFX delivered more than 200 complex visual effects shots for Sir Ridley Scott’s sci-fi epic Prometheus, as one of the three lead visual effects vendors on the film.

Fuel’s work included the design and delivery of key story components such as the ‘Orrery’, an interactive 3-dimensional map of the known universe; bringing life to the mysterious holographic ‘Engineer’ characters; and creating the ‘Holotable’ on the Prometheus’s bridge. Other visual effects work undertaken by Fuel includes the Orrery’s control desk effects, the laser scanning probes, the holographic screens in Vickers’s suite, and set extensions in the pilot’s chamber.

Following Scott’s approval of the concepts, a team of 80 artists and technicians spent approximately seven months in production at Fuel to further develop the suite of environments, characters and effects, and integrate these into the live action 3D stereoscopic footage. Complex, detailed and dense, the Orrery alone contains 80-100 million polygons, took several weeks to render a complete shot, and required the development of a custom ‘deep image’ toolset to successfully deliver. The deep image tools allowed artists to adjust and manipulate specific areas of the Orrery in isolation. This negated the need to redo expensive complete renders when minor changes were requested, and was invaluable to ensure shots could be delivered on time.

Prometheus VFX Supervisor, Richard Stammers said, “Fuel really led Prometheus’ visual effects work from a design point of view. Paul and his team repeatedly hit the mark on some very subjective and challenging sequences, delivering some of the most stunning and immersive 3D

Fuel’s VFX Supervisor Paul Butterworth, “Working with Ridley and Richard was an incredible experience for all of us at Fuel. Films like Prometheus don’t come along every day, and for us to be given the opportunity to contribute in the way we have, with the design and execution of such important story elements, was very exciting.”

experiences I have ever seen, whilst also raising the bar to meet Ridley’s

Visit www.fuelvfx.com

Asia Pacific Wins for Fairlight FAIRLIGHT HAS REPORTED deals for its technology in Taiwan and Australia. 3H Sound Studios, a Full service Film Sound facility, in Taipei has purchased three Xynergis/XE6s. The sound team there, supervised

by Mr Du, is currently running a large mixing room on a CC-1 5Bay Constellation, and 3 Fairlight editing suites. They have now opened up three new rooms, which will be equipped with 3 Xynergi systems and 2 XE6 fader sidecars each.

In Australia, the Sound editing department at the ABC facility in Artarmon, Sydney has just been equipped with a Xynergi/XE6 system.

The system there is driven by sound editor Peter Hall who has been a very strong supporter of Fairlight systems for many years. One of the most important features offered by their new Fairlight system is that it speeds up the work flow for all of their audio post production requirements. The ability to drag and drop virtually any video file format onto the timeline and have it ready for instant playback is a massive time saver.

Visit www.fairlight.com.au

POST PRODUCTION

EditShare Makes Inroads With Media Village THE MEDIA VILLAGE, the Singapore-based regional reseller for EditShare, had a surge in sales leading up to Broadcast Asia 2012.

Some of the recent Media Village sales include EditShare’s fully integrated, end-to-end solutions for file-based workflows, which include components for acquisition (EditShare Geevs), storage (EditShare Energy and XStream Storage Servers), playout (EditShare Geevs), asset management (EditShare Flow), and backup and archiving (Ark Disk and Ark Tape).

“EditShare solutions are very flexible and can be configured to meet any type of requirements. Increasingly, we are being asked to provide value-added solutions for tapeless workflows, and we are very pleased to be able to offer the EditShare system,” says Patrick de Silva, Director, The Media Village.

“The Media Village has done an excellent job demonstrating to customers the value that EditShare can bring to their operations,” says Paul Hayes, VP of Sales and Marketing, EditShare Asia Pacific Region.

Visit www.mediav.com.sg and www.editshare.com

July 2012.ai 1 11/07/2012 11:46:53 AM

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Shotgun and Revolver Streamline VFX Collaboration PRIME FOCUS WORLD provides award-winning visual effects and stereo 3D conversion services to major studios around the world. Its visual effects artists have created shots for films such as Avatar, Tron: Legacy, and the Harry Potter, Twilight and X-Men franchises, and its stereo 3D technicians have converted blockbusters including Harry Potter and the Deathly Hallows: Part 2 and Transformers: Dark of the Moon using its proprietary 2D-to-3D process, View-D. With facilities in the U.S., Canada, the U.K., and India, Prime Focus’ Global Digital Pipeline connects 3,000 artists and technicians worldwide and allows for around-the-clock service. In addition to adopting a more collaborative global VFX model, the company recently shifted from a Windows/3ds Max pipeline to standardising on Maya and Nuke on Linux, and turned to infrastructure platforms like Shotgun and Revolver.

“We were set to do both VFX and stereo 3D conversion on Men in Black 3,” explains Prime Focus Vancouver VFX Supervisor, Jon Cowley. “We already had a consistent production pipeline in place but my main concern was effective project management. When I’m supervising from Vancouver and there’s a whole team in Mumbai that’s working while I’m at home, or asleep – what would be the best way to manage their progress? That’s when we decided to implement Shotgun.”

Prime Focus also tapped in-house developers to spend an extra 6 weeks to integrate Shotgun into their pipeline, tailoring the software with Prime Focus-specific delivery tools and a new dailies logging system.

“We are also using the beta version of Revolver every single day and it is absolutely changing the way we work globally and will definitely become part of our standard pipeline,” continued Cowley.

Shotgun significantly streamlined Prime Focus’ production tracking, management and overall collaboration across multiple facilities in LA, Vancouver, India and London as they delivered 319 VFX shots for MIB3.

“Plates would come into Vancouver, then go to London for tracking, then to Mumbai for roto and prep, and then to LA for stereo work – so at any given time there were hundreds of versions of each shot around the world

POST PRODUCTION

Prime Focus also developed a custom delivery tool powered by Shotgun that allowed them to log and track shot deliveries to the client.

“That tool came in very handy 3 weeks before our final deadline when the client changed a spec in our deliveries, which often happens at the 11th hour on a show,” Cowley explained. “This meant we had to go back and re-deliver an entire month’s worth of work – around 360 versions of these shots. Thanks to Shotgun, one coordinator was able to easily find and redeliver everything in a single day.”

Prime Focus is currently working on visual effects for Total Recall, building their workflow around a Shotgun and Revolver core.

Visit www.shotgunsoftware.com and www.primefocusworld.com

RSMB and DE:Noise For Final Cut Pro X and Motion 5

NHNZ Improves Workflows With Quantel Max

RE:VISION EFFECTS HAS announced the release of ReelSmart Motion Blur

NEW ZEALAND TELEVISION PRODUCTION COMPANY NHNZ has

and DE:Noise for Apple’s Final Cut Pro X and Motion 5. The release will be be Final Cut Pro X, 10.0.4 and up, Final Cut Pro 6.0.3 and up, Final Cut Pro 7 and up, and Motion 4 and 5 and up. For those already owning licenses of RSMB v4 and DE:Noise v2 for FCP 6 and 7, the upgrade to FCP X use is free.

purchased a Quantel Max HD assist station with Genetic Engineering shared workflow infrastructure. The new systems enable NHNZ to boost the productivity of its existing Quantel eQ multi-resolution editing, effects, grading and deliverables system. Max frees up eQ time by tackling tasks such as conforms, quality control and playout, allowing NHNZ to achieve maximum throughput, productivity and profitability from the creative eQ suite. NHNZ can work on multiple projects across the eQ and Max without copying media or waiting for transfers using the GenePool shared storage.

ReelSmart Motion Blur (RSMB) automatically adds more natural-looking motion blur to a sequence. Proprietary tracking technology is at the heart of RSMB, so there is no handwork involved. You can add as little or as much blurring as you need and even remove motion blur. This is a useful tool to give video a more film-like feel, and is also useful to reintroduce motion blur for blue or green screen shoots where a fast shutter is necessary to pull a good key. Also included in the Pro version is a plugin for Motion that allows you to blur with user-supplied motion vectors which, most likely, will come from a 3D animation system.

46

that all needed to be tracked,” explained Cowley.

NHNZ, based in Dunedin, is one of the world’s leading producers of factual programming-working on projects for National Geographic International Channels, Nat Geo Wild, Discovery Science, Travel Channel and Smithsonian NHNZ has more than 100 hours of television in production this year, including seven series and two pilots.

DE:Noise handles spurious frame-to-frame defects ranging from fine digital/ electronic noise to blotchy spots (e.g. dirt on the film). DE:Noise combines motion estimation techniques with feature-sensitive, edge-preserving spatial filtering methods to reduce the visual impact of various problems such as: noisy video (that can happen with low-light capture), excessive film grain, CG renders affected by ray-tracing sampling artefacts, fingerprints and dust captured during film scan/transfer and printing, snow, drop-outs and many other defects.

On-line editor at NHNZ, Stuart Moffat said, “There’s always been a bottle-neck in our workflow around conforming. Previously we had to wait for deck time with our two HD-Cam SR’s. Now that we are file-based we can do conforms whenever we want. Max will be ingesting or laying-back while the eQ is grading or in a finishing session. Effectively, I can work twice as fast. I can finish one episode while I’m ingesting the next one. We’re looking at our future workflows too. One of which could be to edit, then output as one long HD clip and use Max to scene detect before it goes for grade in our eQ system.”

Visit www.revisionfx.com and www.av3software.com

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POST PRODUCTION

ANTIK Delivers Render-Booster ANTIK TECHNOLOGY, provider of IPTV solutions, has released its ultracompact HD transcoder for MacroSystem Digital Video GmbH. The new Hi-Density USB Transcoder, Render-Booster, is based on the ViXS XC 4105 chipset and can be used in many transcoding and transrating scenarios.

“After 6 months of developing customised firmware for MacroSystem, we are happy to introduce an ultracompact H.264 Adaptive Bit-rate USB transcoder, optimised for the videographer’s needs towards a more effective and faster workflow,” explains Igor Kolla, CEO ANTIK Technology.

“The Render-Booster is the perfect answer for the previously time intensive transcoding process our customers had to perform every day when they delivered a project on disk or file. The small and very fast transcoder is far more effective than the previously used software encoding,” says Jörg Sprave, CEO MacroSystem Digital Video.

Render-Booster represents a new category of devices with much greater speed, higher output image quality and lower power consumption. RenderBooster is directly supported by the new video editing software Bogart 5, running on the Casablanca generation 3 turnkey systems.

Visit www.antiktech.com

Archiware Updates PresSTORE 4.4 ARCHIWARE HAS SIGNIFICANTLY updated their PresSTORE P4 program. PresSTORE 4.4 boasts a number of improvements, both inside and out. Under the hood, PresSTORE’s configuration database has been moved to SQLite, a far more contemporary and scalable technology for managing databases.

More visible to the user is PresSTORE’s new Overview option, enabling the display of storage pool capacities for archive and backup jobs.

System administrators can now easily see their most recent runs, and verify whether upcoming jobs have sufficient storage space available.

The version 4.4 update also offers a new Customisable Overviews feature with adjustable tables and filters.

PresSTORE 4.4 also offers a new automated tape library configurator, which makes installing LTO tape libraries even easier. Importing licenses is also streamlined, making it easy to install via a license file, rather than adding them manually.

“This latest update reflects our continued commitment to creating the most reliable and easy-to-use solutions for data backup and management,” commented Archiware CEO and Co-Founder Josef Doods.

Visit www.archiware.com

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C21 Captures with Bluefish444 BLUEFISH444 HAS ANNOUNCED that C21 Digital Entertainment (P) Ltd is utilising the Epoch|2K Horizon card for capture and recording on HDCAMSR/D5, and capture and encoding for DVD and BluRay. Founded in 1999, Mumbai-based C21 Digital Entertainment provides HD digital encoding & transcoding, tape dubbing services including D-Cinema mastering, 3D and Blu-ray authoring, international packaging and high speed digital delivery of content to its clients across all formats and standards. It is one of the few facilities in the South East Asian subcontinent that provides true sequential 3D Bluray authoring.

Suraj Chandna, CEO, states, “We have multiple manufacturers’ video I/O cards. But we use the Blufish444 Epoch for 70% of our capture requirements because it produces the best captured picture quality.

It’s very easy to use with its bundled Symmetry software for I/O. We rarely have problems and when we do the tech support is great; much better than the other manufacturers.”

Visit www.bluefish444.com

Public Beta of PluralEyes 3.0 Available SINGULAR SOFTWARE HAS RELEASED the public beta of its PluralEyes for Apple Final Cut Pro versions 6, 7 and X. The brand new PluralEyes 3.0, which made its debut at NAB 2012, now features a visual interactive workspace and a host of tools to test and tweak the sync. Video editors can now monitor the process as their multi-camera and dual-system audio footage syncs quickly and accurately.

“We completely rethought the synchronization workflow for the release of PluralEyes 3.0,” comments Bruce Sharpe, founder and president, Singular Software. “Synchronisation is a critical part of the post-production phase and deserves its own environment, just like colour correction does. The advances we’ve made in PluralEyes over the years could not have been done without the feedback of our enthusiastic customers, so we’re excited to begin open beta testing for PluralEyes 3.0 for Final Cut Pro.” By automating time-consuming tasks, PluralEyes shortens the workflow for multi-camera, multi-take and dual-system audio productions. PluralEyes synchronises audio and video clips automatically without the need for timecode, clappers or any special preparation.

Visit www.singularsoftware.com

TMD Providing Archive System for National Archives TMD HAS WON THE CONTRACT to provide an audio-visual archive

POST PRODUCTION

management system for the National Archives of Australia (NAA). The project will bring together the Archives’ audio-visual content, both digital and physical, a total of more than 600,000 assets.

48

The NAA maintains and makes available all records of the Australian Government and its agencies deemed to be of national historical significance. A large part of the collection comprises audio and visual items, including items from major government broadcasters. These will now be managed by the TMD Mediaflex system.

“Our audio-visual assets are a central part of our collection. It is very important that we have a powerful means of accessing them, not just for our own staff but for the nation,” said David Fricker, DirectorGeneral of the National Archives of Australia. “We chose TMD because of their extensive experience in managing audio-visual archives.”

The project is expected to take 15 months, and implementation of the TMD system involves integrating with existing systems that manage archival records at the Archives. It will also include migrating data from earlier implementations and establishing new workflows for adding digital and physical assets. With the new system it will be possible to track where physical assets are held, and control other processes such as preservation and format migration.

“We are really excited to be working with the National Archives of Australia. Managing audio-visual archives requires all the functionality of a digital asset management system with a highly flexible data model and much more besides,” explained Tony Taylor, chairman and CEO of TMD. Visit www.tmd.tv

RADIO The original broadcast media

www.content-technology.com/radio

Harris Makes Music for Broadcast Australia INDIE MUSIC LOVERS IN AUSTRALIA can now enjoy triple j, ABC’s specialist station, in crystal clear FM thanks to two new Harris Flexiva air-cooled FM transmitters. The 20kW transmitters are installed at Broadcast Australia’s sites at Goschen, Victoria and Mount Dowe, New South Wales.

Broadcast Australia is the operator of one of the most extensive terrestrial transmitter networks in the world, acting as neutral host to many Australian broadcasters including, all the ABC analogue and digital networks. As a service provider it has to be responsive in getting new stations on air, proactive in adapting its broadcast sites to deliver a very large number of channels for multiple customers, and dynamic in achieving the most efficient transmission, thus controlling costs for broadcasters.

The Harris Flexiva transmitter is designed as a cost-effective solid state transmitter for FM radio – for both analogue and digital broadcasting – up to 40kW. The use of leading edge technologies, including 50-Volt LDMOS amplification and Harris PowerSmart, delivers enhanced power density and efficiency, which translates into a powerful, yet compact air-cooled transmitter.

“We chose the Flexiva for triple j because all our experience with Harris transmitters has demonstrated high reliability and stable performance,” said Peter Lambourne, COO of Broadcast Australia. “The low power consumption of the Flexiva design also delivers tangible energy savings.

That is a direct boost to our operational cost savings, of course, and the energy efficiency helps our efforts to be as green as possible. Finally, better efficiency means less heat which leads to even greater reliability – a virtuous circle.”

“Radio broadcasters and service providers alike are always looking to build better efficiency into their operations by improving their technology investments,” said Phil Argyris, vice president and general manager, Transmission Systems, Harris Broadcast Communications. “Harris continues to invest in the development of its analogue and digital transmitters to help broadcasters and operators produce, distribute and transmit content more efficiently.”

The Harris transmitter distributor in the region, Broadcast One Australia, which is also providing continuing support for the installations, supplied the Flexiva transmitters to Broadcast Australia.

Visit www.harris.com

MediaCorp Harmonises Production With Radio-Assist 8 NETIA HAS ANNOUNCED that Singapore’s largest broadcaster, MediaCorp, has installed NETIA’s Radio-Assist 8 at the heart of its radio production system. MediaCorp runs 13 free-to-air radio channels, broadcasting in 10 languages, to Singapore’s cosmopolitan audiences.

Installed and integrated in collaboration with BCI, NETIA’s principal dealer in Southeast Asia, MediaCorp’s Radio-Assist system automates the radio production chain from ingest to delivery, and equips the broadcaster’s newsroom with the tools to record, schedule, and edit, with simultaneous access for up to 50 journalists.

Radio-Assist 8, tightly integrated via a MOS Protocol to MediaCorp’s ENPS newsroom system, provides added value by making content intuitively accessible to all of the broadcaster’s production staff. Radio-Assist modules

for browsing, multitrack editing, and audio playback can be opened from within the ENPS interface, and any changes made in the ENPS rundown are automatically duplicated in the Radio-Assist broadcasting tool Air-DDO, even if the program is already on the air. Offering a further productivity benefit, the Radio-Assist 8 user interface supports all languages spoken by MediaCorp’s multilingual staff.

“The ability to integrate so tightly with the ENPS system, together with the big advantage of the multi-language operating environment, means that Radio-Assist 8 delivers real savings in time and costs for MediaCorp, as well as allowing the broadcaster to provide a higher quality service to its audiences,” said Mus Rezzoug at NETIA. Visit www.netia.com

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Adelaide’s 3D-FM Rebuild with LAWO Technology PROFESSIONAL AUDIO TECHNOLOGY PTY LTD announced that it has recently commissioned and delivered a LAWO on-air broadcasting system to Adelaide broadcaster, Three D Radio. Three D Radio is planning to be on air with the new system by September this year.

Three D Radio has been broadcasting since 1979 as a community radio station on 93.7FM across the greater metropolitan area of Adelaide and its surrounding country areas. Three D Radio is run by the Progressive Music Broadcasting Association Inc. (PMBA) and has up to 87 diverse programs going to air each week. There are no playlists or rotations on Three D Radio, each of 120+ announcers is free to choose the music that they present.

Moving into new purpose-built premises, it was time to upgrade the OnAir technology in line with the new studios. Chaired by the independent technologist Glen Donhardt, the technical committee of Three D Radio, assessed various broadcast technologies supported in Australia.

to meet our needs now and into the future.”

The decision to procure LAWO’s crystal technology was based on functionality, support and Three D’s budget. The Three D technical committee recommended twelve fader crystal consoles in the two main OnAir Studios and a crystal frame in the MCR.

More and more smaller and community broadcasters have been discovering that LAWO’s entry level consoles are within their budgets, while providing technological flexibility and sophisticated operating possibilities in addition to outstanding German build quality.

PAT’s Technology Specialist, Alan Liddelow, explains, “Three D Radio is in the fortunate position to have some very technically savvy people on their technical committee, who were able to utilise the technical flexibility that LAWO equipment offers to its full potential.”

MD of Professional Audio Technology, Patrick Salloch, commented, “As the LAWO user community is rapidly expanding in Australia, I am delighted to see that Australian broadcasters embrace this outstanding German technology and take full advantage of its capabilities. I am sure that Three D Radio will set new technology standards for community broadcasters in South Australia and we are looking forward to working with Three D for years to come.”

Three D Radio’s Robert Ayliffe said, “We have used our move as an opportunity to future proof, as far as practically possible, our station. The Lawo equipment was chosen after a lot of research as being the most suited

ABC NAIDOC Digital Radio ABC RADIO HAS CELEBRATED Aboriginal and Torres Strait Islander culture by introducing fresh Indigenous voices to the airwaves on the special events digital radio station – ABC NAIDOC. The week-long broadcast showcased new Indigenous talent from around Australia, including Carly Wallace on Breakfast (Cairns) and the stars of tomorrow selected from ABC Radio’s Indigenous broadcasters, plus students from Brisbane’s 4AAA and a desert-island disc show hosted by David Page.

“ABC NAIDOC on digital radio gives us a great opportunity to develop our exciting new Indigenous talent on a national stage,” James O’Brien, Manager, Network Development, ABC Local Radio, said. “Carly Wallace, the first Indigenous graduate from AFTRS, is a very exciting talent we are delighted to have on board; she is certainly a name to keep your eyes on.”

In an exclusive for ABC NAIDOC, a conversation between Ann Summers and Dr Anita Heiss, recorded at the National Centre for Indigenous Excellence, was broadcast on Wednesday July 4. This followed on from the conversation started at the Sydney Writers Festival revolving around Dr Heiss’ book ‘Am I Black Enough For You’.

Visit www.abc.net.au/indigenous

Visit www.proaudiotechnology.com.au

ABC Celebrates 80 Years THIS YEAR, THE ABC TURNS 80. To celebrate, ABC has mined their archive to bring listeners the sounds of Australia over the last eight decades, with ABC Turns 80 – a special events digital radio station, which broadcast from June 29 to July 1, 2012.

“Over the past eight decades, there’s been an incredible revolution not only in the development of Australia, but also in the development of the media landscape – and what better way to showcase the wealth of material we’ve collected than through the latest radio broadcasting technology – digital radio,” Tony Walker, Manager, Digital Radio said.

The broadcast covered significant historical moments, from the 1932 Melbourne Cup to Gough Whitlam’s dismissal, to provide a picture of how Australia has grown up. ABC traced the way Australia has changed – politically, socially and culturally – and remembered all the things that have defined the nation, and how we see ourselves and the world.

Some of ABC Radio’s current broadcasters grabbed a decade and walked listeners through it. Geraldine Doogue (1930’s), Jon Faine (1940’s), Margaret Throsby (1950’s), Linda Mottram (1960’s), Richard Fidler (1970’s), Tracee Hutchinson (1980’s), Robbie Buck (1990’s) and Zan Rowe (2000’s). ABC Turns 80 has been written and produced by Sophie Townsend.

Visit www.abc.net.au/digitalradio

Radio New Zealand News Turns 50

Today’s radio news service came into being after much debate in the early 1960s. Up until then, radio news services often ran material culled from newspapers or official press releases by the Government.

The NZBC wanted an independent news service of its own, but encountered opposition from Treasury, which argued New Zealand already had lots of newspapers, and so did not need radio news as well.

In July 1962, that opposition was overcome, and a forerunner of the current radio news services began.

“New Zealanders have a thirst for quality news about what is happening here and abroad and that demand for impartial and objective reporting has ensured that Radio New Zealand National is number one in the world’s most competitive radio market, and Morning Report is New Zealand’s most listened to radio show,” said Radio New Zealand’s Head of News, DonRood.

Visit http://radionewzealand.co.nz

RADIO

ON SUNDAY 8 JULY, RADIO NEW ZEALAND celebrated fifty years of Radio New Zealand News with a special Insight programme looking back over half a century of independent news from Radio New Zealand.

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AUDIO Digital soundwaves

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Sound Devices Keeps Its Cool in the Cave Of Crystals WHEN NINE NETWORK AUSTRALIA Sound Recordist Charles “Chick” Davey was given the almost impossible task of recording audio in the extreme environment of Mexico’s Cave of Crystals for a feature story on Nine’s 60 Minutes, he turned to Sound Devices’ 744T digital audio recorder and 442 field mixer.

Located in the mining town of Naica in the middle of Northern Mexico’s Chihuahuan Desert, the Cave of Crystals is situated deep underground and features one of the harshest environments on earth. Connected to the Naica Mine, which is nearly 1,000 feet below the surface, the Cave of Crystals’ main chamber contains giant selenite/gypsum crystals – some of the largest natural crystals ever found.

“The main challenge faced during this shoot was moisture and heat,” says Davey. “With stifling 100-percent humidity and temperatures hovering around 118 degrees Fahrenheit (48°C), this meant the Sound Devices gear was basically covered in beads of moisture within minutes of entering the cave. In no time, the gear became hot to the touch, and I was worried it would not operate properly. However, my experience with Sound Devices gear and its reputation put my concerns at ease and it once again performed admirably under these

extreme conditions.”

Another challenge Davey faced was navigating the jagged cave floor to get as much footage as he could in the short amount of time he could spend in the cave.

“Just moving around in general was quite difficult, as the ground was very uneven, and time was always a factor while inside the cave because we could only enter for short periods at a time,” adds Davey. “Temperatures were hot and the humidity was ridiculous, but the Sound Devices gear never gave up. The 744T and 442 faced up to the environment without any real dramas. There were no break downs and the audio was never compromised.”

The super-compact 744T records and plays back audio to and from its internal hard drive, CompactFlash cards and external FireWire drives. The 744T reads uncompressed PCM audio at 16 or 24 bits, with sample rates between 32 and 192 kHz. Compressed audio recording and playback from 64 to 320 kbps is also supported.

The 744T implements a no-compromise audio path that includes Sound Devices’ next-gen microphone preamplifiers. Designed specifically for high-bandwidth, high-bit-rate digital

recording, these preamps set a new standard for frequency-response linearity, low-distortion performance, and low noise.

Sound Devices 442 field mixer encompasses the audio performance, feature set and mechanical construction needed by those who rely on audio gear for their careers. The 442 contains four microphone preamplifiers that redefine portable audio performance.

“The 442’s compact mechanical construction strikes the perfect balance between access to all functions, uncluttered design and durability,” adds Davey. “As always, having the individual channel outputs on the 442 gave me extra confidence, knowing that each channel is not only backed up, but isolated.”

In addition to the Sound Devices gear, Davey’s kit was carried in a Petrol field bag, along with four Lectrosonics receivers, a time-code receiver and a camera link transmitting to a Sony XDCAM. On his boom was a Sennheiser 416 and Sanken microphone heads for the four wireless mics he employed.

Davey also used the Sound Devices 744T and 442 for a story on the Marum Volcano in Vanuatu that aired last year on 60 Minutes..

Visit www.sounddevices.com

AVW Broadcast Releases Latest Audio Loudness Meters AVW BROADCAST HAS RELEASED the latest

AUDIO

DK Technologies (Denmark) Audio Loudness and monitoring meters, the DK1, DK2 and DK3.

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Managing Director of AVW, Murray Hunt comments that the release of the latest DK Meters is timely with the upcoming implementation and growing awareness of loudness monitoring here in Australia.

“Working closely with DK Technologies we are

able to offer a competitively priced solution that meets both the International loudness recommendations, but also the Australian Free TV Operational Practice 59 (Measurement and Management of Loudness in Soundtracks for Television Broadcasting) standards,” said Hunt.

Richard Kelley, Director, Sales & Marketing of DK Technologies added that the latest DK meters have been a success with Broadcasters

throughout Europe and the Americas, especially since the introduction of enforced loudness compliance recommendations within the respected countries.

Kelley states, “We set-out to build a cost effective, fully featured metering solution, and we’ve done just that.”

Visit www.avwbroadcast.com.au

AUDIO

Softube Launches Grand Channel and EQF-100 SOFTUBE IS NOW SHIPPING the Summit Audio Grand Channel and Summit Audio EQF-100 Equaliser for the AAX/AAX DSP/ RTAS/AU/VST/VST3 plug-in formats. The Summit Audio Grand Channel includes the TLA-100A compressor and the EQF-100 Equaliser.

The Grand Channel combines the warm and smooth tone sculpting EQF-100 passive equaliser with the rich sounding, set-and-forget TLA-100A compressor. As a modern addition to the TLA-100A, the plug-in also includes Parallel Compression, Saturation Control and Low Cut Filtering on input or detector.

The Grand Channel and EQF-100 are available at introductory prices of $269 and $159 respectively. The introductory offer will last until Aug 4 and thereafter the price will be $329 and $219.

For previous owners of the Summit Audio TLA-100A plug-in there is an upgrade path to the Grand Channel Bundle.

Visit www.softube.com

Jünger Brings Loudness Control To Asia JÜNGER AUDIO HAS NOTED a significant upturn in sales in the Far East as broadcasters in the region explore new ways of controlling audio loudness in the broadcast chain. Recent clients have included TVB Hong Kong, which has taken delivery of three Jünger Audio T*AP TV Audio Processors and three C8000 frame-based loudness control systems; NBTV in China, which has installed six Jünger Audio D*AP LM4 four-channel Digital Audio Processors, and Hong Kong-based PCCW, which has invested in a Jünger Audio C8486 loudness control system for its NOW TV channel.

Mr Shi-Song Wu, director of NBTV’s Technical Centre, says, “We installed six D*AP LM4 units and their performance has been great. We are very impressed with their ability to accurately control audio loudness across all of our television channels.”

Jünger Audio’s CEO Peter Pörs says, “Television audiences in the Far East are no different to those anywhere else in the world – they don’t like surprise level changes in their audio and they complain when they have to reach for the remote, especially between programmes and commercial breaks.

“Although there are no hard and fast rules in the region regarding audio loudness, we are finding that many broadcasters in the Far East are choosing to adopt the ITU 1770 and EBU R128 standards in order to give their audiences a

better viewing experience. As our audio loudness systems support all known loudness standards including ITU, EBU and ATSC, we are ideally placed to help broadcasters as they negotiate these complex changes.”

Junger Audio’s frame-based C8000 audio loudness control system and its new *AP family of stand-alone processors, which includes the T*AP TV Audio processor, are proving especially popular because they all incorporate the company’s proprietary LEVEL MAGIC adaptive control algorithm that complies with ITU, EBU and ATSC Loudness standards.

“Broadcasters like the fact that LEVEL MAGIC can adjust the audio level from any source at any time, with no pumping, breathing or distortion,” Peter Pörs adds. “As a result it is becoming the algorithm of choice for line and real time processing throughout Europe and we are seeing the same pattern repeated in the Far East.”

Jünger Audio’s LEVEL MAGIC algorithm is based on a simultaneous combination of an AGC, a Transient Processor for fast changes and a “look ahead” Peak Limiter for continuous unattended control of any programme material, regardless of its original source. Capable of using any kind of I/O (Analogue and Digital) sources, as well as SDI, HD/SDI, Dolby 5.1 and all its related metadata.

Visit www.junger-audio.com

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AUDIO

NMIT Updates With SSL Mixing Console NMIT (NORTHERN MELBOURNE INSTITUTE OF TAFE) has installed a Solid State Logic (SSL) mixing console into its Fairfield Campus sound production facility. The SSL AWS 948 is a recent addition to the SSL range, making NMIT’s console one of only five in Australia, and the only unit available to Victorian students.

Darren Steffen, NMIT’s Sound Production Program Coordinator, says, “We were looking for a flagship device – and this is it. This is the console that’s used in the best studios in the world, and if they don’t have one they probably want one.”

Darren continued, “The SSL is the main mixing console in our main studio, so everything we record goes through it. Students use the console a lot which gives them confidence with the equipment. They know when they head out into the workforce they already know how to use the best.”

The console is used by Fairfield’s certificate IV and advanced diploma sound production students. The desk is currently used for the Performing Arts Collaboration Project, which involves Fairfield’s music students writing and rehearsing original material and sound production students recording their songs on the SSL. The master tapes then head across to NMIT’s Collingwood Campus where screen and media students use their HD TV production studio to record a music video. NMIT’s Music Business students oversee the entire process.

Jackson Stafford, an NMIT Advanced Diploma of Sound Production student, who has been using the new console on the collaboration project, said, “We tracked the groups on the SSL then mixed them down.

I found the SSL really comfortable to use – it’s got good work flow – and best of all a great sound.”

HARMAN Records Malaysian King’s Royal Banquet DURING A CEREMONY STEEPED IN ROYAL TRADITION, Tuanku Abdul Halim Mu’azam Shah, 84, was recently installed as the 14th Yang di-Pertuan Agong. The event took place at the new Istana Negara (royal palace) in Kuala Lumpur and was followed by a formal banquet at the Malaysia New National Palace in Jalan Duta, Kuala Lumpur.

Members of the Rulers, Prime Minister Datuk Seri Najib Tun Razak, Deputy Prime Minister Tan Sri Muhyiddin Yassin, Cabinet ministers, foreign ambassadors and senior government officials, attended the event. Also present was a HARMAN Studer Vista 5 M2, supplied by Mahajak Trio, the territorial distributor, which recorded the occasion.

The program was sent to air nationwide on Radio Televisyen Malaysia (RTM), with a total of 32 microphone channels used throughout the night. The Vista 5 M2 console was selected for its innovative qualities, flexibility, ease of use, the precise meter bridge, user-friendliness of the Vistonics screen, and because the console is aesthetically attractive.

“The Vista 5 M2 enabled the sound engineers to implement fast copy-paste of all the parameters while the Vistonics interface provided immediate access to parameters by opening up settings onto the encoder, such as EQ, Dynamic, VCA and channel setting, without wasting time searching for any hidden buttons,” said Mahajak Trio’s Senior Manager Sales & Project, Lee Chin Kah. Another key feature used to mix the event was ‘Master Contributions’, enabling the sound team to view and control all the contributions on Vistonics faders.

Visit www.harman.com

Visit www.solidstatelogic.com

TC Electronic Announces LM2 Plug-in THE NEW LM2 PLUG-IN features TC’s innovative Radar Display that provides a quick, detailed overview of the loudness landscape of any stereo audio signal. The main radar view shows loudness history, while the outer ring displays momentary short-term loudness. Finally, True-peak Levels are shown in real-time on the right side of the user interface, completing the overview.

Further, there are two versatile descriptors that can be set to reflect a variety of parameters – e.g. Loudness Range (LRA) and Program Loudness. Each revolution of the radar can be set from 1 minute to 24 hours, which means that LM2 will log loudness data for up to 24 hours continuously.

The LM2 plug-in supports all major plug-in formats, including AAX, RTAS and Audio Suite for Pro Tools as well as AU and VST. These five formats cover virtually all DAWs imaginable and most digital video editors on Mac or PC. It is ideal for monitoring realtime audio signals, but it is also capable of performing off-line measuring in Pro Tools as an Audio Suite plug-in. Used this way, loudness measuring can be done much faster than in real-time – with only the CPU of the host computer setting the limit of off-line measurement speed.

As well as being sold separately, the LM2 plug-in will be bundled with TC’s LM2 19” rack-mountable hardware loudness meter, offering the best of the hardware and software worlds in one package.

AUDIO

Visit www.tcelectronic.com

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Crystal Vision Provides Solution to Lip-Sync Problems THE AVDELAY 3G AUDIO/VIDEO DELAY from Crystal Vision has been designed to deal with large lip-sync problems on incoming 3Gb/s, HD or SD signals containing up to four groups of embedded audio.

AVDELAY 3G’s maximum video delay will change depending on the video standard, with ten seconds available in SD, five seconds in HD and two seconds in 3Gb/s. Up to ten seconds of audio delay is always available.

By featuring both audio and video delay, AVDELAY 3G can cope with the lip-sync being out in either direction.

Crystal Vision’s MD, Philip Scofield, explained, “We were asked to design AVDELAY 3G by a large news organisation who knew of our video delays, but could not locate a product that met the needs of anyone receiving signals where the audio could be several seconds ahead or behind the video. With AVDELAY 3G they were able to accept feeds that would otherwise be difficult to view. We have since discovered many other installations who want to correct lip-sync errors that have been created in a variety of ways.”

AVDELAY 3G has been designed with maximum flexibility when it comes to setting the various delays. The video delay is adjustable in seconds and frames. The audio delay is adjustable in seconds, video frames and milliseconds.

The video and audio will jump instantly to the new delay setting, allowing lip-sync errors to be rapidly corrected. Dealing with the embedded audio is particularly flexible: there are four separate audio delay processors and each can have its own delay timing – providing a total of four different audio delays at the same time. AVDELAY 3G provides sophisticated handling of Dolby E audio, which is automatically aligned with the guardband of the outgoing video.

Visit www.crystalvision.tv

AUDIO

World First for POLARIS Touch XCMC STAGETEC MEDIAGROUP AUSTRALIA is using Integrate Expo 2012 to present a large portfolio of products including some brand-new highlights for the Australian pro-audio industry. The main focus will be on the new variant of the POLARIS touch-control audio console. The new POLARIS touch XCMC combines the user interface of the POLARIS touch with the long-established NEXUS audio network and routing system. All audio processing is done on the XCMC console card on the NEXUS, which also provides the audio interfacing.

the world premiere for our exciting and most flexible audio console,” comments Treva Head, director of STAGETEC MEDIAGROUP Australia.

the new stand-alone NAM (Network Amplifier Module) from STAGETEC, a small device equipped with the Dante protocol and loudspeaker outputs.

Another eye-catcher will be the NEXUS audio routing and networking system. For the first time in Australia, STAGETEC shows a new NEXUS interface board for Audinate’s Dante system. The XDIP board connects NEXUS to networks running Dante, combining the NEXUS world with standard Ethernet infrastructure and TCP/IP.

Another first for the Australian market will be the presentation of Vivace, the MEDIAGROUP acoustics system. Vivace not only improves hall acoustics but also enables them to be altered to suit different musical genres. Vivace also gives straightforward access to special effects: such as directional sound reinforcement even for moving sources. It also has the capability to move effects through three-dimensional space, thus creating a unique experience.

Apart from the STAGETEC products for audio mixing, routing and networking, new products from DELEC are also on display. The DELEC oratis is ready for Dante and can be combined with

“Integrate Expo 2012 is an important exhibition here in Australia. We have chosen this event as

Visit www.stagetec.com

TC Electronic Introduces More Features for DB4 and DB8 THE 3.40 UPGRADE FROM TC ELECTRONIC

quality bottleneck.

includes a new Advanced Loudness Correction processor, ALC6, and LKFS reading for the Radar Loudness Meter, LM6. The upgrade is free of charge to all users of DB4 and DB8.

ALC6’s adaptive Stridency Reduction parameter brings overly loud content under tight control while leaving normal content untouched. Another parameter allows the operator to indicate if a program is already normalised, not normalised or sometimes normalised. If the content is in 5.1 surround, ALC6 may automatically dissolve into bypass, or you may set a different Target Level depending on the format.

The new ‘AC3 Codec’ setting with ALC6’s True-

Mixing & Audio Processing Interface

Dolby E® Decoder Interface

Dolby E® Encoder Interface

DB4 and DB8’s integrated Radar Loudness Meter, LM6, includes two new functions: The meter may now show loudness units in ‘LKFS’ rather than ‘LUFS’, and a short-term loudness warning threshold may be set. Real-time loudness warnings are visible in the remote application on a Mac, a PC or on the TC Icon hardware unit.

Visit www.tcelectronic.com

NEXUS ... more than Digital Audio Routing

DISCOVER STAGETEC INNOVATIONS

STAGETEC MEDIAGROUP AUSTRALIA PTY. LTD. email: australia@stagetec.com.au Phone: +61 2 8011 0500 www.stagetec.com.au

AUDIO

3G-SDI Interface for Embedded Audio

ALC6 offers BS.1770 compliant Loudness Correction and True-peak limiting for mono, stereo and 5.1 programs. With ALC6, processing happens at a higher resolution than any other audio device or codec in the broadcast signal path, and therefore DB4 or DB8 will not cause a

peak Limiter prevents downmix clipping while preserving headroom, thereby making it safe to switch off DRC and make AC3 more transparent.

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TRANSMISSION Signal distribution, test & measurement

www.content-technology.com/transmission

Igloo TV DVB-T2 Launch Delayed SKY TELEVISION NZ AND TELEVISION NEW ZEALAND have deferred the launch of their DVB-T2 pay TV joint venture Igloo TV, opting instead for a trial period involving just 25 viewers. According to NZ news reports, the launch is “likely to be delayed by up to a month”.

The service will provide free-to-air channels with pay-TV add-ons such as pay-per-view sports and video-on-demand.

As detailed in April C+T, the service will be broadcast by New Zealand’s first DVB-T2 transmission network made up of 19 sites built by national broadcast transmission company Kordia.

Igloo has selected the T-VIPS CP560 DVB-T2 Gateway which enables the HD delivery of TV in terrestrial networks, allowing operators to take advantage of more efficient spectrum utilisation and generate the accurate timing information required for SFN networks.

Kordia, on behalf of IGLOO, will be operating the T2 Gateways in single PLP mode across an IP network which will co-exist alongside the existing DVB-T infrastructure. The DVB-T2 MI signal is distributed over the nationwide IP network as a multicast IP stream, feeding the transmitters directly with an IP stream, thereby simplifying the number of devices in the distribution network.

T-VIPS has also provided a 1+1 redundancy solution, ensuring a robust network and reliable operation. The newly implemented DVB-T2 network offers a 47% increase in bitrate to 38.9 Mbps for the same transmission powers and similar coverage as the existing Freeview DVB-T network.

“It’s great to be involved in the first major DVB-T2 deployment in the APAC region – it demonstrates the growing popularity of the standard across

Cable TV Hong Kong Expands HD Channels MAGNA SYSTEMS AND ENGINEERING recently assisted Cable TV Hong Kong with an HD channel expansion project adding 6 new HD movie channels to the broadcaster’s system under Pebble Beach automation control.

Frankie Yau, Engineering Manager at Magna Systems and Engineering Hong Kong said, “We had to accommodate the new HD channels’ playout which required automation, video servers and other peripherals. In order to successfully complete the project we identified the components required to expand the existing automation system and the necessary server upgrade. This resulted in us installing a new system consisting of an expansion to their Pebble Beach automation, additional devices drivers, SeaChange (now XOR Media) BML with Media Clients and a Front Porch Digital DIVArchive storage expansion.”

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Cable TV Hong Kong (HKCTV), the first subscription television service provider in Hong Kong, now boasts over 100 different pay channels, 54 of which are produced by HKCTV.

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Frankie Yau concluded, “Magna Systems and Engineering provided Cable TV with system integration, project management, upgrade and support services. Cable TV Hong Kong are an excellent broadcaster and long term customer of Magna systems and we are delighted we could continue our successful our track record with them by producing an upgraded system that met their requirements for the new HD movie channels.”

Visit www.magnasys.tv

the globe,” said Espen Myhre, VP Sales, T-VIPS. “We have been designing solutions for DVB-T2 networks since the standard was first adopted. We have delivered support for SFN operation, single or multiple PLP operation and both ASI and IP transport in multiple networks across Europe and Africa as well as for trials in the APAC region.”

The network will use Bridge Technologies’ VB120 probes, supplied by Magna Systems and Engineering, for advanced monitoring of its digital transmission services.

Meanwhile, Brightstar Corp has been appointed as the exclusive supply chain provider for IGLOO. Brightstar NZ will provide a complete end-to-end supply chain solution for IGLOO’s TV Set Top Boxes, including fulfilment, inventory and channel management services.

Lastly, Igloo has selected Irdeto Cloaked CA to securely deliver premium content over the new TV service. IGLOO is a pre-pay TV service that will be available for purchase in retail outlets. Once connected, customers will have access to FTA channels and the option to purchase a pack of 11 digital channels. The device also includes WiFi and Ethernet connections to access on demand content.

Irdeto Cloaked CA is a fully featured and renewable cardless conditional access solution that will enable IGLOO to deliver this content securely, while avoiding the hassle and cost associated with swapping out or replacing smart cards. As part of the agreement, Irdeto will also provide full implementation and testing of the solution.

Visit www.igloo.co.nz

Thailand’s Nation Group Logs with Etere NATION MULTIMEDIA GROUP PUBLIC COMPANY LIMITED is a media company based in Thailand. Together with United Broadcasting Corporation (UBC), Nation Group has recently launched its own 24-hour cable news TV channel, the first ever in Thailand, in both Thai and English language. The channel provides breaking news, in-depth news reporting on politics, the economy, sports and social events from both local and international sources.

With a short on-air deadline of just three months, Etere and Strong Brothers (Etere’s Thai Distributor), along with Nation TV staff commissioned the new logging system to complement the young station’s new workflow.

Nation TV uses Etere Memory to control the post on-air of its four channels (Nation Channel, Mango TV, ASEAN TV, Crime Watch Channel). Etere Memory is the solution for logging all the video channels of Nation TV since it is able to record all programs transmitted by the station and thus keep track of everything that has run within custom time slots.

The broadcast programming of Nation TV is recorded in a space-saving low resolution format in low resolution format (WMV and WMA) providing further capabilities to search and review programs recorded on specific dates and times. Additionally, operators are enabled to record and view clips at the same time with only a few seconds delay. Nation TV’s operators can manage the entire logged video archive thanks to a browsing interface which allows turning a selected video into sub-clips, inserting time-codes and sending final videos to specialised departments. The interface provides information on the current recorded file size and the remaining free hard disk space, and operators can have a chart audience wizard related to the recorded video.

Visit www.etere.eu

TRANSMISSION

SES Adds to APAC Fleet

Rascular Adds Snell RollCall to Helm

THE INCREASING POPULARITY of direct-to-home (DTH) satellite television and the growing demand for HD broadcast content across Asia-Pacific are driving the demand for satellite capacity. With the number of channels offered

by DTH platforms in Southeast Asia projected to reach 1,600 by 2016, SES is ramping up investment activities in to meet the increasing demand.

RASCULAR HAS ANNOUNCED the launch of a new version of its flagship product Helm. With broadcasters and playout providers of all shapes and sizes utilising the technology’s unique approach to third-party device control, Helm now delivers a range of significant enhancements.

SES’ current committed investment in Asia includes SES-8, which is due to launch in the first quarter of 2013. The satellite will deliver vital expansion capacity to thriving Asian video neighbourhoods in South Asia and Indochina.

SES-8 will be the first geostationary satellite launched by SpaceX on a Falcon 9 rocket.

Helm allows customers to pick best-of-breed systems – be that branding devices, routers, video servers, VTRs, multi-image display processors and modular gear, or any combination – from a range of different manufactures and provides a single, integrated, user-defined, PC-based control/monitoring surface for operators.

Visit www.ntt-electronics.com/en/

Helm now supports Snell’s RollCall system for device control, with Helm able to work with any of the company’s RollCall-compatible products.

Optelian Adds to LightGAIN Portfolio

Roddy Pratt, Technical Director with Rascular, said, “Helm dynamically detects all cards and their capabilities in any RollCall-enabled frame.

This means that any new or updated RollCall cards can be used without updating the Helm software.”

OPTICAL NETWORKING SPECIALIST Optelian announced the addition of the FLX-1610 multi-service networking card to the LightGAIN portfolio. It provides high-density, multiprotocol aggregation and deployment options that improve network efficiency and offers service delivery flexibility.

The high-density FLX-1610 card has 14 SFP ports aggregating any mix of client services, and two XFP line ports to handle both linear and ring topologies. Any combination of protected or unprotected Ethernet, SONET/ SDH, storage, and video client services (155 Mb/s to 4.25 Gb/s) can be supported up to a cumulative bandwidth of 10 Gb/s per XFP port. The FLX1610’s deployment options include 10 Gb/s and 20 Gb/s point-to-point muxponder modes, as well as a distributed add/drop networking mode where services can be cross-connected between any FLX-1610 within a linear ADM chain or UPSR-protected 10G ring.

t ontenies c , s c i t ili ph D graAN capab 3 w e S a nd rful n Powealidation pre-v

Pratt added, “Helm has already assisted many broadcasters around the world in a huge variety of ways, from relatively simple PC-based thirdparty device control to handling complex, multi-faceted workflows via a simple, user-defined interface.”

Visit www.rascular.com and www.snellgroup.com

You Need a Flexible, Scalable, Reliable Channel-in-a-Box Solution

Just Add ICE ICE is the only channel-in-a-box solution designed from the point of view of the channel rather than the box. The result is an integrated IT-based playout solution that delivers robust, scalable and affordable operation whether you have one channel or 100+ channels.

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TRANSMISSION

Visit www.optelian.com

Helm now also benefits from the inclusion of Lua scripting, the fullyfeatured, very fast programming language used in everything from video games to Adobe Lightroom. For the more complex, user-defined panel-building within Helm, Rascular can assist customers to design even smarter user interfaces, taking advantage of the flexibility of Lua. The latest release also adds greater Unicode support, creating a fully internationalised version, supporting a far wider range of languages, from Arabic, through Cyrillic to Japanese.

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TRANSMISSION

Broadcast Pix Unveils Multi-Screen Support BROADCAST PIX INTRODUCED new multi-screen support for its 1 M/E Granite and Mica Video Control Centers at InfoComm 2012. Now, three “programs” can be generated using the system’s program output and two enhanced PowerAux outputs, and a separate panel or Soft Panel can control each.

The new multi-screen technology is ideal for driving three image magnification (I-MAG) screens, as each enjoys patented technology to maintain one frame of constant delay for continual lip sync throughout a presentation.

In contrast, other systems have variable delay that changes depending on format/aspect conversion, effects, picture-in-picture (PiP), and other actions, plus many start with high delay as well. With PowerAux, additional outputs from the system stay in sync, even when different content is being displayed.

PowerAux can also be used to produce any combination of I-MAG screens, Internet feeds, and live television productions. Each new PowerAux output can switch between any camera, clip, graphic, or even program, and then add up to six keys on top. For example, while the program out provides I-MAG on one screen, one PowerAux can provide different programming to another screen while the second PowerAux can be used to feed different content to a streaming appliance for online distribution.

All outputs can be controlled through the system control panel – for richer productions, each PowerAux output can be individually controlled through a Soft Panel, iPad app, or another physical control panel.

“Switchers don’t have to limit you to creating for one screen. Now, thanks to our multiple panels and our new dual PowerAux, you can create

PESA Shows New Jaguar 3 Switcher PESA HAS SHOWN its Jaguar 3 64×64 series fibre optic routing switcher with an optional backplane design that uses MiniCube Miniature Form Pluggable (MFP) transmitter technology, developed by Advanced Fiber Products, LLC., at InfoComm 2012.

Offering up to 64×64 high-speed fibre optic ports, PESA’s Jaguar 3 is the first routing switcher to incorporate MFP technology for compact fibre optic switching. Two shared backplanes allow I/O ports in groups of 32 for either 75 Ohm BNC or MFP LC fibre. The Jaguar 3 can route all SMPTE and ITU standard serial digital video signals, and for digital cinema, the Jaguar 3 can be configured to support SMPTE S372 for dual-link HD-SDI. With the MFP optional fibre backplane, HD signals can be transmitted up to 10 km. Data rates from 50 Mbps up to 3 Gbps are supported and all inputs are auto-equalised, while outputs are auto-sensed and re-clocked to the appropriate transport stream.

The 2 RU Jaguar 3 frame features front load, hot-swappable card sets and includes slots for optional redundant power supply/control modules.

It can be configured to support a variety of control interfaces, including Ethernet, RS-232, or PESA’s PERC2000 control system.

TRANSMISSION

Visit www.pesa.com

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compelling video on three screens at once,” said Ken Swanton, CEO. “With our exceptional low constant delay, it’s great for the booming I-MAG market, plus Internet and television audiences, too. Producers can optimise their compositions for all audiences on any size screen.”

PowerAux is a free download available in Beta now, and will be available for all Granite and Mica customers with the release of Video Control Center 3.1 software in July.

Visit www.broadcastpix.com

NVerzion Automates with CLASS NVERZION HAS ANNOUNCED a new customer service migration program designed to support broadcasters that are currently using automation systems with no future support. The program is centred on NVerzion’s Component Level Automation System Solutions (CLASS), a scalable automation platform that offers integration with a broadcaster’s existing equipment.

“NVerzion has recently been approached by a number of broadcasters who are worried about maintaining continuity of their operations due to an increasing number of broadcast automation vendors that are no longer sustaining their automation products or supporting their existing solutions,” said Reed Haslam, at NVerzion.

Rather than replace legacy equipment, CLASS uses software components to provide system-wide control for ingest, playout, asset management, graphics, and business management, and is interoperable with all manufacturers and common traffic systems. CLASS is available as either a complete package or as a customised system.

Visit www.nverzion.com

GlobeCast Sends Chinese News to Europe

Avanti Utilising Sat3Play from Newtec

GLOBECAST HAS SIGNED a deal with Phoenix Chinese News &

AVANTI COMMUNICATIONS has confirmed the intended installation of

Entertainment Ltd (PCNE) to deliver Info News to continental Europe via the EUTELSAT 9A satellite. The channel launched on the satellite on June 1.

The deal gives the channel access to a potential five million homes in the footprint of the EUTELSAT 9A satellite.

Newtec Sat3Play Hubs in its earth stations to extend its IP broadband service range on its satellites HYLAS 1 and HYLAS 2. To support its customers with the deployment of Newtec technology, Avanti has developed a low risk and low capital investment entry route for customers wishing to remotely manage and operate their own Newtec hub infrastructure.

The EUTELSAT 9A satellite provides satellite TV homes across continental Europe, with a growing offer for Asian communities. Its proximity to Eutelsat’s HOT BIRD satellites also enables Info News to tap into the significant directto-home audience at Eutelsat’s HOT BIRD video neighbourhood.

GlobeCast receives the Info News feed via a dedicated fibre link between PCNE’s facility in the U.K. and GlobeCast’s central London technical operations centre. From there, GlobeCast provides uplink to EUTELSAT 9A. Visit www.globecast.com

Matthew O’Connor, Chief Operating Officer for Avanti, said, “We are excited to offer yet another extension to our portfolio of service platforms and have engaged with the market to create an innovative commercial approach using our Hosted Network Operator model.”

Avanti anticipates further installation of Newtec’s Sat3Play broadband hubs over the coming months to meet the services demanded from its customers.

Visit www.newtec.eu and www.avantiplc.com

TRANSMISSION

By Elemental Technologies

The 2012 Summer Games will be regarded as the first truly digital Olympics with live and on-demand coverage of the events available on dozens of devices.

Elemental is partnering with broadcasters and international rights holders across the globe for video delivery of the 2012 Olympics to mobile phones, tablets, PCs, and other smart devices. Elemental Live and Elemental Server are helping process Olympic video for delivery in at least 35 countries across four continents. The distribution models in use are diverse.

MODEL 1: IN-COUNTRY BROADCAST FOR OTT DELIVERY Under this model, the broadcast rights holder in each country has the authorisation to deliver content to devices beyond traditional television broadcast.

MODEL 2: REGIONAL DISTRIBUTION ACROSS COUNTRIES Regional distribution is very similar to in-country OTT delivery but the rights holder is granted distribution rights beyond a single country.

MODEL 3: GLOBAL TRANSNATIONAL FEEDS Global transnational feeds of the Olympics are provided by the IOC to maximise viewership of the Olympics, particularly in countries with limited broadcast video infrastructure.

TECHNICAL REQUIREMENTS FOR MULTISCREEN OLYMPIC DELIVERY Regardless of the delivery model, each deployment has three basic requirements for high quality, high coverage multiscreen delivery. These requirements are: 1. Highly efficient, rapidly evolving multiscreen compression at the origin 2. Maximum, yet efficient content customisation and packaging 3. Wide scale multi-format content delivery For Olympic content distributors, each new playback platform — smart phone, tablet, PC etc. — brings its own streaming requirements, which necessitates the ability to provide an ever-increasing variety of deviceoptimised streams.

HIGH EFFICIENCY, RAPIDLY EVOLVING COMPRESSION The Olympics are unique in that they are massive in scale, and short lived in duration. Investment in infrastructure for the event must be highly scalable to cope with the event, while capable of being repurposed for the future.

This avoids stranding the investments made for the two-week event. A software upgradable solution is key.

Video processing and encoding is a major component of the workflow and can be extremely resource intensive. Traditionally, encoding has been performed on one of two platforms: specialised hardware (DSP, FPGA or specialised integrated circuits) or CPU-only based PC systems. However, these solutions each have significant drawbacks: specialised hardware is expensive and inflexible, while CPU-only based systems are slow and do not easily scale.

With the advent of programmable graphics processors, many compression tasks typically performed by the CPU in serial fashion can instead be executed in parallel, dramatically speeding video processing and allowing for greater density and encoding throughput. Moreover, these compression tasks can be performed using off-the-shelf hardware, lowering the cost of each compressed stream and eliminating reliance on specialised solutions or less efficient CPU-only devices.

FLEXIBLE CUSTOMISATION Video processing systems must provide flexible processing algorithms and input/output support to keep pace with new video delivery channels and be able to package video for the most popular streaming protocols. Systems that are intrinsically tied to today’s requirements quickly lose utility as needs evolve. As an example just a few months before the Olympic Games were set to begin, the requirements for achieving maximum event coverage were not completely locked down. MPEG-DASH, a next-generation streaming standard, presented a potential delivery protocol not even envisioned six or so months before the games.

Stream customisation can occur at the point of compression, i.e. in the same network element or downstream of the core compression. In the former case, content can be compressed and customised via Elemental Live for live streaming applications or with Elemental Server for file-based on-demand applications.

This native capability reduces overall operational complexity and can also allow for traditional broadcast compression to be completed alongside multi-screen content preparation.

In the latter case, where compression and customisation are done discretely, multi-bit rate channels are created by a core compression appliance and then fed downstream to a separate device for creation of the adaptive bit rate streams required for delivery to Adobe, Apple, Microsoft, and MPEG-DASH players. By customising content separately from the core encoding process and potentially later in the content delivery infrastructure, a content distributor has the potential to lower costs for video delivery and allows for customisation of video at the optimal point in the IP video delivery infrastructure.

Both content creation models, integrated and discrete, are at play in the Olympics with each content distributor determining whether to customise content immediately coincident with the core compression, or downstream in the workflow.

WIDE-SCALE CONTENT DELIVERY With a broad range of capabilities and service offerings, content delivery networks (CDNs) provide critical infrastructure and play a crucial role in the global distribution of video content. In the multiscreen video delivery market, CDNs are in many ways the replacement delivery network for traditional cable, satellite, or IPTV delivery. Services performed by a CDN may include digital media delivery, network transit, website acceleration, file storage, server co-location and cloud processing, among others. In addition, most CDNs provide both analytic and provisioning control panels for video suppliers to configure and monitor their usage.

CDN video services are divided into two basic types: Video On Demand (VOD) and live. CDN edge servers that deliver static pre-encoded video files to client video players provide VOD services. Live services are provided by CDN edge servers that deliver live content - dynamically generated video files or network data streams - that originate from video encoders and is transported to client video players through the backbone network of the CDN. In most cases, these processes are transparent to the encoder source and client player.

CDNs are perfect for adaptive streaming. Adaptive streaming delivers multiple profiles of video at different resolutions and bit rates into a network, but only delivers what the network or player device is capable of receiving at any particular point in time. Adaptive streaming delivery has become the fastest growing method of video delivery, primarily due to the explosion of video via mobile devices, tablets and web platforms, such as Netflix. This type of delivery is characterised by repetitive HTTP requests or pushes of video data chunks in the form of individual file segments. The three most common implementations are Adobe HTTP Dynamic Streaming (HDS), Microsoft Smooth Streaming (MSS), and Apple HTTP Live Streaming (HLS).

In all three of these scenarios, the encoder or stream processor simply pushes 2 – 10 second sequential file segments to an HTTP origin server and periodically updates the manifest file. In most cases, the files are written to disk and then proceed to be pushed to the CDN for distribution and delivery.

Most player scenarios require a manifest file that is used by the player as a map of the video segment files. These stateless connections have a very simple HTTP protocol in which all request, logic, and optimisation is performed by the player and there is no evaluation or awareness of server state.

Visit www.elementaltechnologies.com and www.quinto.com

TRANSMISSION

Delivering Video to Connected Devices for London 2012

59

CLASSIFIEDS POSITION VACANT: BROADCAST ENGINEER – COMPRESSION

Save the date!

ABE2012 Australian Broadcast Exhibition

exhibition

featuring the latest in digital broadcast & production technology

Tuesday 7 – Thursday 9, August 2012 Novotel Manly Pacific Hotel www.abeshow.tv

We have a permanent vacancy with our Sydney based client for a Support Engineer to work in the Broadcast and Digital TV Industry.

You will have good knowledge of video compression/decoding, datacasting, multiplexing and network management, and have experience in Transport Streams including Headends, Integrated Receiver / Decoders, MPEG 2 & 4, Broadcast Equipment and Hardware.

The successful applicant should have engineering experience with complex headends, networks (including switches and routers), servers, networking, transcoding systems, digital video encoding systems and maintenance practices.

Ideally, you will have installed and commissioned equipment such as Scopus, Scientific Atlanta or Tandberg-digital headend on MPEG-4 for Digital Video Broadcasting over satellite (DVB-S2).

In addition knowledge in Integrated Receiver Decoders (IRDs), Encoders, Transcoders, Multiplexers, and Modulators.

If you are conversant with fully-integrated IP video solutions for convergent applications like Web TV and Over-The-Top (OTT) services delivery, including traditional IPTV and IP/Cable delivery, then apply today!

This is a real career opportunity that awaits the successful candidate!

If this role sounds like the opportunity that you have been waiting for; please send your resume with a brief cover letter detailing your interest to Martin O’Donohue - Director, Broadcast Business Email: martin.odonohue@rfsworld.com

what’s on JULY ROSS VIDEO ROADSHOW – MELBOURNE 25 July 2012 Ross Video, Melbourne, Australia Vivian Yu: vyu@rossvideo.com

CLASSIFIEDS

Advertiser Index

60

Amber Technology .................... 17

KVM Australia Pty Ltd ................. 4

AVC Australia Pty Ltd ........ IFC, 49

Lumina Broadcast Systems ....... 7

AVID ............................................... 11

Magna Systems ................... 13, 32

AV Tech ......................................... 10

OB Group ...................................... 60

Blackmagic Design ...................... 5

On Air Solutions .................. 39, 41

CMI Music & Audio .................... 50

Panasonic ..................................... 29

Connected Entertainment .... IBC Digistor ......................................... 45

Professional Audio Technology .................................. 53

Digital Rapids ............................. 37

Quinto Communications ........... 9

Eureka Pacific .............................. 47

Riedel ............................................ 35

Gencom Technology Pty Ltd .... 25

Ross Video ................................... 21

Grass Valley ................................. 23

Salzbrenner Stagetec ............... 55

Harris Communications ....... OBC

Snell ............................................... 57

Harmonic ........................................ 3

Sony Australia ............................. 33

IBC Conference ........................... 61

Techtel ............................................ 6

IRT Electronics ............................ 16

Videocraft .................................... 31

Jands .............................................. 43

VizRT .............................................. 15

BROADCAST TODAY 27-29 July 2012 Chennai Trade Centre, India www.broadcasttoday.biz

ROSS VIDEO ROADSHOW – AUCKLAND August 22-23 Auckland Langham Hotel, Auckland, New Zealand Vivian Yu: vyu@rossvideo.com

SEPTEMBER IBC 7-11 September 2012 RAI Amsterdam, Netherlands www.ibc.org

ROSS VIDEO ROADSHOW – BRISBANE 31 July 2012 VideoPro, Brisbane, Australia Vivian Yu: vyu@rossvideo.com

BROADCAST & MEDIA TECH THAILAND 19-21 September 2012 Impact Exhibition & Convention Centre www.install-asia.com/thailand

AUGUST

OCTOBER

ABE 2012 – AUSTRALIAN BROADCAST EXHIBITION 7-9 August 2012 Novotel Manly Pacific Hotel, Sydney, Australia www.abeshow.tv ROSS VIDEO ROADSHOW – ADELAIDE 15 August 2012 Pro AV Solutions, Adelaide, Australia Vivian Yu: vyu@rossvideo.com BIRTV 22-24 August 2012 Beijing, China www.birtv.com

BROADCAST INDIA 10-12 October 2012 Mumbai. India www.broadcastindiashow.com CASBAA CONVENTION 2012 29 October - 1 November 2012 Grand Hyatt, Hong Kong http://events.casbaa.com/ convention2012/

NOVEMBER CONNECTED ENTERTAINMENT 2012 November 21-22 Melbourne Convention & Exhibition Centre www.con-nect.com.au/entertainment

RAI Amsterdam Conference 6-11 September : Exhibition 7-11 September

IBC2012 Discover More IBC is at the cutting-edge of new technology in the rapidly evolving electronic media industry. It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected peer reviewed conference that helps shape the way the industry will develop in the future.

Take advantage of a variety of extra special features including: • • •

Future Zone showcasing the latest developments in broadcast technology IBC Connected World including demonstration area in Hall 14 IBC Big Screen providing the perfect platform for manufacturer demonstrations and the Saturday Night Movie

•

•

IBC Production Village presenting the latest camera technology in a purpose built environment IBC Awards Ceremony acknowledges those who have made a real contribution to the industry hosted on Sunday 9 September

www.ibc.org IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E info@ibc.org

t w a ster o n i ter g/reg s i r g Re ibc.o w. ww

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63

TIME shifter Pushing the Boundaries of Games Coverage Determined to continue a tradition of innovative sports coverage, the Sydney Olympic Broadcasting Organisation (SOBO) looked to build upon camera technology used during the 1996 Atlanta Games, as well as use Sydney to debut a number of new systems.

NBC RUNS OUT OF TAPE! Breaking new ground in non-linear workflow, giant U.S. broadcaster NBC chose Avid Symphony and Avid Unity Systems for its Coverage of the Sydney 2000 Summer Olympic Games (and again for the 2002 Winter Games in Salt Lake City, Utah).

Described as a milestone in Industry Shift from Linear to Nonlinear Post, NBC purchased 12 Avid Symphony systems with a supporting Avid Unity MediaNet system, making it at the time the largest deployment of nonlinear systems to be used at a live sporting event. The systems at each event were interconnected.

Beginning with the Olympics in Sydney, NBC had signed a five-games deal with the IOC and was looking for a system that could be reused at future events.

For this brave new world of sports production, over 40 freelance engineers were used in 24 editing/finishing rooms to quickly turn footage around.

Homebush Stadium, crucible of the Sydney 2000 Olympics, with Panasonic big-screen and branding from now defunct airline.

ONE OF THOSE NEW SYSTEMS was an extension to Trackcam which enabled the camera to stay with Olympic runners for 400 metres, up from only 200 metres at the Atlanta Games.

Another first was the digital distribution of video. As well as PAL, which the majority of the rights holders received, SOBO distributed SDI signals from some of the major venues.

TIME SHIFTER

As Graham McNaney, Head of Broadcast Information with SOBO, said at the time, “That’s never happened in an Olympic environment.

The international signals for the athletics and the gymnastics will be produced and distributed totally in digital, and that’s the way of the future.”

64

greater picture quality whereas conventional slow motion packages at the time captured and replayed at 25fps, playing each frame three times to give the impression of slow motion.

The disk platform, EVS’ Super Live Slow Motion system, allowed the recording of signals originating from “Super Motion” cameras the Philips LDK23 HS, Sony BVP-9000 and Panasonic AQ-2000.

The EVS Super LSM system was a four-channel, Motion-JPEG disk recorder. To give the 75fps frame rate, three channels were used for recording at 25fps each.

The freelancers arrived in Sydney within only one week before the Olympics began, with virtually no time available to be trained on systems and workflow.

However, the majority of operators were familiar with Avid systems, minimising the learning curve for the Avid Symphony system.

Prior to the Games, NBC used one of its Avid Symphony systems to edit and finish a weekly half-hour program, The Olympic Show.

According to Eric Pohl, then Vice President of Technology with NBC, “Because we have multiple games to think about, our emphasis for this entire project has been focused on providing a reusable infrastructure as well as a way to migrate the technology as it upgrades from one level to the next.

Indeed.

The fourth channel was used for output. At the time, conventional LSM slow motion systems could be configured for 1 to 3-camera operation with one camera per input.

The Sydney Olympics also saw an increase in the amount of Super Slow Motion coverage used with 20 Super Motion camera and lens packages and 16 disk recorders employed for the event.

The systems also included live editing, quick random access, and simultaneous record and playback. Cable runs from camera to recorder could be as long as 900 metres.

“We have been waiting for systems that are robust enough to handle these tasks and feel that the interconnectivity of the Avid Symphony and Avid Unity MediaNet systems make it possible for us to make the leap from a linear process to a nonlinear environment while still allowing the speed that we are accustomed to in linear systems.”

The Super Slow Motion technology captured vision at 75fps and replayed it at 25fps to give

The units could also be used for “live delay” coverage of events.

Yes, he did use the words “speed” and “linear” in the same sentence.

Australasiaâ&#x20AC;&#x2122;s conference and expo Australasiaâ&#x20AC;&#x2122;s llargest argest c onference a nd e xpo focused focu fo cuse sed se ed on o the on th he e multi-screen, mul ulti ti-s -scr cree cree een, n, multi-platform mul ulti ti-p pla latf tfo orrm business bu b usi sin ne ess ss opportunity oppor ppor pp orttu uni nitty y

Robert Tercek

21st & 22nd November Melbourne Convention & Exhibition Centre

Entrepreneur, Creative Artist, Educator

connect with ideas connect with people connect with opportunity

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Two-time EmmyÂŽ award winner, leading advisor, author and speaker in digital media and media strategy

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Michael Lantz CEO, Accedo

Diamond Sponsor

Gold Sponsors

Workshop Sponsor

Organised By

In Association With

Media Partner

Prof. Duane Varan

&KLHI 5HVHDUFK 2IĂ&#x20AC;FHU Disney Media and Advertising Labs, USA

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WORK SOME MAGIC INTO YOUR WORKFLOW Content comes in from an assortment of inputs. You have to deliver it to a wide range of outputs.

What happens in between can set you apart. Selenio integrates all processing, compression and IP networking into one unified platform. It’s so brilliantly simple, you’ll think it’s magic.

Check out Selenio™ at the Australian BroadcasU Exhibition 2012 — Booth No.6.

broadcast.harris.com/selenio

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