Content +Technology ANZ Sept-Oct 2014

PP: 255003/06831

VOLUME 11 ISSUE 5 SEPTEMBER/OCTOBER 2014

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

www.content-technology.com

SPORTSCASTING

ACQUISITION

POST PRODUCTION

October 7-8,

ETIHAD STADIUM, MELBOURNE

ISSN 1448-9554

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Broadcast. Products. Solutions.

FileCatalyst Direct

GB Labs Space

• Accelerated file transfer solution

• Lightning fast network storage devices

• Thousands of times faster than FTP

• Optimised for file sharing, media archiving and intelligent file-based workflows

• 10 Gbps transfer speeds and beyond

• Easily integrated with MAM, transcoding, editing, grading and archiving solutions

• Easy integration into media workflows • Reliable and secure

• Online storage for HD, 4K and 8K environments

Appear TV

Nevion

• Unique, modular video and signal processing technology solutions • World class equipment for the delivery of professional video services • Unique products that open up new opportunities for video distribution • Ideal for cable, fibre-to-thehome (FTTH), broadband/ADSL, satellite and terrestrial operators

Network and broadcast infrastructure solutions

Ikegami

Aerialtronics

Hi-Motion II Broadcast Camera • HD Ultra Slow Motion camera system employing 3-chip image capture technology • Embraced by sports broadcasters around the world • Provides continuous live video output • Simultaneously record ultra slow motion images during replay

• Altura Zenith

• Combines Nevion and T-VIPS • Convergence of broadcast, IT and telecoms technologies • Efficient delivery of premium content for major sporting and live TV events

• Ideal for outside broadcasts takes a wide variety of cameras • State of the art technology, compact and lightweight • GPS assisted flights • Touchscreen tablet controlled

RTS Telex - Digital Matrix

Chyron Hego - TRACAB

• ADAM Full-Size Modular Matrix Intercom

• Advanced player tracking system

• ADAM-M Mid-Size Modular Matrix Intercom

• Patented image processing identifies position and speed of moving objects in realtime

• Cronus Small-Size Modular Matrix Intercom

• Highly accurate X, Y and Z coordinates supplied 25 times every second

• Zeus III Compact Matrix Intercom: 32-Port

• Deployed across the most demanding live sports events

• Zeus III LE+ Compact Matrix Intercom: 16-Port

Visit Magna Systems & Engineering’s stand at Sportscasting 2014 Conference & Expo at Etihad Stadium, Melbourne on 7-8 October

www.magnasys.tv Contact your local Magna Systems & Engineering office today and see how we can provide you with the best products and solutions available.

Auckland +64 9520 1582 3056.35 C+T SEP-OCT_COVER.indd 3

Hong Kong +852 2563 4453

Jakarta +62 8181 43923

Singapore +65 6282 3613

Sydney +61 2 9417 1111

Email sales@magnasys.tv 28/08/2014 5:55 pm

VOLUME 11 ISSUE 5 SEPT/OCT 2014

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

Cover Story – Sportscasting

18 REGULARS 02 EDITOR’S WELCOME 04 NEWS News in Brief, SMPTE Fellows Named, 2014 Paul Marlan Award, IABM Appoints APAC Director

43 CLASSIFIEDS AND EVENTS 44 INDUSTRY FOCUS 48 TIME SHIFTER

12 FEATURES 12 ACQUISITION Burns Point shoots with Sony 4K, NZ Film and TV School Choose ARRI ALEXA, Wristband Tracking Camera Drone

16 SPORTSCASTING Global TV/NEP Adds

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HD Super Truck, Sportscasting Conference Preview

23 NEWS OPERATIONS Globecast Houses LiveU Gateway, Videocraft Builds Facilities for Macquarie Uni, 24/7 Indian News Channel

26 POST-PRODUCTION RSP Make Time

29 MEDIA IN THE CLOUD Metronode Wins Brill Awards, Telstra Acquire Ooyala, Quantum Takes StorNext Pro to IBC

32 AUDIO DPA For The Voice Australia, A United Console Kingdom, Wireless Mic Users Get Ready

36 RADIO Economics of DAB+: Broadcasting: Use It or Lose It, AlanDick Broadcast Develops DAB Systems

38 TRANSMISSION Seven Buys httvStream Manager from Magna, The Role of IP-Based KVM, GatesAir Intelligent Networking

Stand Still, Imagica Builds Facility with Baselight, The Sun Also Rises on Gallipoli

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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

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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.

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EDITOR’S WELCOME

Kicking Goals with Broadband

By Phil Sandberg IF 2014 IS REMEMBERED FOR ANYTHING, it will be remembered as the year that broadband truly crossed the tipping point from being a separate supplementary channel for delivery of content by free-to-air broadcasters to being an integrated part of their operations.

 42% of homes have tablets (31% in Q1 2013);

While they may not prove to be an overnight success, the introduction of Hybrid Broadcast Broadband Television (HbbTV) services by Australian freeto-air broadcasters represents a fundamental shift in the business model of traditional TV – and one that goes some way to closing the gap between those who have traditionally relied on radio waves and the cable/satellite and OTT operators.

 69% of Australians aged 16+ own a smartphone (61% in Q1 2013);

Services in development by the Seven Network, SBS - the Special Broadcasting Service and Freeview through its Freeview Plus EPG illustrate that traditional broadcasters have themselves become hybridised as they embrace alternative delivery and revenue opportunities.

Rowe also points to an increase in video data traffic between the two events.

The Usain Bolt 100 metre dash of the London Olympics generated less than a Terabit/sec of data traffic while the Netherlands Vs Argentina FIFA match in Rio generated a high of 6.87Tbps. Even the Australia Vs Netherlands games saw traffic of 3.2Tbps.

Reflecting global trends in connectivity – both fixed and mobile - the recent Q1 2014 Australian Multi-Screen Report from OzTAM, Regional TAM and Nielsen found that

According to the Q1 2014 Australian Multi-Screen Report:  93% of Australian television homes can access digital terrestrial television (DTT) channels on every working household TV set;

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According to Malcolm Rowe, VP Asia-Pacific for Akamai, it was only as recently as the 2012 London Olympics that a mere 10% of all video streams were going to mobile devices while the FIFA World Cup has seen 54% of video streams being delivered to mobile devices.

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Overall, Akamai supported delivery of FIFA programming to 65 different countries, 50 different rights holders and 24 different broadcasters.

However, while the broadband transformation of traditional television is underway, it must be emphasised that it is still early days, especially given that Australia’s switchover from analogue to digital broadcasting was completed less than a year ago.

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SBS embraced this trend with its FIFA 2014 World Cup app, co-developed with Host Broadcast Services and deliverd via Akamai’s content delivery network.

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 Australians spend on average 38:41 hours per month online;  12.323 million Australians watch some video (both television broadcast and non-broadcast content) on the Internet each month: an average of 7:48 hours per month. Such viewing is highest among people aged 18-24 (16:28); and  Across the online population aged 16+, people claim to spend an average 1:47 hours per month using tablets to watch any online video, which can include both broadcast TV and non-broadcast content.

Of course, it is the “Node on the Road” that free-to-air broadcasters must also embrace. It is one thing to be ready for a roll out of HbbTV-enabled large-screen televisions, but another reason 2014 will be remembered is the increasing dominance of mobile viewing.

St. Petersburg

The Freeview Plus EPG.

 92.2% of all broadcast TV viewing is Live, with Playback of broadcast content that viewers record and watch within seven days accounting for 7.8% (7:15 hours per month).  54% of homes have PVRs; 14% have two or more (53%; 13% in Q1 2013).

Thanks for Reading Phil Sandberg Editor/Publisher

 Australian household internet penetration stands at 80%;

papers@broadcastpapers.com

 Internet capable TVs are in 27% of homes (21% in Q1 2013);

T: +61-(0)2-9211 8205

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

DDP and Fujifilm Wrangle Data on LTO WHEN DDP STUDIOS Technical Innovation Manager, Simon Alberry was looking for a better, more efficient way to manage the large volume of LTO tapes he and his team work with on a daily basis he turned to Fujifilm Australia.

Alberry explained, “Our clients have asked for their LTO archives to be clearly labeled on the shelf so they can grab exactly what they need when they need it immediately – data at their finger tips. They also would prefer to know what’s on each tape without first having to sort through large documents or trawl through old databases.”

In order to make the previous single strip, cardboard insert labelling system more efficient Alberry discussed his needs with Marc Van Agten at Fujifilm and the new labelling process began.

Alberry continued, “In truth the original idea for the new labels came from our partner company EFILM in Hollywood. I took their model and showed it to Marc who in turn came up with a prototype for us here in Australia. There are bespoke areas for information on each label that includes the Deluxe

Maori TV VOD Service Supplied

by Gencom MAORI TELEVISION SERVICE has deployed the range of products from Harmonic for the creation and publishing of its Video On Demand service. Viewers can now access via the channels website a backlog of programming titles for repeats of catchup viewing.

The Harmonic WFS and Carbon workflow and transcoding products work together to provide a complex workflow of taking programming assets for the linear presentation broadcast facility and publish these up as downloadable VOD’s.

Some of the special requirements from Maori Television Service were to transcode and stitch together multi-segment programs, into single VOD entities suitable for a range of resolutions and devices, together with the all-important cross language subtitles.Maori Television Service’s Gavin Ho said, “Together with the help of Gencom, we looked at most products on the market to find the one single suite of products from a single vendor that could address all of our needs, and Harmonic was really the only one that ticked all of the boxes for us.“ Visit www.gencom.com

and DDP logos as well as all the relevant production information. Each label is easily customisable and the process is almost completely automated.”

The new Fujifilm LTO cine labels are created as a PDF which Alberry and his team link to their database and fill out via Adobe Acrobat. The labels are then printed out in pre-cut sticker sheets to match a required production template.

Alberry concluded, “Before we had the new Fujifilm labels each LTO label would take about five minutes. Multiply that by thousands of tapes and that’s a lot of time spent on labelling. Now with the new Fujifilm system we label in a fraction of the time, much more efficient and a better product for our clients. It’s a very intuitive process preferred by our producers like because all the information they require is so clear and accessible.”

Fujifilm’s new LTO cine labels and labelling process were recently used by Simon Alberry and the DDP Studios team on feature movies including Alex Proyas’ ‘Gods of Egypt’, ‘Backtrack’, and Josh Lawson’s ‘Little Death’.

Visit www.fujifilm.com.au

Videocraft Chooses Cabrio Lenses BROADCAST EQUIPMENT sales and rental specialists Videocraft has updated its rental fleet with five of the very latest Fujinon Cabrio lenses that include three 19x90mm, one 85-300mm and one 14x35mm wide angle lens.

Videocraft Victoria rentals manager, George Pana, said, “The Fujinon Cabrio lenses have been some of the most popular lenses we’ve ever had in our rental fleet. Our customers particularly like the fact that they are lightweight, versatile and help produce great images on cameras such as the Sony F5, F55, F65, and ARRI ALEXA.” The Fujinon PL 19-90mm and 85-300mm Cabrio lenses feature an exclusive detachable servo drive unit, making them suitable for use as a standard PL lens. The Cabrios also feature flange focal distance adjustment, macro function and are LDS (Lens Data System) and /i metadata compatible. With 19-90mm and 85-300mm focal ranges and weighing only 2.7kg and 3.3kg respectively including servo motors, these lenses have some of the longest focal range available in lightweight zooms.

The 14-35mm Cabrio is comfortable to use with today’s smaller 4K cameras and aimed at camera operators looking for a lightweight zoom that can be used handheld and to capture wide angles in tight spaces.

Visit www.fujifilm.com.au

STUDIOTECH AUSTRALIA UNIT 18 / 7 SEFTON ROAD THORNLEIGH NSW 2120 Phone: +61 2 8911 5020 Fax: +61 2 8088 7803

NEWS + PEOPLE

info@studiotechau.com www.studiotechau.com

Its all about s

We proudly Sell, Support and Integrate the above manufacturers solutions and more.

Please see our website for more information.

Come and see us at the Sportscasting Expo - October 7&8 at Etihad stadium

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Full Size HD Viewfinder The Blackmagic Studio Camera includes the world’s largest viewfinder built in! The massive 10” high resolution screen has a super wide viewing angle and extremely high brightness so you can see your images with amazing detail even in bright daylight! This professional grade viewfinder makes it easy to frame, focus, change iris settings and make subtle adjustments with full confidence even when you’re live on air!

Optical Fiber and 6G-SDI Connections Connect Blackmagic Studio Camera to your live production switcher with optical fiber cables connected to the built in fiber port or use regular 6G-SDI BNC video cables! The video connections are bi-directional and carry HD or Ultra HD video with talkback, tally, embedded audio and even camera remote control.

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Talkback and Tally The Blackmagic Studio Camera features built in talkback using general aviation headsets, so you get better noise cancelling and comfort at a much lower cost! You also get built-in tally lights that illuminate automatically when your camera is live so your cast and crew can easily see which cameras are on air! Talkback and tally signals are embedded in the return video connection to the camera, so you don’t have to run separate cables!

Micro Four Thirds Lens Mount The active Micro Four Thirds lens mount is compatible with an incredibly wide range of lenses and adapters. You can use your existing photo lenses for smaller setups and fixed camera use, or connect incredible broadcast ENG lenses via a B4 lens adapter. You can even use third party adapters for high end feature film PL mount lenses, so it’s easy to customize your camera to suit any sized production!

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NEWS + PEOPLE

2014 Paul Marlan Television Engineering Award THE AUSTRALIAN BROADCASTING CORPORATION’S Ian Dash has been awarded the 2014 Paul Marlan award in recognition of a significant contribution to the Australian television industry through research and standardisation for television programme loudness and true peak audio levels; in particular operational practices for loudness in the international exchange of digital television programmes.

Ian’s research studies, practical engineering awareness, scientific knowledge and personal dedication to the pursuit of high quality standards for digital sound and television broadcasting has been recognised in national and international forums Ian’s insight of this frontier topic of the psycho acoustic properties of broadcasting sound, his strong advocacy for the requirements of the Australian broadcasting industry and persistence for factual scientific evidence has gained him the greatest respect from his national and international colleagues.

The award commemorates the outstanding contribution made by Paul Marlan up to his unfortunate death while representing FACTS at an ITU meeting in Geneva in 1981.

The Paul Marlan Award is available for annual presentation by Free TV Australia (formerly FACTS) to a member of the Engineering Department staff of an Australian television station, or a person or organisation, who is judged to have made a significant contribution to commercial television engineering.

Visit www.freetv.com.au

Colin Wright Named SMPTE Fellow COLIN WRIGHT, Executive Engineer, Future Technology, with Australia’s Seven Network, has been named as a Fellow of the Society of Motion Picture and Television Engineers (SMPTE). The Society has announced that it has granted SMPTE Fellow membership status to eight industry leaders.

The honour is conferred on individuals who have, through their proficiency and contributions to the industries, attained an outstanding rank among members of the Society.

Colin R. Wright began his career at the Australian Broadcasting Control Board, where he worked on the introduction of colour and stereo sound, and ultimately spent 35 years in key engineering roles with Australia’s Seven Network. During that time, he contributed to the creation of a global HDTV standard, led construction of Seven’s Los Angeles news studio, and introduced innovative techniques for carrying two television programs, data, and multiple sound channels on a single low-powered international satellite link. Wright holds editing and chairman roles on various Australian committees.

Vince Roberts, executive vice president of global operations and CTO at Disney/ABC Television Group, has also been made a Fellow. He established Disney’s first international broadcast operation, Walt Disney TV Singapore.

Other recipients of the status of Fellow announced by SMPTE include: Hanno Basse, CTO at 20th Century Fox Film Corp.; Thomas G. Edwards, vice president of engineering and development at Fox Networks Engineering & Operations; Joseph J. Kane Jr., a manager of the SMPTE Hollywood Section; John McCoskey is the SMPTE Eastern region governor and executive vice president and CTO at the Motion Picture Association of American (MPAA); Andrew Quested, a manager of the SMPTE U.K. Section; and Jim Starzynski, the director and principal audio engineer at NBCUniversal Advanced Engineering.

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We understand the commercial and technical demands our customers face, and we ensure their purchase is the correct solution to satisfy both of these needs. We pride ourselves on being an integral part of the customers decision making process.

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www.proaudiotv.com.au Professional Audio & Television Pty Ltd P: 02 9476 1272 E: sales@proaudiotv.com.au

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NEWS + PEOPLE

IABM Appoints Director for APAC Region THE IABM (International Association of Broadcasting Manufacturers) has announced the appointment of Peter Bruce to the position of director for APAC. Peter White, chief executive, IABM, says, “Peter has extensive knowledge of the APAC broadcast market, from both an engineering and commercial point of view and will prove an invaluable member of the IABM team, especially in building our membership by delivering localised and relevant support.”

Bruce has worked in the region for 19 years for the likes of the Vitec Group, and Thomson SA group companies BTS, Sony, and, most recently, for Grass Valley as channel management director.

“In my time in the broadcast industry I have seen significant changes, such as the shift from analogue to digital, and the challenges that manufacturers face. My engineering background and experience in sales, marketing and channel management has given me a unique understanding of the industry and, as such, enables me to appreciate the needs of IABM members, and potential members, and successfully deliver the support they require from the IABM,” says Bruce.

Visit www.theiabm.org

OzTAM Appoints Digital Strategy Director OZTAM HAS APPOINTED Padraig O’Donovan to the newly-created role of Digital Strategy Director. He will be responsible for developing and managing the company’s audience measurement diversification program as OzTAM moves towards reporting viewing of TV on other screens.

Mr O’Donovan joins OzTAM from Network Ten, where as Head of Digital Technology he helped deliver the network’s TENplay digital broadcast platform and led development of its HbbTV TENplay application.

OzTAM CEO, Doug Peiffer, said, “Padraig is highly regarded for his technical expertise and deep understanding of emerging trends in viewing television content on new screens, from the perspective of viewers, advertisers and broadcasters alike. His experience with multiple stakeholders, technologies and platforms will significantly bolster our team as we progress OzTAM’s audience measurement diversification program.”

Mr O’Donovan said, “I am looking forward to deploying my client- and user-side experience as OzTAM works to measure and report audiences viewing television on new screens.”

Mr O’Donovan took up his role with OzTAM on 11 August.

Visit www.oztam.com.au

Studiotech Australia Adds Dalton to the Team STUDIOTECH AUSTRALIA has announced that industry veteran Gerard Dalton has joined the company. Gerard has already worked on various projects at Studiotech Australia as a contractor and due to their recent successes in winning major System Integration contracts; this has now led to his permanent employment.

“Gerry is a perfect fit in our organisation and it was a “no brainer” for me to offer permanent employment, as we work extremely well together, as we have for many years,” stated Studiotech Australia’s Managing Director, Michael Bentsen.

This is another major step in the building of Studiotech Australia as Gerry’s experience, knowledge, and attitude, complement our other resources well. Studiotech Australia now has a strong core of competent multifaceted key people, that complement each other and this enables us to provide cost efficient quality services.

Visit www.studiotechau.com

Thompson Takes on Broadcast for Kordia KORDIA SOLUTIONS AUSTRALIA has bolstered its sales and marketing operations with the appointment of Andrew Thompson to the position of General Manager – Broadcast Industry & NSW. Andrew is a seasoned broadcast industry executive who was most recently the MD and CEO of Digital Distribution Australia and BTS – two Companies within the WIN Television Network Group. He was also Group Executive (CEO) of MediaHub Australia, a state of-the-art Broadcast Services and DTV Play out Centre formed as a joint venture comprising of the Australian Broadcasting Corporation and WIN Television.

Visit www.kordia.com.au

Jordan Appointed PR Manager at CRA VASINEE JORDAN has been appointed PR Manager at Commercial Radio Australia, joining Media Manager Melissa Fleming in the corporate communications team.

Previously PR & Communications Manager at Nickelodeon, Jordan has moved from television to the radio industry and will act as an additional media contact across CRA’s programs and initiatives, including the National Radio Conference, the ACRAs and Siren Awards, First Break, and the promotion of Digital Radio.

Visit www.commercialradio.com.au

Avid Makes Key Addition to APAC Team NEWS + PEOPLE

AVID (OTC: AVID) HAS ANNOUNCED that Peter Ennis has joined the company as Director of Strategic Solutions for the Avid Global Centre of Excellence, APAC (Asia and the Pacific). “This appointment is part of our ongoing efforts to deepen customer relationships, and provide innovative solutions that meet the needs of a rapidly evolving industry,” said Craig Dwyer, Senior Director of the Avid Global Centre of Excellence.

Ennis has more than 30 years of senior management experience in technology operations at major broadcast and media companies around the world. Ennis has held technology leadership positions in several international broadcast organisations, including Al Jazeera Media Network, Television New Zealand, and TV3 Ireland.

Visit www.avid.com

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TECHNICAL STANDARDS www.content-technology.com/standards

MPEG Completes Work on Two HEVC Extensions THE 109TH MPEG meeting was held in Sapporo, JP, from 7 – 11 July, 2014. At the meeting, the standard development work was completed for two important extensions to the High Efficiency Video Coding (HEVC) standard (ISO/IEC 23008-2, also standardised by ITU-T as Rec. H.265).

The first of these are the scalability extensions of HEVC, known as SHVC, adding support for embedded bitstream scalability in which different levels of encoding quality are efficiently supported by adding or removing layered subsets of encoded data. The other are the multiview extensions of HEVC, known as MV-HEVC providing efficient representation of video content with multiple camera views and optional depth map information, such as for 3D stereoscopic and autostereoscopic video applications. MV-HEVC is the 3D video extension of HEVC, and further work for more efficient coding of 3D video is ongoing.

Accedo Joins Tizen ACCEDO, A MARKET LEADER in TV Application Solutions, has joined the Tizen Association Partner Program.

Tizen provides an alternative ecosystem for application developers to reach a new generation of browser-enabled devices. With Tizen, device makers and operators have the opportunity for differentiation possibilities at the user experience and service level.

“We are excited about joining the Tizen Partner Program and being part of Tizen’s evolution,” commented Michael Lantz, CEO, Accedo.

“Tizen’s focus on openness, standardisation, and developer outreach are key ingredients for a successful operating system. It is Accedo’s intention to be in the forefront of innovation and we believe Tizen is an important factor in our growth.”

In addition, the finalisation of reference software and a conformance test set for HEVC was completed at the 109th meeting, as ISO/IEC 23008-5 and ISO/IEC 23008-8, respectively.

In consideration of the recent dramatic developments in video coding technology, including the completion of the development of the HEVC standard and several major extensions, MPEG plans to host a brainstorming event during its 110th meeting which will be open to the public. The event will be co-hosted by MPEG’s frequent collaboration partner in video coding standardisation work, the Video Coding Experts Group (VCEG) of ITU-T Study Group 16.

Additionally, MPEG has selected technology for Version II of the MPEG-H 3D Audio standard (ISO/IEC 23008-3) based on responses submitted to the Call for Proposals issued in January 2013. This follows from selection of Version I technology, which was chosen at the 105th meeting, in August 2013. While Version I technology was evaluated for bitrates between 1.2 Mb/s to 256 kb/s, Version II technology is focused on bitrates between 128 kb/s to 48 kb/s.

The selected technology supports content in multiple formats: channel-based, channels and objects (C+O), and scene-based Higher Order Ambisonics (HOA). A total of six submissions were reviewed: three for coding C+O content and three for coding HOA content.

The selected technologies for Version II were shown to be within the framework of the unified Version I technology.

Visit http://mpeg.chiariglione.org

Wohler Signs on to DPP Compliance Program

GatesAir Enters Into RAVENNA Partnership

WOHLER TECHNOLOGIES is participating in the new compliance program created by the Digital Production Partnership (DPP), an industry collaboration that provides information and shares best practices to help producers and broadcasters maximise the potential of digital production.

ALC NETWORX HAS ANNOUNCED that GatesAir has joined the RAVENNA community.

“Compliance with the DPP specification is becoming a critical part of operations for many content producers, and our goal is to enable customers to create DPP deliverables with efficiency and confidence,” said Craig Newbury, vice president of sales for Wohler.

Through the new DPP program, participating manufacturers will provide details of completed tests, the sample files produced, and evidence of the results obtained on file delivery or processing products that are being marketed or developed.

Visit www.wohler.com

The move comes in the wake of the publication of the AES67 Standard on High-performance Audio-over-IP Streaming Interoperability, which is fully in line with the fundamental operating principles of RAVENNA. Consequently, integration of RAVENNA offers a straightforward way for GatesAir to achieve full AES67 functionality.

Rich Redmond, chief product officer for GatesAir, says, “RAVENNA enables our customers to develop a networked audio ecosystem across studio and external signal transport environments, offering an AES67compatible foundation over which wide spread interoperability can be achieved.”

Visit www.gatesair.com and http://ravenna.alcnetworx.com

TECHNICAL STANDARDS

Visit www.accedo.tv

SHVC and MV-HEVC will be combined with the original content of the HEVC standard and also the recently-completed format range extensions (known as RExt), so that a new edition of the standard will be published that contains all extensions approved up to this time.

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ACQUISITION www.content-technology.com/acquisition

Burns Point Shoots with Sony F5 4K CineAlta Camera According to DOP Kent Marcus, when deciding which camera to use on the new independent Australian movie ‘Burns Point’ there were several very important factors to address, not the least of which was cost.

MARCUS EXPLAINED, “Going into ‘Burns Point’, budget was a key concern. With all lower budget features, I am always looking for creative ways of achieving a refined result without losing quality. When I was in discussion with director Tim Blackburn and producer Chris Blackburn about their vision, they first mentioned some alternatives to the Sony F5. They felt that some of these cameras would be a good fit for the project, as they were small enough and light enough to achieve some of the shots discussed with a smaller crew. We would be on a very tight 22 day shoot period with a minimal crew that consisted of myself, a 1AC, gaffer, and best boy. I had previously used some of the other cameras on a documentary however I felt that the F5 gave us greater potential. The latitude was similar to some of the alternatives but the extra depth in colour was very important to me. Also the base EI of 2000 meant that my lighting package could be reduced in power. The ability to shoot up to 150fps was an added feature.”

Having assessed the F5 against all the other possible alternatives Marcus decided it was the camera for ‘Burns Point’. Aside from the extra depth in colour Marcus had also had success with the F5 on other projects, which added to his confidence in the camera.

He added, “I have always found Sony to be a very reliable system. The company history of making cameras that are durable was highly important to me and I had previously used the F5 on a pitch for the ABC and was very impressed with the look of the camera as well as how easily the footage graded. For the ‘Burns Point’ shoot we were filming at an extremely fast pace. In some cases, we were achieving more than 50 setups per day.

I needed a camera that I could rely on, one that could work all day without a fault.

bitumen to sandy beaches. He also used mounting systems that included sticks, shoulder mounts and a 3-axis gimbal in challenging weather condition such as heavy rain and 40 degree heat with high humidity.

Marcus added, “To say the shoot was a challenge is an understatement but in saying that, during the time we only had one small incident with the camera and this was caused by a third-party product. There were two main factors that allowed us success with the camera in these diverse situations. Firstly, the camera’s weight. The Sony F5 is about 2kg, which worked in our favour, as we were able to cut back on the heavy-duty equipment required for rigging options with other cameras. We were also able to use the highly versatile carbon fibre Miller Solo legs. These legs gave us the ability of mounting the F5 from 12 inches to over 7 feet. Prior to filming, we tested the camera on the gimbal and worked out a suitable system where the entire rig weight was under 5kg.

“The second factor was the base sensitivity on the F5. We were filming in a range of lighting environments from bright midday sun to very low light night scenes. These lighting situations created significant challenges. We were aiming at a shooting stop between T2.8 and T4. For daylight situations the 1.8 internal ND and a True Polariser

became our basic camera setup. This gave us a shooting stop of around T4. We counted on just under 14 stops of dynamic range and used every stop available. In addition we were regularly shooting from dark to light environments with the constraints of a small crew and power restrictions dictating that the lighting package contained nothing more powerful than a 2k Blondie.”

Industry veteran Jack Swart, who also served as the gaffer on the film, supplied the Sony F5 camera on ‘Burns Point’. Commenting on the camera Swart said, “One of the main factors in the decision to use the F5 on ‘Burns Point’ was its low light capabilities. With a small crew, and the need to shoot many pages per day to stay on schedule, a large lighting setup was never going to happen.

The ability to shoot at 2000 ISO and beyond made it possible to record scenes that other cameras simply could not. Size and weight were also factors, as we had to mount the camera on a Movi-style handheld stabiliser, put it in the back of moving vehicles and attach it to the bonnets of cars in motion. The ability to move the camera and tripod together for a different shot, without needing to strip it down or use two people, was a huge time saver. Power consumption was also a big factor.”

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

ACQUISITION

“We were also shooting in some environments where power was limited so power consumption had to be taken into account. I have had previous experience with other far more power-hungry cameras however with the Sony F5, I found that the all day capacity of its BP-FL75 V-lock battery was sensational. One of my major concerns on the ‘Burns Point’ shoot was to keep away from clipped highlights. Through a series of camera tests, I was more than confident that we could create a film-style look with careful capture on the Sony F5.”

During the ‘Burns Point’ shoot Marcus put the F5 though a large number of different filming situations including internal and external car mounting on a variety of surfaces from hard

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ACQUISITION

NZ Film and Television School Chooses ARRI ALEXA THE NEW ZEALAND FILM and Television School recently made the decision to move from film to digital and thus upgrade the cameras it uses on its courses. There was a major assessment of digital cameras carried out and when all had been evaluated it was the ARRI ALEXA that was the school’s camera of choice.

New Zealand Film and Television School Executive Director, Sashi Meanger, explained, “The New Zealand Film and Television School has a long history of teaching and shooting 16mm film process and disciplines, a unique course founded by some of our most renowned filmmakers and one that is delivered and taught directly by industry practitioners. Right up to 2013, our students were still shooting on film, but the closure of Park Road Post Processing Lab meant that we had no option but to move into the digital format.

Fortunately, our Head Tutor and filmmaker Sima Urale had first-hand experience with high-end cameras on television commercials. Although a lover of the film format, she decided to try out the Red on one commercial, and the ARRI ALEXA on another. Sima’s extensive experience with filming drama and commercials on 16mm and 35mm film and the comparisons to the latest high-end cameras was a major deciding factor.

“Our Technician, Mark Jackson, was also thorough

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in his research in reassuring us that we were making the right choice, and as a school we have strong ties to the industry, drawing on cinematographers and camera specialists for advice and expertise. We also drew on producers and editors, and their experience to gauge costs and other factors that might directly affect postproduction and general running of our course and schedule by Programme Manager Kevin Armstrong and Administrator Johan Bekker.”

Mark Jackson added, “After comparative research and testing of different digital platforms, the exposure tolerance and organic look of the footage from the ALEXA made it obvious that this was the platform we needed to use to offer the best for our students. With the help of our industry partners and ARRI Australia, we settled on the ALEXA A-EV package with Zeiss CP.2 primes.”

The New Zealand Film and Television School course is an intensive one year programme with an average of 24 students per intake. The school has two courses overlapping with an intake starting in February and another in July. It is in the second semester that the students get to fully utilise and train on the ALEXA as well as produce major projects, and with two courses overlapping it means that the ALEXA is in use all year round.

Sima Urale explained, “The students have major assignment projects that involve the ALEXA, which takes up all of the second Semester - Film Intensive and their End of Year films. These projects are highly technically challenging, but I always remind students that in the end, it’s all about the technical supporting the creative vision, storytelling elements, performance, and capturing a mood or feel.”

Sashi Meanger concluded, “Feedback from students after using the ALEXA is extremely positive, so thank you ARRI Australia for your advice and technical support. It’s a purchase that we are extremely proud of and one that our students feel very privileged to have experienced.”

Visit www.arri.com.au

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ACQUISITION

Camera Drone Follows Subjects via Wristband Tracker

COBHAM HAS FEATURED its new receiver platform, the PRORXD, which includes 1080p60 4:2:2 10-bit decoding capabilities during BroadcastAsia 2014.

Two configurations, 1RU or 2RU, are each capable of decoding separate HD signals, including MPEG2 HD if required, effectively making them dual receivers. The PRORXD’s decoding algorithm has been specially engineered

by Cobham to ensure full compatibility with all leading encoders.

A key benefit of the PRORXD system is that it automatically adjusts its encoding bit-rate capacity to ensure optimum picture quality by compensating for variations of ‘contention’ on IP networks. This feature is particularly valuable when using Ka-band and BGAN satellite systems.

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UAV START-UP COMPANY, Helico, has developed AirDog, the world’s first automated drone designed to track and video outdoor sports and activities.

Aimed primarily at the consumer market, AirDog is a ‘quad-copter’ that operates via a wrist-worn tracking device and accommodates a standard GoPro sports camera. Users can automatically capture aerial video footage and still photography of themselves, having set distance, speed and height levels for AirDog to follow. Parameters can also be set via a smart phone app.

After raising US$500,000 via crowd funding website kickstarter.com, Helico is now targeting the outdoor ‘extreme’ sports market and expects AirDog to be of particular interest to recreational participants of freestyle BMX, motocross and skateboarding, as well as water-sports such as surfing, kitesurfing and wake-boarding.

“AirDog not only grants end-users their own affordable and personal aerial video crew, but goes one step further in providing thrilling footage from distances and angles previously inaccessible to such consumers,” explains Edgars Rozentals, Co-founder and CEO of the Latvia -based, Helico Aerospace Industries.

According to Rozentals, AirDog might literally have not got off the ground, had it not been for the instrumental role 3D printing played during the prototyping phase. The company sought the expertise of Stratasys’ Latvian partner, Baltic3D, who also worked with Polish reseller Bibus Menos to meet the requirements outlined by Helico’s team. In order to produce fullyfunctional parts that could perform in the real environment, both Stratasys’ FDM and PolyJet 3D printing technologies were employed for AirDog and its AirLeash tracking device, respectively.

Visit www.cobham.com

New Apple ProRes Formats for Blackmagic Cameras BLACKMAGIC DESIGN has announced the immediate availability of Camera 1.8.2 software, which adds three new Apple ProRes file formats for the Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera, and Blackmagic Production Camera 4K. Camera 1.8.2 update is available now free of charge from the Blackmagic Design website.

Blackmagic Design camera customers have always been able to record in both CinemaDNG RAW or compressed ProRes 422 HQ formats, however now this new software update adds three additional Apple ProRes file formats, ProRes 422, ProRes 422 LT and ProRes 422 Proxy. This means customers using Blackmagic Design cameras will be able to get significantly smaller video file sizes allowing much longer recording durations on the same media card, all while preserving full frame 10-bit 4:2:2 quality.

Helico expects to commercially introduce AirDog to the market at the end of October, 2014.

Because this update reduces the data rate of recording, customers can now choose lower cost SSD or SD cards while still recording high quality video in SD, HD, and Ultra HD resolutions. Using ProRes 422 Proxy it is possible to record 230 minutes of 1080HD video on a single 64GB SD drive.

Visit www.airdog.com

Visit www.blackmagicdesign.com

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Cobham also featured Nano HDTX, an ultra-miniature digital video transmitter designed specifically for POV and body-worn applications.

At its core is Cobham’s COFDM and H.264 encoding technology, which enables the transmitter to retain excellent image quality over a wireless link.

Datacolor Releases SpyderCHECKR 24 DATACOLOR HAS announced SpyderCHECKR 24, a new addition to the SpyderCHECKR product line, which includes the flagship 48 patch SpyderCHECKR. SpyderCHECKR 24 is a precise and versatile camera colour calibration and white balance target for photo and video colour control for on-the-go professional photographers and videographers.

Portable and affordable, SpyderCHECKR 24 is designed to colour manage camera and scene for both still and motion imaging workflows.

Spectrally engineered with 24 pigment patches, SpyderCHECKR 24 offers the accuracy of a full size, large patch photo target in a thin, compact design. SpyderCHECKR 24’s gray face provides in-camera and post-process white balance and exposure adjustment, while the colour face allows users to colour correct capture automatically in Adobe Photoshop ACR, Adobe Lightroom, Hasselblad Phocus, and Blackmagic DaVinci Resolve.

Visit www.datacolor.com

Panasonic Announces Successor to AG-AC90A AVCCAM THE NEW PANASONIC AG-AC90A inherits the high image quality from the original AG-AC90, but features enhanced network capability and a range of useful professional functions.

Panasonic’s AG-AC90A AVCCAM features a high speed F1.5, BI (back-illuminated sensor) type 3MOS image sensors providing Full-HD resolution. In addition to high-quality professional PS/PH mode (1920 x 1080) recording, the AGAC90A supports PM mode (1280 x 720) and low-bit-rate CS mode (720 x 576) for delivery over a network.

When combined with an Eye-Fi card, it fits right into production workflows that use networks to transfer data files to PCs and upload to cloud servers.

Visit www.panasonic.com

ACQUISITION

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Cobham Showcase PRORXD Receiver Platform and Nano HDTX

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Global Television/NEP Fleet Expands with New HD Super Truck TO MEET THE INCREASING COMPLEXITy and volume of client projects, Global Television – part of the NEP Worldwide Network – has introduced an addition to its outside broadcast fleet.

HD11 will surpass the size, technical capabilities and work environment of every other mobile production facility in Australia when it launches in mid-2015. After months in design and development, HD11 is now under construction at A Smith Great Bentley (ASGB), the UK’s leading coach-builder responsible for Global’s earlier generation Australian super trucks.

HD11’s capabilities include:  Maximum-length trailer with full-length double expanding sides, creating more than 65m2 of interior space – the largest of any OB unit in Australia.  34-seat capacity with generous egress and enhanced operator work spaces, accommodating: 9 EVS operators, 7 CCU operators, Technical Director, Audio and Communications Engineers, 12 Production control personnel, large egress areas, plus standing room for a client lobby.  Technical areas based on Global/NEP’s trusted single-centre rack design to minimise cabling and focus on workplace health & safety needs.  Virtual system manager (VSM) fully integrated with every truck system.

 Sony’s latest 3G/4K capable MVS8000X with new X7000 Black panel and tablet interface, controlling 104 Inputs and 64 Outputs.  The largest audio mixer within the Global Fleet.  Reidel 160 x 160 port Communications matrix.  NEP’s patented monitor wall control system, ‘The Wall’ – allowing staff to easily manage Boland monitor wall layouts and sources from an iPad.  Full support from the Global/NEP Systems Integration Teams and R&D experts at NEP Labs.

“HD11 breaks the mould when it comes to what you can fit inside an OB trailer and also what you can achieve with it,” says Kel Robards, Global Television’s Executive Manager – Operations. “The enhanced technical power will meet the ever-expanding needs of our diverse clients. The interior will look and feel more like a home theatre than a broadcast vehicle, while cool technology such as ‘The Wall’ enables unprecedented creative freedom.”

 Wired for 28 Sony high-speed CCU camera base stations, 8 of which are super-slo motion (SSM) plus 10 point-of-view (POV) or specialty cameras.

Global/NEP have also revealed HD12 – the second in the company’s new series of control units – will be the sister vehicle to HD11, and will undergo a technical fit-out immediately after HD11 is deployed. HD11 will be delivered in late 2014 for technical fit-out, commissioning and testing, and will be ready for service in mid-2015.

 10, 8-channel EVS machines with 10Gb Networking.

Visit www.globaltv.com.au

 Largest hybrid router ever installed inside a moving vehicle in the southern hemisphere: 502 inputs, 824 outputs.

The PA People Keep Le Tour on the Road

Switch Media Delivers for Ten’s Commonwealth Games Coverage MULTI-PLATFORM VIDEO SPECIALIST, Switch Media, partnered

THIS YEAR THE TOUR DE FRANCE kicked off in the English countryside weaving its way through York. Very few of the thousands of people lining the route or the millions viewing on TV would have suspected the technical ‘miracle’ that was pulled off in the few short weeks leading up to the event.

As the requirements for the race unfolded in late May, the complexity of the radio communications system grew significantly and the organisers called on Australian company The P.A. People for support.

In the space of only a week or so, The P.A. People shipped some 270 ClearCom V-Series key stations, 3 IP and fibre enabled ClearCom Eclipse Median frames, 300 ClearCom CC-300 headsets, and 200 Motorola DP4801 two-way radio and accessories.

SPORTSCASTING

The ClearCom kit was used to provide access to multiple radio systems using its IP-based connectivity. The equipment in the configuration it was on site formed one of the largest rental Eclipse systems ever assembled.

“We were happy to help out,” said Scott Davidson, Senior Systems Engineer with The P.A. People’s Events Communications Team. “All our inventory is set up in light weight packaging for air freight, and each item is barcoded to make the Customs processes easier. It was fortunate that we had the gear available – winter in Australia is peak season in Europe so it worked out well.”

Visit www.papeople.com.au

with Australia’s Network Ten to provide multi-device coverage of the XX Commonwealth Games from Glasgow, Scotland.

Switch Media supported delivery of live and on demand Commonwealth Games video footage and results to tenplay website and apps. Its cloudbased platform Video Content Management System (VCMS) enabled digital delivery of eight live steams direct from the Games, as well as a system to quickly collect, collate and publish results online.

Switch Media’s service for Network Ten’s coverage of the Games included everything from infrastructure, system integration, and app development to the provision of internal workflow, management tools and support.

Highlights of service provided, included:  Online delivery of eight live streams direct from Glasgow;  Live to Video on Demand trimming and publishing capability;  Bookmark functionality allowing viewers to jump to key moments;  Electronic Program Guide tool providing the ability to easily manage and change the broadcast schedule at any time;  A DVR window that enables viewers to rewind up to 30-minutes while streaming a live event;  In-stream ad replacement with custom VAST-compliant ads with a ’Learn more’ click-through capability; and  Reporting, monitoring, and analytics capability.

Visit www.switch.tv and www.ten.com.au

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SPORTSCASTING

Sportcasting Conference & Expo Brings Future of Sports Media to Melbourne The future of sports media and broadcasting is coming to Melbourne for two days this October with the staging of the first Australian Sportscasting Conference & Expo at Etihad Stadium (October 7 - 8, 2014).

FOR MEDIA COMPANIES, sports clubs and associations, as well as venue managers, the 2014 Sportscasting Conference & Expo is the platform to share information, ideas, technology and techniques for producing and distributing sports content.

+ The do’s and Don’ts of Drones.

been developed right here in Australia.”

Visitors to the 2014 Sportscasting Conference & Expo can also get up to speed with camera and production technology; sport and social media; IPTV and 4G “broadcasting”; and bringing the sporting archive to life.

Keynotes and Case Studies include:

The producer of the conference is Content+Technology magazine. Since its launch edition profile of the 2003 Rugby World Cup in Australia, C+T has provided ‘Grand-Slam’ coverage of local and global sportscasting technology and practice in every issue.

The conference is supported by over 20 specialist technology exhibitors covering everything from audio and camera technology, graphics, production, post-production and archiving.

Visitors can also get on board the latest state-ofthe-art outside broadcast (OB) vehicles.

+ Host Broadcasting Glasgow’s Commonwealth Games; + Asian Cup 2015 Broadcast Preview; + Streaming the FIFA Football World Cup; + Workflow for The Recruit (as seen on Fox 8); + Racing with Tablets & Mobiles – Hong Kong Jockey Club; + Globecam Point-of-View Camera Technology; and

“It’s well known that sport is a huge driver of ratings and revenues,” says conference producer Phil Sandberg, “but it also drives innovation in the technology behind media production and delivery – and many of those innovations have

Expo organiser, Expertise Events, stages over 30 trade and consumer events every year, including the SMPTE Australia Conference & Exhibition on behalf of the Society of Motion Picture & TV Engineers.

Access to the Expo is free of charge, while Conference Registration is just AUD$250+GST. To register, visit www.sportscasting.com.au

Sportscasting Exhibitors AGILE BROADCAST Tel: +61 (3) 9001 0823 Tel: 1300 656 958 www.agilebroadcast.com.au Agile Broadcast is a company focused on providing specialist technical solutions to the radio broadcast industry. Through its industry experience and technical knowledge of station operations, it offers clients advanced solutions in all areas of radio broadcast engineering from consultancy and installations, to repairs and maintenance.

AV GROUP TECHNOLOGIES Tel: + 61 (0)2 9764 5911 Email: sales@avgroup.com.au

DAMSMART Tel: +61 2 6242 6456 www.DAMsmart.com.au DAMsmart is Australia’s leading specialist audiovisual digitisation agency helping content creators and custodians to maximise the cultural and commercial value of their audiovisual archives with innovative media migration, management and access solutions.

Clients include: RTHK; SBS; ADFA; Olympic Council of Asia; Thoroughbred Racing Productions; National Archives of Singapore; National Film & Sound Archive; and the Australian Institute of Sport.

AMBER TECHNOLOGY

The following companies are distributed in Australia by AV Group Technologies Pty Ltd: Axon Digital Design BV; Abekas Inc; Cobham Broadcast; Communications Specialties Inc (CSi); DNF Controls; Decimator Design Pty Ltd; Eyeheight Ltd; Hamlet; MOG-Technologies; Phabrix Limited; TSL (Television Systems Limited); and Wohler Technologies Inc.

Tel: 1800 251 367 Email: sales@ambertech.com.au www.ambertech.com.au

BLONDE ROBOT PTY LTD

Gencom Technology’s experience spans over 40 years and is a leading provider of integrated media technology solutions

These include: maintenance; installations; emergency restoration; streaming; telemetry and monitoring; and custom development.

SPORTSCASTING

Nugen Audio broadcast and audio post; TC Electronics audio processing solutions; DPA Microphones; Vinten camera support products; Canare cabling and connection solutions; and Vandamme audio, video and data cable.

Amber Technology’s portfolio of solutions includes: Brainstorm 3D graphics and virtual set; Snell ICE and Momentum MAM; Silvus Technologies IP Radio and ENG and video contribution feed solutions; Avid Everywhere platform including Pro Tools, Media Composer, ISIS, and Interplay; EVS MXF Solutions and C-Cast platform; Teradek video encoding and delivery; Axel Video media management software; Telestream digital media lifecycle solutions; Neutrik audio and video connector products;

Tel: (03) 9023 9777 Email: sales@blonde-robot.com.au Blonde Robot is an Australian-based importer and distributor of leading products for the consumer camera and professional content creation markets.

The Blonde Robot range includes products from: AJA; BlueFish444; CatDV; Cineroid; DJI; Facilis Technology; GenusTech; GoPole; GoPro; ID-X; Lytro; Magma; Metabones; Mind Shift; NewTek; Outdoor Tech; Peak Design; Promise; StorageDNA; Teradek; and ThinkTank.

GENCOM TECHNOLOGY Tel +61 2 9888 8208 www.gencom.com

Areas of expertise include the design, construction and project management of studios and control rooms, complete television and radio stations, play-out centres, IPTV solutions, hospital/ medical training facilities, streaming and web based solutions, head-ends for cable and satellite, outside broadcast and SNG vehicles, specialised medical vehicles and hospital and medical

Continued Page 20 

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The playing field for broadcasters, technology providers and sporting bodies just got a whole lot bigger.

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Announcing the Sportscasting Conference & Expo October 7 – 8, 2014.

Melbourne Etihad Stadium, 740 Bourke St, Docklands

The first Australian Sportscasting Conference & Expo will bring the future of sports broadcasting to Melbourne for a two-day conference and exhibition at Etihad Stadium on October 7 – 8, 2014. There is no better location in Melbourne to showcase your products and services to professional sporting clubs and associations.

A select group of exhibitors will have face-to-face access to a targeted group of decision makers who are looking for ideas and solutions to upgrade and innovate their club’s or association’s technology. If you have a broadcasting product or service that caters to professional sporting associations or sporting clubs, then this trade exhibition is C O N F E R E N C E & E X P O for you! Spaces will fill fast – contact our Sportscasting team today.

Please email adam.buick@expertiseevents.com.au or call +61 2 9452 7594

REGISTRATION OPENS JULY 21 Organised by:

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www.sportscasting.com.au

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SPORTSCASTING

 Continued from Page 18 Installations, linking systems and telecommunications, digital signage and AV and multimedia.

Gencom Technology also specialises in the distribution and sale of products from leading manufacturers and offers a complete range of services for media technology system solutions.

GRASS VALLEY Tel: +61 2 8765 4670 www.grassvalley.com Grass Valley, a Belden Brand, delivers endto-end television production and content distribution workflows that enable the efficiency and flexibility broadcasters need to stay competitive.

Grass Valley solutions include the LDX camera range featuring the LDX XtremeSpeed (LDX XS) 6X ultra slow-motion camera system. The LDX XS sets a new standard for ultra slow-motion image acquisition by introducing a workflow with instant time-to-air so that not a single moment of the action will be missed or lost.

Grass Valley’s LDX cameras operate in tandem with the company’s K2 Dyno Replay System.

Meanwhile, Grass Valley’s GV STRATUS serviceoriented architecture (SOA) allows customers to purchase, combine, and configure just the functional components they need to build and orchestrate the most efficient workflows.

Magna’s product offerings include: Bridge Technologies (monitoring and analysis); Enensys (broadcast network equipment and test and monitoring); Media Excel (advanced video encoding); VTQ (HD receivers); ChyronHego (broadcast graphics creation, playout, and realtime data visualisation); RTS Telex (intercom/ talkback); Aerialtronics (remotely piloted aircraft systems); TVU Networks (mobile broadcasting); Pesa (multi-path streaming); GB Labs (storage systems); and Maxisat (IPTV and Internet-TV solutions).

MEDIAPROXY Tel: +61 (0) 3 9549 1100 Email: info@mediaproxy.com www.mediaproxy.com Mediaproxy is the global leader in professional compliance logging and ASI monitoring. It provides complete solutions for the monitoring and logging of rich-media to broadcasters, IPTV, cable and satellite providers around the world. The highly reliable LogServer platform provides continuous SD and HD multi-channel recording and live monitoring of video, audio and real-time data sources. Contents may be reviewed and managed ‘long after the event’ for compliance requirements and competitive analysis.

Melbourne: (03) 9558 9377 Auckland: +64 9 443 0753, sales@quinto.co.nz www.quinto.com.au Quinto’s broad spectrum of products includes: AJA – Converters, frame synchronisers, DDR’s ABonAir – Wireless Camera Back Links Amberfin – Baseband and file-based transcoding and conversion solutions Analog Way – Universal scalers, converters and seamless switchers Autocue – Hardware & Software Prompting Solutions, portable lighting and camera support Black Magic – Mini-converters, vision switchers, DDR’s, cameras dB Broadcast – television receivers, intelligent MDU’s and TS monitoring solutions Elemental Technologies – GPU based transcoding and live streaming solutions Evertz – Modular conversion, processing and distribution products, routing switchers, master control switchers, multi-viewers, ingest/playout solutions, slow-motion replay systems Hi-Tech – Avita production control systems Interra Systems – “Baton” File based QC

JVC- PROFESSIONAL CAMERAS AND MONITORS Ideas Unlimited – Automated verification and broadcast content monitoring

INTERFACE TECHNOLOGIES AUSTRALIA

PROFESSIONAL AUDIO TELEVISION

Marshall Electronics – LCD Monitors, IPTV Cameras and encoding/decoding solutions

Tel: +61 2 9029 7144 Email: sales@interfacetech.com.au www.interfacetech.com.au

Tel: (+61) 02-9476 1272 sales@proaudiotv.com.au

Nucomm – Microwave video systems

Interface Technologies Australia specialises in solutions for digital TV. Its range of products covers cable, broadcast and professional video markets. They include digital stream analysis, digital ad insertion, digital headend products, enterprise IPTV, and HD/SD video servers.

LEMAC Sydney 02 9438 4488 Melbourne 03 9429 8588 Brisbane 07 3252 9777 www.lemac.com.au A leader in Australia when it comes to imaging technology and end to end image capture solutions for film and digital cinema and television, in 2D or 3D. Founded in 1975, Lemac offers a wide range of services for digital cinema, broadcast, TV and film projects on any scale. Over a long history, Lemac has grown from its production and rental origins to include sales, production support, post and technical services.

MAGNA SYSTEMS & ENGINEERING SPORTSCASTING

areas of 4K, OTT, sportscasting and cloud-based solutions.

Tel: +61 2 9417 1111 Email: sales.au@magnasys.tv www.magnasys.tv Magna Systems and Engineering offers a wide range of innovative products particularly in the

Norwia – Modular fibre distribution solutions

Professional Audio & Television Pty Ltd prides itself on bringing quality brands from world class manufacturers to the Australian and New Zealand market. PAT is known for outstanding customer service on its exclusive European and American brands.

Omnitek – Test & measurement solutions

Brands represented by PAT include: LAWO AG; DirectOut; View Products; L-S-B Broadcast Technologies GMBH; RTW; ENCO Systems, Inc.; Bel (Digital Audio) Ltd; 4HM Limited; Microsens GMBH; Pearl Microphones; Focal; Audio Technica; Comrex Corporation; Allen & Heath Limited; Desktop Technologies Pty Ltd; Joeco Limited; Orban Europe GMBH; Ross Video Limited; and ALC NetworX GmbH.

Snell – Vision Switchers, Standards Converters, automated playout solutions, modular conversion and routing solutions

QUANTUM Tel: 1800 999 285 Email: ozsales@quantum.com www.quantum.com Quantum is a leading expert in scale-out storage, archive and data protection. The company’s StorNext 5 platform powers modern high-performance workflows, enabling fluid, real-time collaboration and keeping content readily accessible for future use and remonetisation.

QUINTO COMMUNICATIONS Sydney: (02) 9894 4244, sales@quinto.com.au

PAG – advanced camera battery and charging systems, portable camera lights Quantum – Specialised digital storage & archive Snap TV – IPTV monitoring, entertainment and VoD solutions

ROSS VIDEO Contact: Amanda Leighton Tel: +61 412 866 700 Email: aleighton@rossvideo.com www.rossvideo.com Ross Video designs, manufactures and delivers dependable technology and services. Ross Video’s goal is to make it easy for customers to create compelling news, weather and sports broadcasts, engaging material for sports stadium screens, legislative assemblies, entertainment shows and rock concerts, and inspiring content for houses of worship.

Ross Video delivers the world’s widest range of products and services for augmented reality and virtual sets, mobile live-event solutions, real-time motion graphics, robotic camera systems, social-media management, production switchers, routers, infrastructure products, video

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 Continued from Page 20 servers, newsroom systems, terminal equipment and more.

in the area of digital capture and archiving management for the broadcast industry.

STUDIOTECH AUSTRALIA

Brands represented by the company include: AVT, Bodelin, Calrec, Clyde Broadcast, CubeTec, DHD Audio, D & R, EOS International, Netia, Sondor, VimSoft, VSN-TV, and Wasp3D.

Tel: +61 2 8911 5021 Email: mbentsen@studiotechau.com www.studiotechau.com

TECHTEL

Studiotech began in Brussels in 1990, then Budapest, Hungary (1992), Warsaw, Poland (1995) Algiers, Algeria (2000) and Rabat, Morocco (2011) and Sydney, Australia (2012).

Studiotech Australia provides systems integration and support services for TV & Radio facilities, Recording Studios and other areas that involve Audiovisual components.

SYNCROTECH SYSTEMS Tel: (02)9879 0800 www.ssd.com.au Syncrotech Systems Design Pty Ltd was formed in 1982 as a consultancy and marketing company for suppliers within the post-production and broadcast industries.

The Company became a supplier of equipment to those industries in 1984.

Syncrotech Systems Pty Ltd was formed in 2005, to cater for large projects specifically

Sydney: +61 2 9906 1488 infosyd@techtel.com.au Melbourne: +61 3 9899 3032 infomel@techtel.com.au Auckland: 0800 832 485, info@techtel.co.nz Techtel is a leading regional specialist company helping to bridge the gap between computer technology and traditional radio and television broadcasting technology.

The company’s objective is to be the preferred independent provider of software, hardware, service and support for broadcasters, video production and post production companies and telecommunication companies.

Brands represented by Techtel include: ABonAir – Professional Wireless HD Camera Links; Egatel – DVB Amplifiers; ENENSYS Test Systems; Harmonic encoding and storage solutions; TVLogic Broadcast & Professional LCD Monitors; among others.

VIDEOCRAFT Tel: 1300726434 Email: sales@videocraft.com.au Email: rentals@videocraft.com.au www.videocraft.com.au Established in 1972 Videocraft has grown to become one of Australia’s premier broadcast equipment sales and rental specialists. As system providers Videocraft are dedicated to the sale and rental of broadcast and professional video equipment and involved in all aspects of digital production technology.

With sales, support and service professionals operating from Melbourne, Sydney and Canberra offices the company has experienced consistent year-on-year growth in the broadcast industry.

VIZRT Tel: +612 9299 9886 Email: nstreatfield@vizrt.com www.vizrt.com Vizrt provides real-time 3D graphics, studio automation, sports analysis, and asset management tools for the broadcast industry - interactive and virtual solutions, animations, maps, weather, video editing and compositing tools. Vizrt’s products are used by the world’s leading broadcasters, including: CNN, CBS, Fox, the BBC, BSkyB, Al Jazeera, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, and NHK.

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www.content-technology.com/newsoperations

Globecast Australia Exclusively Houses LiveU Gateway WITH NETWORKS DEMAND for live content to meet the end-consumers voracious appetite for immediate delivery to multi-screen devices, Globecast Australia will house LiveU technology to service this demand, by providing a common cellular delivery option for camera operators using bonded bandwidth.

Working with OnAir Solutions, Globecast Australia has installed the necessary LiveU server and bandwidth infrastructure at its Broadcast Centre to facilitate delivery from mobile LiveU units for on-pass to local and global broadcasters and businesses, via Globecast Australia’s extensive satellite and fibre network. Globecast Australia will provide the required link for all LiveU Connect enabled product units, with Globecast Australia also hiring LiveU units as required by clients.

Simon Farnsworth, CEO of Globecast Australia, says, “Globecast Australia is proud to be the dominant hub for local and global satellite and fibre content delivery. With the addition of LiveU, we now have a quick ‘to site’ solution to aid speed and cost effectiveness for both television and business broadcasts. More importantly, with the recent launch of Globestream as an encoding and streaming service, we now have a new contribution path providing yet another end to end solution.”

Chris Dredge, General Manager, OnAir Solutions, says, “This project has been on the drawing board for well over a year. To make it really worthwhile we needed to have the server in the right location. To be able to partner with Globecast Australia instantly makes LiveU, Australia’s most used cellular contribution technology, easily linked to almost all broadcasters both locally and internationally.”

Visit www.globecast.com.au

Harmonic Expands Ellipse DSNG Range HARMONIC HAS EXPANDED the Ellipse 3000 family of contribution encoders for digital satellite newsgathering (DSNG) and fixed contribution.

Harmonic’s multiformat, multicodec Ellipse encoders support SD, HD, and MPEG-2 and MPEG-4 AVC, providing broadcasters with a highly flexible solution that delivers the highest levels of workflow efficiency. The new Ellipse 3102 and 3202 encoders also feature 3G SDI inputs to support the compression of 4:2:2 10-bit 1080p60 content for contribution applications where pristine video quality is essential.

The Ellipse 3202 encoder includes all basic output interfaces, including ASI and IP, and features an integrated DVB-S/S2/S2x modulator with simultaneous IF and L-band. By supporting the next-generation DVB-CID and DVB-S2X satellite industry standards, the Ellipse 3202 encoder provides broadcasters with a future-proof solution. Harmonic’s Ellipse 3102 encoder offers simultaneous IP and DVB-ASI outputs as a standard feature. Utilising the versatile encoders, which offer support for a wide range of interfaces (e.g., ASI, IP, IF, and L-band), operators can easily move from one deployment to another.

Visit http://harmonic.net.au

Videocraft Helps Design and Build Facilities for Macquarie Uni MACQUARIE UNIVERSITY prides itself on providing its students with the best courses using the latest and most advanced equipment.

When it was decided that the university would run two new masters courses in Future Journalism and Creative Media there was a requirement for a new green screen studio, control room, digital news room, and workstation classroom all linked to the Avid MediaCentral Platform with iNEWS and ISIS | 5500 storage. Such a facility requires a vast array of specialist equipment. The company selected to supply the majority of this equipment was Videocraft.

Macquarie Uni’s Peter Ring explained the process and system design, “The courses are run out of our Futures Lab and the new facilities also had to become a tech hub for the university’s other production areas such as the music studios, video editing facility, screen production studio, radio and music studios, so there was a very comprehensive set of requirements.”

Prior to selecting suppliers Ring set about researching what exactly would be required to teach the new courses. In addition to reviewing various equipment options there were also several meetings with broadcasters, including SBS TV, to fine-tune the courses’ needs.

Ring continued, “The image of how we wanted the various areas to look developed over time and through conversations with broadcasters like SBS. It became clear that a key part of our requirement would revolve around an Avid iNEWS system. We spoke to Avid and a couple of their key resellers at that point, of which Videocraft was one.”

The uni’s plan detailed five main areas – a training classroom, an open plan newsroom area, a green screen studio, a control room and an equipment room. Each had their challenges.

Ring continued, “The classroom space is where the students learn to use Media Composer, iNEWS, and MediaCentral | UX, which allows us to use Macs and in turn enables us to do video editing via web browsers using content kept on our new ISIS 5500 collaborative storage. A very powerful system.”

The open plan newsroom area has five dedicated iNEWS workstations, three Mac and two PC. There is a hot desk where students can use any laptop to wirelessly access MediaCentral | UX for quick edits, and updating scripts for final production. A good portion of the content used on the courses is shot in the uni’s new green screen studio.

The new studio has been designed to be crewless and consists of three Sony BRC-H900 remote cameras, an autocue system and Sony LED monitoring.

The operators and equipment in the control room control the studio, with the cameras also under the control of the TriCaster 8000. A new Avid Artist Mix connected to the TriCaster 8000 provides control surface access to the TriCaster’s built-in audio mixer.

The server and equipment room houses the Avid MediaCentral Platform, which includes the Avid AirSpeed 5000 server for base-band video feeds, ingest and playout plus storage. Videocraft post production sales manager, Rob Floro and the company’s Avid support specialist, Adam Spendlove designed the configuration for the best results.

Visit www.videocraft.com.au and www.avid.com

NEWS OPERATIONS

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Next Generation News Ticker ROSS VIDEO’S XPression Tick-it is a next-generation ticker and branding workflow server that combines all of the necessary branding functions in one box.

Powered by software from channel branding veteran, Bannister Lake, XPression Tick-it is a browser-based solution that provides users with the ability to display automated or manual data sources with purpose-built UI’s that make collaboration easy. Whether its news, sports, weather, elections, stocks, traffic, school closings, or EAS, Tick-it allows creation of tickers, L-bars, and informational displays.

Tick-it is compatible with any existing customer data contract. Or, affordable data packages can be purchased through Bannister Lake’s data aggregation service.

It also supports moderated social media feeds from Ross Inception. In addition, Tick-it “asrun” logging provides proof-of-air for sponsor graphics that generate additional revenue streams.

Tick-it uses the XPression BlueBox engine to deliver real-time 3D branding graphics with replaceable clips and stills. Up to 4 Tick-it Players with BlueBoxes can be connected to a single Tick-it server for multi-channel capability. For cost-effectiveness, Tick-it can also utilise an XPression channel or layer in the control room, with the added bonus of interactivity between MOS graphics and the ticker.

Visit www.rossvideo.com

Sony Launches Compact PXW-X70

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SONY HAS LAUNCHED the 4K-ready PXW-X70, the first compact XDCAM professional camcorder ever produced. Expanding the filebased XDCAM family to a new smaller form factor and lower price point, Sony has combined picture quality, speed of shooting, and performance into a package ideal for news gathering and documentary work.

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The PXW-X70 features a 1” type Exmor R CMOS Sensor with a resolution of 20 megapixels. The sensor, which is even larger than the Super 16mm film frame, delivers high resolution and fantastic low light performance, as well as offering more depth of field control. The new camcorder has the ability to record HD in XAVC Long GOP, enabling 4:2:2 10-bit sampling at 50 Mbit/s.

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The PXW-X70 is the first professional compact camcorder from Sony to include Wi-Fi-enabled control via smartphone or tablet using the Content Browser Mobile application. An upcoming release will also provide customers with the ability to upgrade the PXW-X70 to record in 4K UHD, with file transferring, and live video streaming capabilities.

Visit http://pro.sony-asia.com

Harmonic Introduces New DSNG Encoders HRMONIC HAS EXPANDED the Ellipse 3000 family of contribution encoders for digital satellite newsgathering (DSNG) and fixed contribution applications. The new Ellipse 3102 and Ellipse 3202 contribution encoders offer a range of advanced capabilities, including 4:2:2 10-bit encoding of 1080p60 content and dual power supplies, bringing increased video quality and reliability to the broadcast contribution market. The Ellipse 3202 is the industry's first DSNG encoder with an integrated modulator that supports both the new DVB Carrier ID (DVB-CID) standard for reducing interference between satellite signals, and the new DVB-S2X specification.

Harmonic's multiformat, multicodec Ellipse encoders support SD, HD, and MPEG-2 and MPEG-4 AVC, providing broadcasters with a highly flexible

New 24/7 Indian News Channel Launches with Ross ROSS VIDEO HAS ANNOUNCED that India’s newly launched 24×7 news channel, 99% TV, had chosen to invest in Carbonite production switchers with built-in MultiViewers and other Ross infrastructure for its new news studios.

“We carefully examined all our options, but the Ross Video products blew the competition away with their superior performance, cost effectiveness and reliability,” said Mr. Kapil, 99% TV’s Chief Executive Officer. “The support system Ross has in place here in India is also very strong and I was impressed by their technical support, which is second to none.”

As well as using Carbonite production switchers, 99% TV is also using Ross Video’s MC1 master control system, DashBoard and openGear.

NEWS OPERATIONS

“We decided to go with a complete infrastructure from Ross in part because of the flexibility of DashBoard, which lets us create an unlimited number of custom panels to meet our specific needs. We can also do L-band and squeezeback,” added Mr. Kapil.

“The MC1 is is incredibly user-friendly and can also be used without a hardware panel which enables us to integrate it with our existing router.

It also delivers exceptional value for money as well as an extended five-year warranty.”

99% TV is using its Ross Video infrastructure for all its on-air news programs, including discussions, debate shows and personal interviews.

In the future, the station is also planning to produce game shows.

Visit www.rossvideo.com

solution that delivers the highest levels of workflow efficiency. The new Ellipse 3102 and 3202 encoders also feature 3G SDI inputs to support the compression of 4:2:2 10-bit 1080p60 content for contribution applications where pristine video quality is essential. The license-based encoders offer a scalable migration path, bringing operational flexibility and business continuity to broadcasters.

Harmonic's Ellipse 3102 encoder offers simultaneous IP and DVB-ASI outputs as a standard feature, making it the ideal solution for fixed line contribution over IP or telco networks (e.g., sports, stadiums, etc.).

Visit www.harmonicinc.com

Dejero Launches LIVE+ Carrier System DEJERO, CREATOR OF a powerful and versatile platform of mobile newsgathering products, announced the launch of the Dejero LIVE+ Carrier, a rugged and modular carrier system for the company's portable transmitters.

The LIVE+ Carrier is designed to increase a news crew's mobility and comfort by making it easy to secure and carry a mobile transmitter, such as the LIVE+ 20/20 Transmitter, to the scene of breaking news.

"About the size of a small briefcase, our LIVE+ 20/20 Transmitter is already light, portable, and easy to carry right into the heart of a breaking news story — giving news crews more mobility and flexibility than they would ever have if broadcasting with a traditional microwave or satellite vehicle. In listening to our customers and investigating options for making the 20/20 Transmitter even more versatile, we came up with the Carrier," said Brian Cram, CEO of Dejero. "Now a camera operator on the move can carry the transmitter on his or her back and shoot live footage of breaking news in a rugged and hard-toreach area, such as the scene of a wildfire or other disaster. With the ability to transmit broadcast-quality video directly from the news source using available wireless networks, mobile crews are able to bring immediacy, excitement, and continuity to their breaking news coverage."

The LIVE+ Carrier features an ergonomically correct harness that adjusts to a person's torso length, comfortable shoulder straps, and a hip belt with ventilated lumbar and lateral support padding. Other features include a rain cover, quick release buckles and webbing straps to attach accessory bags, as well as a battery-mount module for easy access to hot-swappable batteries.

Using the versatile mounting system, the LIVE+ mobile transmitter can be easily removed from the harness and securely snapped into a news vehicle, onto the wall at the broadcast facility for organized storage, or onto a motorcycle. The lightweight harness can also be used to carry other waterproof and crushproof cases for easy transport of broadcast gear.

Visit www.dejero.com

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aQ Broadcast Showcasing a Full Range

Dejero Demonstrating LIVE+ Core Software 3.0

DURING IBC 2014, aQ Broadcast will feature its full range, including QNews, QNet, QTx transmission automation software, QMedia, aVS, and aPS.

DEJERO WILL DEMONSTRATE new solutions making their debuts at

QNews is a newsroom computer system providing script and rundown management as well as newsroom automation supporting every type of environment from large national broadcasters to small, two-user systems.

QNet, a networked scripting solution that offers unique, multi-user, multi-column script production tools, including shot locks, cut lines, scene numbering, camera cards, flexible formatting and optional prompting.

The QTx transmission automation software provides station automation based on the same database and client system as QNews. It provides a cost-effective solution in environments where output consists of both live and pre-recorded content.

QMedia software provides media management functionality, including ingest, review, deletion, transfer, proxy handling, including archive and restore handling. aVS Video Server hardware scales from an entry-level, two-output unit up to large, flexible and redundant storage and port solutions. aVS firmware options are available for a wide range of features, including marking, sub-clipping, conforming, transcoding, streaming, transferring and delay looping. aPS Production Suite is an integrated production system that combines many of the discreet components from a typical studio workflow into a single system to enable users to create a complete, scripted television production.

Visit www.aq-broadcast.com

IBC. The Dejero LIVE+ Platform offers powerful capabilities for improving broadcasters’ ability to deliver primary and supplemental live video feeds from the field, at a reduced cost and with greater efficiency and ease of use.

At IBC2014, Dejero will demonstrate version 3.0 of their Dejero LIVE+ Core Software that powers the company’s mobile transmission solutions.

New features include enhanced modem connection information showing carrier transmission mode and signal strength; a wider range of options for configuring and managing how live video feeds are sent to LIVE+ servers; monitoring of available bandwidth with automatic adjustment to the optimal transport resolution to provide the best possible video quality for the current network conditions while keeping output resolution constant; and tools for users in the field to import edited video clips via Ethernet or Wi-Fi into the transmitter for transfer to a server.

Appearing for the first time at IBC2014, the Dejero LIVE+ Booster is the newest member of Dejero’s LIVE+ family of news vehicle solutions. A powerful connection and signal booster for bonded uplink transmissions, the LIVE+ Booster employs an array of up to 12 high-gain antennas mounted on the top of the vehicle. This enables mobile news crews to extend their connection reception during difficult transmission scenarios, such as transmitting from crowded areas where cellular networks are overloaded or in low-coverage areas.

For the first time in Europe, Dejero will demonstrate the new Mac version of the company’s LIVE+ NewsBook software. Dejero’s LIVE+ NewsBook software enables Mac and PC users to transmit live HD video feeds or recorded and edited files, making it ideal for foreign correspondents or solo videojournalists that need to travel and transmit with as little gear as possible.

Visit www.dejero.com

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POST PRODUCTION www.content-technology.com/postproduction

RSP Makes Time Stand Still for Quicksilver in X-Men: DoFP RISING SUN PICTURES’ contribution to Twentieth Century Fox’s X-Men: Days of Future Past centred on a time-bending sequence in which Quicksilver (Evan Peters) displays his hyper-speed abilities with spectacular effect.

In a scene set in a Pentagon kitchen, Quicksilver runs about the room at lightning speed in order to foil a group of security guards. As he does so, the camera enters his world so that everything around him comes to a virtual standstill. Guards and mutants appear frozen. Cooking gear, cutlery and vegetables hang in midair. Sprays of water droplets from an overhead sprinkler system fall in surreal slow motion. Bullets inch across the room toward Xavier and Wolverine. Capering gleefully along walls and over cooking stations, Quicksilver alters the scene, repositioning and disarming guards and plucking bullets out of the air.

The slow motion sequence is an astonishing blend of live action, computergenerated objects and extensive visual effects. RSP collaborated with VFX Supervisor Richard Stammers and Director Bryan Singer to realise the creative vision of the sequence through the production of scores of CG props, including frying pans, knives, pots of boiling soup, carrots, and bullets, as well as the omnipresent cascades of water droplets. Each of these elements needed to be rendered in near microscopic detail, placed precisely within the geometry of the kitchen and choreographed to move and react realistically to lighting, other objects and characters.

RSP also aided in integrating the speedy Quicksilver into the near frozen environment. That illusion was accomplished through a combination of live action, a stunt double, green screen photography, a partial CG body replacement and a shimmering “rain tunnel” that forms around Quicksilver (caused by his swift passage through the near motionless falling water).

All of this had to work properly in both 2D and stereo 3D. “The kitchen sequence is undoubtedly the most memorable and awesome sequence in the movie,” adds Stammers. “Every nuance from the plastic

Imagica Builds Facility with Baselight IMAGICA SOUTH EAST ASIA is building a new post house on the campus of Pinewood Iskandar Malaysia Studios, the joint venture between the UK Pinewood Studios Group and the Malaysian government’s investment body Khazanah Nasional Berhad. Imagica, which has been using Baselight colour grading at its Japanese facilities for some years, has selected a Baselight FOUR system, together with a FLUX Store server network and Truelight colour management system.

The post house will handle cinema post in 2K and 4K as well as television finishing. Apart from serving productions at the studios, the new studio is offering Baselight grading for the first time in Malaysia, joining the top-tier post facilities in Indonesia and Thailand.

POST PRODUCTION

“This is a hugely exciting project for us and we are working hard to complete our workflows, which we know will be extremely attractive to producers,” said Ken Kusaka, Marketing Manager for Imagica South East Asia. “We have been using Baselight already so we trust its capabilities completely. That is especially important in feature film work.”

FilmLight co-founder, Wolfgang Lempp, said, “We are delighted that our friends at Imagica are using Baselight at the heart of their new venture.

They have good experience of the support we can offer in the Far East, so they are extremely comfortable that the new installation will perform as they expect.”

Visit www.filmlight.ltd.uk

bullet emerging from the gun barrel to the bell pepper rolling out the door has been crafted with an attention to detail so high, that people will watch this sequence with wonder for years to come.”

“We build on what we’ve learned from previous shows,” says RSP Visual Effects Supervisor Tim Crosbie.

“We’ve been challenged in the past in terms of asset management and through those experiences we’ve built systems to manage complexity and revisions. It’s one thing to create a lot of assets; it’s another to be able to control them and know that nothing is going to break.”

Crosbie adds that pulling off a sequence like Quicksilver’s romp through the Pentagon is more than a matter of managing data. It also requires a flair for the dramatic. “This work is grounded in realism,” he says. “Even though it’s a fantastical event you still want to feel as though you are there.

The biggest challenge is to find that balance between an exciting, magical event and one that looks real.”

Visit www.rsp.com.au

Cutting Edge TV Deliver Post for ‘What Really Happens in Bali’ CUTTING EDGE’S NEW TV UNIT (TVU) is proud to have recently delivered a highly polished grade, online and sound package for the Eyeworks Australia documentary series, ‘What Really Happens In Bali’.

This access-all-areas series leaves nothing to the imagination, and shows viewers a side of Bali that they’ve never seen before. With the show’s cameras capturing serious accidents and injuries as they happened, ‘What Really Happens In Bali’ is edge-of-the-seat real life drama, further cementing Eyeworks’ reputation as a producer of outstanding factual entertainment and observational documentaries.

John Unwin (Online/Offline Editor) and Simon Hicks (Sound) worked with Eyeworks together to develop and deliver the grade, character super layout, credits, title super animation and design, transitions, sound design, track lay and audio mix.

The grade features a youthful and energetic colour palette, and the effects grade references a 70s surf film look. This was partly achieved by sourcing film clutter and exposure effects to recreate a desaturated Super-8 style.

The sound design was shaped to maximise the drama, excitement and outrageousness of the action.

John McAvoy, Eyeworks MD, said, “Working with Cutting Edge was a terrific, collaborative, hassle free experience from beginning to end. At every stage of the post process they went over and above what they were required to do.”

Visit www.cuttingedge.com.au

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The Sun Also Rises on Gallipoli ANZAC Girls, a 6-part mini-series produced by Screentime, a Banijay Group company, for ABC-TV, was a rare television project for Adelaide visual effects studio Rising Sun Pictures (RSP), better known for its work on movies such as X-Men: Days of Future Past, Gravity, and The Great Gatsby.

The first episode premiered on Australian TV on Sunday, 10 August.

BASED ON PETER REES’ BOOK The Other ANZACs, ANZAC Girls tells the true story of five military nurses from Australia and New Zealand who served with Allied forces during World War I. Witnessing the horrors of war, the women experienced severe hardships while tending to the wounded and formed bonds of friendship that would last a lifetime.

Rising Sun Pictures was sole visual effects provider for the series. Visual Effects Supervisor Tim Crosbie, Visual Effects Producer Richard Thwaites and their crew worked hand in hand with Directors Ken Cameron and Ian Watson, Cinematographer Geoffrey Hall, Production Designer Scott Bird and other members of the production team in crafting magnificent recreations of wartime environments, military vehicles, armament and other historical details.

Production of the series spanned three months at a number of sites in South Australia meticulously transformed into war locations representing, among other things, Mena Camp outside Cairo, a field hospital on the Greek island of Lemnos, a casualty clearing station near the Somme on the Western Front, the Cairo docks at night, and the railway station of Rouen.

RSP artists augmented these practical locations with CG set extensions and matte paintings, and dropped in CG-animated warships, trucks, aircraft and trains. Additionally, the studio contributed to recreations of the sinking of the New Zealand troop ship S.S. Marquette (which happened off the coast of Salonika in 1915) and the Allied landing at Gallipoli.

The RSP team went to considerable lengths to achieve historical accuracy in its digital environments. Reproducing the ports of Cairo and Alexandria proved particularly challenging. “With all the troubles happening in Egypt while we were in production we couldn’t go there to shoot anything or hire a crew. It was potentially too dangerous,” Crosbie recalls. “So, instead we spent a lot of time hunting for library footage that we could then redress or rebuild. Scott Bird and his art department did a fantastic job in supplying us with historical material.”

Additionally, Crosbie and his crew shot photographs of buildings in Adelaide that were built pre-World War I and incorporated them into visual effects environments. They also populated scenes with soldiers, nurses, moving vehicles and animated environmental elements to bring them to life.

Producing visual effects for television is quite different from producing effects for a blockbuster movie. The production schedule is significantly shorter and the budget more modest. Where it is not unusual for a visual effects studio to spend months perfecting a single visual effects scene for a studio feature, RSP had just eight weeks to deliver the dozens of visual effects shots included in the six parts of ANZAC Girls.

To avoid compromises in quality, RSP got to work early. Artists began building models of ships, trucks and aircraft while production was ongoing. Crosbie traveled to the set to confer with the Directors and other members of the production team on how to shoot individual shots in order to speed subsequent visual effects production. “It was a very collaborative effort,” he recalls. “I’d let them know what we could bring to each shot or how they might shoot something to limit the amount of difficult work required later.”

Among the most ambitious scenes in the series is the landing at Gallipoli.

The scene is revealed from the point of view of two nurses standing on the deck of a ship some distance from shore. Producer Lisa Scott compares it to a scene from the D-Day landings. “We had hundreds of ships, observation balloons in the air, Turkish guns,” she recalls. “Explosions were occurring all around. Each of these elements was built on top of the other in order to create a very believable, shocking and frightening moment for these two nurses, standing on a ship and not knowing what was coming towards them.”

RSP artists spent long hours integrating CG elements with the live action and ensuring that each part conformed as closely as possible to the actual events of 25 April 1915. “Gallipoli is very well known in Australia, so we had to get that right,” says Lisa Scott.

Indeed the historical significance of the story lent a certain “gravitas” to the enterprise. “We all felt an obligation to tell the story with every cent we had available,” Scott observes. “Rising Sun was certainly on board with that. I wanted to get maximum value for our dollars and they delivered in spades. As was everyone involved in this project, Richard, Tim and their team were inspired by the story of these extraordinary women.”

Crosbie concurred, noting that ANZAC Girls provided the perfect opportunity for RSP to test its mettle in television. “We had a long list of shots and a tough schedule, but our team really enjoyed it,” he concludes, adding that they were pleased to have a part in drawing attention to the little-known chapter in history of the contribution of the nurses . “It’s a poignant story…and it’s about bloody time that it was told.”

Visit www.rsp.com.au

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POST PRODUCTION

Primestream Updating FORK AT IBC2014, Primestream will show FORK Production Suite v4.6, the latest version of its acclaimed software platform for managing the automation of the most complex broadcast workflows.

With new modules, functionality, and integrations with the leading broadcast hardware and software vendors, FORK v4.6 is the most extendable, configurable, and powerful version of FORK ever released and includes major revisions to the underlying structures of the version that debuted at the 2014 NAB Show.

Making its European premier at IBC2014, Primestream will demonstrate FORK Xchange Suite v3.0, a major upgrade to the application that gives broadcasters instant Web access to content on their FORK Production servers from any Windows, Mac, or tablet device. Xchange v3.0 features a completely redesigned iPad interface optimised for Apple iOS 7.

Also at IBC2014, Archive Bridge v1.0 is a new module for the FORK Production Suite that provides tight integration between archival solutions and the FORK media asset management and production automation platform. Archive Bridge enables disaster recovery workflows and interconnects multiple production environments with a central archive point.

Making its European debut at IBC2014, FORK Logger, the metadata tagging module in the acclaimed FORK Production Suite, now integrates with indepth data feeds from STATS, a global leader in sports information.

Visit www.primestream.com

Apple Updates MacBook Pro with Retina Display APPLE HAS UPDATED MACBOOK PRO with Retina display with faster processors and double the memory in both entry-level configurations, and a new, lower recommended retail price for the topof-the-line 15-inch notebook. MacBook Pro with Retina display features a high-resolution display, the latest processors and powerful graphics, up to nine hours of battery life, and is just 1.8 centimetres thick.

The 13-inch MacBook Pro with Retina display features dual-core Intel Core i5 processors up to 2.8 GHz with Turbo Boost speeds up to 3.3 GHz and 8GB of memory, up from 4GB in the entry-level notebook.

The top-of-the-line 15-inch model features faster quad-core Intel Core i7 processors up to 2.5 GHz with Turbo Boost speeds up to 3.7 GHz, 16GB of memory, up from 8GB in the entry-level notebook, and can be configured with quad-core Intel Core i7 processors up to 2.8 GHz with Turbo Boost speeds up to 4.0 GHz. Visit www.apple.com

Eyeheight Announces BroadcastSafe Version 1.5 EYEHEIGHT HAS ANNOUNCED a major expansion to the capabilities of its BroadcastSafe compliance plug-ins for Avid’s Media Composer and Adobe’s Premiere Pro post-production software.

Version 1.5 BroadcastSafeMC (for Media Composer) and BroadcastSafePP (for Premiere Pro) both incorporate a new Broadcast Evaluate display indicating which parts of a video image require adjustment in order to be fully broadcast compliant.

Non-compliant areas of content are displayed in a user-definable colour with the option of manual or automatic correction. BroadcastEvaluate supports all common compliance standards. Users can alternatively define their own compliance standard as an XML file.

Also new is BroadcastSafeArea. This allows a wide range of safearea markers to be superimposed over the video monitor display.

BroadcastSafeArea supports a multitude of standards including SMPTE, EBU and DPP, in 525/625 SD, 720/1080 HD, and 2K line formats.

Visit www.eyeheight.com

SGO HAS MADE another significant development upgrade to its compositing software, Mamba FX in version 2.0, providing advanced additional features that give compositors infinite opportunities and possibilities to enhance their creativity.

POST PRODUCTION

One of the key highlights in Mamba FX 2.0 is the Layer Route Effect, providing support and associated functions for working with multi-layer EXR files. Mamba FX 2.0 includes features to split and route the multiple layers, allowing Mamba FX’s other compositing tools to act on individual elements during the compositing phase.

Furthermore, Mamba FX’s all new “Spatial Isolation Keyer” interfaces with metadata that can be passed from CGI software via the EXR files. This enables advanced compositing techniques such as isolating elements in a scene by their 3D (XYZ) location, their surface direction (normals), their object ID or their Material ID. Visit www.sgo.es

New 4K Laser Projector from Digital Projection DIGITAL PROJECTION HAS ANNOUNCED the launch of the INSIGHT 4K Laser Projector which delivers 12,000 lumens of solid-state illumination at a resolution of 4096 × 2160.

Ideally suited to a variety of vertical markets, the INSIGHT 4K Laser offers the ability to project large, detailed images from 1 projector where previously edge-blending 2 or more projectors would have been necessary.

Its versatility is enhanced by the ability to operate it in both portrait and landscape mode without any modifications.

This projector also features full 4K 3D, with advanced functionality including Adjustable Dark Time and Sync Offset for optimisation of ghosting and smooth greyscale for active glasses and polarisers.

Visit www.digitalprojection.co.uk

Avid Enhances to Artist Suite Control Surfaces the availability of key updates to its professional mixing solutions that form a key part of the Avid Artist Suite of creative tools for audio, video and live sound production.

As part of the Avid Artist Suite, Pro Tools | S6 and System 5 are run on the Avid MediaCentral Platform. Through the MediaCentral Platform, users can access an even wider range of tools and experts for collaboration, music production, and monetisation of their own content.

The System 5 version 6.0 software update provides full support for and integration with Dolby Atmos. Filmmakers use Dolby Atmos to place and move sounds anywhere in the movie theatre, including overhead.

Pro Tools | S6 software version 1.2 delivers a number of enhancements and more flexible workflows that pro mixers have asked for.

Visit www.avid.com

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Metronode’s NSW Data Centres Win Brill Awards METRONODE WITH THE New South Wales Government, have won important recognition for the development of its Sydney 2 and Illawarra 1 data centres, claiming the prestigious Uptime Institute Brill Awards for Efficient IT. The Sydney 2 and Illawarra 1 data centres are among only 15 in the world recognised for exceptional efficiency in IT operations, across capital deployment, technology, design, operations and overall management.

The two data centres which opened last year have been recognised for their new and innovative design, which has also contributed to securing significant Power Usage Efficiency (PUE) advantages and significantly lower power bills for tenants.

The company has also announced it will now commence measurements for the NABERS rating of its Australian data centres, which are designed to achieve a NABERS 5-star rating. Metronode has built four next generation data centres based on BladeRoom technology, with plans for a fifth data centre in Canberra now well advanced.

Metronode General Manager, Malcolm Roe, said, “We have designed our data centres to meet a 5-star rating and now it’s time to measure our facilities against reputable industry standards. We believe the findings are an excellent reflection on this important aspect of our business.

“There are other data centres in Australia that hold a 4.5 star rating, but half a star represents a marked difference in performance for our customers. Achieving a 5-star rating could represent as much as 30 per cent in energy savings over a 4.5-star rating.”

The Silverwater and Unanderra data centres already adhere to the Uptime Institute’s Tier III standard for its world-class reliability. Metronode will first begin assessment of its data centres in Melbourne, with official results to be released in March 2015.

Visit www.metronode.com.au

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Telstra to Acquire Video Platform Company Ooyala

FRONT PORCH DIGITAL AND SINGTEL have announced they will combine

TELSTRA HAS ANNOUNCED it will acquire Silicon Valley-based company

their skills and expertise to launch a new storage-as-a-service offering based on Front Porch Digital’s LYNXSM cloud-based content storage management (CSM) system. With this initiative, SingTel plans to have LYNX installed in its data centre in Singapore, and will package and resell the cloud service to broadcasters and media enterprises throughout the Asia-Pacific region.

Ooyala, a provider of video streaming and analytics. The US$270 million investment increases Telstra’s ownership in Ooyala from 23 per cent (fully diluted) to 98 per cent and is in addition to the US$61 million previously invested in Ooyala over the past two years.

SingTel’s new cloud storage service joins a range of managed services the company offers its media and entertainment customers, including permanent and occasional uplink and downlink, playout, disaster recovery (DR), and hosting services. The new service is ideal for companies that need to manage large media archives securely, and yet are seeking to avoid the capital investment and operational costs of a physical, on-site solution. With the built-in DR capabilities in LYNX, SingTel customers can rest assured that their valuable media assets will be protected in the event of a disaster at the main site.

“Broadcasters and media enterprises all over the world are dealing with a significant paradigm shift away from broadcast distribution to broadband distribution,” said Mr. Lim Kian Soon, head of satellite, SingTel. “As a result, the industry is primed for a wide range of cloud-based media services, and Front Porch Digital’s LYNX provides a great technological foundation. Front Porch Digital’s media archiving solutions are widely adopted among leading broadcasters in the Asia-Pacific region.

“This initiative with SingTel, one of Asia’s foremost telecommunications operators, clearly positions Front Porch Digital at the convergence of broadcast and broadband and opens up new opportunities in the APAC region,” said Rino Petricola, COO and general manager at Front Porch Digital.

“SingTel’s new cloud service will enable us to expand LYNX deployments at minimal cost and continue to build our market presence throughout Asia.”

Visit www.fpdigital.com

Telstra CEO, Mr David Thodey, said, “Ooyala enables broadcasters, operators and media organisations to deliver digital TV and video content, across any device to mass audiences, using analytics to provide recommendations, personalised content and advertising to the end user.”

This is the first investment for the Global Applications & Platforms group.

Global Applications & Platforms strategy is to create long-term global growth in markets that are adjacent to Telstra’s core business, where software disrupts traditional business models.

“Ooyala delivers a personalised video platform as an end-to-end cloud solution service, which saves customers high upfront investments in online video infrastructure and helps increase the return on their content. Our investment allows Ooyala to take their solution to the next level and thereby further accelerate its growth,” Mr Thodey said.

Telstra says it has deep expertise in the digital media space and can provide the necessary and ongoing investments and business relationships to build on Ooyala’s leadership in personalised video. Ooyala CEO, Jay Fulcher will continue in his current role and Ooyala will become a subsidiary of Telstra and operate as an independent business, retaining its brand, structure, and management.

“Their investment will help us accelerate our growth and cement our lead as the most innovative and forward-thinking cloud TV and video platform company in the world,” Mr Fulcher said.

Visit www.telstra.com and www.ooyala.com

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Quantum Showcasing StorNext Pro Solutions AT IBC 2014, Quantum will showcase its StorNext Pro Solutions, which offer post-production and broadcast professionals three complete highperformance workflow storage solutions.

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IMAGINE COMMUNICATIONS will showcase the latest innovations and its new vision, product direction, and strategy at IBC2014.

Expanding on its industry-first live NAB demonstration of playout in the cloud, Imagine's demonstrations will combine content originating from public and private clouds with on-ramps and off-ramps to bridge baseband video and IP; hybrid integration with on-premises playout systems to leverage existing investments; and seamless transformation for multi-platform delivery including TV Everywhere.

StorNext Pro 4K addresses the performance and scalability demands of true 4K production.

With flash-based metadata performance using the StorNext M445 SSD metadata appliance and scalability provided by StorNext QX-1200 RAID Storage (144 TB raw capacity), this storage solution enables efficient 4K workflows, including ingest, post, and delivery.

The MultiService SDN (software-defined networking) framework simplifies the network architecture of media companies operating in hybrid baseband and IP environments by enabling the video bit flow to be software-mapped, creating a fully virtualised network fabric for deploying advanced services.

StorNext Pro Studio refreshes or extends existing Xsan deployments with 100 percent compatibility. A complete solution for storage deployment in the production studio, StorNext Pro Studio is ideal for postproduction facilities with aging Xserve systems or with any other aging storage system that is incapable of expanding to meet the user’s growing demands.

Leveraging technology gained in the acquisition of Digital Rapids earlier this year, the Xenio workflow management foundation provides an agile software engine that enables the design, deployment and management of extensible, customisable, software-defined workflows.

StorNext Pro Production enables content owners to manage workflows ranging from production to the creation and maintenance of long-term content libraries. The solution combines the StorNext M662XL metadata appliance, StorNext QX-1200 RAID storage (96 TB raw capacity), and a StorNext AEL500 41-slot LTO-6 library with 102.5 TB raw capacity for costeffective archiving automated by StorNext Storage Manager.

For the first time at IBC, Quantum will introduce StorNext Connect, a new way to monitor and manage StorNext deployments. StorNext Connect dramatically simplifies the process of configuring systems and eases ongoing system management and health monitoring.

Quantum will also feature a demonstration of its StorNext technology in cloud-enabled environments.

Visit www.quantum.com

Discover Tedial Media IT MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

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Imagine Communications to Showcase Product Innovations

AT IBC TEDIAL WILL SHOW how its latest Media IT solutions help broadcasters and global media companies manage broadcast and nonlinear content preparation and packaging.

Tedial will demonstrate its latest Tarsys desktop media search tools.

Using either PC or Mac browsers, every user is provided with workflowaware, search tools and high-performance media browse.

Tedial will also demonstrate streamlined metadata acquisition from third-party production and traffic systems, and show how its solutions guarantee metadata preservation throughout the entire media lifecycle.

Tedial’s next-generation MPM media workflow directly manages the transcoding of content and metadata to streamline content packaging and delivery for multi-channel TV, catch-up services, VoD and OTT. Employing Tedial’s new Media Exchange Platform, users can work collaboratively on media securely and efficiently. Whether it’s upstream or downstream, Tedial has directly integrated multi-tenant media exchange into its core media workflows.

Building on its established integration with Apple, Avid and Quantel, which improves editing throughput and archive access, Tedial now adds enhanced support for Adobe Premiere Pro CC. Visit www.tedial.com

Building on the service-oriented MediaCentral framework, Imagine Communications will highlight new solutions and functionality in the Landmark business application management platform, including the campaign management of impression-based, dynamic ad insertion

Visit www.imaginecommunications.com

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SGL Collaborating with Sony and EVS WITH THE INCREASING MOVE to archiving as a central element of the media and data workflow, SGL will be featuring integration with Sony Media Backbone, EVS fast turnaround sports production and possible disaster recovery options.

The adoption by broadcasters and post producers of Media Backbone from Sony is in response to the desire to make an existing workflow run faster by including an archive as a key element of the process.

The new collaboration with EVS is designed to streamline the workflow in fast turnaround sports and events production. By integrating FlashNet as part of the EVS sports highlights capture process; an open format copy is made on LTO. Visit www.sglbroadcast.com

Sonnet Showing Rackmount Solutions for Mac Pro AT IBC2014, Sonnet will unveil its RackMac Pro rackmount solution for the new Mac Pro computer. Ideal for IT and transportable rack applications as well as use in the office, the unit supports the rackmount installation of one or two new Mac Pros. The RackMac Pro provides a front panel power switch and USB 3.0 port for each computer, while panel-mounted cables connect each Mac Pro’s Gigabit Ethernet, USB 3.0, HDMI, and power ports to ports on the back of the RackMac Pro for convenient external cable connection Making its IBC debut, the Thunderbolt Pro P2 Card Reader is the fastest and most cost effective P2 single-slot memory card reader available. Based on 10Gb/s Thunderbolt technology, the device has the ability to ingest footage from individual P2 memory cards at up to 70 MB/s.

Sonnet will also feature the xMac Pro Server, with built-in Thunderbolt 2-to-PCI Express (PCIe) expansion. The xMac Pro Server securely mounts the computer horizontally inside a specially designed 4U modular enclosure, connects three PCIe 2.0 slots via Thunderbolt 2 technology, and provides space to install additional equipment in two 5.25-inch mobile rack bays.

Visit www.sonnettech.com

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MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

DAC to Unveil New EX-60 Storage Expansion

EVS Celebrates Two Decades at IBC

DAC WILL UNVEIL the new EX-60 Storage Expansion for the ALTO Archive

DURING IBC2014, EVS will showcase how it will help customers meet the challenges and tremendous opportunities of a new media landscape over the next 20 years.

and Content Library for the first time at IBC 2014. The EX-60 meets the growing demand for larger capacity and more densely packed media storage.

ALTO is a Cold Storage solution that can accommodate up to 300 TB of storage in each 4RU module, with an exceptionally low power dissipation of around 1 watt per Terabyte.

At IBC 20214, DAC will demonstrate a new storage concept that overturns the traditional economic barriers that have made the cloud unaffordable as a storage platform for long form broadcast content in native resolution.

Combining the strengths of a high-yield on-premise appliance backed by an infrequently-accessed cloud storage layer, the system offers a multi-petabyte class solution with ultra-low TCO for Broadcasters and Media Companies who need secure and affordable storage for DPP/AS11 tapeless operations At IBC 2014 DAC will demonstrate a new monitoring solution, developed in conjunction with technology partners ASTEC IT Solutions Ltd. The iBroadcast monitoring system has the capability to monitor and manage large scale disk-based storage systems down to individual disk drive level.

Visit www.diskarchive.com

New NETIA Media Assist Software Suite AT IBC2014, NETIA will showcase its Media Assist software suite, which builds on the strengths of the company’s product portfolio to provide a complete solution for managing workflows from ingest through to delivery.

The company will demonstrate how the new suite enables content owners and content producers to access, retrieve, and share or distribute their digital assets to any platform.

Multisource file-based ingest server, OpenCube SD/HD offers media workflow solutions with an extended range of MXF file generation, advanced MXF file interoperability, and management of ancillary data throughout the entire production and archive chain.

EVS will present the latest IPDirector tools for automated archive and production workflow operations. The new Melt feature offers automated playlist creation of all key actions created during live operations and transfers to archive, post or offsite production.

EVS new range of live production tools based on the new XT3 platform empowers live production teams with on-the fly media control capabilities based on its series of live control panels: MultiReview, LSMConnect and Epsio Zoom. EVS’ new web-browsing interface, C-Cast Xplore, provides access to live multi-camera recording feeds and clips on XT3 servers, allowing production teams to work remotely.

Visit www.evs.com

The NETIA Media Assist software suite unites the unique functionality of NETIA’s radio broadcast automation and media management products with a SQL database to provide a multimedia asset management system with a full complement of production tools.

To enable convenient use across a facility or organisation, the Media Assist software suite provides both a rich-client platform and a Web-based interface that can be displayed on a simple Internet browser.

Visit www.netia.com

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AUDIO Digital soundwaves

www.content-technology.com/audio

DPA Helps The Voice Australia Deliver Live Experience UTILISING DPA’S d:facto Vocal Microphone, vocal deliveries for the live broadcast of Australia’s The Voice were significantly improved, ensuring an even more enjoyable experience for TV viewers.

As with many TV singing/talent shows, the culmination of The Voice Australia relied on wireless microphone technology to ensure that the contestants could move freely about the stage. DPA’s d:facto Vocal Microphone fitted the bill perfectly thanks to its adapter system that allows the high quality condenser capsule to be seamlessly integrated with many professional wireless systems or used in conjunction with DPA’s wired handle.

The decision to try DPA’s d:facto Vocal Microphone on the show was taken by Australian

ACMA Helps Wireless Mic Users Get Ready COMMUNITY GROUPS and businesses can now easily find out what radio waves they should use for their wireless microphones with the Australian Communications and Media Authority (ACMA) launching an online channel finder tool.

“Users simply type in the address of where they plan to use their device and it will identify what radio waves are available in their area,” explained ACMA Chairman, Chris Chapman. “With less than five months to go before changes to wireless microphones take effect, we’re continuing to urge users to check their devices now to make sure they are ready for the change.”

From 1 January 2015, wireless microphones must not be used in the 694-820 megahertz (MHz) frequency range as this spectrum will be used from that date to deliver 4G mobile services.

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The ACMA has continued to listen to users’ concerns and has also revised regulations to allow wireless microphones to operate at indoor venues across the whole 520694 MHz frequency range. This means that wireless microphones can now be used at indoor venues (such as theatres and sporting complexes) provided no interference is caused to television broadcasting services.

Visit www.wirelessmicrophones.gov.au

rental company, JPJ Audio.

John Simpson, Senior Audio Director of The Voice, says, “JPJ’s Brad Adamson told me he had DPA’s d:facto’s and we were keen to try them on a couple of TV shows we were working on. DPA has a great reputation for high quality mics and this interested me because I hadn’t been happy with any capsules on the RF systems we were using.”

“I realised we wouldn’t be needing that old EQ curve anymore,” he adds. “The sound was natural, present and uncoloured, like having a top notch studio condenser available as RF. We don’t have to process anywhere near as much as we used to and everything sounds better; vocalists and presenters, male or female. The d:facto’s make it much easier to sit voices in a mix.”

programme was also a fan. “He thinks they are a significant step up from anything he has heard and is very impressed, as are the operators at Monitors, FOH and Broadcast.”

Simpson adds that the Vocal Coach for the

Visit www.dpamicrophones.com

A United ‘Console’ Kingdom THE DIGICO TEAM has spent the last 18 months consulting with Electra Partners about the possible combination of both Allen & Heath and Calrec with the DiGiCo family. The culmination of this brings together three British console companies to create a new professional audio group, while retaining their unique skills, customer relationships, and the identities of each brand. James Gordon will become Group CEO supported by a strong management team from across the new group.

“We have bold plans for the group but it is imperative that each company maintain its own independence and style. None of these brands needs to trade off each other’s technology or reputation. These are three great companies and all the brands currently in the group have enviable reputations for technology, audio quality, reliability, and perhaps most importantly, customer focus and care,” said Gordon.

Glenn Rogers, MD of Allen & Heath, added, “The creation of the group with DiGiCo and their management is an impressive combination. It will certainly add new momentum to what Allen & Heath and Calrec had already planned for the future.”

Henry Goodman, Calrec’s Sales and Marketing Director, said, “This exciting formation gives Calrec new opportunities for swifter development of a host of ideas we have been wanting to bring to the market. We will have a vast pool of engineers to share new ideas for the industry and target them specifically to each brand’s needs.”

Visit http://calrec.com, www.digico.biz and www.allen-heath.com

Australian Producer Remixes with Audient PRODUCER AND ARTIST Bobby BeeBob remixed his YouTube hit ‘One More Try’ using the Audient ASP8024 at Shredd Studios in Melbourne.

“When I first released ‘One More Try’ (as part of a collaboration called Saffron Groove) it was an independent release and I mixed it ‘in the box’. It came out pretty well, but I always knew it could have sounded better,” said Bobby BeeBob. Shredd Studios owner Michael Gonthier had just taken delivery of his 36 channel Audient mixing console; he and Bobby worked together on the remix.

“We decided to use a hybrid approach,” continues Bobby. ”All the reverbs, delays and modulation happened with plugins in the computer, but nearly all the compression, EQ, levels and summing happened using analogue outboard and the Audient.”

He also highlights how experience with analogue technology was important to his development as an audio engineer, and admits to dragging a number of young producers into Shredd Studios, so they can “…hear the difference that using a high end console can make to their mixing and workflow, and they learn how to use that tech alongside a DAW and plugins.”

Michael concludes, “The Audient has made my life as an engineer seamless and thorough. I love it.”

Visit www.audient.com

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AUDIO

d:screet Necklace Microphones from DPA

DK-Technologies Adds Loudness Automation

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BY ADDING LOUDNESS AUTOMATION to its DK T7 Audio Meter, DKTechnologies says it has removed one of the most time consuming obstacles in Loudness audio workflow.

On show at DK-Technologies’ IBC 2014 stand, this latest upgrade is based on SMPTE timecode and allows the DK T7 to instantly recalculate the integrated loudness value up to four hours back in time. For audio engineers, this function is a major improvement as it means they no longer have to re-run programme material to hit their loudness target value.

DK-Technologies has also added USB mouse operation to the multitouchscreen DK T7, allowing for fast on screen access and operation using the HDMI external monitor output. A number of other improvements have also been incorporated, including headphone volume control and more screen setup functions.

DPA MICROPHONES will exhibit a new range of body worn microphones at this year’s IBC. With the ‘d:screet’ range, the company has overcome the challenge of how to give control of mic placement to non-technical actors or reality show contestants without compromising sound quality.

The omnidirectional miniature necklace microphone houses a d:screet 4061 omnidirectional miniature capsule in a soft rubber necklace.

The d:screet Necklace Mic is already being used in the Danish adaptation of Big Brother and DPA anticipates plenty of interest from other reality TV productions. The mic comes in black, white and brown and in lengths of 47 or 53 cm.

While there, they can also see DPA’s new heavy-duty d:screet 4060 omnidirectional miniature microphones and classic d:screet 4060 omnidirectional miniature mics with reinforced cable relief, making them even more durable for demanding use.

The heavy-duty 4060 microphone is ideal for people who require even more security and for whom the visual appeal is of less importance. It is perfect for placement in rigorous filming situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. Featuring a stainless steel housing, sturdy cable relief and a thicker 2.2mm cable, both enhanced versions are exceptionally durable.

DPA will complete its IBC 2014 line-up with its new d:fine 66 and 88 Headset Microphones, which are ideal for broadcast productions with vocal performers who need to move freely without obstructions from a handheld mic or one on a stand.

Visit www.dpamicrophones.com

File-Based Workflows from Emotion EMOTION SYSTEMS will be at IBC 2014 showing advances in its file-based workflows and how these improve efficiency while simultaneously cutting down costs. Emotion will be showing the latest versions of eFF and Engine.

Emotion Systems enables its users to open a wide range of video and audio files as well as make the necessary measurements, adjustments and transcoding without conversion to baseband. Included in the list of supported file formats are: MXF, P2, LXF, QuickTime, WAV, AIFF and DPP; files with Dolby E are also supported.

AUDIO

eFF provides audio loudness compliance to a vast range of worldwide standards and can be used in multiple workflows including standalone, automatic watch folder and fully automatic through API integration.

Engine, meanwhile, allows automated file based audio workflows for loudness, Dolby E encoding and decoding, track replication and track swapping. It is controlled by use of a ReSTful API and offers integration to popular MAM Systems.

Visit www.emotion-systems.com

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers eight AES/EBU input/output channels, 2ch analogue input channels, headphone output and HDMI monitor output.

The meter is currently available in two different models – the DK T7 and entry level DK T7 Stereo. Both models are available with or without balanced digital AES inputs as well as in 19-inch rack mountable versions.

Visit www.dk-technologies.com

NUGEN Audio Celebrates a Decade at IBC2014 NUGEN AUDIO’S LMB is an offline file-based loudness analysis and correction program for high throughput applications. A new update to LMB’s MXF file-handling option introduces DPP AS-11 compatibility.

NUGEN Audio is a participant in the DPP compliance program, an initiative founded by U.K. public service broadcasters to help speed the transition to fully digital production and distribution for television.

As a member of the AS-11 DPP compliance and certification program, NUGEN Audio is helping to develop quality assurance criteria for the AS-11 DPP specification for digital file formats. Making its IBC debut, the MXF file-handling option introduces native MXF audio-handling that enables LMB to perform automated analysis and correction of audio within an MXF container while preserving all other data within the file.

Adapting dynamic content such as theatrical releases for TV or TV content for mobile streaming is a challenging task, particularly in relation to dialog. At IBC2014, NUGEN Audio will present DynApt, a groundbreaking solution for intelligent repurposing of audio for TV and streaming at faster-than-real-time speeds. The DynApt algorithm has been designed to adapt the dynamic content of audio appropriately for different listening environments and playout systems, while respecting the level of dialog in the original mix and meeting specific loudness criteria. The first implementation of this new technology is now available as a DynApt extension for NUGEN Audio’s LMB offline loudness correction program.

At IBC2014, NUGEN Audio will preview a new upmix process specifically designed for film and TV production. Capable of producing a downmix compatible upmix with optional dialog isolation in the centre channel, the new technology is projected to be available in early Q2 2015.

NUGEN Audio will also showcase version 1.1 of MultiMonitor, the company’s powerful loudness and true-peak monitoring software application. MultiMonitor offers up to 16 individual loudness and true-peak meters in mono, stereo, and 5.1 formats for up to 96 individual audio channels. With the new version, MultiMonitor now includes network meter reset options and a “tall” meter configuration.

MultiMonitor is now available as standalone software or as part of a turnkey solution available through SSL in the LMS-16 hardware system.

Visit www.nugenaudio.com

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AUDIO

Emotion Integrates Loudness Compliance into SoftCast

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EMOTION SYSTEMS’ has announced a technology partnership with Ideal Systems which was launched at BroadcastAsia 2014. eFF is a comprehensive loudness compliance application for media files and is now an integrated component within Ideal Systems’ SoftCast solution for operating and managing broadcast television channels.

“Loudness compliance is an important element in modern broadcast workflows and we are excited to be working with Emotion Systems to offer their proven eFF solution as a workflow option within our SoftCast MAM and ecosystem,” explained Fintan Mc Kiernan, CEO at Ideal Systems (Singapore).

SoftCast from Ideal Systems is a downloadable software based solution for broadcast television operators and offers a wide range of functionality including channel in a box, automation, ingest, playout, media asset management, traffic scheduling and ad sales.

“We have been steadily building our eFF customer base around the world and this further endorsement and partnership with Ideal Systems will help support our growing Asian customer base,” added MC Patel, CEO, Emotion Systems.

Visit www.emotion-systems.com and www.idealsys.com

Trilogy’s Gemini Supports EMBER+ Protocol

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TRILOGY, a leading supplier of intercom solutions and master reference generators for the broadcast industry, has announced that its flagship Gemini distributed matrix intercom system now provides native support for L-S-B Broadcast Technologies’ EMBER+ self-discovering protocol.

According to Trilogy’s Marketing Manager, Andy Covey, “This means that Gemini users can not only control their intercom system, but reassign keys and customise the configuration of Gemini directly from their broadcast system control software. EMBER+ provides access to Gemini’s key operating parameters and enables users to edit individual settings to best suit their requirements.”

When an EMBER-compatible Gemini intercom device is connected to a broadcast network running an EMBER server, the controllable parameters of that device are automatically described and made addressable over the network via the EMBER protocol.

Gemini is based on a distributed matrix IP-based architecture, which removes the risks associated with a single point of failure. Adding further centralised control capabilities via EMBER+ ensures tighter overall control of the intercom system as a consolidated part of the entire broadcast infrastructure.

Covey added, “The integration of EMBER+ essentially makes life much easier for the user by providing deep integration and control of Gemini and other technologies from multiple manufacturers within a broadcast environment. Native EMBER+ support also benefits users by giving the ability to control and save presets and to switch complex routes.”

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RADIO

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The original broadcast media

www.content-technology.com/radio

Economics of DAB+: Broadcasting: Use it or lose it

By Joan Warner, CEO of Commercial Radio Australia A HIGHLY COMPETITIVE media landscape means radio, like all other media, must fight hard to keep increasing its audience and attract advertising dollars. The Australian commercial radio industry has loyal listeners and a solid revenue base. The industry introduced DAB+ digital radio to secure its future and ensure it continued to innovate. DAB+ allows the industry to continue to compete when presented with the challenge of competition.

Reliance Purely on analogueonly limits radio’s ability to innovate online streaming cannot replicate or replace the reach of large broadcast radio to large audiences simultaneously. Radio must be available across all platforms – AM, FM, DAB+, online, in mobiles, on tablets, in cars and any other new device that comes to market.

of the radio industry both public and private broadcasters to work together on policy and regulation. One industry voice is much more powerful than a splintered approach when talking to government and regulators.

When developing industry policy, broadcasters must insist on access to spectrum and transmission powers that allow effective broadcast across the whole market and ask for incentives.

One of the incentives for Australian commercial broadcasters was that each existing commercial analogue station was given 128 kilobits free as a basic entitlement. If a radio broadcaster had two stations they were given 256 kilobits. The only restriction placed on it was you had to use it or lose it.

Australian radio broadcasters recognised they needed to be in the digital broadcast space.

DAB+ digital radio is powerful, spectrum efficient and offers broadcasters worldwide the ability to give listeners greater interactivity, more programming, better sound, plus scrolling text and slide show to complement the audio.

The roll out of DAB+ digital radio provides new, greener transmission infrastructure. Analogue broadcasters own and operate their own infrastructure and transmit on individual frequencies, DAB+ digital radio technology can combine up to 32 radio services in a single ensemble using shared infrastructure, lower power and only one shared frequency.

In Australia we had the benefit of learning from a number of digital radio rollouts worldwide and the economics of investing in the radio industry’s digital future was clear. The long-term benefits outweigh any initial investment outlay.

A single transmit antenna can be used for around 18 DAB+ services instead of generally individual antennas and frequencies for each AM and FM service causing congestion on towers or requiring multiple tower sites.

Benefits for broadcasters include: keeping analogue spectrum, shared costs and all of industry work together, free spectrum and broadcasters to hold the spectrum licence, no new entrants until market established (Australia 6 years), high powered robust indoor and mobile DAB+ signal, ability to generate new content, and a joint marketing to promote DAB+ as an industry to benefit all

DAB+ offers drastically reduced infrastructure costs compared to analogue – instead of needing a transmitter per service, a single DAB+ transmitter can be used for a whole ensemble of services saving the same proportion of costs for floor space rental, power, spares and maintenance costs.

Firstly, from the outset it is important for all

An incentive offered to broadcasters in Australia to encourage them to invest in DAB+ was to not allow any new digital licences for a period

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of six years. This is to protect the investment, while broadcasters are carrying two costs of broadcasting – analogue and digital and allows time to move listeners to digital radio and find new revenue to cover costs. Radio broadcasters were also given the first opportunity to own and operate the multiplexes. In Australia, joint venture companies were set up by the commercial and public broadcasters in each city to own and operate their multiplexes.

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It is also important for broadcasters to understand how new content can drive uptake of digital radio and grow revenue streams. New sponsor driven DAB+ pop up or event stations can create new revenue.

And finally, the shared cost of a carefully planned industry marketing and awareness campaign is essential. This makes sure listeners know about digital radio and what benefits it offers them – fundamental to winning their support and buy-in.

In Australia, the industry has been very pleased with the uptake of DAB+ digital, without the impetus of an AM or FM switch off. The investment in digital radio has already proved to be prudent and the full financial benefits will be realised ultimately when analogue radio is no longer simulcast with DAB+.

Cars Drive Digital Radio Figures to Five Year High

RADIO

OFFICIAL DATA RELATING TO DAB+ digital radio in Australia was released by Commercial Radio Australia (CRA) in the 2014 Digital Radio Report, showing nearly 100,000 (97,177) new vehicles have been sold with DAB+ digital radio and digital radio listening is at an all time high with almost 2.8 million people tuning in each week in the five metropolitan capital cities alone.

The report shows extensive growth of digital radio in vehicles, with 16 different Australian vehicle brands now offering DAB+ as either standard

or an option. The number of vehicle brands has doubled in Australia since 2013, when only eight manufacturers supported DAB+ digital radio.

In the five years since the launch of DAB+ digital radio in metropolitan Australia, research shows consumer awareness and sales continue to outperform expectations. Nearly 1.7 million (1.677 million) digital radio devices have been sold and when combined with the increased uptake in vehicles and the 2.8 million people listening each week, PwC have reforecast digital radio house-

hold penetration to 23.3%.

The report includes a section on why broadcast digital radio is important, consumer attitudes, progress on in integration into mobile phones and an update on uptake internationally.

Share of DAB+ listening each week in the five state metropolitan capitals is 21.3%. Household penetration of DAB+ is tracking ahead of forecast at 23.3% Visit www.digitalradioplus.com.au

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AlanDick Broadcast Develops DAB Systems ALANDICK BROADCAST LTD. (ADBL), a leader in the manufacture and design of radio frequency components and antennas for radio and television transmission, will be highlighting DAB antennas at IBC that were designed to provide economic and space efficient solutions for broadcasters and broadcast signal providers.

The DAB antennas will share the spotlight with

ADBL’s new VHF BIII Mask filter/combiner along with the Company’s UHF and FM units and towers in stand 8.B99.

triangular structures and provides an excellent

The FM Crossbow antenna was designed for square structures and provides an excellent omni directional horizontal radiation pattern from an array of 4 panels mounted around a square structure. The FM Spearhead is suited for

structure. The systems were range tested to

omni directional radiation pattern from an array of 3 panels mounted around a triangular optimise the RF performance of the combined DAB/FM antennas.

Visit www.alandickbroadcast.com

EBU Premieres “Visual Radio” for European Athletics Championships THE EUROPEAN BROADCASTING UNION (EBU) has enabled sports fans tuned to radio coverage of the Zurich 2014 European Athletics Championships to ‘see’ as well as hear the action for the first time.

Together with European Athletics, the EBU has created “Visual Radio”, a brand new live data slideshow showing results and pictures from the event.

European Athletics´ partners Swiss Timing, the official timekeeping and data-handling company, and Getty Images, the official photo agency, are feeding content from the event to EURORADIO.

“The Visual Radio project will deliver start lists, results, pictures of the athletes in action and quotes from participants directly to radio audiences,” said Christophe Pasquier, Senior Sports Producer for EURORADIO. “Information from our partners will be transmitted every second so listeners will be taken into the heart of the action and be able to follow each event with instant pictures and data live from the venue.”

Public service broadcasters can use “Visual Radio” in 3 different ways.

Firstly, as a DAB+ Slideshow where images are broadcast alongside the radio program and

displayed on DAB+ digital radios with a colour screen, including the newest car receivers.

Secondly, Hybrid Radio receivers, which work with FM or digital radio, can automatically download and display images as they are produced. The EBU has created a RadioDNS server for broadcasters that want to start using hybrid radio without having to deploy their own infrastructure.

And finally the slideshow can be embedded in broadcasters´ web pages so data can be accessed online too.

Visit www.ebu.ch

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TRANSMISSION Signal distribution, test & measurement

www.content-technology.com/transmission

Seven Network Purchases httvStream Manager from Magna AS PART OF THEIR ONGOING MOVE into HbbTV the Seven Network recently purchased a High Tech TV (HTTV) httvStream data streamer and real-time multiplexer and an HTTV Broadcast Application Manager from Magna Systems and Engineering.

Seven Network General Manager – Group Technical Services, Trevor Bird, said, “Seven Network approached Magna Systems and Engineering for the supply of a new httvStream carousel for the generation of the Application Information Table (AIT) in preparation for the launch of HbbTV across the Seven Network.

Magna assisted greatly with the provision of a test system prior to purchase so we could satisfy

Airpul Wireless Transmission Solutions Come to Australia/NZ ADIMEX HAS ANNOUNCED the company’s appointment as the exclusive distributor for Australia and New Zealand for Airpul. Airpul provides wireless audio and video transmission solutions for the broadcast industry including high quality transmitter and receiver products that allow HD cameras to transmit signals wirelessly over long distances.

“There are innumerable situations where camera operators need to transmit without the encumbrance of cables,” explained Adimex Sales Manager Frank Nicolaci. “Airpul’s solution elegantly achieves this with excellent quality and virtually no delay … and at a price point that is hard to beat.”

Airpul has carefully evaluated distribution partners to ensure their products are well represented. There are agreements in place with leading distributors in China, Taiwan, US, the Arab Emirates, Brazil, the UK, Singapore, Hong Kong, and now Australia and New Zealand.

TRANSMISSION

“It is critical when introducing new products to a market that the local distributor combines market knowledge with technical expertise and a developed specialist channel,” explained Brad Mao, Sales Manager at Airpul. “With Adimex, we’re certain we have found that ideal combination.”

Adimex will sell Airpul’s products through its specialist channel of authorised resellers in Australia and New Zealand. These resellers represent the regions key suppliers for cameras, lighting, transmission and other production equipment to broadcasters, camera operators, outside broadcast operators, live event and staging companies and related organisations.

Visit www.airpul.com and www.adimex.com.au

ourselves that this product met our needs.

Although currently used to simply produce the AIT, it paves the way for Seven to carousel data and take triggers from presentation automation if required.”

as a datacasting product for broadcast network operators, pay-TV operators and broadcasters. httvStream generates DSM-CC Object Carousels and the necessary application signalling information including AIT and descriptors.

httvStream is a DVB data streamer and real-time multiplexer for all types of HbbTV applications including interactive advertising, quizzes and TV games, and for set top box software updates. httvStream supports numerous files types from a variety of media sources, as well as dynamic content updates and outputs the DVB MPEG transport stream through an ASI, IP or modulated interface. httvStream is available for both production or pre-production and is aimed squarely

The HTTV Broadcast Application Manager (BAM) is an added-value module for httvStream users.

The BAM enables the Seven Network to manage several HbbTV services and to optimise the associated workflow during the lifecycle, from creation to broadcast. The HTTV BAM also offers Seven a management view adapted to each player of the cycle, whilst consolidating all actions for the play-out system.

Rohde & Schwarz Installs 4K Transmitter Network in Korea SEOUL BROADCASTING SYSTEM (SBS) in South Korea has opted for a 4K system from Rohde & Schwarz. Rohde & Schwarz delivers all the equipment for the transmission path of this high-resolution video format. The goal of private broadcaster SBS was to be able to broadcast the FIFA World Cup of 2014 and the soon to follow Asian Games.

The Rohde & Schwarz solution includes the ‘Clipster’ mastering station for editing, handling and playing out 4K data in realtime.

The R&S AVHE100 headend then processes the 4K content in realtime. This system solution provides realtime encoding of 4K/ UHD at 60 frames per second using HEVC and a DVB-T2 gateway.

The first R&S THU9 liquid-cooled high-power transmitter with 5kW was put into operation in May on Kwanak Mountain. SBS uses the R&S ETL TV analyser as the T&M reference for DVT-T2 analysis and demodulation.

SBS operates one free TV and two radio stations as well as six cable TV stations.

The broadcaster chose Rohde & Schwarz because the company offers solutions for a complete workflow, which makes it easier to integrate 4K data. Mastering station, headend, transmitter and TV analyser were installed in May 2014. Come the end of June, the events are broadcast fully in 4K format.

Visit www.rohde-schwarz.com

Visit www.magnasys.tv

Ericsson 5G Delivers 5 Gbps Speeds 5G IMPLEMENTATION in commercial mobile networks is expected in 2020, but Ericsson has already achieved speeds of 5 Gbps in live, overthe-air demonstrations of the company’s prestandard 5G network technology. NTT DOCOMO and SK Telecom senior management witnessed Ericsson’s achievement at Ericsson lab in Sweden.

Seizo Onoe, Executive Vice President and Chief Technical Officer at NTT DOCOMO, says, “5G promises significant performance enhancements to support future new applications that will impact both users and industry. To proceed with our joint project on 5G field trial further, we are very glad about Ericsson’s success in demonstrating the real potential of 5G radio access technologies at this early stage.”

Alex Jinsung Choi, Executive VP and Head of ICT R&D Division at SK Telecom, says, “SK Telecom plans to take the lead in 5G wireless services so we are pleased to see the progress that Ericsson has already made with their live demonstration of 5G performance. 5G will build upon the investment that we have made in Long Term Evolution and expand our service offering.”

The live demonstration employs a new radio interface concept and advanced MultipleInput Multiple-Output (MIMO) technology to achieve the record-breaking results. Ericsson 5G network development activity includes new antenna technologies with wider bandwidths, higher frequencies and shorter transmission time intervals. Radio base stations built with baseband units and radio units are being developed specifically for 5G trials. Small cells in a heterogeneous network environment, new frequency bands (including 15 GHz) and highspeed, high-capacity backhaul transmission are also key 5G focus areas for Ericsson.

Visit www.ericsson.com/au

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Efficiency Breakthrough

Mier MC2 series transmitters for Digital TV, Digital Radio and Digital Mobile. Offering efficiency of up to 40% and the lowest total cost of ownership.

Mier MC2 series transmitters for Digital TV, Digital Radio, and Mobile TV. Offering efficiency of up to 38% in UHF, above 40% in VHF and the lowest total cost of ownership.

The MC2 Series provides system efficiency up to 38% in UHF band and above 40% in VHF, reducing dramatically energy costs, by means of an innovative amplification technique for DVB-T/T2 and DAB/DAB+. The improved efficiency drives to the lowest OPEX in the market, providing the minimum Total Cost of Ownership.

Compared to traditional amplifiers, the innovative very-high efficiency amplifiers included in MC2 Series provide a strong decrease in operating junction transistor

temperature, which has a relevant impact on the MTBF of the system due to the lower thermal stress of the amplifier components.

The MC2 Series also offers the possibility to incorporate redundant configurations on a simple and scalable way, for improved availability.

The Modular design also provides a high serviceability, since the hot swappable units can be replaced while keeping transmission on air. Additionally, the internal design of the Power amplifier units provides an extremely easy access to internal Fans, Air Filters and Power supply modules, allowing on-site module exchange without requiring specific technical skills, special tools or test equipment.

Maximum Efficiency, Lowest OPEX, Compact & Flexible.

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Lumina Broadcast Systems Australia Pty Ltd PO Box 1693 Lane Cove NSW 1595 Phone: +61 2 8668 4432 Fax: +61 2 8572 5285 Email: sales@luminabsa.com Web: www.luminabsa.com

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TRANSMISSION

See the Future with Snell AT THIS YEAR’S IBC, Snell will offer attendees a view into the future of highly efficient broadcast production, showcasing product innovations for live TV, IP routing and playout automation. With new technology offerings including powerful Media Biometrics, configurable switcher control, and next-generation IP routing, the company will demonstrate how broadcasters can boost efficiency, open up entirely new workflows, and add real intelligence to system monitoring.

The new XS platform enables software processing in the real-time IP streaming world. XS builds on Snell’s partnership with Cisco to offer a comprehensive, practical vision for IP streaming in production, all based on standard off-the-shelf hardware. The new Quasar XS provides high quality up-and-down conversion using Snell’s motion compensation technology and is the first product in the new XS range.

Media Biometrics is unique Snell technology that enables systems to automatically and reliably identify media streams. The applications are enormous. Media Biometrics also offers logo detection, audio track mapping, and signal quality assurance – all of which can be monitored, with error flagging built in as well.

The Kahuna Maverik panel offers a flexible switcher interface for every type of studio and mobile programming. Its modular architecture allows complete flexibility in design and enables the panel to be reconfigured on a production-by-production basis.

ICE OD, which will be presented in beta form at IBC, is a software-only version of Snell’s ICE Channel-in-a-Box. ICE OD will provide all the essential broadcast channel elements such as video server, master control, graphics and captioning in a scalable, software-only solution, capable of running on generic servers or cloud-hosted virtual machines.

Visit www.snellgroup.com

Pebble Beach Systems Announces Multiple Innovations AUTOMATION, content management and integrated channel specialist, Pebble Beach Systems, has announced a series of innovations for the forthcoming IBC exhibition.

Pebble Beach Systems’ new suite of Web Client tools will be launched at the show; from straightforward monitoring of a single playlist, up to highly granular remote control of multiple Marina automation systems and Dolphin integrated channel devices across geographically dispersed locations.

Created using HTML5 and the latest Web Server technology, these tools are designed to offer high visibility and access to systems of all sizes and architectures on PC or tablet devices using Chrome, Safari, Internet Explorer or Firefox browsers. The suite also incorporates a proxy streamer that provides a view of multiple IP streaming outputs within Marina’s web access environment.

Designed to alert Marina operators clearly and unambiguously to upcoming problems, Lighthouse is the new dashboard display tool that monitors by exception. It aggregates all lists within the system, displaying a dashboard of the next problem on any list, and enabling early intervention in the case of, for example, validation errors, timing anomalies or missing media alerts.

TRANSMISSION

Pebble Beach Systems is adding a new plug in to deliver affordable real-time advanced 3D branding. This new ClassX graphics inserter is automatically populated from the Marina playlist, even if late breaking changes are made close to air. At IBC, the plug in will be shown generating Now Next Later graphics with video, as well as tickers, bugs and other animated channel branding devices.

Optimised for small scale systems of up to 4 channels, Marina Lite is based on the company’s flagship Marina automation platform which currently controls in excess of 300 channels at leading broadcasters and service providers worldwide.

Visit www.pebble.tv

MultiDyne Showing SilverBACK Range

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MultiDyne will showcase its range of fibre-optic-based video and audio transport solutions designed specifically for pro A/V and broadcast applications at IBC2014

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At IBC2014, MultiDyne will demonstrate significant new features for its SilverBACK family of camera-mounted fibre transport solutions, including a new operator control panel that offers intuitive, user-friendly controls and displays.

The SilverBACK family now includes four models: the flagship SilverBACK-II, the SilverBACK-II-L for multicamera production, the SilverBACK II-4K, and the SilverBACK-II 4K-L, which includes ethernet support and a video option for viewfinder or monitor viewing in the field, enabling camera operators to turn any 4K camera into a true Ultra HD multicamera production.

Another key demonstration at IBC2014 will be the MultiDyne LightningSwitch, a 48×48 optical-to-optical routing switch that simplifies the routing of fibre-optic signals within broadcast infrastructures by eliminating the need for fibre patch panels.

The MultiDyne SMPTE-HUT universal camera transceiver is now compatible with Sony’s HSC-100/300 family of camcorders and Panasonic’s AK-HC3800 line of professional studio cameras. Designed to increase the transmission distances of HD cameras that can be limited by hybrid copper/fibre cabling, this high-performance transport system is suited to remote broadcasting, sports, shared control rooms, campus facilities, arenas, and stadium applications.

At IBC2014 MultiDyne will showcase the recently introduced Dingo. Dingo supports a range of camera signals — 3G HD-SDI, composite video, analogue or digital audio with cross-conversion, intercom, serial data, and Gigabit ethernet — over a single fibre-optic cable. Available in three interoperable formats, Dingo brings flexibility to all aspects of fibre transport, supporting multiple applications including broadcast, A/V, sports, OB, ENG, POV, and multicamera shoots.

MultiDyne is now shipping the BullDog, a field fibre transport system. Using the BullDog, professional camera operators can extend the transmission distance of multiple camera signals, including HD-SDI video, audio, intercom, control data, ethernet, GPIOs, tally, and power. In addition to transporting any camera signal over a single fibre cable, the BullDog can transport up to eight HD-SDI signals in any direction.

Visit www.multidyne.com

Thomson-Broadcast on Display at IBC2014 Show Thomson Broadcast (Stand 8.C35) announced the launch of a new lowpower ultra-compact transmitter range. Available from 20W to 150W RMS, and designed to adapt to any field situation, the low-power range provides dualcast DVB-T/DVB-T2 coverage extension and benefits from multiple options such as a built-in 1+1 configuration.

The low-power series is based on the same design and concepts featured in the company’s new line of environmentally-efficient transmitters and benefits from the advanced features and performance gains seen in recent major digital deployments by Thomson Broadcast.

The compactness of the low-power range — 1RU up to 80W and 2RU up to 150W — allows broadcasters to achieve valuable savings on infrastructure rental costs. The transmitters are suitable for any MFN or SFN network, and all configurations are available with multiple options including a DVB-S/DVB-S2 receiver, and built-in 1+1 capability, to provide redundancy within the compact form-factor, and without requiring additional modules.

Available for rapid deployment in indoor or outdoor locations, the lowpower range is easy to install for a quick plug-and-play solution. The transmitters guarantee consistency of performance through advanced real-time Digital Adaptive Pre-correction to address linear and nonlinear distortions.

Visit www.thomson-broadcast.com

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TRANSMISSION

GatesAir Showcases Intelligent Networking GATESAIR will showcase intelligent networking and signal transport reliability as a key part of its over-the-air efficiency message at IBC2014.

Intraplex LiveLook is a real-time interactive monitoring solution that works in conjunction with Intraplex IP Link codecs, optimising performance for missioncritical audio contribution and distribution networks. LiveLook provides time-based graphical analysis of network statistics, including burst packets and other performance-related measurements that adversely affect IP signal transport. Built-in data mining algorithms automate packet analysis and subsequent report generation, recommending optimal techniques for error mitigation.

Broadcasters further benefit from analysis of both live and logged data.

The graphical nature of LiveLook, in conjunction with log clock association, gives users better insight into performance trends over periods of time.

Additionally, the continuous logging of IP packets ensures that broadcasters

can easily pinpoint and analyse statistics from a specific time window.

GatesAir will additionally showcase initiatives surrounding standards-based interoperability initiatives, including support for the EBU 3362 specification.

The EBU 3362 specification in part covers the use of standard SIP and RTP protocols to establish audio streams. This compatibility allows IP Link codecs to mix with other hardware codec vendors across large broadcast networks, as well as software codecs used on various smartphones and tablets.

Support for SIP, or the Session Internet Protocol, is especially attractive for remote broadcasts and similar contribution applications. Instead of requiring a remote encoder, a broadcaster can call into an IP Link receiver at a radio station using an iOS or Android phone to contribute an on-air feed.

Visit www.gatesair.com

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Mediaware to Demonstrate 4K UHD HEVC Ad Insertion AT IBC 2014, General Dynamics Mediaware will showcase its portfolio of proven compressed domain products. The Australian-based company will demonstrate its next-generation ad insertion product InStream Splice with frame accurate HEVC supporting 4K Ultra HD, plus InStream Play, a new built-in automation layer.

platforms for operators of local or edge deployments to coordinate time delay, advertisement and logo insertions for local and regional TV channels.

HEVC 4K Ultra HD Ad Insertion with InStream Splice is a unified end-to-end play-out and ad insertion solution that demonstrates how splicing in the compressed domain can be delivered at the quality level demanded by successful operators. InStream Splice provides fully featured, real-time control

General Dynamics Mediaware products enable alternate media workflows that provide lower total cost of ownership across multiple platforms for satellite, direct to the home, cable, direct TV, IPTV and OTT.

InStream Delay, now with InFuze, allows facility operators to delay programming in different time zones, while simultaneously, and seamlessly, inserting logos directly in MPEG-2 transport streams.

Visit www.mediaware.com.au

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The Role of IP-based KVM in the Evolution of the Broadcast Industry

By John Halksworth, Senior Product Manager, Adder Technology The influence of innovation and new technologies plays a significant role in the changing face of broadcasting. This is particularly evident in the continued popularity and adoption of IP-based KVM (keyboard, video, and mouse) solutions in broadcast applications, from outside broadcasts and the gallery, to post production suites.

IP-BASED KVM removes the limitations of traditional AV equipment and brings real-time, accurate and flexible video operation to applications.

John Halksworth from Adder Technology believes that it is these benefits that are driving the adoption of standard IP infrastructures for broadcast environments where, traditionally, bespoke technologies have dominated.

THE OUTSIDE BROADCAST An outside broadcast (OB) truck is, essentially, a mini-television studio on wheels, which is able to perform all the functions that a galley control room would. They provide a confined, often pressurised environment that sees staff, including directors, technical directors, editors, operators, producers and audio engineers, performing a variety of tasks.

The most important requirements for a smooth functioning OB truck are features such as instant video and USB switching capabilities, reliability, device support and ergonomics. There are myriad video and audio workflows coming into these trucks, and this content needs to be captured, recorded, edited and transmitted. IP-based KVM products enable staff to easily switch between and manage these streams, and give OB operators the ability to control the equipment that performs these tasks.

Depending on the size and scale of operations, one OB truck may house one person, or several, and regardless of the number of operators, the same functions must be performed on various computers and rackmounted servers. OB trucks have limited space and minimum equipment requirements. As with static studios, the ergonomic requirements and ability to efficiently control multiple sources from a single input are therefore critical in this setting and are met by a KVM solution that extends and switches video signals without loss of quality or performance.

The KVM extender functions in such a way that the operator is not aware of it – it runs efficiently in the background providing the user with realtime extension, HD resolution, a high level of USB compatibility and no lag switching speeds.

The true value of KVM in an OB truck can be seen in giving operators the ability to switch between machines with no time lag. In such a fast-paced application, where for example a football match is being broadcast live, it is crucial that the technical director facing the video wall is able to switch between shots, cameras and camera angles, and can do so quickly

GALLERY CONTROL

TRANSMISSION

From the OB truck to the gallery control room, IP-based KVM brings much improved levels of flexibility, scalability and comfort to the studio. While there may be more space than in an OB truck, it is still at a premium.

The removal of the physical machines from the control room, and the additional heat and noise that is generated by them frees up space and adds comfort to the area.

The biggest requirement for the gallery control room is reliability, especially for live broadcasts. In a news bulletin, for example, the editor needs to be able to move effortlessly between shots and content to create a smooth flow. When using a standard IP network to deliver KVM solutions, the reliability of the network is crucial.

In the simplest terms IP is everywhere, it is reliable and resilient, and forms an extremely cost-effective infrastructure. The backbone of a control

room’s infrastructure is already based on IP and while the products on the network may be sourced from different vendors, the investment in technology has already been made. This allows operators to leverage their current infrastructure without spending significantly more money. As a result, one major advantage of the wider adoption of IP is cost savings.

Instant switching, as with the OB environment, is a major technical feature required in the gallery control room, as is the ability for a system to be able to cope with multiple types of devices. In this environment, touch screens are often incorporated into the system for ease of use and further elimination of the keyboard and mouse.

POST PRODUCTION In the post production environment, IP-based KVM also yields benefits.

Whether users are working on film, advertising or television content, the needs of a post suite remain the same. From an operator point of view KVM allows for the physical machines to be removed from the room and relocated to a central server room. Often this has benefits for the machines themselves – server rooms are kept secure and temperature controlled which adds to machine lifespan and performance. It also ensures that no unauthorised access is allowed, which may be an important consideration, especially for film and broadcast clients for whom piracy is a significant concern. The result is extending these computers without loss of quality or functionality, enabling editors to work in a quiet and cool room.

KVM also works in this environment because it allows the creation of an edit suite based on specific customer requirements by enabling different clients to seamlessly switch between different resources. Editing suites can be easily configured with little effort, increasing the uptime of each room with no need for technical staff applying patches or making changes. This is especially advantageous when clients bring in their own machines to the studio, as they can be quickly taken to the server room and integrated with the KVM solution, negating the need for connections, cables and technical support.

Apart from the requirements of a noiseless system and the ability to share content, post production also focuses on two areas – pixel perfect content and frame rate. When editing content, users must have absolute assurance that the picture on the screen is exactly the picture that was received from the camera and that the extension equipment has not altered or had any effect on the picture quality.

The KVM solution also needs to ensure that the different frame rates are supported – that is, editors must be confident that the extension software will support the speed at which they are working and allow them to view the content exactly as it will be seen in the end product.

IP-based KVM transforms a screen into a portal in any number of computers with secure access in multiple locations. For the broadcasting industry – be it production, broadcasting or post production – it has a definite role to play, and as such is enjoying a wider adoption with many organisations realising the full benefits of reliability, flexibility and scalability.

Visit www.adder.com

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CLASSIFIEDS + EVENTS Advertiser Index

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Co./Last Name......................Page JA......................................................... 3 Amber Technology.......................13 Blackmagic Design......................... 5 Ericsson......................................... IBC GatesAir...........................................41 Grass Valley....................................14 Imagine Communications...... OBC IRT Electronics Pty Ltd.................10 Jands................................................33 Lawo.................................................21 Lumina Broadcast Systems........39

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Magna Systems & Engineering..... ..........................................................IFC OB Group.........................................43 On Air Solutions........................ 6,25 Professional Audio & Television .................................................7,37,43 Quantum.........................................11 Quinto Communications.............. 9 Riedel Communications GmbH & Co. KG...........................................17 Sennheiser Australia...................35 Sportscasting 2014.....................19 Studiotech Australia...................... 4 Techtel.............................................31

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Position Vacant – Television Broadcast Engineer

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PROFESSIONAL AUDIO & TELEVISION One of Australia’s leading broadcast suppliers and integrators, has a position vacant for an experienced television broadcast engineer, Sydney-based.

The successful candidate:  Will have extensive Television engineering experience in the broadcast industry;  Experience in designing complex IP networks be it for control, vision and/ or audio;  Be able to design TV and radio systems from the ground up as well as integrate new technologies into an existing system;

the extra mile;  Is able to travel nationally and internationally; and  Has a current Australian drivers license and the appropriate VISA to work in Australia In return for your services, we will provide you with:  A salary that reflects your experience and work commitment;  Flexible work hours that provide a healthy work and life balance;  A relaxed work environment with a small team of high achievers; and  The opportunity to work on some of the most exciting and challenging broadcast projects in Australia.

If you feel that you are the right person for the job, we would love to hear from you!

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 Is a good communicator who can manage staff and sub-contractors, being a team player but who can also work unsupervised;

Please send us a one page document outlining why you are the right person for the job in addition to your CV.

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 Has an eye for detail and is able to transfer the customers vision incorporating detailed CAD drawings, project timelines, and the entire process to final commissioning;  Is dedicated and takes pride in his/her work, while being prepared to go

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IBC: At the Forefront of Technology and Debate THE IBC BIG SCREEN EXPERIENCE is one of the many facets of the IBC show that makes it truly unique. Situated at the centre of the RAI is a massive 1,700-seat Auditorium, which, for the duration of IBC, is kitted out with some of the most cutting edge cinema technology available.

The kit list, of course, changes every year as technology progresses, and this year features Christie 6P 2D and 3D laser projection and Dolby Atmos immersive audio. The Christie ‘6-Primary’ 4K laser projectors are yet to be mass produced — probably coming on stream in 2015 — so this will be one of the first places to see one running and witness the additional luminance they bring to cinema projection, particularly in 3D. Dolby Atmos, meanwhile, uses up to 64 speakers to heighten the impact of any scene’s audio and allows sound designers to move the audio around an auditorium to create stunning aural effects.

All this technology will be put to good use too. Not only is the IBC Big Screen Experience home to the vibrant and fast-paced IBC Awards Ceremony, which takes place on the Sunday 14 September evening and is free to attend to all show attendees, but it is also home to the free to attend ‘Disruptive Cinema‘ strand of the Conference. There is also the always-popular IBC Big Screen complimentary screenings, which are typically Hollywood blockbusters

chosen to highlight the capabilities of the audio and projection systems.

The IBC Conference has a reputation for setting the agenda for discussion as change continues to sweep through the world’s electronic entertainment industry. Its keynote sessions are at the heart of the debate too, featuring an international line-up of thoughtleading speakers who are specially invited to IBC2014 to share their insights, visions and predictions to guide delegates into the next stage of their business and help elevate their organisation.

This year’s keynotes are no exception and include David Abraham, CEO, Channel 4; Matt Brittin, President, Google Europe; Tim Davie, CEO and Director, Global, BBC Worldwide; and Professor Brian Cox OBE, whose broadcast work for the BBC has elevated hard science programming to the heights that were previously solely occupied by natural history programming.

The keynote panel ‘Assessing the Health of Broadcast TV’ on Thursday 11 September 2014 at 08:30 in the Forum opens the Conference and promises to be a fascinating insight into where broadcasting fits in an increasingly ondemand and IP-based world. Three leading broadcast industry players will give their insights as they explain their strategies and present their visions for the future of television.

Visit www.ibc.org

CLASSIFIEDS + EVENTS

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Applications should be mailed to management@proaudiotv.com.au

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> MEDIA TECHNOLOGY PACIFIC 065 > MEDIA TECHNOLOGY PACIFIC

> MEDIA TECHNOLOGY PACIFIC 067 > MEDIA TECHNOLOGY PACIFIC 068 > MEDIA TECHNOLOGY PACIFIC

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TIME shifter 70th Anniversary of Ampex Founded by Russian-American electrical engineer Alexander M. Poniatoff in 1944, Ampex is celebrating its 70th anniversary this year. The company is responsible for a number of technical innovations, including tape delay radio broadcasts.

THE AMERICAN BROADCASTING COMPANY (ABC) used an Ampex Model 200 audio recorder for the first ever U.S. tape delay radio broadcast of The Bing Crosby Show in 1948. This allowed Crosby to maintain his relaxed style while producing a radio show, which was previously hamstrung by having to work live. It also allowed for a recording of one show for both the East and West coasts of the U.S., where time-zone differences had previously necessitated the recording of two identical shows, both live.

In 1954, Ampex introduced the first multi-track audio recorder derived from multi-track data recording technology. Ampex also introduced the first magnetic theatre sound system, made for Todd/AO CinemaScope, with the system initially being used for movies such as Oklahoma! (1955).

The innovation went on to Garner Ampex a technical achievement Oscar from the Academy of Motion Picture Arts and Sciences in 1960.

The Ampex VRX-1000 videotape recorder was introduced on April 14, 1956, at the National Association of Radio and Television Broadcasters in Chicago. This was the first practical videotape recorder and is hailed as a major technological breakthrough. The system was first used on CBS’s Douglas Edwards and the News on November 30, 1956. The National Academy of Television Arts and Sciences awarded Ampex its first Emmy in 1957 for this development.

Helical scan recording was invented by Ampex in 1961 - the technology behind the worldwide consumer video revolution, and is used in all home Video Tape Recorders today.

digital special effects, allowing rotation and perspective of video images, changing the way television material is manipulated and created.

ADO earned Ampex another Emmy in 1983.

Ampex then introduced EDITEC electronic video editing in 1963, allowing broadcast television editors frame-by-frame recording control, simplifying tape editing and the ability to make animation effects possible. The EDITEC became the basis for all subsequent editing systems.

Ampex then gained Emmys in1984 for the VPR5, the first helical scan portable VTR; in 1986 for the Zeus Advanced Video Processor and for VPR3; in 1989 for the D-2 digital video recording format; and in 1990 for the ACR 225 Commercial Spot Player.

The following year saw the release of the followup to Ampex’s original VTR, the VR-2000. This high band videotape recorder was the first ever to be capable of colour fidelity required for high quality colour broadcasting. It also went on to gain Ampex another Emmy.

In 1992, Ampex introduced DST, highperformance computer mass storage products able to store half the Library of Congress in 21 square feet of floor space. In 1996, Ampex introduced the new double density DST data storage product line, offering the highest capacity data storage system in the industry.

The subsequent introduction of the VR-3000 in 1967 was the first truly portable VTR, fitting in a briefcase size form factor. It was used at the ‘68 Summer Olympics in Mexico City to follow the world’s cross-country runners for the first time.

Ampex introduced the VPR-1, helical scan, Type C, 1-inch, videotape recorder in 1976. With it came AST, the first automated scan tracking for variable speed effects, making slow motion possible directly from tape for the first time. Both the VPR-1 and AST won Ampex Emmy awards in 1977.

Ampex introduced ADO in 1981, which creates

1999 saw Ampex introduce scalability to the DST 712 library system, allowing multiple DST 712 cabinets to be connected via a simple cartridge pass through mechanism. Multiple libraries could be configured for almost unlimited capacity.

In 2005, Ampex received its 12th Emmy award for its invention of slow-motion colour recording and playback. Ampex was also honoured with Lifetime Achievement Awards for the members of the engineering team that created the videotape recorder when they worked for Ampex: Charles Andersen, Ray Dolby, Shelby Henderson, Fred Pfost, Charles Ginsburg, and Alex Maxey.

Ampex Recollections PETER CHAMBERLAIN AMPEX MARKETING & OPERATIONS MANAGER, HONG KONG (1988–1994)

TIME SHIFTER

Ampex was a pioneer in so many technologies that were not obvious to the public but during internal technical training courses the R&D engineers provided details of the unique designs.

One day during a ZEUS course, the R&D engineer joined us to explain a particularly complex section of the processor. The engineer began drawing blocks and described each in turn with the exception of one key element in the core of the ZEUS where he wrote, TIWTMH. When asked about that section, the reply had us all laughing…. “This is where the magic happens”.

There was a lot of magic at Ampex.

GRANT MOORE AMPEX PROJECT MANAGER (1988–1991)

KEVIN DAUPHINEE AMPEX PRODUCT MANAGER (1989–1991)

I worked for Ampex Systems Group UK mid 80s to early 90s on a number of great systems integration projects in UK, Europe, Middle East and USSR. Everything from OB Vans for World Cup 1988 in Italy, to the USSR Presidential News Agency in the Kremlin.

In the late 80s, Ampex and Sony were battling against Panasonic for digital VTR supremacy.

Ampex and Sony cut a deal on D-2 that included Ampex selling Betacam products and building them from semi-knock-down (SKD) kits in the Ampex Hong Kong factory.

My memories of working at Ampex Systems Group UK in the late 80s are of a fantastic team atmosphere. We had a great portfolio of products - video switching, ADO, ESS, VTRs - VPR3-6 and Betacam SP, and of course ACE editors, to name but a few. All the products integrated seamlessly into great systems that had great factory and local regional support teams.

The marketing genius to convince savvy broadcasters around the world to buy Betacam from Ampex instead of Sony was a masterful accomplishment, growing revenue approximating $100 million. The launch of the CVR-300 Guerilla-cam at NAB with shooters in fatigues and a mermaid on the set was nothing short of “Las Vegas” spectacular. They don’t make ‘em like they used to…

Ampex Systems Group UK people have generally all stayed in contact, which shows the team spirit and friendships that remain to this day.

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