Content+Technology ASIA Feb-March 2013

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Cover Story – MediaCorp ‘Toggles’ OTT

22 REGULARS

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EDITOR’S WELCOME NEWS Hunan TV Goes S3D with Quantel,

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CLASSIFIEDS AND EVENTS TIME SHIFTER

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POST-PRODUCTION Teranex Reaches

Sion Media Helps SBS, AsiaSat Adds Zhwandoon TV, Farewell to Alex Chelleri

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TAKING STOCK Christie Acquiring VR Solutions, Sintec Buys StorerTV and Argo Systems, Grass Valley CTO Looks Ahead

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FEATURES

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ABU PREVIEW Exhibition Preview THIRD DIMENSION The Hobbit in 3D at 48FPS, Single Lens 3D DSLR, Active to Passive Conversion

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CONNECTED MEDIA MediaCorp

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ACQUISITION New Camcorders from

‘Vanishing Point’, Colorfront 4K HFR Workflow, Fusion Reaction

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PPTV in the Cloud with Microsoft, Dalet Xtend for CS6, Aspera in Singapore

‘Toggles’ OTT

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SPORTSCASTING 20 Years for IBM at Oz Open, Chapter 1 of The Glasgow Diaries, Snell at the Hong Kong Jockey Club

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NEWS OPERATIONS ‘Moto Cross’

RADIO DAB+ Technology Workshop in Bangkok, NETIA for AIR and RTM, Suspension for DBC

Panasonic and JVC, 4K Monitoring in the Field from Sony

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STORAGE AND ASSET MANAGEMENT

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TRANSMISSION Harris Supplies GSTV and ABC Sri Lanka, Magna Partners with ThomsonAdsett, Channel-in-a-Box Roundup

for Metro News, Bloomberg TV in Indonesia, Etere at Kompas TV, Ross and Crispin Partner

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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

IMAGE TOP LEFT & COVER: Gollum, performed by ANDY SERKIS in the fantasy adventure “THE HOBBIT: AN UNEXPECTED JOURNEY” a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), released by Warner Bros. Pictures and MGM. Photo courtesy of Warner Bros. Pictures

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: DAI Rubicon, Singapore COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under

Australian Commonwealth Copyright Laws.

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

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

EDITOR’S WELCOME

Connecting the Dots

By Phil Sandberg

THE EMERGENCE Of IP-enabled devices such as phones, tablets and smart TVs is cultivating a new media eco-system of connected media. It is an ecosystem that not only allows a greater selection of content at a time of one’s choosing, but also allows consumption of that same content across multiple devices, as well as the ability to consume and interact with that content across multiple screens. In short, greater flexibility and a more enhanced experience for the consumer.

means nothing to a customer. It’s an industry term that we get lost in. We miss the customer in the discussion. I’ve never ever heard a customer talk about, ‘check out my connected TV’, it’s ‘hey I can get Facebook, I can get Twitter, I can get ABC’ or whatever it might be, but they don’t say check out my connected TV. I think it’s important for the industry not to get lost in ‘connected entertainment’, rather let’s get lost in what the customer wants to do.”

The launch of MediaCorp’s Toggle service in Singapore is a great example of this trend (see page 22), as is Foxtel’s viewer applications for iPad and through Xbox in Australia.

Negotiating this minefield is the Asia Pacific Broadcasting Union’s Digital Broadcasting Symposium 2013. With a theme of Next-Gen Media Space and the Connected World, these issues will be top of mind (see page 16).

However, the idea of ‘connected entertainment’ is still a work in progress and one that will depend on a mix of available devices, standards, broadband rollout, content producers, manufacturer priorities and consumer adaptability.

For example, Evan Manolis, Group Manager AV at Samsung Electronics Australia, recently told C+T that ‘Connected Entertainment links’ more than just audio and video content.

“It’s health, it can be home monitoring, it can be in your backyard and bringing down a screen via your tablet, which then streams content from your capture TV service from your TV via the cloud onto your screen in the backyard,” he says. “It’s about those different pillars, and then looking at the devices that are together, smartphones, tablets, separate boxes, service gateways, video gateways, and then cloud, and then TV.” Sally O’Donoghue, Manager, iView and Internet Broadcasting with the Australian Broadcasting Corporation, agrees “If you were to go by a generic definition provided by Google, entertainment is something that provides enjoyment or amusement. But, I think that’s quite limiting in the term of connected space because it excludes things like entertainment, commerce, education, information, local services, and communication services. And, I think the lines are being blurred between entertainment services and all of those other add-ons really.”

SNAKING ALONG THROUGH 2013 This being our second issue of C+T Asia, we’d like to thank all those who have supported us and have given us feedback on our first issue. Like Connected Entertainment, we view the magazine as a work in progress, as well as something to consume across the platform and time of your choosing. We welcome always your comments.

Finally, whatever your choice of calendar/s, we wish you much happiness and prosperity for the New Year ahead.

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

Meanwhile, as a reality check, Paul Collie of Sony Network Services told us, “My view of connected entertainment is that it means nothing, it

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

Vietnam TV to Make Digital Switch by 2020 VIETNAM’S PRIME MINISTER has signed off on a nationwide analogue to digital migration plan which will see the country’s television stations broadcasting completely in digital by 2020.

Speaking at a press conference in late January, Mr. Le Nam Thang, Deputy Minister of Information and Communication said the digitalisation scheme also aims to gradually expand digital terrestrial television (DTT) coverage to serve the economic development , culture, society, and offer a variety of high-quality TV services (such as HDTV, 3DTV, etc.).

Specific objectives of the digital terrestrial television project include: By 2015 to ensure 80% of households with television sets across the country to view digital television by different methods, and that digital terrestrial TV serves up to 60% of the population.

The switchover will take place in four stages: PHASE I : Implementation of DTT in the five cities directly under the Central Government: Ho Chi Minh City, Hai Phong, Da Nang, Can Tho are expected to move completely to DTT before December 31, 2015.

PHASE II: The next 26 provinces, including Hanoi (open), Vinh Phuc, Bac Ninh, Hai Duong, Hung Yen, Quang Ninh, Thai Nguyen, Thai Binh, Digital by 2020 - Vietnam’s Deputy Ha Nam, Nam Dinh, Ninh Binh, Bac Minister of Information and Communication, Mr. Le Nam Thang.

Giang, Phu Tho, Khanh Hoa Binh Thuan, Ninh Thuan, Binh Duong, Dong Nai and Ba Ria-Vung Tau, Long An, Tien Giang, Ben Tre, Vinh Long, Dong Thap, An Giang , and Hau Giang before December 31, 2016.

By 2020, ensure that 100% of households with television sets across the country view digital television by different methods, and that digital terrestrial television coverage takes in up to 80% of the population.

PHASE III: The next 18 provinces of Thanh Hoa, Nghe An, Ha Tinh, Quang Binh, Quang Tri and Thua Thien-Hue, Quang Nam, Quang Ngai and Binh Dinh, Phu Yen , Lam Dong, Binh Phuoc, Tay Ninh, Tra Vinh, Soc Trang, Bac Lieu, Ca Mau and Kien Giang by December 31, 2018.

Under the scheme approved by the Prime Minister, the DVB-T2 DTT standard was selected. The Vietnamese Government plans to subsidise poor households to enable them to purchase DTT receivers.

PHASE IV: Remaining provinces and areas of Ha Giang, Cao Bang, Bac Kan and Tuyen Quang, Lao Cai, Yen Bai, Lang Son, Dien Bien, Lai Chau, Son La, Hoa Binh, Kon Tum, Gia Lai, Dak Lak, and Dak Nong before December 31, 2020.

NEWS + PEOPLE

China’s Hunan TV Goes S3D with Quantel HUNAN TV HAS PURCHASED a third Quantel Enterprise sQ fastturnaround production system for its Stereo3D program production.

Hunan TV, a division of the Hunan Broadcasting Group, has been a Quantel customer since 2008 when the broadcaster chose two Quantel Enterprise sQ systems for the production of entertainment programming. Hunan TV later upgraded to a full HD workflow in 2010.

The new Enterprise sQ system handles ingest, editing and output of S3D media within a totally integrated S3D workflow. The fastturnaround production system will be used in Hunan TV’s new studio to produce 3D content in line with new regulations for China’s top broadcasters.

Director of Hunan TV, Mr Gong Rulin, said, “The broadcast industry in China is very competitive, so we needed a high quality and reliable broadcast system to deliver excellent results to our wide audience. We chose Quantel Enterprise sQ because its video quality is much better than other systems. The Enterprise sQ workflow is much quicker, with an excellent time-to-air.”

Quantel Sales Director, Martin Mulligan, said, “Hunan TV delivers high quality entertainment programs to an audience of over 880 million.

We are delighted that Hunan TV has again chosen Quantel to deliver stunning content to this huge audience.”

Visit www.quantel.com

LiveAsia & Samsung to Market for Indian Audience LIVEASIA, a developer and operator of a proprietary Over-the-Top (OTT) Video solution for streaming live/linear and On-demand video content, has announced the launch of their latest App, WatchIndia.TV, which will enable Samsung Smart TV viewers to access over 70 HD quality Indian channels.

Eric Anderson of Samsung Electronics America, Inc. said, “Our vision is to bring a complete and unique high quality TV directly to our viewers. LiveAsia.TV corresponds to this strategy with 70 Indian channels and total of over 100 live and on demand Asian channels you can enjoy on our TV’s and on the go.”

WatchIndia.TV’s VP Commercial, Yaron Shilat said, “We believe the market is shifting from traditional TV to new experience of pay TV. Customers who value high quality content at maximum convenience remain our primary market.”

Visit www.liveasia.tv

Gazi TV Bangladesh Creates Vision GAZI SATELLLITE TELEVISION LTD (GTV), a private TV channel in

NEWS + PEOPLE

Bangladesh has turned to Ross Video for two Vision Multi-Definition Production Switchers for its news and program studios. With the addition of two new HD studios, GTV required reliable switchers to meet the demands of everyday entertainment such as Bangla drama, talk shows, movies, documentaries, music and the latest news from Bangladesh and around the world.

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“GTV produces many types of shows and we needed a switcher that could meet those high expectations,” said Mr. A K Ferdaus Ahmed, Head of Broadcast & Engineering, GTV. “Ross’ Vision switchers offer the HD capabilities that we are looking for, a sleek modular design and high quality of outputs. From an operational perspective, Vision has proven easy to use plus our operators seem to thoroughly enjoy the Squeeze and Tease feature.”

Visit www.rossvideo.com

Sion Media Solves Challenges at New SBS Facility BITTREE, a manufacturer of audio and video patching systems, announced that its South Korean partner, Sion Media, has been contracted by Seoul Broadcasting System (SBS) to supply Bittree patchbays for its new facility, the SBS Prism Tower. SBS, one of South Korea’s largest broadcasters, purchased more than 400 Bittree video and audio patchbays for two of its channels, SBS Plus and SBS Golf. The SBS Prism Tower will support a total of six new HD channels.

“Systems designers overwhelmingly choose Bittree patching as a backup routing method for both studio and outside broadcasting use in Korea,” said Glenn Garrard, CEO of Bittree. “Sion’s customer relationships and marketing strategies are the reason for our success there. In fact, Sion has done an outstanding job of representing Bittree’s brand to the Korean broadcasting industry for more than 10 years. The SBS project is the latest example of Sion’s ability to devise solutions for prominent Korean broadcasters using the Bittree product line.”

For its facility upgrade, SBS Plus is currently installing 313 Bittree E-series HD-SDI video patch panels and 80 additional TT (Bantam) audio patchbays.

Custom-designed for simplifying the installation process, E-series video patchbays feature front-mounted jacks that simplify the rewiring task for install technicians.

“Integrators and systems designers alike specify Bittree because they trust the high quality of Bittree patchbays as a reliable backup system for signal routing,” said Johnny Lim, sales manager at Sion Media.

Visit www.sbs.co.kr and www.bittree.com

AsiaSat 3S Adds Afghanistanbased Zhwandoon TV ASIA SATELLITE Telecommunications Company Limited (AsiaSat) has announced that Zhwandoon Radio Television Network of Afghanistan has signed a lease agreement for C-band capacity on AsiaSat 3S to distribute the Afghan channel ‘Zhwandoon TV’.

Zhwandoon Radio Television Network, an independent and impartial network, works for national interest, national heritage, religious values, democracy and reintegration.

Through AsiaSat 3S’s powerful access across the Asia Pacific, Zhwandoon TV reaches not only all broadcast networks and audiences in Afghanistan but also Central Asia, Middle East, South Asia and other parts of Asia Pacific.

Zhwandoon TV has commenced free-to-air broadcasting on AsiaSat 3S, offering programming in the Pashto and Dari languages, with content ranging from news, entertainment, sports, music, religious to social, educational and political programmes.

“We are excited to put our service on AsiaSat 3S that delivers our programming effectively to the entire country and takes our services abroad, serving overseas audience in more 50 countries and regions across the Asia Pacific,” said Professor Mohammad Ismael Yoon, Chief Executive of Zhwandoon TV. “We are very pleased to announce the addition of Zhwandoon TV to AsiaSat 3S’s exciting portfolio of Pashto and Dari language programming. AsiaSat 3S’s leading position in distributing a wide range of programming to an audience of different cultures in Asia is well recognised and appreciated by broadcasters from all over the world,” said William Wade, President and Chief Executive Officer of AsiaSat. Visit www.asiasat.com

Ideal Role for Chor IDEAL SYSTEMS SINGAPORE, part of Ideal Systems Group, has

Prior to joining Ideal, Stephen was Chief Engineer at Walt Disney

announced the appointment of Stephen Chor as Vice President of Technology for Southeast Asia. Stephen will join the Singapore based management team with responsibility for managing delivery and support of Ideal’s broadcast systems and solutions.

Television International, Japan, for two years and Executive Director of

“Having over 30 years solid broadcast and engineering experience, we are thrilled to have an engineer with Stephen’s qualifications and wealth of experience come aboard. Stephen is a welcome addition to our growing systems integration team in Singapore,” said Fintan Mc Kiernan, CEO Ideal Systems Singapore.

Manager of Radio and Television Transmissions.

Engineering at Walt Disney Television International, Singapore, for over 12 years. Prior to Disney, Stephen had 11 years at Singapore Broadcasting Corporation (now MediaCorp) with multiple engineering roles including Stephen has First Class Honours and I.E.E and did post graduate research into Microwave Pulse Signals at University of Cambridge, UK. Visit www.idealsys.com

Pixel Power Appoints Chris Billington and Imad Albaja’a graphics, has announced the appointment of two key executives as it continues to develop its sales and service proposition.

Chris Billington joins as Regional Sales Manager, APAC. He will be handling sales across the Asia-Pacific region where Pixel Power has achieved considerable success. Billington is a highly experienced broadcast solutions architect with over 25 years of practical experience of systems architecture and design.

Imad Albaja’a has joined Pixel Power as Technical and Sales Support Manager for the Middle East, based in the company’s Dubai office.

Albaja’a has held key positions in the region including roles with MBC

Group, Arab Media Group and ProMedia International.

James Gilbert, Joint MD, Pixel Power, says, “As the role of a manufacturer blurs, with the need to offer customers additional services to support their projects – the range and depth of skills Chris and Imad bring to Pixel Power offers customers access to a tremendous range of expertise and experience.”

Visit www.pixelpower.com

NEWS + PEOPLE

PIXEL POWER, a supplier of broadcast playout solutions with integrated

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NEWS + PEOPLE

ASIA NEWS

INDIA AFFLE, an international smart-media company, has announced its partnership with the India Today Group to exclusively power all video and rich media advertising for the India Today Group through its recently launched rich media and video ad network – ‘Ripple’.

As a part of this partnership the India Today Group would employ Affle’s ‘Ripple’ ad network to serve all video ads on its online properties and to serve video and rich media ads across India Today Group’s properties on the iPad/Tablet platforms.

Visit www.affle.com

THAILAND IN A NEW SALE for Interra Systems, CTH Thailand (Cable Thai Holding Public Company Limited) has decided to use Baton as their primary File based QC solution.

CTH, established in 2009, provides services for 100 Cable TV companies in Thailand with the main goal to receive and rebroadcast all high quality TV channels containing Sport, News, Entertainment, Movies, Documentaries etc. and deliver this programming to all regions in Thailand.

Visit www.interrasystems.com

MALAYSIA NETIA HAS ANNOUNCED that Radio Televisyen Malaysia (RTM) has upgraded its regional station in Ipoh to Radio-Assist 8.1. NETIA’s Radio-Assist family of digital audio software programs has been in use at RTM for more than a decade, and the Ipoh-based station worked with Broadcast Communications International (BCI) to transition to the latest software release and begin working with new features, including the Activity Watcher module.

With its Radio-Assist 8.1 upgrade, RTM in Ipoh will gain a variety of added features. RadioAssist 8.1’s new audit module, also called Activity Watcher, enables administrators at RTM to trace and check all modifications made on the playlist and across the entire Radio Assist 8.1 system.

NEWS + PEOPLE

Visit www.netia.com

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SINGAPORE QUICKPLAY MEDIA has announced continued global expansion with the addition of a new office in Singapore. The office will be managed by Tash Stamatelos, QuickPlay’s newly appointed Vice President of Sales for the Asia Pacific region.

“There is a massive opportunity for QuickPlay’s cloud-based multiscreen services in Asia and we are excited to establish a home base for the region in Singapore,” said Wayne Purboo, President and CEO of QuickPlay Media.

Visit www.quickplay.com

KOREA HONG KONG VERIMATRIX has announced that Hong Kongbased PCCW Limited’s now TV is securing its over-the-top (OTT) video-on-demand (VoD) service with the Verimatrix Video Content Authority System (VCAS) for Internet TV. now TV is Hong Kong’s largest quad-play pay-TV provider and has one of the world’s largest commercial deployments of IPTV. now TV leverages VCAS for Internet TV to provide revenue security for its now Video Express First, a pay-per-view movie on-demand service that offers subscribers access to the latest blockbuster movies in rich options of 3D, high definition (HD) and standard definition (SD) formats, and now Video Express Unlimited, a subscription-based movie and drama on-demand service.

DECEMBER 31, 2012, saw the end of analogue TV broadcasting in South Korea with the final switchover to digital-only services.

In 1997, South Korea became the second country globally, after the United States, to broadcast regular high definition services using the ATSC transmission standard.

Some 15 years later, the Korea Communications Commission estimates more than 99.7% of the national television audience now have access to terrestrial digital TV broadcasts, however, information and government-funded receiver campaigns will continue until March.

Visit www.verimatrix.com

PAPUA NEW GUINEA

INDONESIA TVRI has chosen Etere MERP and MTX to manage its second channel. Television Republik Indonesia (TVRI) is a state-owned television station with national coverage. It is based in Senayan, Central Jakarta, and it has 22 regional stations.

The MERP system manages Air Sales, Scheduling and Automation, an integration of all processes to save time and money.

The software solution streamlines media operations and to manage the complete lifecycle of TVRI generating processes and sharing information between all departments.

SES AND O3B NETWORKS have announced that Digicel has contracted capacity on SES’ NSS-9 satellite and O3b’s Medium Earth Orbit fleet to provide high quality internet bandwidth for their cellular network in Papua New Guinea.

Under the multi-year agreement, the fast growing mobile phone network provider will use the C-band capacity on the NSS-9 satellite at 183 degrees East and the O3bTrunk service to continue to deliver high-quality voice and high-speed mobile data services to its customers across Papua New Guinea.

Visit www.ses.com and www.o3bnetworks.com

Visit www.etere.eu

NEW ZEALAND

THE MINISTER for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, has issued directions to the Australian Communications and Media Authority (ACMA) to set the reserve price for 700 MHz spectrum at $1.36 per megahertz (MHz) per population.

The Minister also issued an amending direction to increase the competition limits from 2×20 Mhz to 2×25 MHz for spectrum in the 700MHz band. The amended competition limits remain consistent with advice provided by the ACCC.

SKY NZ HAS SIGNED A DEAL with Jim Blackman, founder and chief executive of community broadcaster Triangle TV, giving access to bandwidth on SKY channel 89 which will be known as Face TV.

Visit www.comlaw.gov.au

Visit www.skytv.co.nz

“Under the agreement, we’re giving Triangle TV access to a channel on which they will screen their content,” says SKY TV spokesperson Kirsty Way. “The deal means they will also provide access to other regional broadcasters to show their programmes.”

NEWS + PEOPLE

AUSTRALIA

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NEWS + PEOPLE

Farewell Alex Chelleri THE NEW YEAR BROUGHT with it the sad news that veteran industry personality Alex Chelleri had passed away after collapsing while hiking near his Discovery Bay residence on Hong Kong’s Lantau Island. The Australian-born Chelleri had apparently fallen behind while hiking with his sons Nicholas, Thomas and Benjamin who found him lying on the track, with no apparent injuries. Alex was airlifted to hospital, but medical personnel were unable to resuscitate him.

Alex was most recently employed by camera accessory manufacturer Tiffen as its North Asian Director.

According to Tiffen International colleague, Brett Smith, “Having observed Alex and enjoyed his company over the last 18 years, since our first meeting in Seoul, he clearly took his skills and Asia knowledge in his stride, making his efforts look relatively easy. Having worked with Alex at Tiffen for the last 12 months, I saw first-hand how his congenial approach to business belied his diligence and determination. He was tough and savvy in any business situation.

“Always the raconteur, his legendary tales became anticipated ice-breakers amongst the many races in the many countries Alex shared a taxi, booth, beer, wine or boardroom. I believe Alex is the character in quite a few of the tales of Stuart Lloyd in Volumes 1, 2 and 3 of the best-seller Hardship Posting. Like Lloyd’s stories, there was always the right balance of fact and fiction to protect the innocent in all Alex’s yarns. He has been my social lifesaver more times than I can count, and introduced me to countless folk who have since become lifelong friends. Every time I jump on a plane or arrive at a show, I will think of, and sadly miss, a great mate and colleague.”

Throughout his career, proven leadership skills, along with that strong

Jünger Audio Appoints Harms for Asia DYNAMICS PROCESSING SPECIALIST Jünger Audio has announced

Alex held a degree in Electronics from RMIT University, along with a certificate in Broadcast Electronics, and was a member of the Society of Motion Picture & Television Engineers (SMPTE).

As well as his three sons, he is survived by his partner Karen, his parents and a sister.

Atlona Taps Meyer for BDM in EMEA, Asia Pacific ATLONA, a leading digital connectivity solutions provider, has announced

Harms has extensive experience in audio and hardware development, having previously worked for Native Instruments, GSP-Audiotechnologies and Formac. He also speaks and writes fluent Putonghua (Mandarin).

Harms will primarily be based in Jünger Audio’s head office in Berlin but will be making regular trips to the Asia to support sales activity in the region.

Meyer is an accomplished international business professional with more than 18 years of experience managing business development, sales, and marketing for leading A/V and IT companies.

Visit www.junger-audio.com

Visit www.atlona.com

Exset Appoints Ulhaq for Asia

Oasys Boosts APAC with Ng

EXSET HAS ANNOUNCED the appointment of Mr. Mahmood Ulhaq as

OASYS, a developer of IT-based automated playout solutions, has

Director Business Development Asia. Central to his role is the ongoing

appointed James Ng as Sales Director for the Asia Pacific region.

Based in Singapore, he is responsible for strengthening the company’s regional focus by providing OASYS’ local partners and resellers with commercial support directly from within the Asia-Pacific region.

deployment of Exset’s Digital Monetisation System (DMS).

Mr. Ulhaq brings with him over 20 years of experience in broadcast, information and strategic planning space. He has held positions

territories in Asia, ensuring Exset solutions are successfully deployed.

James Ng joins OASYS with 23 years of experience in digital media and production, technical sales, pre-sales and business development roles. He has built a wealth of expertise in system design, high speed storage architecture and converged workflow environment, having led and managed Technical Media Services for over 10 years.

Visit www.exset.com

Visit www.oasys.com

at various senior levels at MJF Media, Univision Networks, AMZ

NEWS + PEOPLE

Before leaving Australia at the end of the 1980s, Alex held sales positions with Ampex and was a studio engineer at Amstrong Studio (formerly AAV Australia) where he was responsible for the day to day running of two major recording studios, three radio studios, and a sound to film studio under the management of Roger Savage.

that it has appointed Jeff Meyer as the company’s director of business development for the EMEA and Asia Pacific regions. In his new role, Meyer is responsible for Atlona’s sales in these territories, and will be instrumental in shaping the company’s international business strategy. Prior to joining Atlona, Meyer’s company AV Consulting International (AVCI) worked in partnership with Global AV Network to manage Atlona’s international sales.

the appointment of Oliver Harms, who has joined the company to handle Technical Sales for the Asia region.

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understanding of the Asian market, its culture and people saw Alex take on key regional positions with a number of high profile companies, including: President, Asia Pacific, Pebble Beach Systems UK; Director of Automation, APAC region, Snell; President, Asia Pacific, Pro-bel; Sales Manager, Asia, Quantel; Regional Sales Manager, Asia Pacific, Leitch Technology; Sales Director Asia Pacific, Accom; Regional Sales Manager, Asia Pacific, Scitex Digital Video; and Regional Sales Director, APAC Post Production, Dynatech International.

Technologies, MicroTech Networks and Vanik Telecommunications.

Mr. Ulhaq will work directly with customers and local partners across

Clear Communications From Bhutan to the Philippines CLEAR-COM, a global leader in critical voice communication systems, is providing greater flexibility and mobility to broadcast production communications at Bhutan Broadcasting Service (BBS), the national TV and radio station of Bhutan. Clear-Com is also helping support the diverse communications requirements of the Associated Broadcasting Company, also known as TV5, at its two Quezon City facilities in the Philippines.

BBS is employing Clear-Com’s FreeSpeak and Tempest2400 digital wireless systems to ensure that the critical production cues for its daily news, documentaries and entertainment programs are heard without interference or dropout. By exploiting the wireless and grouping capabilities of both systems, the staff members have also made significant progress to enhance mobility and coordinate their productions more efficiently.

Prior to the addition of the FreeSpeak and Tempest2400 wireless systems, the station’s communications backbone consisted of a wired matrix intercom and a partyline system. While these systems were reliable, the crew needed the additional mobility and flexibility that only a wireless system could provide.

“Prior to adding the wireless systems, the wired system hampered the movement of the on-line editor, cameramen, floor manager and anchors, especially during the panel discussion, reality shows and talk shows in the production studio. We would migrate to different parts of the studios with the wired beltpacks, but sometimes the cables would extend so far that the beltpacks would get unplugged, cutting off our communications,” says Sherub Tharchen, Head of the Technical Department for BBS. “Now with FreeSpeak and Tempest, everybody can move freely in the studios and stay connected without worrying.”

critical for the network, one of the Philippines’ major national broadcasters, as it produces and broadcasts a diverse array of programs. With their IP capabilities and ability to interface with telephone hybrids, two-way radios, two-wire and other systems, Clear-Com intercoms offer TV5 a wide variety of communications options.

For remote productions, TV5 crew members use the Eclipse and FreeSpeak in the studio to collaborate with those in the field on the Tempest2400. For those productions in more distant regions, the Tempest2400 system is employed in the station’s flypacks. TV5 finds the Tempest2400 to be especially useful in these situations, as the intercom’s Frequency Hopping Spread Spectrum (FHSS) technology ensures interferencefree communications in regions that are RF hostile.

The Eclipse-Omega and Eclipse-Median systems are located in the central equipment room at TV5’s Novaliches and Broadway facilities, respectively.

Via an E-Que card installed in the Eclipse frames, FreeSpeak is in use at both locations on multiple studio floors and in the newsrooms. With six antennas installed per studio, FreeSpeak offers wireless mobility across the TV5 complexes. If for some reason, an intercom panel or system is not working, TV5 has Clear-Com Concert, an intercom-over-IP conferencing software, as a secure communications backup.

Currently, the Novaliches and Broadway facilities’ intercoms are only connected via IP within each site, but TV5 has plans to link both matrix frames via fibre in the future.

Visit www.clearcom.com

BBS has two FreeSpeak systems, one in the news studio and the other in one of its production studios. Active antennas are also distributed throughout the production areas to maximise wireless coverage.

The Tempest system is installed at a second production studio in a separate building. Tempest2400, which operates in the 80 MHz of spectrum in the 2.4 GHz ISM frequency band, where it does not interfere with the studios’ wireless microphone or in-ear monitor systems, which utilise the UHF band. Further, because of its Frequency Hopping Spread Spectrum (FHSS) technology, the Tempest system does not compete with signals from other 2.4 GHz wireless devices in the vicinity as well.

In the Philippines, TV5 staff members employ Clear-Com’s Eclipse-Omega digital matrix intercom, V-Series IP-enabled user control panels, Concert intercom-over-IP software, Encore partyline intercom, FreeSpeak Integra and Tempest 2400 digital wireless intercoms.

NEWS + PEOPLE

The comprehensive Eclipse-Omega, Median and FreeSpeak Integra systems can adapt to any type of production setup required by TV5. This is especially

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TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

Christie to Acquire APAC Integrator CHRISTIE DIGITAL SYSTEMS USA, Inc. has announced that it has entered into an agreement to acquire VR Solutions Pty. Ltd. (Australia) and VR Solutions (India) Private Limited, subject to completion of certain conditions. These acquisitions will provide Christie with subsidiaries and offices in Australia and India – markets that are witnessing increased demand for Christie’s products and solutions. After closing, Christie intends to rebrand both companies under the Christie name.

“We’re excited by the potential of this acquisition,” said Jack Kline, president and chief operating officer, Christie Digital Systems USA, Inc. “VR Solutions is a natural fit with Christie, having been a valued partner and integrator of Christie products for several years. The team at VR Solutions also brings a

wealth of expertise in design, sales and service of visual technology solutions to expanding markets for Christie.”

The new Australian subsidiary of Christie will become the main sales and support entity in Australia and New Zealand and the new Indian subsidiary of Christie will be integrated with Christie’s existing Indian operations.

“In becoming part of the Christie brand, it allows us the natural progression to further support our partners, expanding our presence to supply one of the world’s most respected projection product lines to Australia, New Zealand and India,” explains Michael Bosworth, president, VR Solutions.

Lin Yu, vice president, Christie Asia Pacific, will oversee the new Christie operations.

Visit www.christiedigital.com

SintecMedia Acquires Argo Systems and StorerTV SINTECMEDIA, a leading broadcast management software provider, announced the acquisition of Argo Systems, a provider of business solutions to the cable network and operators industry, and StorerTV, the top North American provider of media program and contract rights management software solutions for the television broadcast and cable industry.

“SintecMedia’s acquisition of Argo Systems will further augment our local activities in the North American cable television and MSO markets,” stated SintecMedia CEO, Amotz Yarden. “Its team and suite of products have gained the respect of every television executive in the industry.”

Argo Systems’ President, Doug Calahan, affirmed, “Merging with SintecMedia is a testament to our solutions’ strengths, opens new international

markets and spurs further growth in North America.”

Yarden added, “The opportunity to acquire StorerTV, one of the industry’s most recognised names in the United States, bolsters SintecMedia’s North American presence. The acquisition enables us to extend our product line and effectively makes SintecMedia one of the most powerful vendors in the global media business solutions market.”

StorerTV Chief Operating Officer, Jay Batista, stated, “Merging with SintecMedia will maintain the intellectual leadership that has been fundamental to our growth and success. We could not find a better partner to lead our technologies for the next 25 years.”

Visit www.sintecmedia.com

KIT digital Sacks Auditors, Delists from NASDAQ VIDEO MANAGEMENT SOFTWARE and

TAKING STOCK

services company KIT digital, Inc. has announced it has dismissed Grant Thornton LLP as the Company’s independent auditor. The Company is in the process of engaging a new audit firm.

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As previously disclosed, KIT digital is undertaking a restatement of the Company’s historical financial statements for the years ended December 31, 2009, 2010 and 2011, each of the three quarters in 2009, 2010 and 2011, and each of the quarters ended March 31, 2012 and June 30, 2012. The restatement, once completed,

Tim Thorsteinson Rejoins Grass Valley as President and CEO

will be subject to audit by the Company’s independent public accounting firm.

Additionally, the Company’s common stock was delisted from The NASDAQ Stock Market effective at the opening of business on December 21, 2012. The Company says the delisting is precipitated by its determination not to pay certain fees based on its current circumstances and outlook. The Company does not intend to request an appeal hearing regarding NASDAQ’s delisting determination.

Visit www.kitd.com

GRASS VALLEY HAS ANNOUNCED the appointment of Tim Thorsteinson as President and CEO, effective immediately. Tim has held numerous senior roles in the broadcast technology industry, including a previous stint as the President and CEO of Grass Valley, President of the Broadcast Communications division of Harris Corp., and President and CEO of Leitch.

Most recently Tim was President and CEO of Enablence Technologies Inc. Having led the successful acquisition and carve out of Grass Valley from Technicolor two years ago, Alain Andreoli has stepped down and will leave the business at the end of January.

“We are pleased to have Tim Thorsteinson join Grass Valley at this pivotal point in the company’s transformation. Tim’s in-depth industry knowledge and his proven track record of value creation will ensure Grass Valley’s continued success as an independent leader in the rapidly evolving broadcast infrastructure market,” said David Golob, partner at Francisco Partners and Chairman of the Board of Grass Valley. “I would also like to thank Alain for all of his contributions in helping to re-establish Grass Valley as an independent company.”

“Grass Valley is uniquely positioned to help lead the broadcast industry into the multi-platform era and I am excited to be joining the team. I know first-hand of the rich history of technical innovation that our customers around the world have come to expect from Grass Valley and I intend to continue that tradition through our powerful product portfolio and best in class solutions,” said Thorsteinson.

Visit www.grassvalley.com

TAKING STOCK

Grass Valley on a Mission to Expand Creativity

By Michael Grotticelli WHEN KARL SCHUBERT, the chief technology officer at Grass Valley, looks into his crystal ball for this year and beyond, he sees broadcasters and media companies around the world continuing an industry-wide migration to file-based and Internet Protocol (IP) infrastructures, and manufacturers supporting that initiative with an increasing amount of software and networked platforms that allow users to work collaboratively and a lot more efficiently. The coming year will be filled with significant innovations at Grass Valley and a focus on connected workflow optimisation.

“THE ADVANTAGE OF SOFTWARE is that it allows us to get closer to realising what the creatives want to do,” he said. “At the end of the day, that’s what it’s all about for a technology vendor. The closer you are to hardware, the farther you are from the creative process. When we speak to customers about their creative goals, we can show them how we can help do the same current work with less physical technology in front of them.

They immediately become interested. Who wouldn’t? As a company, Grass Valley is working hard to enable creativity. So, the tools do not define the task, but the other way around. That’s how we’ll keep our customers and help them migrate to the next best thing to allow them to increase their productivity and realise their business and creative objectives.”

Getting there in the next few years is a challenge that Schubert has taken on with enthusiasm and an understanding that budgets are limited in many cases, so the digital workflow transition might happen slower than some might expect. This is especially true, he said, in emerging countries like China and South America, where many broadcast and production facilities are just now being converted from standard definition to high definition operations.

“There’s still a lot of opportunity to move customers through the digital transition as painlessly as possible,” he said. “Our goal in 2013 is to accelerate that transition as much as we can by making it affordable and future proof.”

TAKING STOCK

To this end, Schubert is currently leading several R&D teams at Grass Valley that are focused on adding new levels of capability, in the form of software applications, across Grass Valley’s live production solutions and networked nonlinear editing platforms.

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“I think we’ve reached a point where the costs are right and the performance is there, so you can use off-the-shelf hardware and take application-specific software to do most of the things that we used to do in custom hardware and proprietary gateware,” Schubert said. “However, there is a limit to this. There will always be a need for specialised hardware in some parts of a facility and the live production chain; where FPGA chips and real-time processing cannot be substituted. But the amount of dedicated hardware required is getting less and less all the time. That’s good news for our customers.”

“However, as the CPUs and GPUs get faster, it creates room for us to move today’s requirements to software and perform more advanced processing in hardware. I think there will be a continual movement of function to the CPU/GPU combination platform.”

For Grass Valley, software-based products are faster to bring to market and can be enhanced with new versions on a continual basis, all to the benefit of the customer. Once a product line has been established in software, it’s also more cost-effective, in the long run.

“In our goal of getting closer to realising what creatives want to do, Grass Valley will be moving, and has already started to move, from using only traditional tools to a combination of traditional tools and software interfaces that control those tools,” says Schubert. “What we’re working on now at Grass Valley are product lines that don’t require huge infrastructure commitments. Our customers say they want technology whereby the infrastructure – having to deploy multiple servers, for example – does not get in the way, but is actually an enabler to do a specific task you’re trying to accomplish.”

Schubert said he’s focused on bringing the same flexibility that virtualisation has brought to the IT world. He refers to it as an “abstracted infrastructure,” whereby the user does not care where their video server, or router, or video switcher is located, as long as they have access to the content.

“If you are able to run that function anywhere in your network,” Schubert continues, “you now have an enormous amount of flexibility. The infra-

is currently leading several R&D teams at “...Schubert Grass Valley that are focused on adding new levels of capability, in the form of software applications, across Grass Valley’s live production solutions and

”

networked nonlinear editing platforms.

structure [physical systems] shouldn’t be the thing that is stopping you from doing the work you need to accomplish.”

IT BRINGS NEW FREEDOM In 2013 Grass Valley is bringing this IT-centric concept to its current portfolio of solutions, at every level, from cameras to switchers to servers to edit systems and signal management and distribution. This includes the ability to “send back to the camera what the camera is sending in to us,” Schubert said. “We can use fibre and IP networks to locate cameras remotely. This approach will allow creative to have an evolving vision of what they would like to see – and have us as viewers see – and realise it just moments after. We also see, over time, OB (Outside Broadcast) vans being built smaller; to accommodate smaller spaces and more limited budgets. This means a production company could send a smaller truck on site but have many of the production tools located remotely, yet accessible and controlled from inside the truck.

“This mobility is critical to providing creatives with new ways to accomplish the same thing they have been doing for many years,” he said.

Yet, he cautions that software can’t do it all.

The company’s new LDX Series cameras are designed to accommodate continual software upgrades. The company is preparing to launch a new service that will see Grass Valley license specific capabilities on a basis of user need: per feature, timed, or pool of cameras. This central service would allow a customer to turn on a feature for a specific event while in the field, and then turn it off when finished.

“There will always be something that creatives want to do that we can’t accomplish fast enough on the CPU/GPU combination,” Schubert said.

“This is very powerful and is all made possible by Grass Valley’s new focus on a software-centric model,” said Schubert.

TAKING STOCK

“We’re designing the next generation of systems for mobile production, based on where we see the industry going,” said Schubert. “With distributed, nonlinear production, people working on a particular project don’t have to all be in the same place. In another five years, when cloud computing becomes truly useful for our industry, this will be the common way to do remote production. It makes both practical and business sense to do it.”

REDEFINING THE WAY WE DO TELEVISION WITH NONLINEAR PRODUCTION Then there’s the Grass Valley STRATUS Media Workflow Application platform that acts like a workflow manager and provides a common interface for creative people that don’t want to be encumbered by technology. This platform is helping to change the way people think about nonlinear production by facilitating the idea that content can be developed and distributed by multiple people simultaneously working from different locations. This allows collaborative teams to create all kinds of content for different distribution platforms.

“In the old days, linear production required a single person to custom edit everything,” Schubert continues. “That was time-consuming and resourceintensive. Now content is stored digitally and made available to many people on a network. They can collaborate on that same file and be much more productive. There really are no limits as to how a program or single piece of content is put together or distributed.”

“In the past 50 years, Grass Valley has developed and marketed a wide variety of new technologies, but television programs are still generally made in the same way they always have been,” he said. “What we’re talking about today at Grass Valley is changing the way TV is made. This goes back to what we call the ‘new era of nonlinear production.’ Today’s professionals are coming from a wide variety of backgrounds, not just traditional broadcast, so the tools they require have to be flexible.”

MAKING A (CONNECTED) DIFFERENCE In 2013, Grass Valley will continue to develop the same robust, reliable systems that the industry has come to depend on, said Schubert, but he’s also trying to shift mindsets away from what has always been done.

“We want people to envision a future where they have more freedom and can launch new services and more channels quickly and cost-effectively,” he said. “We’ll still make great production switchers and routers and the rest, but these traditional tools will be tightly integrated with newer software tools that bring more capability in the same or even smaller amount of space. It has taken (and will continue to involve) a lot of research and development investment on Grass Valley’s part to make this systemwide, product re-tooling move, but we know it’s worth it to preserve our customers’ future.”

“The whole idea of this new path that we are on is that we need to connect the newer things we’re developing to our existing systems,” he said. “You can buy a basic-level Kayenne switcher today, for example, and then add new features and capabilities in software to enhance that product and preserve your investment. It’s really about giving customers more for their money and allowing them to decide when to upgrade. That’s how you stay competitive as a technology vendor.”

Karl Schubert took up the role of CTO at Grass Valley in April 2012, after joining the company in July 2011.

In 1992, working at IBM, Schubert led a team that created and delivered one of the first video server systems: the IBM MediaStreamer. In 2002, at Austin Ventures, he created a group to replace standalone digital video recorders (DVRs) used by the cable companies. Schubert and his team figured out a way to replace DVRs with centralised servers for large metropolitan areas.

Brainstorm Appoints Indian Reseller BRAINSTORM MULTIMEDIA, a 3D real-time graphics and virtual set solutions provider, has appointed of AVTECH as its new value-added exclusive reseller in India, covering Brainstorm’s whole range of products.

The appointment is effective starting this BES Show and intends to further strengthen Brainstorm’s presence in India.

With headquarters at New Delhi and branch offices in Bengaluru, Chennai, Gurgaon, Hyderabad, Kolkata, Mumbai and Noida, AVTECH provides recognised service and sales support all across India.

According to David Alexander, Brainstorm’s Commercial Director, “We are delighted to partner with AVTECH in India, where its prestige and experience are a major strength to promote our real-time 3D graphics and virtual set solutions, especially EasySet 3D and the new Aston 3D. Their experience as systems integrator also fits perfectly in our strategy to cover the expanding broadcast, entertainment and corporate markets in India.”

“We are sure the agreement between Brainstorm and AVTECH will be very significant for the Indian broadcast market, and at the same time Brainstorm’s applications and solutions will complement our product portfolio,” states Rajiv Puri, Managing Director of AVTECH. Visit www.brainstorm.es and http://avtech-india.com

Assimilate Boosts Asia Presence ASSIMILATE HAS ANNOUNCED the appointment of Whiteways Holdings Pte, Ltd as exclusive distributor for its SCRATCH and SCRATCH Lab product lines in South Asia and South East Asia. Whiteways will work with ASSIMILATE’s existing resellers and will also appoint new resellers in areas where needed.

Prasenjit Sengupta, now director at Whiteways, will manage sales, services, and support across South Asia and South East Asia. A highly successful media and entertainment software and hardware executive, Sengupta brings over 25 years experience and an intimate knowledge of file-based workflows to ASSIMILATE. He was most recently director of sales for ASSIMILATE India.

“We are very pleased to be selected as ASSIMILATE’s distribution partner in advancing digital film technology and workflows in the region,” said Prasenjit Sengupta, director at Whiteways Holdings. “We understand the needs of this market, which include post-production companies, and studio and independent production companies.”

Visit www.assimilateinc.com

Cinegy Expands with Grape Media CINEGY HAS ANNOUNCED its expansion in Korea with new partner Grape Media, a team of industry professionals providing system integration, consulting, and products and solution Sales to the broadcast and media industry across South Korea.

Since its establishment, Grape Media has been searching for an innovative software solution that would provide its customers with a modular and scalable automation and complete media asset management solution.

“Many of our customers in Korea prefer open platform architecture and as Cinegy consists of modular, open APIs and open platforms, we believe that the solutions offered by Cinegy are exactly what our customers require,” said JK Yang, Owner and CEO of Grape Media.

“Working closely with Grape Media in South Korea will provide Cinegy with another well-known and respected partner who can further launch Cinegy into one of Asia’s largest broadcast and media markets. We are very excited to have formed our partnership with Grape Media and look forward to a successful, long term relationship,” said Daniella Weigner, Managing Director of Cinegy.

Visit www.cinegy.com and www.grpm.co.kr

TAKING STOCK

There’s a new feature button on the LDX cameras called “PickMe” that allows a camera operator to tell the director that they have a shot that is important. The feature allows the camera operator to tag their shot so that the director is alerted in the production truck, but the tagging metadata can also stay with the recorded content after the event is over. The camera operator can also mark clips that can be sent directly to the Internet to give viewers at home an alternate view of the action (or a different take on a news story). Again, it expands the creativity of the operator.

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TECHNICAL STANDARDS www.content-technology.com/standards

Prototypes for White Space Broadband JAPAN’S NATIONAL INSTITUTE of Information and Communications Technology (NICT), Hitachi Kokusai Electric Inc. and ISB Corporation have developed what they claim are the world’s first prototypes of base station (BS) and consumer premise equipment (CPE) based on the IEEE 802.22 standard operating in TV White Spaces (TVWS) (470 MHz – 710 MHz).

The IEEE 802.22 Working Group has published the IEEE 802.22-2011 standard for TVWS broadband wireless access to regional areas where it is most needed and where the TV spectrum is least used. In particular, the IEEE

802.22 systems offer around 10 times the coverage of Wi-Fi and enable reliable backup broadband communications in an emergency.

The NICT and Hitachi Kokusai Electric Inc. have developed prototype devices of BS and CPE verifying the physical layer (PHY) and the medium access control (MAC) layer design based on the IEEE 802.22 standard in the TVWS. The NICT, Hitachi Kokusai Electric Inc. and ISB Corporation plan to work closely with WhiteSpace Alliance (WSA) to provide products for worldwide markets.

Visit www2.nict.go.jp/wireless/smartlab/index.html

briefs SMART TV ALLIANCE EXPANDS The Smart TV Alliance has announced that six new manufacturers and solution providers have joined the Alliance to stimulate cross-platform Smart TV applications and services. New Smart TV Alliance members include manufacturers Panasonic, ABOX42, and TechniSat, and solution providers IBM and Specific Media. They join Alliance founders LG Electronics, TP Vision and Toshiba, as well as YuMe, Obigo and Qualcomm.

Visit www.smarttv-alliance.org

OCTV SPECIFICATION

SMPTE ST 2022-6:2012 defines a uniform data

The Digital Media Project (DMP) has announced the development of the Open Connected TV (OCTV) specification, which has been designed to enable a broad market of products, content, services and applications. The source code is available to DMP members only.

mapping format that supports a wide variety

Visit http://octv.dmpf.org

SMPTE, VSF Unveil HBRMT Standards THE SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS (SMPTE)

been specifically selected to perform well

and the Video Services Forum (VSF) have announced the latest two standards in a series that creates a standardised framework for the transport of video over Internet Protocol (IP) networks. The documents, SMPTE ST 20225:2012 and SMPTE ST 2022-6:2012,are now available via the SMPTE digital library.

at speeds up to the Gb/s range and beyond.

SMPTE ST 2022-5:2012 defines a methodology that can be used to provide forward error correction for the recovery from network transmission errors. The methods used have

for high bit rate video signals that operate

of HD-SDI and 3G-SDI video signal formats.

Using this standard, products from different manufacturers can, for the first time, send and receive high bit rate video signals that are being delivered over IP networks.

Visit http://standards.smpte.org

TECHNICAL STANDARDS

High Efficiency Video Coding Reaches Final Draft

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THE MOTION PICTURE EXPERTS GROUP

of Recommendations in ITU-T.

(MPEG) has announced the completion of the new High Efficiency Video Coding (HEVC) standard, which has been promoted to Final Draft International Standard (FDIS) status. The new MPEG HEVC standard reduces by half the bit rate needed to deliver high-quality video for a broad variety of applications. Developed jointly with the Video Coding Experts Group (VCEG) of ITU-T WP 3/16, the HEVC standard will be formally referenced as ISO/IEC 23008-2 in ISO/IEC and as a new addition to the H series

The MPEG HEVC standard specifies three important profiles including the “Main Profile”, “Main 10 Profile”, and “Main Still Picture Profile”.

Mass-market consumer video products that historically require only 8 bits of precision in their processing will be based primarily on the “Main Profile” while the “Main 10 Profile” will support up to 10 bits of processing precision for applications with higher quality demands.

Visit http://mpeg.chiariglione.org

AVNU ALLIANCE ADDS AXON AVnu Alliance, an industry forum that certifies Audio Video Bridging (AVB) products for interoperability, has added broadcast infrastructure equipment developer Axon Digital Design to its membership roster. In addition, Jan Eveleens, CEO of Axon, will serve as chairman of the newly-formed AVnu Alliance Pro Video Subgroup.

Visit www.avnu.org

SET-TOP ENERGY SAVINGS The U.S. Consumer Electronics Association (CEA) and National Cable & Telecommunications Association (NCTA) have announced that 15 leading multichannel video providers and device manufacturers are launching a Set-Top Box Energy Conservation Agreement that will result in annual residential electricity savings of US$1.5 billion.

Visit www.ce.org and www.ncta.com

DELIVERING THE PERSONALISED CONTENT EXPERIENCE

23–26 July 2013 SYDNEY EXHIBITION CENTRE DARLING HARBOUR

www.smpte.com.au 3500/24%$ "9

/2'!.)3%$ "9

Asia-Pacific Broadcasting Union presents

PREVIEW

We Are All Connected NEXT-GEN MEDIA SPACE and the Connected World is the theme of the ABU Digital Broadcasting Symposium 2013, organised by the Asia-Pacific Broadcasting Union and scheduled for March 5-8 at Kuala Lumpur’s Hotel Istana in Malaysia.

THE EVENT IS THE NINTH in a series of annual symposiums staged by the ABU to help radio and television broadcasters and the industry to make the digital transition. The 2012 symposium attracted more than 1000 participants from the Asia-Pacific region and beyond.

In the connected world, Connected TV, enhanced OTT, use of 3G for video, mobile broadcasting and content via Smart Apps have put new devices in the hands of the consumers, generating demand for innovative services. Some of the new system standards are now being set by the manufacturers or by closed groups of industry players. Arguably, the most profound influence that broadcasters will witness is the use of Smart Apps to “capture” content of choice on Smart display devices.

The symposium will also address developments such as UHDTV, high scan rate TV and 3DTV, and feature presentations by experts, panel discussion and workshops, as well as an exhibition showcasing the latest broadcasting products and services. Several side-events will provide opportunities to industry leaders to convey their message to broadcasters and the industry at large.

These include the ITU-ABU-AIBD Workshop on Digital Migration, IPPTARABU Workshop on HDTV Operations, DRM Workshop, ABU Workshop on Implications of Broadcasters’ Treaty, ABU Workshop on Olympic Sports Coverage and Production of Sporting Events and UNESCAP Workshop on EWBImplementation and Operations.

Assurance of Quality from Tektronix ABU DBS WORKSHOP SESSION 11 at 9-10:30am on Thursday 7th March, 2013, will see Tektronix address the issue of Quality Assurance and Monitoring in Broadcast Chain.

ABU 2013 PREVIEW 16

In addition, the Institut Penyiaran dan Penerangan Tun Abdul Razak (IPPTAR), the media training institute of the Ministry of Information, Communication and Culture, Government of Malaysia, is a Co-Sponsor of the Symposium.

The event will have an equipment exhibition with participation from Harris, WorldDMB, Sony, Grass Valley, Ideal Systems, Playbox Technology, Nevion, Conax, Front Porch Digital, Tektronix, Nautel, Measat, Rohde & Schwarz, Net Insight, Miranda, Kathrein, LS telcom, Asia-Pacific Broadcasting, Mahajak, Salzbrenner Stagetec Mediagroup, Exir Broadcasting, EMS Test Measurement, Gencom Technology, MediaCorp, VSN, RFS, SM CNS, Enensys, Lemo, Orban, Radio Television Malaysia and Asia Media, and more.

Sharad Sadhu, ABU’s Director Technology, said, “We are proud to have these leading industry players supporting the 2013 edition of the ABU DB Symposium. We highly value their long standing partnership with the ABU and we welcome their support to this major industry event.”

Visit www.abu.org.my

Gencom Partners for DVB-T2 GENCOM TECHNOLOGY and some key partners including media and transport services provider, Kordia and compressed domain processing specialists, General Dynamics Mediaware will be sharing a booth at ABU this year.

Digital technology is quickly replacing analogue technology at every level in the video industry, enabling entirely new classes of products and services. The digital video ecosystem is comprised of companies in the business of creating and distributing content as well as the designers and manufacturers of professional and consumer electronics.

To gain 100% confidence level to content delivery and quality assurance to viewers in the video broadcast industry, Tektronix says it it is imperative for broadcasters, content providers and service providers to be on 24x7 QoS(Quality of Service) and QoE(Quality of Experience) monitoring from Content acquisition, encoding to delivery chain. Attending this workshop will help you gain knowledge on where to monitor your signal and content from different locations, why is it important to do Video health checks, and how Tektronix varieties of solutions offers

The Digital Radio Mondiale Consortium (DRM) is the Principal Sponsor of the Symposium.

Harris, WorldDMB Forum, Sony, the Malaysian Communications and Multimedia Commission, Grass Valley and Snell are the Major Sponsors of the event.

In addition Gencom will be participating in a DVB-T2 related workshop with TVips and Kordia and a Gencom representative will also be giving a one hour presentation on HDTV. the performance needed to detect, validate and qualify your contents for your TV viewers.

You will also learn how to isolate, identify, and characterise elusive and hard-to-find problems on uncompressed and compressed Video content quickly, allowing you to enhance the functionality of your digital content delivery. Last but not least, discover the method to do compression bitrate optimisation and audio loudness correction.

Visit www.tek.com/industry/video-test-networkmonitoring

With the rollout of DTT in Asia, Gencom and its partners have a strong focus on assisting customers with their DVBT2 projects incorporating their previous experience in this field.

As Gencom plays a significant role in design, system integration and supply in the region they are looking forward to talking to partners and potential partners alike at the show.

Visit www.gencom.com

ABU DIGITAL BROADCASTING UNION SYMPOSIUM 2013 PREVIEW

Sony: To HD and Beyond!

AUDIENCES EVERYWHERE are demanding multimedia content of ever-higher quality. The speed of consumption is quickening, and more innovative methods of content delivery are being called for. It is against this backdrop that Sony is bringing intelligently-designed products, easy file-based workflows and high quality industry solutions and services to broadcasters and content creators everywhere.

Under the theme “Believe HD and Beyond”, Sony will be at the ABU DB Symposium 2013 (Booth

SONY PRODUCT AND SOLUTIONS WORKSHOP Sony’s latest products and solutions in 4K Ultra HD, Archiving, Delivery and more!

Date: Time:

Mar 5, 2013 (Tuesday) 11:00am-12:30pm

SONY @ HD SHOOTING SEMINAR: HDTV IMAGING & CAMERA SYSTEMS WORKSHOP Covers differences and enhancements in HD Camera Systems, important points when moving from SD to HD Camera operations, Framing, Depth and Focus when operating HD Cameras, Colour Perception and Sensitivity of HD Cameras, Alignment and Tweaking and examples of good and bad HD Camera shots.

Date: Time:

Mar 5, 2013 (Tuesday) 2:00pm-3:30pm (Sony’s session)

#40) to demonstrate how its latest products and solutions support on-going migrations to HD and file based operations, plus build a world “Beyond HD” through an accessible 4K ecosystem that simplifies the creation of a wide variety of 4k productions. Sony will also present new archive media solutions.

Sony will be showcasing new products built on its well-known XDCAM format, including the versatile PMW-200 HD422 (50Mbps) camcorder equipped with 1/2-inch-type Full-HD Exmor

CONFERENCE SESSION 7: ENHANCEMENTS IN IMAGING AND CONTENT CREATION Date: Topic:

Mar 7, 2013 (Thursday) Enhancements in Imaging and Content Creation Speaker: Mr. Norihiko Noguchi Sony’s presentation: 4K: Available, Affordable, Ahead of schedule

CONFERENCE SESSION 10: MEDIA MANAGEMENT – WORKFLOW TECHNOLOGIES FOR IMPROVING EFFICIENCY Date: Topic:

Mar 8, 2013 (Friday) Media Management – Workflow Technologies for Improving Efficiency Sony’s presentation: Archiving: A future-proof media solution Speaker: Mr. Genya Kamada

Sony’s PMW-200 HD422 (50Mbps) camcorder.

CMOS sensors. Its compactness, versatility and advantages in low-light make the PMW-200 extremely useful in applications like news gathering and documentary productions.

Sony will also introduce to exhibition visitors its new Optical Disc Archive solutions built to create a complete archiving solution for broadcasters, motion picture companies and production houses. These Optical Disc Archive storage systems provide guaranteed intergenerational compatibility and ultra-reliable long-term storage, and users can ensure the long-term preservation of their valuable media assets. The Optical Disc format is kept as an open platform, Sony having established alliances with other industry partners to promote better usability of the system.

Sony’s MVS-3000 multi-format production switcher will also have a presence at Sony’s exhibit. The MVS-3000 has sophisticated capabilities such as two mix effects (M/Es), four keyers per M/E and many more.

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

LIVE EVENTS still drive a premium value when it comes to programming and demand is increasing, but their production is increasingly coming under economic pressure as broadcasters and rights owners want more live content at a lower cost. Since non-linear workflows revolutionised the economics of post-production, are these kind of changes overdue in the live production environment?

Instead of a single linear feed, events now have to produce feeds for in-venue monitors, streaming multi-screen feeds, highlight packages as well as the main linear TV feed.

What impact is this having on workflows; is remote, centralised production an option; how are metadata and statistics changing the game; and what will the ‘live event’ of the future look like?

the ABU Symposium 2013 covering trends in the live production eco-system and strategies on how to simplify the complexities in production. He will also discuss the emergence and impact of non-linear workflows and how to optimise workflows.

Charlie Dunn, Executive Vice President of Products at Grass Valley will be presenting at

Broadcasters, service providers, and video professionals all face challenges

GRASS VALLEY ON SHOW

Grass Valley’s LDX Series of Xensium FT cameras.

Grass Valley will showcase at ABU DBS 2013 (Booth #2) its latest range of next generation CMOs camera will showcase the LDX Series of Xensium FT cameras.

that encompass creativity, operational workflow, and business goals. By providing a comprehensive portfolio spanning a wide range of sophisticated imaging, video and media solutions, Grass Valley can help answer those challenges while delivering the value, flexibility, and adaptability needed to succeed. When you’re watching news, sports, or entertainment programming – whether on a TV, the web, or a mobile device – you’re watching Grass Valley at work in today’s connected world.

In addition to the LDX Series, Grass Valley will also display the latest technologies in live production, including K2 Dyno replay system, the Karrera Video Production Center switcher and the GV STRATUS media workflow application framework.

Visit www.grassvalley.com

ABU 2013 PREVIEW

Grass Valley Brings Innovations in Cameras and the Live Production Ecosystem

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ABU DIGITAL BROADCASTING UNION SYMPOSIUM 2013 PREVIEW

BOOTH NO

COMPANY

BOOTH NO

2

Grass Valley

3

WorldDMB

ABU 2013 PREVIEW 18

EnenSYS

26 & 27

Orban

30

RTM

31

RFS

32

VSN

33

Exir Broadcasting

35

ABU

36

LEMO

37 & 38

Gencom

39

MediaCorp

40

Sony

41 & 42

EMS Test Measurement

43

NERA

44 & 45

STMicroelectronics

Tektronix

51 & 52

SM CNS

17

Asia-Pacific Broadcasting

53 & 54

Mahajak

55 & 56

Asia Media

4&5

Harris Broadcast

10 & 15

Ideal Systems

18

Net Insight

6 & 11

Playbox Technology

13

MEASAT

19

Nautel

7 & 12

Rohde & Schwarz

14

Miranda

20

Front Porch Digital

HARRIS BROADCAST, a Gores Portfolio Company, is a co-sponsor for the forthcoming ABU Digital Broadcasting Symposium 2013.

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16

Conax

Harris Delivering ABU Workshops

Stagetec

Appear TV

Nevion

Visit www.enensys.com

LS telcom

Mobile Viewpoint

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Colin Prior (APAC Sales Manager) and Bernard Pichot (Partnership Manager) of ENENSYS will run a workshop explaining how ENENSYS can help optimise distribution technology in DVB-T2 networks on Wednesday 6 March 14:00 – 15:30.

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DVB-T2 including the NN6-T2Gateway, T2Edge (for local content insertion) and NetMod DTTV modulator. Also on display will be EdgeProbe for DVB-T2 off-air RF and ETR290 monitoring as well as the well-established Referee T2 portable analyser.

Kathrein

48 & 49 BOOTH NO

ENENSYS WILL BE DEMONSTRATING its range of products for

COMPANY

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COMPANY

COMPANY

ENENSYS Opens the Door to DVB-T2

BOOTH NO

Orban Gets a Grip on Loudness AT ABU DBS, Orban will be exhibiting the NEW OPTIMOD TV 6585 2:0 - 5:1 Loudness controller which provides audibly transparent automatic loudness control and dialog intelligibility control for one surround program (up to 7.1) or four stereo (stereo) programs. The stereo processing can operate in dual-mono mode, so it can process four sub-channels in stereo or eight sub-channels in mono. Put in-line and operated correctly, the 6585 will ensure that loudness meets the requirements of the CALM Act and EBU R-128.

The 6585 features 3G HD-SDI and AES3id input/output, plus comprehensive handling of metadata. The 6585 is Dialnorm-aware and can re-author metadata as needed. Seamless switching between processing and pass-through modes (where both audio and metadata are passed through without further processing) allows the 6585 to pass pre-qualified material without modification—you can use the 6585’s transparentsounding loudness control only when needed. This makes it easy to comply with the requirements of network program providers who pre-process their audio feeds to comply with Recommendations A/85 and R-128.

Richard Redmond, Vice President of Product Management and Strategy for Harris Broadcast’s Transmission Business, will be delivering workshops and conference papers on Mar 5 & 7th, focused on Terrestrial Broadcasting For the Future, Digital Migration, Enhanced Platforms and Green Technologies.

For each logical processing channel (surround or stereo), the 6585 has one loudness controller and two loudness meters. The short-term meter uses second-generation CBS Technology Center loudness metering technology with an integration time of 200 ms, which is slightly faster than a standard VU meter. The long-term meter, which has an integration time of several seconds, is switchable between the ITU-R BS.1770-1 and 1770-2 standards (i.e. ungated or gated). Its readings can be logged for up to a week in the 6585’s internal memory and for an essentially unlimited time via the included 6585 PC Remote Software for Windows. This allows you to retain proof that your transmissions have complied with the CALM Act.

Visit www.orban.com

Visit www.orban.com

At this year’s symposium, Harris Broadcast will offer a mix of conference papers, value-add workshop and booth exhibition stand (No.4&5), in support of meetings conducted at the Symposium, with industry participants likely to exceed 1,000 visiting the event.

THE 3RD DIMENSION Stereoscopic production & exhibition

www.3d-day.tv

Park Road Uses Mistika for World-First Workflow on The Hobbit IT TOOK A WORLD FIRST behind the scenes workflow in order for The Hobbit – An Unexpected Journey to become the first large scale wide release feature film to be exhibited in 48 frames per second.

Park Road Post General Manager Cameron Harland says, together with SGO Mistika, it took two and a half years of research, development, testing and refinement to create the unique workflow.

“From on-set services, grading and exhibiting HFR digital dailies through to the DI online, stereoscopic work and final colour grading, it was a massive undertaking.”

Utilising SGO’s Mistika platform as the hub of its large DI infrastructure, Park Road in partnership with SGO, co-developed tools across the entire pipeline. SGO worked in parallel with the Park Road team in Wellington from pre-production through to final delivery of the film developing the tools and inbuilt-HFR featureset needed to meet the demands of this complicated production.

Dave Hollingsworth, Park Road’s Head of Picture and Supervising Digital Colourist for The Hobbit says when Park Road discovered the Mistika they knew they had found their solution.

“When the decision was made to film and post The Hobbit in 48fps 3D, there wasn’t any one product on the market capable of delivering what was needed. SGO had by far the best stereo toolset available and equally importantly, they had a passionate and highly skilled development team that demonstrated an absolute commitment to developing everything else we needed to deliver this film.”

Park Road’s Head of Technology Phil Oatley adds, “We wanted to create a complete pipeline, based on one platform, from dailies work and dailies screenings right through to final online, stereo and colour grading. The Mistika provided a platform that was flexible and robust, gave us even greater speed than what is normally required for your average 2D 24fps project and was so good that the filmmakers never noticed that we were dealing with four times the data of a normal feature.”

(L–R) Martin Freeman and director Peter Jackson on the set of the fantasy adventure “The Hobbit: An Unexpected Journey,” a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), released by Warner Bros.

Pictures and MGM. Photo by Todd Eyre

Dave Hollingsworth substantiates, “What I am most proud of is that, whilst this was potentially the most complex post ever carried out on a feature film, the technology never got in the way of what the filmmaker wanted. It is safe to say that we could not have done it without SGO.” According to SGO’s Director of Global Sales and Operations, Geoff Mills, “It has been a truly meaningful journey since Park Road first saw Mistika, and recognised the potential in the technology and the team at SGO, to deliver a workflow and creative solution, which stretches the boundaries of film production.”

CEO of SGO, Miguel Angel Doncel asserts, “At SGO we recognise each new Mistika installation as the beginning of an exciting partnership between those that create technology and those that use technology to tell stories. We are extremely proud to work closely with Park Road’s exceptionally creative and brilliant technical team, who are constantly pushing the limits of what is possible, relying on game-changing technology that grows with them.”

Geoff Mills concludes, “Our close relationship with Park Road, at all levels, has been instrumental in making HFR Stereo 3D a reality and has demonstrated that above all, it is the people who unlock dreams through passionate determination and ground-breaking development.”

Visit www.parkroad.co.nz and www.sgomistika.com

CLIPSTER Masters Middle-Earth PARK ROAD POST had been using the CLIPSTER DI workstation for many

THE 3RD DIMENSION

years for DCI mastering. For the 48 fps 3D version of The.Hobbit – An Unexpected Journey, DVS developed a high frame rate package, as well as additional parameters in CLIPSTER which allow precise JPEG2000 adjustment for DCP generation.

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The high frame rate of 48 fps eliminates critical image issues that are annoying to the eye such as shaking or judder caused by the lack of continuity between consecutive frames. As such, the results at 48 fps are much more realistic than at the standard rate of 24 fps, especially in 3D. Park Road’s aim was to offer an even more immersive experience for the cinema-goer.

In parallel to the high frame rate, a higher bit rate was important to Park Road. The DCI standard limits the bit rate to 250 Mbit/s to prevent any projector failures in traditional 2D cinema. For this project, CLIPSTER exceeds this bit rate, thereby delivering high image quality, even at 48

fps. In discussion with various Integrated Media Block manufacturers, the projectors were upgraded to handle the new bit rate of up to 500 Mbit/s.

As a high number of language versions are planned for several large New Zealand film projects, Park Road needed an extremely powerful feature set: CLIPSTER performed the calculation for this variety of versions within a short timeframe thanks to its DCI Mastering performance of 96 fps, achieving a time saving of multiple hours per encoding process.

The specially developed CLIPSTER version introduces 3D subtitles which are also animated along the depth axis, leading to continual depthadjustment of the subtitles to the stereoscopic situation of the image.

Ian Bidgood, Technical Director at Park Road, said, “DVS developed the CLIPSTER to be able to encode 48 fps 3D for DCI mastering, with the increase in bit rate and proprietary encoding hardware the quality and speed of the final output of JPEG2000 is unprecedented.”

Visit www.parkroad.co.nz and www.dvs.de

THE 3RD DIMENSION

Samsung DSLR with “One-Lens” 3D System THIS YEAR’S CONSUMER ELECTRONICS SHOW (CES) in Las Vegas saw Samsung Electronics announce the launch of the NX300, along with the new NX 45mm F1.8 2D/3D lens, a “one-lens” 3D system capable of capturing both still images and full HD movies in 3D. The NX300 features a 20.3 Megapixel APS-CMOS sensor, wide ISO range (ISO100-25600) and a Hybrid Auto Focus (AF) system, 1/6000 sec shutter speed and 9fps continuous shooting mode.

The NX300’s 84mm (3.31”) AMOLED screen enables reviewing of images, while a hybrid touch screen and 5-way manual key interface is simple and intuitive to use. The tilt display makes it easier to take high and low angle shots.

The camera also features Samsung’s in-house developed DRIMe IV imaging engine, designed to enable better colour reproduction and greater noise reduction, as well as support for full 1080p HD video capture in both 2D and 3D (when combined with Samsung’s new 45mm 2D/3D lens).

The camera’s stills functionality includes a Smart Mode allowing users can choose from 14 different settings, such as Creative Shot, Landscape, Light Trace or Action Freeze which will automatically adjust parameters such as aperture and shutter speed in order to obtain the best shot possible for the desired situation. The NX300 also includes i-Depth, an easy and simple way to adjust the depth of an image using the NX Series’ unique i-Function system which enables users to modify camera parameters using the lens itself, adjusting the image without ever having to move off target.

The NX300’s Wi-Fi connectivity of SMART CAMERA allows users to share photos instantly and securely between their camera and smartphone (or tablet). To connect a smartphone to the camera, users simply need to download the Samsung SMART CAMERA App., which is available for both Android and iOS based application markets, onto their smartphone or tablet

3D Split-Image Converter DIGITAL CONNECTIVITY SOLUTIONS PROVIDER Gefen showed its new 3D Split-Image Converter at CES. The converter enables users to view 3D content from any HDMI source, such as a Blu-ray, using any 3D-enabled projector equipped with two DVI inputs (A/B) and splitimage capability. The resulting 3D images can be viewed using passive, polarised 3D glasses.

The 3D Split Image Converter can also deliver 3D video when its two DVI outputs are connected to two stacked projectors at the same time.

Imagery can be configured as left eye/right eye or as identical 2D signals, depending on your preference. 3D content can be viewed using standard, polarised 3D glasses.

“In both cases, the 3D Split-Image Converter will also extract digital audio from the HDMI source and deliver it as a separate optical audio output to feed an audio amplifier and increase your sound, making it great for home theaters,” said Hagai Gefen, president, Gefen.

Increased brightness adjustments on the 3D Split Image Converter enable a high quality picture. High definition resolutions up to 1080p full HD are supported.

The 3D Split-Image Converter works with all hi-def video sources capable of producing 3DTV content including Blu-rays, set-top boxes and gaming consoles. It offers control through front panel buttons, IR remote or RS-232 interface.

Visit www.gefen.com

and follow the steps to create a secure connection with the camera.

The NX300 will be able to detect and auto-connect to the smartphone wirelessly whenever any of the SMART CAMERA features are activated.

These include AutoShare; which automatically sends every high-quality photos to your smart phone for safe keeping, and Mobile Link; which allows users to select and transfer images or album from the camera directly to a smartphone.

The SMART CAMERA App. also features a Remote Viewfinder function for the NX300.

The NX300’s enhanced Wi-Fi connectivity also lets users share images with friends and family directly from the camera via social networking sites using the cameras one-touch DIRECT LINK hot key. Alternatively, images can be automatically backed up or stored in the cloud through AllShare Play ensuring they are always safe and easily accessible.

Visit www.samsung.com.

Active to Passive and 2D to 3D Conversion CES 2013 saw Stream TV Networks debut its proprietary Ultra-D 2160p technology which features the Ultra-D 2160p powered display, delivering glasses-free 3D. The technology also incorporates the new Ultra-D2160p SeeCube real-time conversion set top box, which provides 2D to 3D-withoutglasses and 3D-with-glasses to 3D-without-glasses content conversion in resolutions up to 2160p.

At CES, Stream TV debuted 31.5-inch and 60-inch Ultra-D 2160p displays for the consumer market with Ultra-D glasses-free 3D content demos showcasing movies, sports, animation, digital signage and video game applications.

“Response to the literally breakthrough, scalable 3D viewing experience made possible with our new Ultra-D 2160p technology, which until now, has only been shown in private road show meetings, has been incredible,” said Stream TV Networks CEO, Mathu Rajan. “We are excited about the first public showing and are ready to help usher in the next evolution in television.”

Stream TV Networks first announced it had developed an algorithm, which boosts existing content to deliver heightened resolution to between 1080p and 2160p, at the IFA Trade Show in Berlin in August 2012. The Ultra-D 2160p technology integrates a proprietary hardware optical system to a 4K display allowing greater clarity and resolution. Ultra-D 2160p uses the disparity between images to produce a higher resolution output than the source. This allows for glasses-free 3D without any viewing angles, distortion or other restrictions using the Ultra-D 2160p 4K display. Consumers can use any type of source content and convert it into customized 3D without glasses – Cable and Satellite TV Channels, Blu-ray, Xbox, iTunes, Apple TV, Google TV, YouTube, Netflix and other feeds.

Visit www.ultra-d.com

THE 3RD DIMENSION

The Samsung 45mm 2D/3D lens (sold separately) is said to be the world’s first one-lens 3D system for a consumer camera. Capable of capturing both still pictures and full 1080p HD video, the Samsung NX300 and 45mm 2D/3D lens kit have become the only compact system camera supporting both 3D still and 3D movie.

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CONNECTED MEDIA MediaCorp ‘Toggles’ OTT TV With many consumers becoming increasingly time-poor, the idea of being able to not only watch VOD and catch-up programming, but also watch the same content across different platforms and interact with other viewers via social networks shines by comparison to ‘appointment TV’.

ACKNOWLEDGING THIS TREND, Singapore broadcaster MediaCorp has launched Toggle, an over-the- top IP service which offers entertainment, information and news to viewers online, on smart phones, tablets and smart TV, making content-viewing an uninterrupted and engaging experience.

Toggle viewers can choose to buy content on an a la carte basis, without having to subscribe to a basic bundle of programmes beforehand. Secondly, to ensure easy access, its over-the-top delivery allows viewers to access Toggle’s content via any internet service provider. Lastly, unlike other video services that only offer video on demand (VOD), Toggle also offers linear channels so viewers can still enjoy a lean-back experience of its content.

Toggle will also offer local content free of charge to registered users, subject to rights availability. Such content will include programmes from the Free-to-air channels (for example Channel 8, Channel 5, Suria, Vasantham) in the form of Catch-up, as well as the linear streaming of our Channel NewsAsia. By mid-2013, Toggle plans to offer local content to Singaporeans residing overseas.

“Consumers are increasingly using connected devices both as companion devices and as second screens, and so we made a strategic decision to make Toggle not only a direct way for them to watch MediaCorp content anytime and anywhere, but also a gateway to a brand new TV experience,” said Philip Koh, Managing Director, Convergent Media Division, MediaCorp. “Toggle offers this experience by allowing you to choose the content you want, plus where and how you want to consume it. It is that personal.

“This means Toggle’s content goes where you go, allowing you to switch from watching on your PC to your mobile phone when you leave home. And with the wide range of content offered, from different channels and movies to original productions, viewers will have a lot to keep them toggling.”

TVINCI CODE!

CONNECTED MEDIA

Pay-OTT Platform provider Tvinci was selected by MediaCorp Toggle. The deployment is Tvinci’s first in the Asia Pacific market as it looks towards expansion in the region.

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“We’re happy to have Toggle powered by Tvinci’s OTT 2.0 backend,” said MediaCorp’s Philip Koh, “and confident in the way that our users’ devices and content are managed and delivered. Tvinci’s team demonstrated great technical acumen through the quality and speed at which Toggle has been developed and launched.”

Toggle content is rights protected across iOS, Android and Windows devices using Tvinci’s multi-DRM capabilities: supporting Microsoft PlayReady and Google’s Widevine DRM simultaneously, depending on the device. Tvinci also allows Toggle users to rate, share and interact around TV shows, with

Twitter and Facebook integrated into the service from the backend level to the interface.

“Toggle is the perfect example of a leading media company setting the standard in its local market,” said Ofer Shayo, CEO of Tvinci. “The amount of content consumed via connected devices is increasing steadily every month.

Leading operators and media companies such as MediaCorp understand the need to introduce an OTT offering in order to meet viewers’ need to access content on any of their devices, whilst also enjoying an immersive social experience. We are excited to have launched Toggle with MediaCorp as our first project in the pan-Asian region, and we are looking forward to deploying our platform in other territories in 2013.”

According to Ido Wiesenberg, co-founder of Tvinci, the Toggle platform will allow users to register in a conventional manner or via submission of their Facebook login details.

After selecting a subscription package, the next step is to register the devices through which they wish to access the service.

When the consumer selects a piece of content, the system will check for both a valid subscription and whether the device is registered and then allow viewing.

“Once you get the right ‘licence’ for the content you can stream it and you can play it,” says Wiesenberg. “Now assuming that you watch 20 minutes and then you want to continue with another device, you can just go, for example, to the connected TV and it will then ask you would you like to continue from this point or you want to start from scratch.”

The Tvinci platform manages the ‘hand over’ of content between devices taking into account different versions of the content files being encoded for those different devices as well as differences in the DRM systems applied to those files. To the consumer, the transition is seamless.

Streaming for the service is undertaken via Akamai while the encoding of content is being done in-house by MediaCorp. For the user interfaces, the web portal is hosted by Tvinci while the interfaces for various mobile devices are downloaded from respective manufacturers’ app stores.

Visit www.toggle.sg and www.tvinci.com

CONNECTED MEDIA

Foxtel on the Go with iPad FOLLOWING THE SUCCESSFUL DEVELOPMENT OF a LONDON 2012 Olympic Games App for Australian pay TV operator Foxtel, multi-platform video specialist Switch Media has gone on to develop and integrate the new Foxtel Go service for iPad. The Foxtel Go App now allows residential Foxtel customers to watch over 20 Foxtel live channels and hundreds of catch up TV hours on up to two iPads, as part of their Foxtel subscription.

Foxtel’s Executive Director of Product, Jim Rudder said, “Foxtel Go is one of the many new innovative products we have in place for Foxtel customers and it has been incredibly well received since launch. The App uses the same system infrastructure and architecture Switch Media developed for the Foxtel LONDON 2012 Olympic Games App. Switch’s Video Content Management System (VCMS) engine is at the heart of the service and integrates well with our existing broadcast and customer management systems. ” Many of the innovations from the Foxtel LONDON 2012 Olympic Games App were included when developing the new Foxtel Go App. Foxtel saw the popularity of the 8 channel viewing mosaic on the LONDON 2012 Olympic Games App and that people often used this mosaic as a live program guide, toggling between channels whilst watching the coverage on their televisions. With that in mind, Foxtel and Switch Media developed functionality as part of the ‘Show Guide’ and Electronic Program Guide (EPG) within Foxtel Go allowing customers to easily choose and change channels by viewing live thumbnails on their iPad screen.

Digital Rapids was chosen by Foxtel to provide encoding and streaming solutions to underpin its new video initiatives. Foxtel has purchased StreamZ Live adaptive streaming encoders and the Digital Rapids Broadcast Manager multi-encoder management system to power the new Foxtel Go App.

Rudder continued, “It was important the Foxtel Go App had the same simple and friendly user experience offered by the LONDON 2012 App as our research showed this was highly valued by our customers. We are delighted with the level of innovation, professionalism and dedication that Switch Media has demonstrated in the development of Foxtel Go.”

“Foxtel Go is an exciting new way for our customers to watch our premium TV shows, series and sport on the go, and it was imperative the service be built on a technical foundation that delivers the superior quality and reliability that our customers demand,” said Foxtel’s Jim Rudder. “Digital Rapids solutions met our stringent criteria, and their outstanding support is also a critical factor to our success.”

In addition to building the Foxtel Go App, Switch Media’s VCMS engine manages the workflow live and catch-up video content on Foxtel Go.

SMOOTH SAILING WITH DIGITAL RAPIDS Foxtel Go uses adaptive bitrate streaming to adjust resolution based on download speeds available, and can be used over a 3G/4G network or WiFi. A rollout onto further devices, including PC, Mac, Android tablets, and mobile devices are planned, as is the addition of more channels to the platform.

The Digital Rapids encoders and management software are being used to provide IP streams for Foxtel on Xbox 360, Foxtel on Connected TV, and the Foxtel Go App. They were also used to provide IP streams for the hugely successful Foxtel LONDON 2012 Olympic Games App.

“We’re excited that Foxtel has chosen our solutions to power their innovative Foxtel Go App,” said Neville Paterson, Sales Manager, Asia Pacific at Digital Rapids. “Our encoding and streaming solutions deliver exceptional quality and performance for service providers expanding their reach to new platforms ranging from game consoles to mobile devices, and we look forward to working closely with Foxtel in the future as their services continue to grow.”

Visit www.switch.tv, www.digitalrapids.com and www.foxtel.com.au

TVNZ Teams with Brightcove for onDemand App

“Like many broadcasters, we have had to redefine the way we deliver video to devices to ensure we are reaching our full audience with secure, high quality content experiences,” said Tom Cotter, general manager of digital media at TVNZ. “By partnering with Brightcove, we are able to expand the success of our onDemand desktop viewing experiences to smartphones and tablets with a completely cloud-based and DRM-supported platform. Now we’re able to deploy world-class video experiences across new devices to consumers at a cost that makes sense for our organisation and our market.”

TVNZ’s new onDemand smartphone and tablet app will allow viewers

to easily watch full, advertising-supported episodes of popular TVNZ programming, such as “Grey’s Anatomy,” “One Born Every Minute,” “The Mentalist,” and “The Amazing Race Australia”, while also ensuring the content is protected thanks to Brightcove’s support for DRM technologies like Google Widevine and Adobe Access.

“We are thrilled to expand our partnership with TVNZ and to help open the door to a new kind of content experience for TVNZ’s mobile consumers,” said Chris Johnston, director of digital media solutions at Brightcove. “By taking advantage of our cloud-based platform and App Cloud’s hybrid app development model, TVNZ is able to securely offer its content portfolio on smartphones and tablets and mirror the rich diverse experience TVNZ onDemand provides on the desktop.”

With App Cloud, TVNZ will be able to quickly build and roll out a native app for Apple iOS and Google Android devices. App Cloud’s hybrid app development model enables TVNZ to provide the best user experience and functionality by fusing HTML5 and native code, providing maximum crossplatform leverage and taking advantage of the power and performance of native features at the same time.

Visit www.brightcove.com

CONNECTED MEDIA

BRIGHTCOVE (NASDAQ: BCOV), a global provider of cloud content services, announced that TVNZ, New Zealand’s national broadcaster, will launch a new TVNZ onDemand catch-up TV app for Apple iOS and Google Android devices using the Brightcove App Cloud mobile app platform. With App Cloud, TVNZ will be able to deliver rich, long-form advertising-supported content experiences to viewers across devices, while also ensuring its content is protected with digital rights management (DRM) technology.

The new mobile app will also leverage App Cloud’s integration with the Brightcove Video Cloud online video platform, which is currently used to power video content across TVNZ’s Web properties and for the desktop version of TVNZ onDemand.

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ACQUISITION www.content-technology.com/acquisition

Questacon Buys Sony F65 4K Camera Solution RECENTLY QUESTACON, The Australian National Science and Technology Centre created to promote greater understanding and awareness of science and technology within the community, purchased a Sony F65 4K digital cinematography camera solution to help create and distribute high end content via its media production and distribution centre.

The purchase was made through Sony Content Creation Dealer Lemac and the sale process taken care of by Lemac’s Business Development Manager Stuart Pointon who explained, “A tender was issued through AUS Tender for the supply of a 4K digital camera. It was an interesting tender as we believed the only credible camera that could be presented was the Sony F65 and as we had purchased several F65s and knew a lot about them, we decided to submit an offer.”

Questacon had developed a fully functional in-house media production and distribution system and wanted to augment this system with the capability to distribute high-resolution video for remote viewing.

Their requirements were very precise and called for a high-resolution, minimum 4K, camera, playback facility, training and maintenance. In addition the camera had to be compatible with Final Cut Pro, After Effects and QuickTime Pro, have HDSDI outputs and SSD memory.

The playback system was required to be compatible with and play back all media recorded by the high-resolution camera and needed to operate independently of the camera. Finally Questacon required the provision of comprehensive training and support for the initial implementation period and ongoing support and operator training post implementation.

Sony Senior Product Marketing Manager – Content Creation, Nick Buchner, said, “Sony worked very closely with Lemac to ensure the offer met the tender requirements. During the tender process Questacon also wanted to know about the best lenses, tripods and production kits for the F65. It was a very comprehensive tender process and Questacon were particularly professional throughout.”

Sony and Lemac’s offer was evaluated to ensure that it complied fully with the tender. When the evaluation process was complete Questacon assessed that the proposal met their needs and as a result, purchased a Sony F65 digital camera, SR-R4 Recorder, SR-PC4 Transfer Unit and SR Memory.

Buchner added, “Once the tender had been won Sony and Lemac supplied a complete working system along with comprehensive

technical knowledge and knowhow about the F65 and data handling.

Post purchase we have also been proactive in ensuring Questacon’s F65 camera and systems are up to date with the latest software and hardware revisions. Questacon’s decision to equip themselves with the industry’s only true 4K solution now also offers them possibilities for even higher resolution capture via the F65’s unique 8K sensor.”

Questacon Digital Communications Officer Multimedia Production, Alex Chapman, said, “We chose the Sony F65 because it met our spec and offered value for money. We use the F65 to shoot content for our 4K Christie Micro Tile Wall at Questacon and also to shoot and produce very high quality material for various government departments and external stakeholders. We found their onsite training valuable as it included explanations of the different post options available for 4K and RAW such as DaVinci Resolve, Smoke and others. Since delivery Sony and Lemac have upgraded our F65 to the new version 2.0 software and provided onsite training on the new features.”

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

Thales Angénieux Shines in Singapore THALES ANGÉNIEUX has repeated the honour of being the official film industry sponsor for the 2nd RENDEZVOUS WITH FRENCH CINEMA Film Festival in Singapore on December 5-9, 2012.

ACQUISITION

“We are supporting the art of filmmaking and, as a French manufacturer, we are always very pleased to contribute to the promotion and understanding of French culture through our cinema,” said Pierre Andurand, CEO of Thales Angénieux. “We are particularly proud of the movies presented this year at the Singapore Festival and shot with our Optimo lenses.”

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Throughout many meetings held during the festival, conversation centred on the defence of image quality in films. The celebrated French actress Sophie Marceau, who led the artistic delegation for 2012, openly expressed concerns about the risks of movies becoming more standardised and uniform.

Similar concerns were voiced at a masterclass organised by Angénieux for the cinema students of Singapore on December 6 at the Ngee Ann Polytechnic. Speaking in support was a production team from My Lucky Star, a film screened at the festival, including Director Anne Fassio, Actress Fleur-Lise Heuet, and DoP Antoine Roch AFC, who used an Optimo 24-290 zoom lens.

Before a group of about thirty students, the My Lucky Star team also discussed the importance of sharing and understanding points of view between the film director, the actors and the director of photography on a film set. In creating the film, the group agreed, it is the responsibility of the DoP to translate the director’s intentions into images – and the responsibility of the actors to express these intentions through their craft. By nature of its quality, the lens is an essential element in achieving this vision.

Visit www.angenieux.com

ACQUISITION

Redrock Micro Launches Enhanced Support Rigs

REDROCK MICRO, a provider of professional-grade cinema accessories, has announced the immediate availability of enhanced camera support rigs that improve performance, comfort and reliability for camera operators.

Among these upgrades are the microShoulderPad with FieldTech, toolless microBalance QR counterweights, and improved hand grips. The new improvements now come standard on all Redrock rigs, and are available as upgrades to existing customers.

The completely redesigned camera shoulder pad improves comfort and balance, critical requirements for long shooting days. The new microShoulderPad uses super-tough Cordura and breathable 3D mesh, and is filled with soft free-forming microPoly beads that actively adapt to each shoulder’s shape and slope. The microShoulderPad promotes proper alignment and better stability with this balanced pressure distribution, and ensures a new level of comfort and support.

Building on Redrock’s microBalance weights, the newly designed microBalance QR rig counterweight speeds rig balance and stability with one-of-a-kind features.

Portable 20x HD Zoom Lens CANON HAS INTRODUCED the KJ20x8.2B KRSD 20x portable HD zoom lens, which is designed to support the new generation of professional 2/3-inch HD acquisition systems. The KJ20x8.2B KRSD is suitable for wedding videography, corporate and educational production, and broadcast ENG. The newest model in Canon’s costeffective HDgc Series of portable HD lenses, the KJ20x8.2B KRSD provides sharp, clear optical performance and operator-convenience features designed to rival those of “packaged lens” systems.

Features of the Canon KJ20x8.2B KRSD include its 8.2mm wide-angle of view, 20x zoom range, and distortion-free peripheral brightness and peripheral resolution from intermediate zoom to telephoto. Weighing only 2.75 lbs. (1.25 kg), the KJ20x8.2B KRSD also features Canon Advanced Drive Unit technology for fast 1.0 second zooms, quiet operation, and other enhanced shooting capabilities.

The lens has minimised axial and lateral chromatic aberrations, coma aberrations, and geometric distortion. Chromatic aberration is suppressed across the entire lens surface, enabling sharp images with minimal distortion at any object distance. An optimal balance of resolution and contrast in peripheral areas of the image enables users to achieve crisp, clear pictures. Unique Canon optical materials and multilayer optical coatings used for the KJ20x8.2B KRSD effectively attenuate optical artifacts such as ghosting, flare, and veiling glare that might be stimulated by strong light sources (for example, sun in daytime and car headlights at night time). The KJ20x8.2B KRSD exhibits a high MTF (modulation transfer function) at picture centre and features a focal length of 8.2-164 mm.

Various companies have introduced portable HD cameras with lensaberration correction functions. The KJ20x8.2B KRSD portable HD zoom lens is fitted with a camera-communication interface to support these separate aberration correction functions.

Weights can be added or removed just by pushing a button, and without any tools. Multiple weights can be added or removed at once. Battery mounting patterns on each weight enable brick batteries (such as Anton Bauer, Switronix, Sony, etc.) to be attached directly to the microBalance QR, making the battery mount quick release as well. microBalance QR can be set up horizontally or vertically, and can be adjusted for left-right balance in the vertical setup, a capability unique to Redrock.

Redrock’s rig hand grips have also been updated with improved design and features. The new diamond pattern reduces potential for moisture build-up while the soft rubber surface keeps things comfortable. The added doublelock on each grip end offers an additional option for adding mounting points or rig extensions. A popular use of this feature is attaching the microRemote fingerwheel to the grip when grips are inverted, such as on the ManCam rig.

Visit http://redrockmicro.com

HYDREMOTE.COM HAS ANNOUNCED the launch of its HydRemote Remote Cable System. This product allows the waterproof connection of hundreds of remote controllers to GoPro HD Hero and Hero2 cameras. This system allows photographers to start recording video or photographs with the shutter release on their wired or wireless controllers, including crowd favourites like Pocket Wizards.

According to photographer and HydRemote’s creator, Ethan Janson, “This new system leaves the GoPro powered off until triggered, thus extending battery life by many hours or even days. Now you are only restricted by the battery life in your remote or receiver.”

The camera must be in “One Button Mode” for this system to work properly.

Optional waterproof functionality requires modification to an existing GoPro housing BacPac door.

Visit www.hydremote.com

The KJ20x8.2B KRSD Advanced Drive Unit also features an ergonomically re-designed, tilted shape for user comfort, convenience, and balance. The operator’s tactile connection with the lens is enhanced by a ribbed surface on the bottom of the Drive Unit to ensure a firmer grip and better overall operational control. A new grip support allows users to firmly grasp the drive Unit without inadvertently pressing on the VTR or Shuttle Shot buttons.

Visit www.canon.com/bctv/

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Remote Control of GoPro Cameras – Underwater

The new KJ20x8.2B KRSD portable HD zoom lens also features Canon’s improved Advanced Drive Unit technology. This includes Shuttle Shot, a Canon-exclusive technology that enhances production capabilities. At the touch of a button, Shuttle Shot allows the operator to rapidly zoom back and forth between any two positions. Shuttle Shot can be used to zoom to the telephoto position to check focus and almost instantly return to the original position, or users can “shuttle” between any two zoom-positions at any time. The KJ20x8.2B KRSD’s zoom can travel end-to-end in as little as 1.0 second, an improvement over the speed of previous models.

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ACQUISITION

FujiFilm Unveils Two New Lenses FUJIFILM’S OPTICAL DEVICES DIVISION is introducing two new high-performance FUJINON lenses: the PL 85-300 lightweight zoom lens (model ZK3.5×85) and the XA99x8.4BESM ultra-wide field production lens. The PL 85-300, a PL Mount zoom lens in the Premier PL digital cinematography family, capitalises on the popularity and success of its predecessor, the PL19-90mm Compact zoom (Model ZK4.7×19). The new XA99x8.4 is a box style HD lens, ideal for producing live sports and entertainment events.

While the PL 85-300 is similar in size and weight as the PL 19-90, its longer lens makes it ideal for shooting documentaries, nature and wildlife, and car commercials, among other demanding production scenarios. The PL 85-300 offers a focal length of 85-220mm at T2.9 and 300mm at T4.0, with 200-degree focus rotation.

long-distance HD shots. High-resolution 16-bit encoders are standard, making it suitable to virtual, robotic, and digital signage, among other applications. FUJINON’s exclusive GO-Technology improves image resolution and chromatic aberrations at all focal lengths.

This 2/3-inch telephoto field lens employs the latest High Transmittance Electron Beam Coating (HT-EBC) resulting in richer colors and greatly improved blue response and transmittance. HT-EBC coupled with FUJINON’s exclusive Aspheric Technology reduce ghost and flare and increase light transmission. A proprietary anti-fogging design minimises lens fogging and reduces downtime due to moisture.

Visit www.fujifilm.com.sg

Designed using the latest optical simulation technology, the PL 85-300 compact zoom not only offers exceptional optical performance in the centre of the image but in the corners of the frame as well. Like the highly acclaimed PL 19-90 compact zoom, the PL 85-300 is equipped with the same features including flange focal distance adjustment, a MOD of 1.2m, a macro function for objects as close as 97mm (3.8-inches), and covers a 31.5mm sensor size.

The digital servo’s 16-bit encoding assures operators that all lens data output – such as the position of the zoom, iris, and focus – is extremely accurate and the lens supports Lens Data System (LDS) and /i metadata formats. Like the PL 19-90 Compact zoom, the new PL 85-300 features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-style lens. And the PL 85-300 can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units.

The PL 85-300 lightweight zoom lens

Meanwhile, the new XA99x8.4 ultra-wide field production lens offers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m.

The XA99x is f1.7 to 341mm and f4.2 at 832mm. Like other lenses in this product line, the XA99x8.4 offers FUJINON’s DIGI POWER digital controls (featuring F number limit), Quick Zoom, two-shot presets, a 2X extender, and other precision digital functions increasing production flexibility.

The XA99x8.4 features a newly developed patented image stabilisation technology for rock-steady performance, which is especially critical for

The XA99x8.4BESM ultra-wide field production lens.

Blackmagic Updates Cinema Camera BLACKMAGIC DESIGN has announced a new software update version 1.2 for the Blackmagic Cinema Camera which adds new features including time lapse recording, aperture indicator when using compatible EF lenses, as well as ExFAT formatting for SSD disks. The Blackmagic Cinema Camera has now been certified by Intel for capture and playback with Thunderbolt computer hardware operating under Windows. Blackmagic Cinema Camera 1.2 software update is available to download now free of charge from the Blackmagic Design Website.

The new time-lapse recording feature allows customers to capture timelapse video in CinemaDNG RAW 2.5K, Apple ProRes or Avid DNxHD. Customers have an extremely wide selection of capture rates with this new time lapse recording feature as they can select from every second frame all the way up to one frame per 10 minutes.

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The addition of the new aperture indicator on the status strip and SDI output overlay for EF compatible lenses allows customers to easily check F stop settings on the LCD display screen.

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With the addition of Windows for Thunderbolt, users with certified Thunderbolt hardware will now be able to use a wide range of Windows based software as well as Blackmagic Design’s UltraScope and Media Express software over Thunderbolt with the Blackmagic Cinema Camera.

Support for Windows formatted ExFAT SSD disk adds flexibility for customers to use either HFS+ or ExFAT formats. ExFAT is a Windows based operating file

system that features state of the art technology, including large sized disk and file support, wide compatibility and high performance. In addition, Mac OS X also supports ExFAT disks, so ExFAT formatted disks can be plugged into both Windows and Mac OS X machines without any third party software required. Simply insert the formatted disk and the camera will automatically detect format, ready for recording.

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and has a choice of two models for either EF or Micro Four Thirds compatible lenses.

Blackmagic Cinema Camera has been designed as a companion to Final Cut Pro X and Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video file formats that are not compatible with popular NLE software, the Blackmagic Cinema Camera includes no custom video file formats, and every file type included is open standard. It records into CinemaDNG format for RAW files, ProRes and DNxHD for HD resolution files compatible with Final Cut Pro X and Avid Media Composer.

Visit www.blackmagicdesign.com

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PANASONIC has released the new AG-AF102AEN Memory Card Camcorder.

The AG-AF102AEN is a professional HD camcorder with a large Four Thirds MOS Sensor that replaces the AG-AF102EN camcorder. Originally conceived so that cinematographers could achieve maximum creative expression, the AG-AF100 Series combines the artistic aspects of filming with a large sensor with the ease of operation of an HD camcorder.

The AG-AF102AEN shares the functions of its predecessor such as a HighPerformance 18-bit DSP that is optimised for video processing, a Low-Pass Filter to minimise aliasing, internal Optical ND Filters, Two-Channel XLR Audio inputs and most importantly, an interchangeable Micro Four Thirds Lens mount as well as many other functions to meet professional needs. A Micro Four Thirds Lens mount means that the AG-AF102AEN is compatible with one of the widest ranges of lenses available. Native Micro Four Thirds Lenses compatible with DSLR cameras can be fitted directly while Cinema lenses and others can be fitted with adapters.

In addition to the professional high quality PH mode (average approx.

21Mbps, maximum 24Mbps), the AG-AF102AEN incorporates AVCHD ver. 2.0 (AVCHD Progressive) standard in its new PS mode (average approx. 25Mbps, maximum 28Mbps) for recording, playing and outputting (via HDMI only) Full-HD progressive (1080/59.94p, 1080/50p) images.

The AG-AF102AEN also features an enhanced HD-SDI output with 10-bit 4:2:2 quality via the camera’s live output. This function is ideal for recording onto external devices, such as a P2 Recorder, that are compatible with 10-bit recording.

The AG-AF100AEN Series is newly equipped with the expand focus assist function, which enlarges the centre of the displayed image, and a 2.39:1 (cinema scope size) safety zone marker.

Visit www.panasonic.com.sg

More Outputs for Camera Accessories from PAG PAG HAS INTRODUCED a new device for powering camera accessories from its PAGlink system of intelligent, high-power, linking batteries.

The PAGlink battery system is designed for high load camera set-ups; the linked batteries provide up to 12A, enabling simultaneous powering of the camera and multiple 12V accessories, such as a camera light, a monitor, and audio or transmission devices. PowerHub incorporates four D-Tap output connector units, which have been designed to be interchangeable with other connectors, such as PP90 or Hirose.

The PowerHub draws power from contacts on the face of the PAGlink battery. PAGlink is the only battery system that provides power for accessories from its linking contacts. The PowerHub can be used sandwiched between two batteries or connected to the rear battery, where an accessory bracket can be mounted to the unit’s face. A USB module has also been incorporated.

Visit www.paguk.com

Anton/Bauer Introduces New AB Direct VU HD Monitor BUILDING UPON THE SUCCESS of the company’s AB-HDRF 5.8 GHz COFDM RF system, Anton/Bauer has introduced the new AB Direct VU COFDM diversity receiver/monitor. A collaboration between Anton/Bauer and Vitec Group sister company, Integrated Microwave Technologies, LLC (IMT), Anton/Bauer’s AB Direct VU offers a compact, portable system that includes a hand-held monitor plus receiver – all powered using Anton/Bauer Gold Mounts and batteries.

AB Direct VU is a handheld diversity confidence receiver/monitor that displays COFDM video transmissions using a built-in internal nine-inch 16:9 format screen. The bright, high-resolution 1200-NIT, 1080i HD LCD screen makes the unit suitable for a variety of uses, including ENG/EFP, cine and film production and sporting events.

“We are very much looking forward to introducing the AB Direct VU as part of our new AB-HDRF packages,” says Paul Dudeck, Anton/Bauer vice president of sales, the Americas. “It features a screen that utilises law enforcement-quality glass and requires minimal setup, so users can easily incorporate it into their portable workflows.”

Combined with ease of operation and MPEG-2/MPEG-4 auto-detect decoding, AB Direct VU is more than a COFDM handheld receiver. It can receive up to 12 camera positions and send video over Ethernet to remote software or hardware decoders as well as stream shots live over the Internet via IP. This allows multiple remote viewers to monitor the same video simultaneously. What’s more, it features audio connections as well as two speakers.

Visit www.antonbauer.com

Sony PVM-X300 Supporting 4K Monitoring in the Field SONY HAS ANNOUNCED the new PVM-X300, a 30-inch 4096 x 2160 resolution monitor for support of 4K monitoring in the field. The PVM-X300 incorporates Sony’s TRIMASTER technology architecture, achieving excellent colour and picture quality reproduction which makes this monitor ideal for 4K cinema production, 4K live production, and real-time 4K presentation.

“The evolution of professional monitors is essential for 4K production in the field to make greater inroads in the industry, as existing 4K monitors are heavy and unsuitable for field work,” said Anthony Kable, Senior Product Manager Australia and New Zealand at Sony. “We’ve designed the PVM-X300 to offer high performance and versatility in terms of the interfaces, controls and compatibility with production cameras and media.”

This new professional video monitor incorporates an RGB 10 bit panel, uniformity control and can accurately display industry standard colour space of ITU-R BT.709. Moreover, the PVM-X300 features IPS (In Plane Switching) technology for a wider viewing angle.

A wide array of interfaces makes the PVM-X300 able to connect to almost any 4K imaging equipment and support various display modes. Other functions include Auto White Adjustment, Camera Assist Functions and Stereo Audio.

Supporting 4096×2160/24p and 3840×2160/24,25,30p with one single HDMI cable, the PVM-X300 is also equipped with a unique feature for evaluating video signals at 4096×2160/60p with one single HDMI cable when connected to Sony’s new F55 4K camera system.

The PVM-X300 can also incorporate an optional 4K player, which is capable of playback of 4K content. The newly-developed “SxS PRO+” high speed memory media, which supports XAVC 4K and XAVC HD high frame rate recording, can be inserted into the player providing quick viewing of 4K camera images and 4K programs.

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

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Panasonic Introduces the AG-AF102AEN

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SPORTSCASTING Sport coverage worldwide

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ESPN Networks Renamed as FOX SPORTS FOLLOWING NEWS CORPORATION’S successful acquisition of ESPN’s partnership interest in ESPN STAR Sports (ESS) in November last year, all ESPN networks have been renamed as FOX SPORTS networks.

The name change was effected across multiple platforms including television, broadband, mobile and online in Singapore (SingTel mio TV and StarHub TV) and in various countries across Asia on January 28. In Singapore, the changes included: ESPN to FOX SPORTS, the flagship sports channel, available on SingTel mio TV Ch 114 and StarHub TV Ch 208 ESPN HD to FOX SPORTS PLUS (HD), the high-definition channel, available on SingTel mio TV Ch 117 and StarHub TV Ch 210 ESPNEWS to FOX SPORTS NEWS, the 24-7 sports news channel, available on SingTel mio TV Ch 116 and StarHub TV Ch 207

ESPN PLAYER to FOX SPORTS PLAY, the LIVE and on-demand broadband network Mobile ESPN to FOX SPORTS MOBILE, the complete live sports news, information and TV streaming application STAR Sports, STAR Cricket and STAR Cricket HD channels remain unchanged while online foxsportsasia.com has replaced espnstar.com.

In addition to a variety of content from international sports competitions, the broadcaster has said it will continue building upon the recently launched ‘Friday Night Basketball’ featuring the ASEAN Basketball League (ABL).

“It is exciting to be launching in Asia the leading brand that has changed the sports experience for fans across the world,” said Peter Hutton, Senior Vice President, Sports, FOX International Channels.

Visit www.foxsportsasia.com

IBM and the Australian Open Mark 20 Years IBM (NYSE: IBM) HAS ANNOUNCED new technologies that have enhanced the Australian Open experience for fans, players and coaches.

Marking 20 years of technology innovation at the Australian Open, predictive cloud provisioning technology was used in production at the Australian Open 2013, the first Grand Slam to deploy the solution. IBM also combined sophisticated analytics software and natural language processing to gauge positive, negative and neutral opinions shared across hundreds of thousands of social media posts on Twitter, Facebook, news sites, blogs and videos.

IBM’s real-time data analytics software examined the tournament schedule of play, tennis player popularity, historical data logs and volume of social media conversations and predicted the data demands from fans viewing the Australian Open website. Based on the demand forecast, IBM’s predictive cloud provisioning technology automatically assigns the appropriate level of computing power required ahead of time.

Goal-line Tech for Next FIFA World Cup GOAL-LINE TECHNOLOGY was used for the first time at the recent FIFA Club World Cup, and while no specific case arose for its intervention, FIFA President Joseph S. Blatter sees the step as an important one for refereeing.

“Referees have said it is a big help for them,” said Blatter. “This is the solution to say whether the ball is in the goal or not. By television cameras you cannot see it, because the ball is too fast and also human eyes cannot do it. We now have a system, we have to use it.

SPORTSCASTING

“I took this decision at the time when I saw the 2010 FIFA World Cup, when [Frank] Lampard scored a goal and everybody on television saw it but the officials could not. So, I said if we have adequate systems, we have to use them for the next FIFA World Cup. If we do not use them and a similar situation happened then we really would look like fools.

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IBM’s analysis of the Australian Open 2013 action extended from the courts to the social media arena, looking at the topics that get fans talking online and which players become the social media champions.

IBM also provided the technology for the Social Leaderboard on the Australian Open website that will follow the most popular players and the percentage of positive and negative social sentiment from fans.

“With analytics we can help predict when demand is expected to spike, such as when a crowd favourite goes on court to compete. Predicting the australianopen.com demand from fans ahead of time and automatically provisioning capacity, means we have a highly efficient solution that ensures our interactive tournament website is available for all our fans even during the peaks of our busiest periods,” said Samir Mahir, CIO, Tennis Australia.

Visit www.ibm.com/australianopen

EVS Shows Off Sports360° at BES 2013 AT THIS YEAR’S BES (Broadcast Engineering Society) show, which took place in New Delhi on January 29-31, EVS has showcased its all-encompassing sports solution, Sports360° – with a live production workflow between New Delhi and Hong Kong – as well as Breaking News, its new toolset for newsroom operations. They also demonstrated full integration between its high-speed production servers and editing and newsroom tools.

“We now have the systems, we have used them in the Club World Cup, we will now use one in the Confederations Cup – it is a step forward. It is just a question of time until the big leagues use them as it is a big help for the referees but also it will give, I would say, the best judgment as to whether a goal is scored or not.”

Relying on the high-performance XT3 live production server, EVS Sports360° helps broadcasters, producers and rights-holders to maximise content value and prepare for the future of sports broadcast and media delivery. Exclusively at BES, EVS presented a live connected production workflow between New Delhi and Hong Kong, showcasing the power of EVS’ C-Cast solution in enabling immediate media sharing for remote production and instant content delivery to viewing audiences.

Visit www.fifa.com

Visit www.evs.tv

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WUPPERTAL | BEIJING | BERLIN | GLENDALE | LONDON | MOSCOW | Sﾃグ PAULO | SINGAPORE | SYDNEY | VIENNA | ZURICH

www.riedel.net

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The Glasgow Diaries: Chapter 1

By David Bowers FORMER MAGNA GROUP CEO and Nine Network Australia executive David Bowers has just landed in Glasgow for his new role as head of engineering and technical operations for the Glasgow 2014 Commonwealth Games Host Broadcaster contract.

HE JOINS THE TEAM AT SVGTV – the joint venture between Australia’s Global Television and UK-based Sunset+ Vine, which was appointed as the Glasgow 2014 Host Broadcaster in July of last year. In the first of a series of reports for Content + Technology, Bowers outlines the massive project’s mission, critical path and his first day on the ground in Glasgow.

Destination Glasgow > Glasgow International Airport, 1130 GMT, February 1, 2013, direct from Sydney via Dubai thanks to Emirates.

Stepping off the plane, it’s a bracing 3 degrees C. The crisp Scottish air is an instant wake-up call after 24 hours in a metal tube and very different to the ‘balmy’ summer weather I have left behind in Sydney.

This is my second trip to Glasgow since the London Olympics and the available daylight hours have reduced significantly as we move into the Northern Hemisphere winter and begin phase two of one of Scotland’s largest-ever projects.

My role is to oversee the planning, design, engineering and installation for the Host Broadcaster sport venues and International Broadcast Centre (IBC) requirements for the Glasgow 2014 Commonwealth Games.

SPORTSCASTING

Delivery of Host Broadcaster services is based on a 121-week project schedule spanning June, 2012 through September, 2014 in five main stages: Start-up, Planning, Operational, Gamestime and Pack-up.

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Not surprisingly, given the magnitude of the task, phase one began as soon as the Host Broadcaster commenced on the project in July of last year.

Led by project director Andrew Quinn, our small team is growing steadily as we move along the critical path.

Andrew has been involved with the Host Broadcaster contract since the bid’s inception and brings a wealth of experience from previous international events, including Delhi 2010 and Melbourne 2006.

My Australian winter wardrobe is no defence against the Glasgow winter temperatures and first item on the agenda is to purchase a thick coat.

Andrew directs me where to go: having arrived from Sydney with his in family late December, he’s had time to acclimatise, get the lay of the land, sample the local hospitality and celebrate Hogmanay*.

From the shops it’s a brisk 500 metre walk to the project office, which is located in the centre of town and close to the Organising Committee’s administration office and all the major amenities (i.e., pubs). A winter’s day in no way chills the vibrant energy or – especially after Sydney’s scorching summer – extraordinarily green urban environment as I look to the south over Glasgow Green.

The colour is a fitting backdrop for the extensive development underway, not just towards Glasgow 2014 but the city’s growing importance as a cultural centre and ‘happening’ place for the

Dating back to the 15th century, Glasgow Green is the city’s oldest park.

thousands of people who work, play and live here.

In addition to the anticipated halo effect of a successful Games, the Host Broadcaster will create another positive legacy: at least 120 graduates from Scotland will work with us during the Games, deepening the local pool of capable television technical people and creating a stronger future employment path for them.

It’s a series of quick, hello-how-was-your-flights and then I’m at my desk, setting up my laptop and getting ready to work.

Far from an unceremonious welcome, I’ve met the dozen-strong team already and the last 26 hours aside am fully up to speed thanks to daily Skype calls and constant emails between Sydney and Glasgow. I’d also had a quick tour in November to survey the local venues, get to know my new colleagues and also meet many of the key Glasgow 2014 Organising Committee functional area managers – important, especially as the Host Broadcaster contract is the largest the Organisers will award.

Everyone is in good spirits after Christmas and New Year’s Eve celebrations and eager to get on with it. We are currently beginning project phase two – the venue overlay planning stage, which involves fine-tuning the compound layouts and establishing access, power and security requirements: normal big event matters that are essential to get right from the start.

Chilling Out – Andrew Quinn and David Bowers on the wintery streets of Glasgow.

SPORTSCASTING

Meanwhile, another group is working on transport logistics, security and the like. There will be hundreds of millions of Pounds of broadcast gear deployed, and 1000+ broadcast professionals working from the IBC and venues during the Games, which will run from 23 July – 3 August, 2014. We need to protect not just property but people, and ensure they can do their jobs safely and without any issues.

As Host Broadcaster, over 11 days of competition, including the Opening and Closing Ceremonies, we’ll provide high definition coverage from 19 venues encompassing 26 different sporting disciplines. In addition, 22 Para Sport medal events will take place – more than any Commonwealth Games to date.

The Host Broadcaster is also responsible for the IBC, which is the hub for all Games broadcasting activity, handling incoming television pictures and sound from the venues and distributing that footage to international television and radio rights holders’ home countries. The IBC will also manage outgoing worldwide transmissions from rights holding broadcasters working at the IBC and Games venues.

Liaison with rights holding broadcasters is a key focus in the coming months ahead of the first world broadcasters’ meeting. We are identifying their needs with a view to locking down commitments by August. Many of the larger broadcasters are well advanced in planning and others are just beginning. Each will nominate how many square meters of IBC space is needed, how they would like to customise their space and what broadcast services are required to facilitate their coverage of the Games.

Discussions with rights holding broadcasters reinforce the overall project goals which the Organising Committee have set and which guide every aspect of the Host Broadcaster project.

Aside from the obvious KPIs to play a lead role in delivering a successful Commonwealth Games and to meet all key dates, milestones and deliverables on time and within budget, the Organising Committee have charged us to help deliver their mission, vision and values.

That includes increasing the participation of rights holder broadcasters to maximise the reach of the ‘People’s Games’ and to also showcase our collaborative business model as a template for future Games.

At the end of a busy first day sleep is far from my mind, and we are all abuzz with the job ahead, so Andrew, Caroline Ramsay (head of broadcast venue management), Ian Hirst (head of production) and I head off to the nearby Molly Malone’s Bar to continue our discussions over a wee pint. * Hogmanay is the Scots word for the last day of the year and is synonymous with the celebration of the New Year (Gregorian calendar) in the Scottish manner.

Snell at the Centre of HKJC’s HD Operations SNELL HAS ANNOUNCED that the Hong Kong Jockey Club (HKJC), one of the world’s largest horse racing organisations, has chosen Snell Kahuna 360 multi-format SD/ HD production switchers as part of a major, multi-phase upgrade of its broadcasting centre to support HD operations. The HKJC, which produces a total of 9,600 hours of TV programming every year, selected the Kahuna 360 switchers to replace an array of aging vision mixers.

After an evaluation and procurement process, Kahuna 360 scored highest in technology and price/performance, as well as its ability to provide multi-format inputs and outputs for both SD and HD. Another critical factor in the HKJC’s selection of Kahuna 360 was its resilience and ability to auto-fallback with no visible interruption in service — a major consideration for live racing coverage that is watched by millions of viewers. Also, the system’s ease of use and effortlessness customisation are important in the HKJC’s compact production environment.

as value — and we know we can depend on Snell’s first-rate support organisation.”

“With such a busy programming and production schedule, reliable and state-ofthe-art production switchers are a critical element in the HKJC broadcast environment.

Kahuna 360 is truly an all-in-one solution, with the scalability we need to evolve our operation into the future,” said Mrs. Oonagh Chan, head of broadcasting services for the Hong Kong Jockey Club. “As a longtime user of Snell switching, conversion, and playout equipment, we are keen to acquire solutions that offer high quality and reliability as well

One mainframe serves as the field program mixer to produce a clean TV feed from over 40 HD cameras plus playout sources during the live race coverage. The other Kahuna 360 is the master program mixer, combining the clean feed output with playout and bilingual data superimpositions to deliver the program feed in both Chinese and English for the ATV Home Channel.

In phase one of the switcher upgrade, two Kahuna 360 4 M/E mainframes were integrated with HKJC’s existing multi-viewer and TSL tally control systems. Since each Kahuna 360 mainframe can support two or more control panels, four separate programs are produced simultaneously.

Visit www.snellgroup.com

ABU Seeks New Head of Sport THE ASIA-PACIFIC BROADCASTING UNION (ABU) is on the hunt for a new Director for its Sports Department.

“Sport is dear to the hearts of most of our members,” says ABU Secretary-General Dr Javad Mottaghi. “The ABU plays a crucial role in representing the interests of our members and the new Director ABU Sports will need to bring important qualities to the job.”

The successful candidate will take over one of the ABU’s key departments, coordinating sports issues for the Union’s more than 230 members across the Asia-Pacific, especially arranging broadcasting rights and coverage of major regional and global events such as the Olympics, the Football World Cup and the Asian Games.

The new Director ABU Sports will be responsible for all of the ABU’s activities related to sports, including acquisition of media rights and sports coverage, working under the Secretary-General at the ABU

Secretariat in Kuala Lumpur. They will run the day-to-day activities of the department, manage its staff and assist the SecretaryGeneral in developing the strategy of the Union in the world of sports.

Dr Mottaghi says he is looking for someone with a minimum 15 years experience in sports programming and sports coverage and at least five years in sports management.

“They will also need experience in negotiating financial deals and sporting rights, especially at the international level,” he says. “And, of course, they must have a thorough knowledge of, and a genuine interest in, a wide range of sports and major sporting events.”

There is more information on the job and how to apply on the ABU website.

Applications close on 31 March 2013.

Visit www.abu.org.my

SPORTSCASTING

Host Broadcaster staff, along with a number of consultants, are working on production and technical details for the broadcast infrastructure and coverage, as well as spectrum planning for both traditional two-way radio communications and microwave for the specialty RF cameras to be deployed at various venues.

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NEWS OPERATIONS www.content-technology.com/newsoperations

It’s a ‘Moto Cross’ for Indonesia’s Metro TV News TAKING A DETOUR around Jakarta’s traffic

congestion.”

to be carried whilst riding a motor cycle.”

congestion, Indonesian 24-hour news channel Metro TV has launched a fleet of motorcycle newsgathering teams employing several TVUPack TM8100 3G/4G mobile broadcasting backpacks from Magna Systems and Engineering..

Setiawan continued, “Metro TV specifically wanted a lightweight live reporting tool to help deliver footage to their news studio. We suggested the TVUPack and performed several demonstrations of its capabilities. Essentially Metro TV’s key requirements for their new mobile solution was for it to be faster, more flexible and easier to use than their traditional SNG van. After a two-month assessment period of all the options available in the market, Metro TV concluded the TVUPack was the solution that best met all their requirements.

They particularly liked the TVUPack’s 3G/4G newsgathering and recording capabilities, hot swappable battery system, video quality, flexibility in operation and that it is light enough

Once the assessment was complete and the order placed Magna systems supplied four TVUPack TM8100 backpacks, a TVUPack TR3100 receiver and comprehensive installation, set up and training for Metro TV’s new two-man motorcycle newsgathering teams.

Magna Systems and Engineering Indonesia Sales Manager, Awan Setiawan, said, “Metro TV is a news broadcaster with many live events, interviews and on-site production requirements all of which require considerable satellite uplink bandwidth and satellite uplink mobile equipment or the use of an SNG van. In Jakarta these days, using an SNG van to respond to breaking news is sometimes simply not fast enough due to the city’s traffic

Kompas TV Takes Etere for News Workflow ETERE, a developer of software solutions for media producers, has announced that Kompas TV, the Indonesian television network, has chosen the Etere MERP system to improve the existing news workflow for its channel.

Etere integrates Kompas news workflow with its ENPS system via MOS protocol with a MAMbased platform and comprehensive newsroom computer system that includes fully integrated video production tools and playout control. The Playout system is based on Etere MTX which is able to play ProRes Files natively and this allows faster news processing.

Etere News suite implementation provides advanced and reliable production, from ingest to delivery of news, and playout capabilities with IT-based centralised storage, server and database.

The Etere workflow system automates and streamlines many processes in the background to facilitate distribution.

NEWS OPERATIONS

Content can be captured via SDI or through file transfer. The tapeless workflow system interconnects the various station departments including the Archive, Studios, Post-Production, Media Management, Traffic, Newsroom and Playout under only one framework. Etere Ingest captures and edits SDI stream while ingesting.

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“This integration will advance workflow operations into a better management. Etere ENPS system gives Kompas the flexibility and functionality in terms of asset, data and content management along with the level of reliability, fault tolerance and intuitive interface,” says Fabio Gattari, Asia Pacific Sales.

Visit www.etere.eu

FRANCE 24 Expands Distribution in Asia Pacific FRENCH INTERNATIONAL NEWS channel FRANCE 24 has concluded a series of new distribution agreements, allowing the channel to strengthen its worldwide distribution in Myanmar, Singapore, Indonesia, Thailand and Australia.

In Myanmar, FRANCE 24 English version has just launched on the new IPTV network Skynet (channel 45), allowing the channel to be available to 50 000 subscribers across the country.

Thanks to an agreement with Telkom Vision, FRANCE 24 English version, is now available 24/7 in Indonesia on the operator’s cable, IPTV and DTH offers. FRANCE 24 is now accessible to an additional 100,000 subscribers in major Indonesian cities.

FRANCE 24 has extended its agreement with SINGTEL, the largest telecommunications company in Singapore, allowing its English version to be available on the operator mobile offer to 90,000 Mobile TV subscribers.

In Thailand, FRANCE 24 is now available on major IPTV operator ME TV. FRANCE 24 English version is now available 24/7 in the basic offer, while the French version will be available “à-la-carte” for 220 Bahts (5,5 Euros) per month.

In Australia, FRANCE 24 has partnered with SBS, allowing its English version to be broadcast 30mn per day at 3pm on SBS ONE. Visit www.france24.com

Setiawan concluded, “Metro TV particularly appreciated Magna Systems’ extensive training and quick response times throughout. This combined with our proactive approach to ensuring they always had the latest software upgrades in order to use the TVUPack’s new functions and capabilities, was also very welcomed by the Metro TV team.”

Visit www.magnasys.tv

Bloomberg TV Forms Partnership in Indonesia BLOOMBERG TELEVISION announced the formation of a partnership in Indonesia with the Idea Group, a Jakarta-based media and strategic communication holding company, that will see the launch of Bloomberg Television Indonesia in early 2013.

Presented in the local language Bahasa Indonesia, Bloomberg Television Indonesia will bring Bloomberg’s news, alongside locally-produced content, to the world’s fourth most populous country and Southeast Asia’s largest economy.

Bloomberg TV Indonesia will partner with existing broadcast entities and air on Free to Air, Pay TV, internet and mobile platforms.

“Indonesia is not just one of the largest consumer markets in Asia, it also has one of the fastest growing economies and rising investor classes,” said Gary Groenheim, Commercial Director of Bloomberg Television, Asia-Pacific. “We have long identified Indonesia as a strategic emerging market to take Bloomberg Television’s global experience and translating that into a meaningful local TV proposition. With the Idea Group, we have found a partner with the vision and passion to take business news from its traditionally narrow and specialist confines to a broader, mainstream audience.”

“We are very pleased to partner with such a reputable institution like Bloomberg, and believe that the transfer of skills, experience, and journalism ethics will truly benefit the local market,” said Ziva Narendra Arifin, Chief Executive Officer of Idea Group Indonesia.

Visit www.bloomberg.com/tv

NEWS OPERATIONS

ROSS VIDEO HAS PARTNERED with Crispin Corporation to implement a full news workflow designed to satisfy the requirements for a customer account.

The integration of products between Crispin and Ross Video allow both companies to achieve together what they could not have offered separately. The integration consists of Crispin’s NewsCat Media Asset Management System with Ross’ OverDrive Automated Production Control System and BlackStorm Playout Servers.

“Having a solution for every customer requirement is impossible to predict,” said Todd Robinson, Marketing Product Manager, Video Servers, Ross Video. “However, having a partner company to rely on to fill in the gaps is key to successful solutions.”

“Working with partners like Crispin and the BlackStorm team to create an end-to-end solution for the customer has been a pleasure,” said Allan Pepper, Marketing Product Manager, Technical, OverDrive, Ross Video. “The final integration provides complete transparency between the

Real-Time Chroma Keyer

systems involved when coding server clips in the newsroom and has received great feedback from the customer.”

Crispin’s NewsCat Media Asset Management System allows editors, producers, and directors the ability to submit edited content to the Ross’ BlackStorm Playout Servers using a copy of the rundown. It creates low resolution proxies of the material upon submission so newsroom users can confirm the video has been successfully submitted and is correctly assigned to the right story where it can be sent live to air with OverDrive.

“One of the primary goals of most news operations is to become fully digital. This demands sophisticated technology and tools to manage the file-based workflows. The combination of Crispin and Ross technologies delivers that end-to-end solution news organisations demand,” said Rodney Mood, Chief Operating Officer, Crispin Corporation.

Visit www.crispincorp.com and www.rossvideo.com

Tieline Adds OPUS Coding to Newsgathering TIELINE HAS ADDED the OPUS coding algorithm to its Report-IT newsgathering application, as well as Tieline Genie and Merlin IP audio codecs. Tieline is the first major IP audio codec manufacturer to release OPUS and make it available to customers.

CRYSTAL VISION’S SAFIRE 3 is a realtime chroma keyer suitable for all live virtual productions from studio to sport. The enhanced chroma keying uses a sophisticated algorithm, giving excellent results with minimal sensitivity to camera noise.

New key processing features include blacks, whites and greys reject for realistic shadows and a solid key, edge shaping to eliminate hard outlines, key noise reduction through the application of various filters and two-dimensional compensation for uneven illumination of the backdrop.

Working with 3Gb/s, HD and SD sources, Safire 3 makes it easy to generate a realistic chroma key by using up to 12 points on the backdrop as well as four points on the Foreground object to automatically set up the optimised processing.

It includes Foreground colour correction and Background video adjustments to help create a natural-looking composite picture as well as up to ten frames of video delay adjustment for offsetting the delay caused by the graphics generators.

Visit www.crystalvision.tv

OPUS incorporates technology from the well-known SILK and CELT codecs to create a low latency speech and audio codec. It is a variable bit-rate algorithm ideal for live broadcast situations because of its capacity to deliver high quality, real-time Audio over IP (AoIP) at low bit-rates.

“Following the recent addition of OPUS to the EBU 3326 interoperability standard for Audio Contribution over IP, a number of large European broadcasters requested Tieline integrate OPUS into Tieline’s codec products,” said Charlie Gawley, VP Sales APAC & EMEA. Tieline has integrated OPUS into the Report-IT application and optimised it to deliver high quality speech at bit-rates from 14.4Kbps up to 64Kbps over Wi-Fi and cellular wireless networks. In Genie and Merlin IP audio codecs the algorithm is optimised for more complex audio signals such as music at higher bit-rates.

OPUS is available now in the Report-IT Lite application, Report-IT Live and Report-IT Enterprise from the iTunes App Store.

Visit www.tieline.com

Lotus Communication Releases Instant Translation Phone LOTUS COMMUNICATION LIMITED has released a telephone service called Instant Translation Phone, ITP for short.

The service is currently available on an IP phone supplied by the Company. However, users can also download VoIP mobile app, INAtalk, to use the free beta version of ITP. Through the service, you can communicate confidently with someone who doesn’t speak your language. You only need to speak in your language and your colleague at the other end will hear you in their language.

Lotus are currently doing a beta test version for INAtalk users. Users are required to fill in the ITP beta registration form online, and will then receive instructions via SMS and email.

Visit www.inatalk.com

Improving the Uplink HILTRON HAS ANNOUNCED two major additions to its product range: the HMAM-IOT advanced satellite antenna mount and the HCS4 satellite communication controller. The two products complement Hiltron’s HMCS D-SNG satellite-link monitor and control system.

Based on Hiltron’s HMAM motorised antenna mount, the HMAM-IOT incorporates inclinedorbit tracking. To conserve guidance propellant, older satellites are allowed to drift from their nominal target position during their main service life. Operators therefore offer greatly reduced transponder capacity pricing. The HMAM-IOT’s advanced tracking capabilities enable the antenna to follow these variations in position. It is the ideal solution for cost-efficient uplinks on inclined-orbit satellites.

Meanwhile, the Hiltron Control System version 4 (HCS4) is a highly versatile controller with a wide range of applications in satellite communication.

It allows easy switchover between main and backup devices such as downconverters, high-power amplifiers, waveguide switching systems, MPEG digital video broadcast encoders/ modulators and integrated receiver/decoders.

The HCS4 can also be used to power, control and monitor optical-fibre transceivers.

Lastly, Hiltron’s HMCS is a software-based compact monitor and control system which enables the digital satellite newsgathering truck staff to operate a complete satellite link and achieve fast lineup. Integral auto-pointing capabilities allow a satellite feed between two ground locations to be established quickly and easily.

Visit www.hiltron.de

NEWS OPERATIONS

Ross and Crispin Partner to Implement News Workflow

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POST PRODUCTION www.content-technology.com/postproduction

Japanese Rockabilly Band Revived with Teranex and the film hit theatres in January 2013, with dramatically improved video and audio.

The job of up converting footage to be able to be shown in HD was given to Kanagawa, Japan-based E-head Production. Provided with original footage all shot in SD and 60i, E-head was required to quickly up convert all footage to HD and 24p in time for a January 26th premier. E-head used Blackmagic Design’s Teranex 2D Processor for all conversions on the film.

Yasuo Egashira from E-head Production, who owns the Teranex 2D Processor, said, “When I had heard about ‘Teranex 2D Processor Used for ‘Vanishing Point’ from Mr. Onaga, I had just purchased the Teranex 2D Processor so suggested that he use it to complete all of the conversions. It worked out great for this film. It is very user friendly. I did not even read the user manual but could figure out how to use it. It was great on both functionality and usability.”

“VANISHING POINT” IS A DOCUMENTARY about the iconic Japanese rock/rockabilly band Blankey Jet City. Directed by Yutaka Onaga, a photographer and video artist, the film follows the band’s last tour in 2000 through 12 cities and 17 concerts. Though the film was initially not released, more than 50 hours of footage was finally edited and completed recently,

VFC Archives with Masstech MASSTECH HAS EXPANDED its reach into Asia with the signing of its first deal in Vietnam with the Vietnam Television Film Center (VFC) to digitally archive all its film productions. The installation of Masstech’s Emerald LE solution with integration to Avid’s Interplay ISIS is currently underway at VFC’s Hanoi facility.

VFC, a film production company owned by Vietnam Television, the national television broadcaster for Vietnam, produces made-for-television movies and miniseries. Only about 30 percent of the entertainment programming shown on VTV is made locally, the rest is imported and dubbed in Vietnamese.

Currently, VFC has in place an Avid Interplay production system for its drama television series productions. Masstech integrates to Avid Interplay to provide digital archiving for their ever growing storage demands and preserves VFC’s DV50 (Standard Definition) and DNxHD120 (High Definition) content on LTO-5 data tape. The new system features Emerald’s mini-MAM content management and broadcast hierarchical storage management (HSM) to control dual (two) Spectra T50e libraries, each with 50 slots. This unique solution is powered by an IBM x3650 M3 server platform with internal cache and high performance fibre channel connectivity to the libraries.

POST PRODUCTION

Brad Redwood, Vice President of International Sales and Marketing at Masstech, said, “We congratulate the Vietnam Television Film Centre and look forward to enhancing their workflow with advanced digital archiving.

Masstech’s ownership of the entire solution delivers sophisticated Avid integration on an affordable integrated platform. Broadcasters, Editors, music production and other creative professionals can utilise Emerald to enhance their workflow and output.”

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Digitcast, a dealer for Masstech operating out of Singapore, closed the deal with VFC. “Combined with our local knowledge and technical expertise, products like Emerald enable the burgeoning Vietnamese film industry to preserve their local productions and compete on a global scale,” said Anthony Vu, Operations Manager at Digicast.

Visit www.masstech.com

“In particular, I really liked that frame rate conversion created a more filmic look, rather than a video. Also, the audience’s faces in the up converted version looked clearer than that of the original SD version, which makes the scene more alive,” said Onaga. “I am very happy that I could re-experience what I saw and felt 13 years ago, in a movie theatre with fans who jump around in the scene once again.”

Visit www.blackmagicdesign.com

DaVinci Resolve 9.1 BLACKMAGIC DESIGN HAS ANNOUNCED a major release of DaVinci Resolve 9.1, the latest update to the colour correction tool.

DaVinci Resolve 9.1 enables customers to use Resolve with Apple’s Macbook Retina technology, the world’s highest resolution notebook display. Retina based notebooks have quickly become one of the most popular tools in the post production world, and with 9.1, DaVinci Resolve will be able to run on the 15” Retina MacBook Pro at the best image quality setting.

DaVinci Resolve 9.1 also features support in XML for FCP X Audition, a popular feature in FCP X which provides the ability to stack and scroll through multiple shots in a single location in a timeline, allowing Resolve users to easily transfer files between the systems for an efficient workflow. Improvements in mixed frame rate XML integration will allow better workflows between Resolve, FCP X and Final Cut Pro 7 projects. DaVinci Resolve 9.1 also supports improvements for Avid AAF, Sony XAVC and AVC-Intra files and a number of audio and performance improvements.

The new DaVinci Resolve 9.1 also includes an enhancement for the CinemaDNG file format, as used by cameras such as the Blackmagic Cinema Camera. DaVinci Resolve now includes a CinemaDNG Input Device Transform (IDT) for grading RAW images in full ACES workflows.

DaVinci Resolve 9.1 can also now be used with the DeckLink 4K Extreme, Blackmagic Design’s newest addition to the DeckLink family of PCI Express capture cards. DeckLink 4K Extreme includes all the features of the popular DeckLink HD Extreme 3D card, plus UltraHD 4K playback, which is four times the resolution of 1080HD video.

DaVinci Resolve 9.1 for Mac, Windows and Linux is now available for download from the Blackmagic Design website free of charge for all existing full feature DaVinci Resolve customers. DaVinci Resolve Lite 9.1 public beta is available for both Mac OS X and Windows and is free to all users.

Visit www.blackmagicdesign.com

POST PRODUCTION

BLACKMAGIC DESIGN HAS ANNOUNCED DBoris FX has announced that Boris Continuum Complete 8 FxPlug (BCC 8 FxPlug) is now available for Apple Final Cut Pro (FCP) X and Motion 5 in addition to FCP 7.

BCC gives editors and motion graphics artists the power to create highquality broadcast graphics and perform project-saving image restorations within FCP. 200+ filters include extruded text, 3D particle effects, image restoration and touchup tools, true 3D lens flares and volumetric lighting effects, keys and mattes, colour grading tools, and more.

New FCP X Templates allow editors to quickly achieve powerful VFX with easy-to-use Glows, Lights, Particles, and Tilt-Shift effects. In addition to taking advantage of the FCP X templates included with BCC 8 FxPlug, editors are able to create their own templates with BCC FxPlug in Motion 5, and access these templates in FCP X without going back to Motion 5.

BCC FxPlug gives FCP X users first-ever access to powerful extrusion filters to create 3D objects using text and shapes. Type-on Text creates animated text type-ons that fly in from behind or toward the camera or slide into view from the top, left, bottom, or right of the screen. Layer Deformer generates useful 3D shapes and deforms these objects using built-in vertex and pixel shaders.

New to BCC 8 FxPlug, the BCC Film Glow filter offers precise threshold control, glow colour control, individual X and Y glow width control for vertical or horizontal glows, and even individual glow scale for each colour in the image.

Visit www.borisfx.com

Sony Upgrades Vegas Pro Software SONY CREATIVE SOFTWARE has announced the latest upgrade to its Vegas editing technology. Combining a familiar track-based editing interface with a fluid, interactive approach to media production, workflow improvements in Vegas Pro 12 include Project Interchange with popular editing platforms including Adobe Premiere Pro CS6, Avid Pro Tools 10 and Apple Final Cut Pro 7; Expanded Edit Mode, for fine-tuning the timing of a project using an interactive “A-B roll” paradigm; Colour Match, for quickly matching the colour characteristics of different video clips; and Smart Proxy editing, which automatically replaces clips on the timeline with edit-friendly HD proxies.

On the format front, Vegas Pro 12 can now ingest Panasonic P2 DVCPRO and AVC-Intra content, and encode to all flavours of the HDCAM SR mastering format including the 220 Mb/s SR Lite and the 880 Mb/s SR 444.

There are new Masking Tools in Vegas Pro 12, including Effects Masking for quickly obscuring a face or logo. Updates to the Project Media and Explorer windows improve the ability to find and organise content, thanks to a redesigned Thumbnail View along with optimised Media Tagging capabilities and automated Smart Bin search tools.

Vegas Pro 12 is available in two configurations. The Vegas Pro 12 collection follows previous versions by including the Vegas Pro 12 editing application along with DVD Architect Pro 5.2 and Dolby Digital Professional Encoder, for DVD and Blu-ray Disc authoring. Vegas Pro 12 Edit is a new, lower cost package featuring all of the editing capabilities of Vegas Pro 12, without DVD Architect and the Dolby Encoder software.

For Sony PMW-F3, F23, F35 and F65 shooters looking to maintain the full dynamic range of their images in post, Vegas Pro 12 uses OpenColourIO technology from Sony Pictures Imageworks and the Academy Colour Encoding System (ACES) colour space standard to build a comprehensive S-log workflow solution.

Vegas Pro 12 editors can apply the appropriate LUT (Look-up Table) to the S-log source material from a list of built-in templates during the post-production process. The finished project can be encoded to a wide range of formats using the ACES colour space standard as well as other popular non-ACES standards.

Visit www.sonycreativesoftware.com

Shot Management, Conform and Review THE FOUNDRY HAS ANNOUNCED its latest version of HIERO, a shot management, conform and review tool, as well as HIEROPLAYER which will give artists the ability to view their VFX shots in the context of a timeline – ideal for collaborating and critiquing shots at a workstation.

Windows OS support in version 1.5 brings HIERO onto all three platforms.

HIERO users will now be able to utilise a broadcast monitor to review footage on compatible Blackmagic and AJA SDI-Out Hardware. The Broadcast Monitor Out functionality will give HIERO operators the ability to accurately check that the colour space and aspect ratio is exactly the same as it would be when the footage is broadcast.

With the addition of Multi-Channel Image Support, users will now also be able to view all the image layers of multi-channel EXRs for CG passes.

Operators will have access to more than just the RGBA pass and view all of the image passes that EXR files can contain, just as they can in NUKE. HIERO 1.5 also adds support for playback of native ARRIRAW camera footage. Users can either edit directly with the raw footage or transcode out to other image formats using HIERO’s export system.

HIEROPLAYER can open HIERO projects, allowing artists to see their shots in context of a conformed, multi-track timeline and seamlessly critique versions of their renders. Artists will be able to playback the same formats that NUKE knows about (including multi-channel EXRs, and audio), organise and tag their comp elements into Clip Bins, and even knock together basic ‘scratch edits’. HIEROPLAYER is a VFX timeline tool built for artists. It works seamlessly with NUKE and HIERO out of the box and via Python scripting, can also be integrated into other apps in the pipeline.

Visit www.thefoundry.co.uk

Colorfront Pioneers 4K HFR Workflow COLORFRONT ON-SET DAILIES delivers an all-embracing approach to digital dailies workflow. It integrates production-proven tools for dailies work – including playback and sync, QC, colour grading, audio and metadata management, plus checksum-verified copying and LTO-5 archival – with colour and image science, and the delivery of simultaneous faster-than-realtime deliverables in all common file formats.

On-Set Dailies runs on HP’s Z820 16-core workstation, with CUDA processing running on multiple GPUs using the latest NVidia ‘Kepler’ technology, which raises the performance of on-set imaging to new levels.

This includes: rendering performance at over 100FPS; parallel background rendering; faster-than-realtime JPEG2000 encoding for DCP and IMF deliverables; realtime RED R3D playback in HD/2K, with CPU decoding, without the need for RED Rocket cards; 60+FPS ARRIRAW 4K de-Bayer, 4K F65RAW and 4K Canon C500 processing.

IBC 2012 saw Colorfront demonstrating realtime 4K at 60P playback of Sony F65RAW, Canon C500 RAW and Alexa ARRIRAW camera footage from On-Set Dailies, via HD-SDI with AJA’s Corvid Ultra video technology, at AJA’s booth.

The new release of On-Set Dailies comes with On-Set Live!, a grading capability which uses the live HD-SDI feed to enable ACS-CDL or ARRI Look-compliant colour corrections on a broadcast monitor.

It also features support for Blackmagic Cinema Camera DNG files, Avid DNxHD 444 support and Sony SRFile (SStP) playback and encoding.

On-Set Dailies features end-to-end real-time 4K ACES workflow, with IDT, RRT and ODT functions. It also delivers support for On-Set Colour 2K resolution full-latitude (ACES) grading tool on the iPad. Visit www.colorfront.com

POST PRODUCTION

BCC 8 FxPlug Now Available for FCP X

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POST PRODUCTION

Fusion Reaction

By Keith Ford Founded in 2006, Fusion-io is a company focused on accelerating data. The Utahbased start-up has utilised what they refer to as data decentralisation to run some huge infrastructures, mainly in the server space. These include: Facebook, Pandora, Polaris, New York Stock Exchange, and Xbox Live. Fusion-io also gained notoriety in 2009 when The Great and Powerful Woz, Steve Wozniak, joined the company as Chief Scientist.

THEIR LATEST PRODUCT, the Fusion ioFX, was launched earlier this year at NAB. Fusion ioFX is a flash-based workstation memory tier that seeks to accelerate the rate at which files can make it to and from the workstation. Based on a NAND flash and connecting through via a PCI Express bus, the ioFX can read files at 1.4 GB/s. One of the key benefits of the high read speed is the ability to work on files as high as 5K in full resolution, as well as working with stereoscopic content in realtime.

“We are the first to market with a native NAND flash device. So by that, what we mean is that this is NAND flash, just like an SSD, but an SSD has a controller chip built into it that basically manages the memory,” explains Vincent Brisebois, Solutions Architect at Fusion-io. “What we do with the hardware is actually very simple. It’s NAND flash in a programmable FPGA. So all we are really doing with this is connecting the NAND flash to the system bus and this is not actually doing most of the logic. The logic and intelligence comes from a big software suite.

“So what’s unique about Fusion IO is we actually developed a memory subsystem extension for the operating system. So we add to the OS the ability to not only address RAM, but also address NAND flash like a memory tier addition. So now you end up with an operating system that has RAM, NAND flash, which we call IO memory, and storage. So it doesn’t actually connect through the storage bus and the benefit of that is, because it’s NAND flash, you get very high bandwidth. An SSD takes about one millisecond to respond with the data you request. This actually takes 0.06 milliseconds to respond. So you can get 20 files off one of these in the time that an SSD gives you one.”

The ioFX can drastically change how large post-production houses, small studios, and freelancers working remotely, operate. High-end post facilities will primarily benefit from the ease of scalability that the ioFX provides.

“For high end users that are using very high quality or high bandwidth, doing stereoscopic 4K, like The Hobbit, stereoscopic 5K at 48 fps, you get to a point where the bandwidth is one thing that’s difficult to get very fast. So this is 1.4 GB/s read, which you can do with SSD’s in a RAID, but if you put two of these you get 3 GB/s, if you put four you get 6 GB/s,” said Brisebois. “The problem with SSD’s is the more you add, the less increase in performance you gain. So two SSD’s double the speed, add two more, you get 60% more; add two more, you get 40%. You get to a point where getting to 3 GB/s and 6 GB/s becomes unreasonable, becomes a big chassis with 32 SSD’s and all this management. It starts bogging down with storage infrastructure before actually giving you performance.”

POST PRODUCTION

Small facilities and freelancers can benefit from the ioFX, as it significantly lowers the entry level for effects work. Freelancers can reasonably work on 4K, IMAX, or stereoscopic shots from a home workstation with the sub-$3,000 device added on.

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“It actually makes the freelancers kind of relevant again. They can now bid on stereoscopic film shots. They can bid on IMAX. They can get up to the requirements of the industry without having to be part of a big studio,” said Brisebois. “Smaller studios as well that don’t have the big infrastructures and the InfiniBand and the SANs and all that stuff can now do things and bid on shots where they would never have

even dreamt of being able to. It does kind of level the playing field in allowing the smaller guys to do more, but also the big guys to be more efficient at what they do.”

One of the most unique features of the ioFX is the combination of software and hardware. The company wanted to stray from the conventional workflow of creating hardware that conforms to the current standards, or software to manage the standard hardware.

Instead they opted to create a hybrid solution in which both hardware and software are equally important.

“For Fusion IO it was sort of this idea of saying well, let’s build new hardware that requires all new software or new software that requires all new hardware,” Brisebois explained. “Basically a hybrid where we have as many software developers as we have hardware developers and the hardware itself is not really the product, the software itself is not just the product, it’s really the combination of the two. It took a company to say no, let’s not just be a storage company and not just be a management software company and build something new and using a medium the right way.”

The addition of Steve Wozniak onto the Fusion-io team has brought a lot more than just the positive PR. The Woz certainly adds to the already strong engineering background of the company, but can also be a draw for other talented individuals, such as Jens Axboe who wrote the memory subsystem for Linux, to join the organisation. Having been a driving force at a company as successful as Apple gives him a unique business insight too.

“On the company side, he does bring this parallel between Fusionio and Apple where he’s also helping our company go through rapid growth in our first year as a public company and on the corporate side of things. A company growing into billions of dollars of valuation within a year of being public is something that Woz has gone through before,” concluded Brisebois.

Visit www.fusionio.com

STORAGE + ASSET MANAGEMENT www.content-technology.com/mediamanagement

MICROSOFT AND PPTV, China’s leading Internet TV service provider, have signed a strategic partnership memorandum to launch PPTV Asia TV Networks (ATN) platform on Windows Azure. PPTV ATN is the first to deliver a complete video cloud service on Azure. This agreement also marks Microsoft’s first cloudbased collaboration with a local Chinese new media company.

According to the memorandum, PPTV will adopt Windows Azure as the core infrastructure platform for PPTV ATN. PPTV

will also continue to explore the collaboration opportunities with Microsoft on online TV, media service platform and Content Delivery Network (CDN) for its next generation domestic market needs.

According to Chuang Tao, CEO of PPTV, the company provides an ecosystem for global content providers to upload content to the library, and to license to service providers through revenue sharing.

Visit www.pptv.com and www.microsoft.com/china

New DFT Owners Focus on Archive Market INDIA-BASED PRASAD CORPORATION has announced the acquisition of the “Scanity & Flexxity” product manufacturing company Precision Mechatronics GmbH based in Weiterstadt – Germany and its sister Sales & Marketing subsidiary DFT Munich GmbH. PrecisionMechatronics and DFT Munich will be merged into a new company called Digital Film Technologies GmbH which will continue with research and development; new equipment manufacturing, sales and on-going service support for its large installed client base of legacy products and new sales.

The company’s technology origins stem back to Robert Bosch GmbH, Fernseh Div., which later became BTS inc. - Philips Digital Video Systems,

Aspera Opens Singapore Office ASPERA, INC. has announced the opening of an Asian regional office in Singapore.

The new office will serve Aspera’s rapidly growing base of high-speed file transfer software users across Asia Pacific and further drive business expansion in the region.

Aspera says it has seen triple-digit revenue growth across media and entertainment, engineering, telecommunications, life sciences and government as more and more industries adopt Aspera’s high-speed file transfer software for high-performance movement of ‘big data’.

Visit www.asperasoft.com

then part of Thomson Grass Valley and, now, DFT Digital Film Technology Prasad Corporation, which has offices in Mumbai, Chennai, Los Angeles and London, says the traditional film scanning market is changing and becoming more about historical ingest; restoration and archive management. DFT’s Scanity product is a real-time 2K and 4K capstan driven ingest scanner designed to meet these evolving Archival Market conditions.

Stefan Kramper will be the operational Managing Director within the new company structure, working closely with the both the existing management team and the new owners, Prasad Corporation.

Visit www.dft-film.com

Kodak Adds Digital Separation Film KODAK HAS ADDED another product to its portfolio of asset protection films. KODAK VISION3 Digital Separation Film 2237 is a blackand-white separation film for preserving images from colour digital masters.

This archival film is optimised for laser, CRT and LED light sources utilised by digital recorders in the marketplace. Providing high image quality including fine detail, tight grain, optimal resolution, and excellent flare characteristics, KODAK VISION3 2237 Film is offered on an ESTAR base for premier physical performance and long-term stability that lasts centuries in recommended conditions.

Visit www.kodak.com

Harris Reselling Spectra SPECTRA LOGIC has announced a worldwide relationship with Harris Broadcast Communications to provide broadcast and media customers with storage archival solutions. The relationship allows Harris to resell Spectra Logic’s T-Series LTO tape libraries as part of its new Invenio Archive solution, and provide its customers with a complete end-toend solution.

Harris will resell Spectra Logic’s complete family of T-Series tape libraries, from its smallest Spectra T50e tape library, which scales to a native capacity of 75TB, to its enterprise-class T-Finity, which supports a native capacity of 600 petabytes or more than 25 million hours of video content.

Visit www.spectralogic.com and www.broadcast.harris.com

Dalet Releases Xtend for CS6 DALET DIGITAL MEDIA SYSTEMS has announced the Dalet Xtend module for Adobe Premiere Pro CS6 software which provides workflow collaboration between the Dalet Media Asset Management (MAM) platform and Adobe Premiere Pro CS6 Using the Xtend Panel, Adobe Premiere Pro users can connect directly to the Dalet database to view available content. Dalet users can also push material, such as EDLs and clips created in Dalet, directly to Adobe Premiere Pro CS6 editor for finishing. The finished piece can then be exported back to Dalet as a new title or saved against a placeholder.

The Dalet collaboration with Adobe is a long-term relationship, and additional feature enhancements are expected. For instance, when material is opened into the NLE, the different locators (QC information, sports logs, rights metadata, etc.) are visible to the users. The craft editors can also add additional metadata as they work. Essential information, such as descriptive locators and usage rights, flows back and forth and – thanks to the intelligent genealogy – is tracked by the Dalet content catalogue.

The Dalet MAM engine manages all metadata and media processes. Genealogy metadata linking the editor’s material to the original sources can be preserved and content is better referenced throughout, making searches of the content catalogue and archives more efficient.

Visit www.dalet.com

STORAGE + ASSET MANAGEMENT

Microsoft and PPTV Deliver Cloud-Based, Online TV Service

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STORAGE + ASSET MANAGEMENT

MediaCorp Chooses Dalet for File-Based Workflow DALET DIGITAL MEDIA SYSTEMS HAS ANNOUNCED that Singapore national broadcaster, MediaCorp, has chosen Dalet Media Life as the enterprise Media Asset Management (MAM) platform for the migration of its entire operation to a fully file-based workflow, including the digitisation of its archive. Dalet Media Life will provide end-to-end, integrated management for program preparation, production, and the distribution workflow. Dalet Media Life is the central hub of the best-ofbreed solution prepared by system integrator TSL, which was awarded the MediaCorp contract for the Integrated Content-centric file-based Exchange System (ICE) after an extensive tender process.

Dalet Media Life offers sophisticated content lifecycle and workflow management within a fully integrated, SOA-based architecture that will unify the many different IT and broadcast systems at MediaCorp’s Caldecott Broadcast Centre. The result will be a more fluid and efficient workflow with increased output. At the same time, MediaCorp will be able to leverage the investments already made in its existing systems, including the IBS traffic and playout system, Harris automation, EVS production and studio servers, and many others.

“Dalet is very pleased to have been selected by MediaCorp for this important project. Our experience with MAM best practices in program preparation, promo production, compliance editing, news library, and archiving environments melds perfectly with the stringent requirements for MediaCorp’s broadcast and multiplatform production and distribution needs,” says Arnaud Elnecave, director of Asia Pacific, Dalet.

“We evaluated all the key players during our evaluation process and we were very impressed with Dalet’s expertise and with the flexibility of the Dalet offering. Even during the pilot, we saw how easy it was to configure workflows and create metadata sets on the fly that exactly met our operational and data model requirements,” says Kelvin Ma, vice president, Media Technology, Architecture and Support at Media Corp Technologies.

“Dalet’s open architecture with SOA-based integration was particularly important, as it allows us to maximise our expenditures in existing systems while moving to this more flexible file-based workflow.

With all the content, metadata, and processes managed by the Dalet MAM, we expect to increase output and realise dramatic workflow improvements. We especially look forward to the second phase of the plan, when we will upgrade to the new Dalet Galaxy MAM platform

with its powerful Business Process Management capabilities, which will add even greater efficiencies to our operations.”

In addition to its MAM capabilities, Dalet Media Life provides a wide range of Dalet tools that will be used in conjunction with existing systems at MediaCorp. Dalet ingest tools will be used for live feed scheduled ingest, Flexicart ingest, VTR crash recoding, dedicated P2 and XDCam imports, watch folder-based imports, and web-client file uploads. Metadata exchanges and updates will be provided between several systems including the traffic planning and playout systems and Over-the-Top (OTT) systems.

In the program prep workflow, quality control results from Interra Systems Baton will be viewable in the Dalet Media Logger where users can see timecode-based locators and add the manual locators and comments needed for compliance review and approvals. Dalet Media Cutter enables proxy editing with the ability to add voiceovers, graphics, and effects onto the timeline. Content is prepared in multiple languages with 5.1 audio tracks and different languages for subtitles.

Storyboarding and shared shotlists can also be prepared in Dalet.

Integrations via Dalet Xtend for craft editors like Apple Final Cut Pro and Avid Media Composer provide Edit Decision List (EDL) and nondestructive metadata exchanges. Sound is finished using Fairlight and Avid Pro Tools. The integrations at MediaCorp include IBS traffic and playout, Harris automation, Omneon Spectrum and Omneon Mediagrid servers, EVS production and studio servers, the FrontPorch DIVA archive system, Telestream transcoding, the Grass Valley Aurora News Production Suite, Swift subtitling, Softel subtitling converters, and an in-house rights management system. At any point in the workflow, users can execute fast, drill-down metadata queries in multiple languages (English, Mandarin, Tamil, and Malay) using the powerful Dalet search engine to search and browse content.

The first phase of the project will integrate the file-based systems with existing studios, video and audio post, and transmission systems. It will also involve digitising MediaCorp’s 60,000-hour archive. The company expects to transmit all free-to-air-channels in HD digital format by December 2013 under the DVB-T2 television standard.

Visit www.mediacorp.sg and www.dalet.com

KGTF PBS Guam Goes File-Based with NVerzion PBS GUAM OPERATES TWO BROADCAST CHANNELS, both of which

STORAGE + ASSET MANAGEMENT

deliver customised educational and cultural programming to the Western Pacific island of Guam. NVerzion NControl Lite enables the station to control both channels independently as well as provide engineers with real-time access to file-based video assets. Leveraging NVerzion’s intuitive asset management software — called XPANSION — and an 8TB TeraStore nearline/archive storage system, the station is able to realise total redundancy of its valuable file-based assets as well as efficiently preserve and manage the on-air video server storage.

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“Prior to deploying NControl Lite, we were using DVDs to broadcast programs. This workflow was extremely cost-prohibitive and timeconsuming,” said Jason J. Fernandez, technical resource support, operations department, PBS Guam. “NVerzion file-based automation dramatically reduces the amount of personnel and equipment required to maintain both of our broadcast channels, increasing the efficiency of our workflow by an estimated 80 to 90 percent. The cost and workflow savings afforded

by NControl Lite allow us to deliver additional content, leading to a greater viewer satisfaction.”

The NControl Lite hardware package features an industrial rackmount PC with eight serial device control connections to NVerzion’s Ethernet Machine Control (EMC), which is being used to seamlessly control two

VTRs, five video server ports, and the main house video/audio router.

Also included in the package are a variety of software systems, including NVerzion’s NGest professional dubbing and recording application, NPoint video preparation software for segmenting and trimming, NControl transmission playlists, NBase SQL media database manager, and NView media database viewer.

At PBS Guam, scheduling logs are transferred from a Myers Traffic system using the CPIM/BXF traffic interface of NControl’s scheduling software.

During the course of each day, if the schedule changes, the NControl on-air playlist helps streamline changes to the event order, including deletions and additions to the original schedule. A Time Calculation function recalculates the time of day that each event is expected to start, from the current on-air event to the next manual or absolute event, to ensure a seamless, conflict-free broadcast schedule.

PBS Guam’s engineer can also adjust the file-based schedule through an intuitive, software-based user interface that can be customised to account for user and station preferences. NControl Lite’s highly scalable infrastructure will continue to support PBS Guam in the future as viewer demand for content increases.

Visit www.nverzion.com

RADIO The original broadcast media

www.content-technology.com/radio

DAB+ Workshop and Transmission Demonstration for Bangkok Telecommunications Commission (NBTC) of Thailand is the host organisation of the DAB+ Technology Workshop and Transmission Demonstration, to be held 1-3 March in Bangkok.

NBTC and International Telecommunications Union (Asia Pacific) are joint organisers.

WorldDMB, in collaboration with Commercial Radio Australia (CRA), will present at the workshop and are planning to conduct the transmission demonstration, similar to the Jakarta demonstration in October 2012.

WorldDMB project office staff, Joan Warner, CEO of CRA and WorldDMB Asia Pacific Committee Chairperson have had several meetings with the Thai regulator to discuss digital radio.

These meetings were followed by Colonel Dr

Natee Sukonrat the Chairman of the NBTC and Vice Chair of the National Broadcasting and Telecommunications Commission of Thailand, bringing a delegation to Sydney in August 2012 for technical, policy and broadcaster meetings with key DAB+ digital radio stakeholders. While in Sydney the Colonel expressed interest in a workshop being organised in Thailand and trials going on air in 2013.

Workshop presentations will include a DAB+ International Update, the Business Case Study for DAB+ – structure and regulatory considerations, network planning, DAB+ content generation, coverage planning and implementation.

Following the Thai Workshop, an overview will be presented along with other developments in the DAB+ platform at the WorldDMB Workshop

AIR and RTM Installing NETIA’s Radio-Assist 8.1 NETIA’S FOOTPRINT through the region is steadily increasing with installations of its RadioAssist 8.1 gaining traction in India and Malaysia.

From its headquarters in New Delhi, AIR offers many services in a number of languages, each serving different regions across India.

The company has announced that All India Radio (AIR), the national radio broadcaster of Indiap, is replacing its existing news and radio automation system with the Radio-Assist 8.1 family of digital audio software programs. The installation at AIR’s national broadcast station and across 48 local stations comprises more than 1000 workstations, and is being coordinated by Delhi-based systems integrator Progressive Infotech.

Meanwhile, Radio Televisyen Malaysia (RTM) has upgraded its regional station in Ipoh to RadioAssist 8.1. NETIA’s Radio-Assist family of digital audio software programs has been in use at RTM for more than a decade, and the Ipoh-based station worked with Broadcast Communications International (BCI) to transition to the latest software release and begin working with new features, including the Activity Watcher module.

NETIA’s Radio-Assist covers each part of the production and broadcast workflow, allowing users to record, edit, or prepare a playlist. In addition to browse and publishing tools for full multi-media functionality, the software features tools for acquisition, archiving, audio editing, commercial and music production, newsroom systems, scheduling, broadcasting, and administration. Thanks to its Unicode compatibility, the NETIA software will enable AIR to broadcast in 17 different languages and dialects.

“This upgrade to Radio-Assist 8.1 will introduce greater efficiency and productivity while requiring very little training,” said Benjamin Schvent, NETIA’s APAC operations manager.

“Radio-Assist’s ease of use and performance will support even the most complex operations and streamline RTM’s workflow for multiplatform media delivery.”

For the installation at AIR, NETIA will work with Progressive Infotech to provide not only RadioAssist software installation and licenses, but also server infrastructure, audio boards, encoder, hardware, training, and local support.

AIR, the sister service to national television broadcaster Doordarshan, is one of the largest radio networks in the world in terms of the number of broadcast languages and the socioeconomic and cultural diversity of its audience.

As well as four television channels, RTM operates six national radio stations, two international stations, and 16 regional stations. Today, 13 of those regional centres are digitised, thanks to installations of Radio-Assist software, which covers each part of the production and broadcast workflow.

With its Radio-Assist 8.1 upgrade, RTM in Ipoh will gain a variety of added features. Radio-Assist 8.1’s new audit module, also called Activity Watcher, enables administrators at RTM to trace and check all modifications made on the playlist and across the entire Radio Assist 8.1 system.

Visit www.netia.com

Colonel Dr Natee Sukonrat, Chairman of Thailand’s National Broadcasting and Telecommunications Commission.

at the ABU’s Digital Broadcasting Symposium on Tuesday 5 February 4-5.30pm in Kula Lumpur.

Visit www.nbtc.go.th and www.commercialradio.com.au

WorldDMB Service Award for Joan Warner

LATE LAST YEAR saw Joan Warner, Chief Executive Officer of Commercial Radio Australia, Chairperson of the WorldDMB Asia Pacific Committee and WorldDMB Steering Board member, awarded the WorldDMB 2012 Award for Outstanding Service.

According to a WorldDMB statement, “In receiving this award, Joan Warner has been recognised as a change agent who has made a significant contribution to the development of digital radio broadcasting in the Asia-Pacific region and globally.”

Today, Australia has a thriving digital radio broadcasting industry with all the major commercial networks and stations airing a variety of stations on digital radio along with national public broadcasters ABC and SBS stations. Over a million DAB+ receivers have been sold and over 1.3 million people tune into a DAB+ device each week.

Visit www.worlddab.org and www.commercialradio.com.au

RADIO

NATIONAL BROADCASTING and

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RADIO

Suspension for Troubled HK DAB Station

Community Broadcasting Boost for Hong Kong

HONG KONG DAB+ OPERATOR Digital

THE GOVERNMENT of the Hong Kong Special

Broadcasting Corporation (DBC) is again facing regulatory ire with the SAR’s Communications Authority considering a suspension of its sound broadcasting licence over disruptions to its service which followed a shareholder dispute and withdrawal of station funding.

The HKCA is looking to suspend the licence of Digital Broadcasting Corporation Hong Kong Limited for a period of 30 days as a sanction for the breaches by DBC of its licence arising from the disruptions to/cessation of its broadcasting service from 21 October 2012 onwards.

Under its licence, DBC is required to broadcast each day seven 24-hour sound broadcasting service channels of specified genres, announcements in the public interest and a specified number of hours of non-Cantonese programmes.

It is also required to provide a specified number of hours of first-run and repeated programmes in accordance with the proposal it submitted when applying for the licence.

During 11:30 pm on 21 October 2012 to midnight on 31 October 2012, DBC broadcast only music and re-runs, and from midnight on 31 October 2012, DBC ceased to provide service altogether.

Having considered the circumstances of the case and the representations of DBC, the CA has decided that “the service disruptions/cessation of DBC in the period concerned amounted to contraventions of a serious nature of its licence and that a sanction that commensurate with the severity, nature and duration of the breach should be imposed.”

The range of sanctions that may be imposed by the CA against a contravention includes administrative sanctions (i.e. advice and warning), financial penalty and, in case of a most serious breach, a suspension of licence. The powers to revoke a licence rest with the HK Government’s Chief Executive in Council.

In a statement, the Authority said, “Despite the consideration of suspension of the licence by the CA, DBC should as soon as possible resolve its financial problem and resume a full-fledged service at the earliest possible time and, in any event, before the expiry of the proposed suspension period. In the event that DBC is able to resume its broadcasting service any time before or during the licence suspension period, the CA would consider whether an alternative sanction should be imposed in lieu of licence suspension.”

Visit www.coms-auth.hk

Administrative Region is moving forward with a three-year Pilot Project for Community Involvement Broadcasting Service (CIBS).

Radio Television Hong Kong (RTHK) has been tasked to devote part of its airtime and resources within the development of digital services to provide a platform for the community, non-governmental organisations and the underprivileged to participate in broadcasting.

RTHK will also administer the Community Involvement Broadcasting Fund (CIBF), in which the Government has allocated HK$45 million to provide funding for joining the CIBS project.

Radio programme production is the first testing ground for the CIBS scheme. The aim is “to embrace the promotion of a wider range of social gains to the community, such as to encourage plurality, diversity, social inclusion; to cultivate social empathy and civic mindedness, and to inspire creativity, uniqueness and talent nurturing”.

The programme themes for the first round of applications include education, arts & culture and ethnic minorities.

Visit http://cibs.rthk.hk

Boosting FM Radio Signal Coverage HARRIS BROADCAST and Geo-Broadcast

opportunities for which ZoneCasting exists.

Solutions (GBS) are touting a solution based on GBS’ ZoneCasting strategy that will allow FM radio broadcasters to improve coverage.

“ZoneCasting was created to bring hyperlocalisation to over-the-air radio, bringing new advertising opportunities to local businesses and to allow stations of any size to better compete in a challenging landscape,” said Richard Redmond, vice president of product management and strategy, transmission systems, Harris Broadcast. “But a high percentage of radio stations today would like to improve their reach. MaxxCasting allows them to fill out the signal area that they originally purchased, to the maximum of what the FCC allows through their broadcast licenses.”

The MaxxCasting solution uses a network topology similar to the GBS’ ZoneCasting architecture for targeted, over-the-air radio broadcasting, but instead focuses on simulcasting content to improve coverage.

It can be deployed today under existing regulations, expanding market coverage in a more effective way than traditional signal booster technologies.

RADIO

“We often hear from broadcasters looking to take advantage of this network topology as our ZoneCasting petition to deliver targeted content moves through FCC approval,” said Peter Handy, CEO of Geo-Broadcast Systems. “The FCC rules currently allow FM stations to deploy boosters to fill in signal coverage gaps, broadcasting identical content on every booster. We have discovered that adding boosters to simulcast across the typical ZoneCasting topology can help broadcasters improve coverage. And the ability to reach more listeners opens new revenue opportunities through advertising.”

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The MaxxCasting approach essentially maximises market coverage today to attract more listeners and advertisers, and paves the way for the unique targeted radio advertising

Harris has an exclusive, worldwide license to use and incorporate the GBS ZoneCasting software and hardware design into its Flexiva transmitters and Intraplex SynchroCast systems for deployment in ZoneCasting systems.

Broadcasters would use these same tested and proven technologies for MaxxCasting systems.

The overall solution improves over existing signal booster technologies by minimising interference while filling in the gaps of a broadcaster’s market coverage — in many cases working in areas where conventional boosters were not successful.

“Your investment is secure because everything you have done today provides a seamless upgrade path to ZoneCasting tomorrow,” said

Redmond. “The payoff is clear, as MaxxCasting can help stations grow revenue today by maximising signal coverage. Once ZoneCasting is approved, broadcasters can use these same boosters within targeted content insertion applications.”

Visit www.broadcast.harris.com

TRANSMISSION Signal distribution, test & measurement

WITH WHAT IS THE FIRST HD ADULT CHANNEL ever unveiled in Asia, Playboy Plus Entertainment Inc., managed by Manwin Media S.A.R.L., has announced the launch of encrypted HD Playboy Asia Channel on AsiaSat 5 in the Asia Pacific.

Lanny Huang, General Manager – Asia Pacific, Playboy Plus Entertainment Inc. said, “We are proud to launch HD Playboy Asia, the first channel targeting the adult audience in Asia. The 24/7 linear HD channel will include a unique blend of content including Playboy originals and the addition of our highly-acclaimed Digital Playground movies, offering extreme cinematic experience to our viewers.” William Wade, President and CEO of AsiaSat said, “We are pleased that Playboy Plus chose AsiaSat 5 for the launch of its first HD Playboy channel in the Asia Pacific. We are proud to meet the increased demand of international broadcasters who expect comprehensive and cost efficient transmission solutions while at the same time appreciate the benefit of AsiaSat 5’s excellent access to Asian pay TV platforms.”

AsiaSat 5 is a Space Systems/Loral’s 1300 satellite launched in August 2009, operating at the orbital location of 100.5 degrees East. AsiaSat 5 carries 26 C-band and 14 Ku-band transponders, and has a design life of 15 years. Its powerful C-band footprint covers over 50 countries and regions spanning from Russia to New Zealand and from Japan to the Middle East and parts of Africa. The Ku-band coverage consists of two high powered fixed beams serving East Asia and South Asia, as well as a steerable beam.

From AsiaSat Tai Po Earth Station in Hong Kong, the HD Playboy Asia Channel is uplinked to AsiaSat 5 (100.5 degrees East), through a C-band DVB-S2 MCPC platform for delivery to over 50 countries across Asia, the Middle East, Australasia and CIS. AsiaSat also provides encryption service to the channel from its teleport.

Visit www.playboytv.com and www.asiasat.com

AsiaSat Pulls Plug on Iranian Broadcasters

Australia Launches National Indigenous TV Network LATE DECEMBER 2012 saw the launch of Australia’s first dedicated national Indigenous free-to-air digital television service. All Australians can now access the free-to-air National Indigenous Television (NITV) service on digital channel SBS4 (operated by SBS Australia), and through the Viewer Access Satellite Television (VAST) service.

To celebrate the free-to-air launch, NITV aired a day of special programming live from Uluru (Ayers Rock). Highlights included special editions of programs Living Black and NITV News and a two-hour concert featuring some of Australia’s Indigenous talent including Christine Anu, Casey Donovan, Troy Cassar Daley and Ernie Dingo.

The Australian Government provided funding to multicultural broadcaster SBS to develop a new, national digital free-to-air channel dedicated to Aboriginal and Torres Strait Islander content. The new channel was developed in collaboration with the former NITV service, which first went to air in July 2007.

The new NITV service realises the Australian Government’s aim of increasing the amount and overall quality of original Australian Indigenous content on free-to-air television. With the launch of NITV, plus a new satellite channel for Indigenous Community Television (ICTV), remote communities will now have access to two 24/7 Indigenous television services for the first time.

SBS assumed management control of NITV’s operations on 1 July 2012, but the channel has maintained its own editorial responsibility. The new NITV service has a majority of Indigenous staff and will continue to use the talents of Indigenous writers, directors and journalists.

Visit http://www.nitv.org.au

TBS Goes HD with ATEME ATEME HAS ANNOUNCED that Taiwan Broadcasting System (TBS) selected ATEME’s Kyrion encoders to rollout HD for digital terrestrial television.

ASIA SATELLITE Telecommunications Co. Ltd. (AsiaSat) has confirmed to Content+Technology that, effective 15 November, 2012, it ceased providing services to Islamic Republic of Iran Broadcasting (IRIB) following petitioning by lobby group United Against Nuclear Iran (UANI).

“We pack one HD MPEG-4 and 3 SD MPEG-2 channels in less than 15 Mbps,

In a November 9 letter to AsiaSat, UANI’s CEO, former George W. Bushera diplomat Mark D. Wallace, called on AsiaSat to “end all business activities in Iran and specifically cease the broadcast of all Iranian regime transmissions via the AsiaSat 3S and AsiaSat 5 satellites, including that of the Islamic Republic of Iran Broadcasting (IRIB), the Islamic Republic of Iran News Network (IRINN) and their affiliates such as Press TV.”

the fast response of ATEME’s support every time we needed their help

In the letter, Wallace stated that “Iran has been pursuing an illegal nuclear weapons program in defiance of the international community. In addition to its nuclear activities, Iran remains the world’s leading state sponsor of terrorism and has sponsored well-known terrorist groups.”

Wallace went on to point out that, in dealing with IRIB and conducting business in Iran, AsiaSat was in contravention of U.S. Government legislation, including The Comprehensive Iran Sanctions Accountability and Divestment Act of 2010 (“CISADA”) and the Iran Threat Reduction and Syria Human Rights Act of 2012.

Visit www.asiasat.com and www.uani.com

and yet the video quality is superb,” added Mr. Chao-I Lee, who supervised the deployment of the system at the broadcasting centre in Taipei on behalf of the Engineering Department of TBS. “We were also quite impressed with during launch.”

Visit www.ateme.com

Shandong TV Lands in Hong Kong HONG KONG’S i-Cable Communications has announced that CABLE TV has started carrying Shandong TV exclusively on Channel 96 on its basic programming platform. Launched in 1994, Shandong TV is China’s first round-the-clock satellite channel serving not only viewers across Mainland China, but also those overseas presently totaling over 800 million.

Shandong TV offers a wide range of programme genres including news and current affairs, variety, entertainment and drama series catering for viewers of different age groups.

Visit www.i-cablecomm.com

TRANSMISSION

HD Playboy Hops into Asia

www.content-technology.com/transmission

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TRANSMISSION

Product Round-Up: Channel-In-A-Box While far from a one-size fits all solution, the channel-in-a-box category of playout platforms has been an enabler for start-ups and traditional broadcasters alike.

WHETHER YOUR GOAL is an inexpensive launch into the content delivery world or equally inexpensive additional channels to your existing service, Channel-in-a-Box platforms offer the potential of getting new services to air with speed and within a budget.

While CiaB solutions issue lend themselves very well to simplistic and thematic channels that do not have complex branding requirements, require little or no regionalisation at playout and are unreactive (i.e little live content and the schedules are known well in advance), one criticism is that they are too limited to meet the requirements of major broadcasters with complex workflows.

Be that as it may, CiaB platforms have not only had an impact on the traditional broadcast market, but opened up new markets as well. Here, without fear, favour, a ratings or recommendations system – and far from exhaustive – is our “in no particular order” round-up of some of the CiaB options currently available.

ITX FROM MIRANDA Developed under the auspices of the former OmniBus company before its acquisition by Miranda, the iTX integrated playout platform has been a trailblazer for the category and currently has more than 1000 channels operating on-air.

The IP-based architecture of iTX makes it easily scalable, providing enormous flexibility to add new channels, facilities or services. An integrated, end-toend workflow streamlines all the core playout processes, including ingest, content management, transmission control, interfacing to traffic, archiving, and monitoring.

Harris Versio is a channel-in-a-box design for broadcasters that combines baseband video, channel branding and automated workflow capabilities in an easy-to-deploy, software-based, single-rack-unit (RU) solution.

Versio is designed to reduce the cost and time to launch broadcast, cable and other TV channels and services while offering simple integration with production, traffic and billing, scheduling, asset management, content playout and master control functions — taking advantage of existing facility workflows.

The initial release compresses multiple single-channel workflows into the 1RU platform, incorporating Harris video server, channel branding and graphics, and optional on-board automation components. Flexible softwarebased configurations range from single-channel launches — independently or within an existing system — to multi-channel distribution, expansion and disaster recovery systems.

Visit www.broadcast.harris.com

CHANNELPORT FROM HARMONIC

Easily mix formats in a single workflow;

The ChannelPort integrated channel playout device for Spectrum media server systems combines channel branding and master control switching with clip playout.

Advanced graphics options featuring Miranda’s Vertigo and Adobe After Effects; Hybrid, live-playout capabilities using iTX Master Control; Fully integrated with traffic systems using any method, including BXF; and Dramatically reduces power consumption, space requirements and time required to deploy new channels.

ICE FROM SNELL Currently in version 3.0, Snell’s ICE Channel-in-a-Box includes integrated 3D and 2D graphics and CG functionality with timeline editing control and the ability to populate fields automatically with graphics from Morpheus automation schedule events, as well as from external data sources such as RSS feeds and Web-based news and weather services.

To complement ICE’s HD and SD simulcast capabilities, as well as the system’s ability to provide a clean output, Snell added a delay server that enables users to record the output of a channel for delayed play-out services. Audio features include multiple audio voiceovers, full Dolby E processing within the system as well as mono/stereo audio shuffling and audio clip playout.

TRANSMISSION

VERSIO FROM HARRIS

Features include: Flexible audio handling;

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Snell’s ICE channel-in-box solution.

The system also features integration with the Quantum StorNext File System and StorNext Q-series disk arrays, enabling up to 10 ICE units to share 36TB of storage. High-performance SAN technology allows content ingested on any ICE to be available for playout instantly on any of the other ICE units, providing flexibility for multi-channel environments.

Recent enhancements to the system include new capabilities and advanced onboard features that further simplify channel playout. The addition of DVE functionality enables more sophisticated, high-end graphics presentations, while support for AVC-Intra playout aids in accelerating the productionto-playout workflow. The system’s dynamic subtitle insertion capability supports just-in-time playout of multilingual content. Traffic-driven onboard playout control with automatic media fetch facilitates remote “lights-out” operation without the need for legacy automation software.

Because ChannelPort modules fit seamlessly into existing Spectrum media server systems and can be added incrementally at a very competitive price, broadcasters can extend their channel lineups quickly.

Visit www.harmonicinc.com

STINGRAY FROM PEBBLE BEACH SYSTEMS Stingray is a standalone solution optimised for playout or ingest, and is suitable for any system from one to over 50 channels.

Stingray’s full client server architecture enables multi-channel control from a single operator position, with visibility of multiple timelines for efficient channel management. It is available in two dedicated configurations, optimised for either playout or ingest applications, and systems are scalable.

ICE also manages all of the processes required to prepare pictures, sound, and ancillary data — including captions and subtitles — for frame-accurate, secure, high-quality SD/HD playout.

Pebble Beach Systems also offers Dolphin which is designed to deliver automated, frame-accurate multi-channel channel playout and ingest capability, and operate as a standalone system under its Marina or Neptune control platforms, or as part of a complex mixed network of equipment and functionality.

Visit www.snellgroup.com/ice.

Visit www.pebble.tv

TRANSMISSION

Skyline Launches DataMiner 7.5 SKYLINE COMMUNICATIONS, a leader in end-to-end multi-vendor network management solutions for the IPTV, HFC broadband, broadcast and satellite industry, has announced the launch of DataMiner 7.5.

Amongst the enhancements, DataMiner 7.5 will bring its users a new, usercentric approach on notifications, an enhanced service management layer, the introduction of DataMiner Applications that will empower out-of-the-box solutions for a wealth of popular products and technologies, new add-ons for the correlation engine, a complete suite of mobile applications, and much more.

“As you roam between work stations and mobile devices, DataMiner 7.5 will offer you a seamless experience. In other words, whatever mobile device you are working with, you will be able to monitor any active device in your operational system, irrespective what vendor it is from. And even control those devices, view performance graphs, manage alerts and much more. Apple, Microsoft, Google or Research in Motion, we have you fully covered for any of the mobile phones or tablets you use,” commented Ben Vandenberghe, Sales & Marketing Director at Skyline Communications.

DataMiner Applications is an entirely new framework within the DataMiner network management system, which will enable designing out-of-the-box product- or technology-specific applications. These DataMiner Applications will be designed by Subject Matter Expert teams, composed by both Skyline’s DataMiner experts and product experts from various vendors.

We focused on what a channel needs.

Not on the box.

We created ICE.

Also, the DataMiner Service Management gets a complete overhaul in DataMiner 7.5, with a large number of advanced new capabilities. DataMiner Service Management is responsible for the run-time aggregation and translation of device information into service-oriented information. The technology is used to manage a wide variety of services in IPTV, satellite, broadcast and HFC broadband environments. It enables operators to instantly see the impact of infrastructure incidents on a service level, and to take the appropriate actions to safeguard their revenues.

Visit www.skyline.be

Video Routing, Switching and Conversion THE C3-340 FROM TV ONE is a firmware based platform. Sixteen AV universal module slots are available and TV One’s CORIO matrix automatically recognises the modules inserted as an input or output module. There is no dedicated input or output slots when using 2-Channel DVI-U or 3G-SDI modules. It can be configured with up to 64 x 64 input/output 3G-SDI/DVI-U connection combinations. This flexibility allows end user configurations to be based on their own needs instead of the router forcing a certain setup and limited configuration.

All the functions can be controlled via serial connection via RS232/422/485, USB or IP. Windows software is provided. A front panel LCD option makes direct setup easy and third party controllers permit a wide choice of control options. The unit is housed in a standard 4RU rackmount case and features an optional redundant hot swappable internal PSU and power inlet.

The CORIO matrix includes Digital Flicker Elimination circuitry and high 4:4:4 full bandwidth sampling rate ensures crisp, clear images, while full bandwidth chroma sampling ensures faithfully reproduced, high resolution colours. Pixel Level Motion Adaptive Diagonal Interpolation and Noise Reduction ensures high quality de-interlacing of PAL, NTSC and 1080i signals.

Visit www.tvone.co.uk

ICE is the only channel-in-a-box designed from the point of view of the channel rather than the box. Delivering robust, scalable and affordable operation whether you have one or 100+ channels.

Advanced 3D Graphics Multi-channel Audio Q Closed Captioning & Subtitles

Format and Aspect Conversion Wide Range of File Formats Q Automated Quality Control Q Integrated Delay Server

Q

Q

Q

Q

snellgroup.com/ICE snel llgroup.ccom/I

Routing & Multiviewers Modular Infrastructure Conversion & Restoration Live Production Automation & Media Management Control & Monitoring

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The CORIO matrix also provides Up, Down and Cross conversion between a variety of analogue and digital video formats through 3G-SDI. The modules selected determine what format will be accommodated and the matrix size. Signal parameters of the incoming video may be adjusted. All settings are stored in non-volatile memory and are retained even when power is switched off.

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Channel-in-a-Box Solutions Join the mainstream

By Boromy Ung, Director, Strategic Marketing, Miranda Technologies ‘Channel-in-a-box’ products have moved into the mainstream, and have gained acceptance for a wide spectrum of playout applications. This increased popularity has been driven by technical advances, which have eliminated key performance differentials with more traditional equipment, as well as improved integration with existing equipment in facilities. Undoubtedly, the recent tough business climate has also done much to encourage broadcasters to consider lower cost hardware solutions, and their more productive, IT-based workflows.

THE TERM ‘CHANNEL-IN-A-BOX’ is typically used for products which integrate playout server, master control switching, and graphics functionality; all in a single device. The latest variants are designed for highly automated, IT-based playout, with content often fed from low cost, archival storage. This integration of functionality has been shown to reduce purchase costs, while also simplifying installation, systems integration and maintenance.

The more streamlined architecture of channel-in-a-box systems is especially beneficial for multi-channel playout. Whenever an additional channel is required, the facility can be quickly expanded by increasing the number of channel-in-a-box devices on the network. Naturally, with larger systems, the time and cost savings inherent with a simplified playout path are even more significant. This lower cost for additional channels is a critical issue when revenues per channel are generally falling, and it can make the difference between a new channel being viable or otherwise in a tight market.

Whenever more functionality is packed into a single box, there is often some concern about reliability because a failure is potentially more catastrophic. In reality, feature-rich designs often work in favour of resiliency because critical products are generally designed with exceptional levels of redundancy. Perhaps more importantly, the cost efficiency of these highly integrated products makes it much easier for facilities to add additional levels of redundancy to their system. This can be done by adding extra ‘channel-in-a-box’ devices to the system to create full back-up channels.

Recent technical advances that have helped popularize channel-in-abox systems have included more mature server functionality, and more tightly integrated ingest. These devices now provide a very complete server offering, with effective support for all the key clip formats for true interoperability with existing content storage systems. Content ingest can be highly automated by media management, with files pushed to the right playout device according the traffic schedule, all with minimal operator intervention.

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The traditional master control type functions integrated in these systems are also uncompromised, with clean switching between stored and live feeds. Advanced audio capabilities include multi-channel audio mixing and track shuffling.

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channel-in-a-box systems is the much improved integration with existing playout systems. For many facilities, the real need is for a development path that enables them to move towards IT-based playout, without abandoning all their existing investment in hardware and business systems. It takes years for a station to develop effective processes across media management, traffic and sales, with this task made more complex because key systems, like automation and media management, tend to come from separate vendors specializing in these disciplines. Hence, many broadcasters need something quite different from the first approaches to IT-based playout, which were focused primarily on green field site operations, where there is more scope to install completely new hardware and software systems.

With the emerging `hybrid model`, traditional playout chains can co-exist with new channels equipped with channel-in-a-box systems. This allows new channels to be added which operate with IT-based playout, while the existing channels are unaffected. The important thing about this approach is that it allows a phased migration path towards new technology, without the high level of disruption caused by a complete technology shift. With a hybrid model, broadcasters can leave their critical business systems alone until they are ready to make changes.

The key to successful hybrid operation is the ability of the IT-based playout devices to operate under the same playout automation as the traditional playout chain. For instance, the server portion of a channel-in-a-box device can be controlled by the widely adopted VDCP protocol, while the switching and branding functions are controlled by established switching and branding protocols. While this is an unremarkable concept, the impact is far reaching in terms of enabling the adoption of new technology among broadcasters.

To be a practical proposition, the automation integration to these ‘channelin-a-box’ systems needs to be richly featured. For instance, the control of switching and branding should include full control of secondary events, with graphic template population directly from the playout automation.

Ideally, the graphics workflows should also be integrated across the traditional and IT-based elements in a hybrid system, with common workflows across work order management, graphics preparation, datainterfacing and playout.

The graphics playout capabilities and workflows of channel-in-a-box systems now rival those of high-end, dedicated graphics processors. For instance, multi-level branding and promo graphics can be played out in real time, with template population driven by the playout automation. The net effect is highly streamlined operations without impacting the quality of the viewer`s experience.

Looking ahead, as channel-in-a-box systems develop further, it`s likely that we`ll see an even higher level of integration of playout functionality, with more advanced metadata handling, along with further strides in cost reduction and space efficiency. It`s the way the television equipment market is going in general, and it may soon demand that we come up with a new name for these devices, as more channels are inevitably delivered from a single box.

However, probably the most important factor behind the uptake of

Visit www.miranda.com

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Gujarati News Channel Taps Harris for Workflow HARRIS BROADCAST HAS ANNOUNCED that GSTV has selected its interoperable, end-to-end broadcast workflow solution to enable the playout of India’s new Gujarati-language news channel.

Gujarat Samachar, the largest-read Gujarati daily newspaper, recently entered the regional-language news business by launching GSTV. The channel was created to build a stronger connection with the regional audience and will initially focus on news, with entertainment programming to follow.

The news production and playout facility will incorporate a range of Harris integrated broadcast products, including the scalable ADC automated content management and distribution system. The ADC system will manage content control from the media ingest point through delivery.

The media ingest and playout operation includes Harris NEXIO AMP servers and the latest NEXIO Farad online storage system, specifically designed for news broadcast and production facilities. The system will provide GSTV real-time access to content and integrate with the facility’s newsroom system. This allows journalists to quickly create and edit content while providing the highest level of digital asset protection.

“The modularity and flexibility of the Harris integrated broadcast solution will allow us to deliver programs to air quickly and effectively,” said Shreyans Shah, chairman, Gujarat Samachar group. “We have worked with Harris for a number of years, so they understand our business model and we trust their technology. They also have excellent local service and support, which provides easy access to engineers and fast service response times — a key requirement for us.”

The Harris workflow also supports the Final Cut Pro editing system used for television news. GSTV operators will access material on the NEXIO Farad storage system allowing them immediate access to content in a shared and collaborative working environment.

Visit www.broadcast.harris.com

Magna Systems Partners with ThomsonAdsett MAGNA SYSTEMS AND ENGINEERING has announced an Asia Pacificwide partnership with internationally renowned architects ThomsonAdsett.

The partnership sees Magna Systems now offering all of its clients across the Asia Pacific region a full 3D visual approach for all systems integration proposals and projects.

Magna Systems executive chairman, Robert Clemesha, said, “ThomsonAdsett are a perfect fit for Magna Systems and bring a valuable new level to our systems integration offering. Their significant experience and proven track record in creating innovative interior designs now enables Magna Systems to offer a full range of 2D, technical and 3D system design visuals for all our clients. The fact that ThomsonAdsett also has offices in Sydney, Auckland, Singapore, Hong Kong and Jakarta as we do, also means we can offer a truly local service.”

ThomsonAdsett is a specialist design practice that combines architects, urban designers and interior designers with a commitment to creating worldclass designs for their clients.

ThomsonAdsett Partner, Charles Granville, said, “We are delighted to be partners with Magna Systems in servicing their broadcast industry clients with clever 3D visual concepts across the Asia Pacific region. Our real focus when designing any space whether it be a master control room, edit suite or entire studio is on adding value to the organisation and the people who work there.”

Robert Clemesha concluded, “We have recognised that many of the system integration projects we are asked to quote and tender for have an increasing requirement for the provision of architecturally smart 3D design. As businesses become more competitive and more visually attractive, a good system engineering design must be complemented by a good environmental design – hence our partnership with ThomsonAdsett.”

The Magna Systems and Engineering architectural design and 3D visuals service is available now.

Visit www.magnasys.tv

ABC Sri Lanka Powers News Channel with Harris HARRIS BROADCAST HAS SUPPLIED a range of integrated broadcast solutions to systems integrator and service provider, Essel Shyam, for setting up a new general entertainment and news channel for Asia Broadcasting Corporation (ABC) in Sri Lanka. The TV channel facility, integrated by Essel Shyam, recently went live from its base in Colombo.

Providing the content workflow management at the ABC facility is a Harris ADC automated content management and distribution system. ADC incorporates the benefits of asset management with the efficiencies of automated operations, making it a platform suited for content control and delivery.

The facility also incorporates a range of interoperable solutions from Harris, including NEXIO AMP servers, the IconStation advanced channel branding system and HView Predator-II GX multiviewers for signal monitoring.

“We were looking for a proven solution from a reputable manufacturer, and Essel Shyam was able to deliver a complete workflow solution from Harris

that is not only cost-effective but also robust and reliable,” said Nilupa Ranaweera, head of TV engineering, ABC. Essel Shyam’s decision to propose a Harris solution was influenced by their experience with the technology at its own playout centre in Noida, India.

They also knew that, as a remote site, ABC required a robust solution and worldwide product support.

“We recommended an integrated broadcast solution from Harris because we have personal experience using their technology and were confident in their abilities to provide a flexible and efficient solution,” said Sanjay Duda, executive vice president, sales and marketing, Essel Shyam.

Essel Shyam has also taken delivery of the Harris NEXIO Farad, a highperformance online storage system suited to ABC Sri Lanka’s large-scale playout application.

Visit www.esselshyam.net and www.broadcast.harris.com

ROSS VIDEO HAS ADDED to its expanding Carbonite switcher lineup.

Called Carbonite 2, this new 2 MLE switcher includes all of the powerful standard features of the Carbonite family. Carbonite 2 is a new 2 MLE control panel based on its bigger brothers, the Carbonite 2M and 2X, offering 16 source select buttons instead of 24 or 32.

Like the other switchers in the Carbonite range, the Carbonite 2 is available with 16 or 24 Multi-Definition SDI inputs and 9 internally generated

sources. Carbonite 2 can also be configured with the new Carbonite+ and MultiMedia processing engines, and includes the new ViewControl touchscreen production controller and LiveAssist Graphical User Interfaces.

When purchased as a Studio System Package with the BlackStorm playout server and XPression motion graphics system, it becomes a complete production powerhouse.

Visit www.rossvideo.com

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Ross Video Launches Carbonite 2 Switcher

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T-VIPS Simplifies IP Video Transport THIS YEAR’S IBC saw T-VIPS demonstrate its Connect5 video-centric network management solution which allows broadcasters and network operators to monitor, control and expand their video services.

Connect5 provides comprehensive monitoring, management and reporting capabilities in an easy to use framework. It can be combined with products in the T-VIPS Video Gateway, cProcessor and nSure ranges and integrated with other network management solutions.

Also showcased was the CP524 TS Adapter, the latest addition to the cProcessor toolbox. The T-VIPS CP524 enables operators and service providers to repackage and deliver content to multiple end points. The CP524 TS Adapter provides a single-box solution that takes the pain out of remultiplexing, filtering and mixing & matching services from multiple inputs to multiple outputs.

Another major new product to launch at IBC was the TNS460 HD/SDSDI Monitor, which ensures the efficient and continuous monitoring of HD and SD-SDI video signals allowing operators to better manage and deliver high quality content. Adding to the nSure product portfolio, the TNS460 is a compact and cost effective real-time solution intended to monitor video signal at central head-ends and at hand-over points in the broadcast value chain.

Visit www.t-vips.com

Rohde & Schwarz Closes Transmission Power Gaps DESIGNED FOR the lowest power classes (up to 10 W), the R&S MLx UHF low-power transmitter from Rohde & Schwarz integrates up to six transmit channels in one system. The transmitter boasts flexible configuration options for various applications and receiving conditions and, with a depth of just 250 mm, the R&S MLx is the most compact transmitter on the market. All interfaces can be accessed on the transmitter’s front panel, the transport stream can be fed via coaxial cable or satellite and the R&S MLx supports UMTS for monitoring broadcast operations.

The autonomous transmitter unit is ideal for rural areas with poor reception such as mountain valleys and islands, as well as for small private networks at trade fairs, shopping centres or universities. Even in city centres with many high-rise buildings, the R&S MLx can bolster network coverage. The R&S MLx supports echo cancellation with levels that are up to 24 dB higher than the input signal. With three echo windows and seven echo detection speeds, it provides a diverse range of optimisation options to improve digital TV reception.

The compact, 5 HU cabinet accommodates any combination of transmitters, gap fillers and re-transmitters with power classes of 1 W, 5 W or 10 W and allows them to be operated simultaneously, offering flexibility for any application. The redundancy concept is both fail-safe and customisable, from 5+1 redundancy all the way to three individual modules in passive standby.

Mixed DVB-T/H and DVB-T2 N+1 systems are also supported.

Visit www.rohde-schwarz.com

Flanders Monitors Support 12-bit Signals FLANDERS SCIENTIFIC has announced that the latest monitor firmware version (9.47-1830) is now shipping on all its units and is also available as a free firmware download to all FSI customers. This new release includes the official addition of the 12 bit signal support and processing announced at IBC, as well as other useful updates, including: + 12 bit RGB & YCbCr signal support & 12 bit processing Record Status Tally Feature that allows the monitor to read Start/Stop Record Flags in the SDI ancillary data of compatible cameras and to indicate when the camera is recording by activating the monitor’s red tally light. ARRI Alexa and Sony cameras with this feature enabled are currently supported New function button access to Log monitoring modes for faster single button press activation of Log monitoring modes introduced in the previous firmware release + BETA support of 12 bit XYZ format signals Current owners of FSI monitors can download the latest firmware from the update site where more detailed release notes can also be found. An updated user manual is also available.

Visit www.flandersscientific.com

RF Over Fibre DEV SYSTEMTECHNIK’S new OPTRIBUTION Desktop Modules transmits Radio Frequency (RF) signals over fibre optic links of up to 5 km over the Extended L-band. The new products offer advantages for use in cable TV heads, as well as satellite newsgathering (SNG) vehicles.

With options for low-budget applications and test setups, the new modules are a low-cost alternative to standard OPTRIBUTION models.

The first OPTRIBUTION Desktop Modules are the DEV 7285 transmitter and DEV 7385 receiver, which are stand-alone modules for optical transmission of RF signals in the 700 to 2300 MHz range. Measuring just 138 x 42 x 23 mm, the Desktop Modules are suited for space-limited applications, such as in TV news gathering vehicles. For satellite antenna hook-ups, the transmitter modules offer an output port for LNB bias current supply.

In addition to saving physical space, the new Desktop Modules offer significant cost-savings. For example, a link established with four DEV 7285/7385 costs about 25% less than a comparable configuration using two DEV 4111s, which are larger, more feature-rich units.

Visit www.dev-systemtechnik.com

New KVM Extenders from Gefen GEFEN’S NEXT GENERATION KVM (Keyboard, Video, Mouse) extenders

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are ideal for post-production professionals using a LAN in the studio. The HD KVM over IP, DVI KVM over IP and VGA KVM over IP can all be interchanged on the same network, supporting HDMI, DVI and VGA computers and displays. All three extenders support audio, video, USB, RS-232 and IR connections in addition to DVI, HDMI or VGA.

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Each KVM extender supplies a sender and receiver unit that connect through Ethernet, allowing up to 660 feet (200m) of signal extension using a single CAT-5 cable. Each receiver unit supplies two Ethernet connections for additional senders, receivers or Ethernet-based equipment, and two USB for peripheral connectivity at the display side.

The HD KVM over IP delivers HDMI at 1080p full HD with 3D pass-through, USB, audio, RS-232 and IR remote control. The DVI KVM over IP sends DVI at 1920x1200 resolutions with USB, stereo audio, RS-232 and IR remote control. The VGA KVM over IP extends VGA at 1920x1200 resolutions with USB, stereo audio, RS-232 and IR remote control.

All three KVM over IP extenders can be intermixed to satisfy cross-platform requirements among DVI, HDMI and VGA computers and displays. A total of 16 sender and receiver pairs (HDMI, DVI or VGA) can be connected in one system. Sender and receiver units can be configured to unique IP addresses and when combined, can be matrix switched for improved productivity.

Visit www.gefen.com

CLASSIFIEDS BroadcastAsia2013, CommunicAsia2013 Set to Return

BROADCASTASIA, COMMUNICASIA, and EnterpriseIT – Asia’s largest and most established media communications and information communications technology (ICT) events – are set to return this year to showcase the latest technologies and trends for the entire communications ecosystem.

what’s on MARCH

APRIL

ABU DIGITAL BROADCAST SYMPOSIUM March 05-08 Kuala Lumpur, Malaysia www.abu.org.my

VIBA - VIETNAM INT’L BROADCAST & AV SHOW 2013 April 4-7 Saigon Exhibition & Convention Center Ho Chi Minh, Vietnam www.vibashow.com

ASTRA 2013 CONFERENCE March 14 Sydney Convention and Exhibition Centre Darling Harbour, Sydney www.astra.org.au FILMART 18 Feb – 02 March Hong Kong Convention & Exhibition Centre www.hkfilmart.com/filmart/ index.htm CHINA CONTENT BROADCASTING NETWORK (CCBN) 21-23 March China International Exhibition Center (CIEC) Beijing, China www.ccbn.tv

NABSHOW 2013 April 6-11 Las Vegas Convention Center Las Vegas, USA www.nabshow.com CONNECT 2013 April 9-11 Karachi Expo Centre Pakistan www.connectit.com.pk IBC LONDON TECHNOLOGY BOOSTER April 24-25 Dexter House No. 2 Royal Mint Court London, UK www.ibc.org

MAY KOBA May 13-16 Seoul, Korea www.kobashow.com

BroadcastAsia2013, Asia’s authoritative integrated tradeshow for the professional audio, film and TV industries will feature groundbreaking technologies and products that keep pace with the evolving technology trends for the industry. The Cinematography/Film/Production Zone will return this year to provide visitors with comprehensive updates on featured technologies such as Animation and Video Effects, Motion and Film Production, Camera, Lenses and Tripods and beyond.

With the rise of Smart TVs and the blurring of the boundaries between TV and social networks, consumers will be watching TV within social networks and vice versa, impacting the way they engage with TV. BroadcastAsia2013 will be addressing this latest phenomenon with showcases from leading industry bigwigs, as well as up-to-date conference topics.

New and returning companies include Axon, Dalet, Envivo, Evertz, GoPro, GrassValley, Harmonic, Harris, Hitachi, Miranda, Orad, PCCW, Playbox Technology, Quantel, Sennheiser, Snell, Quantel, Wasp3D and more.

These exhibitors will showcase the latest key technologies, including: Future TV (OTT / Cloud Broadcasting); Multi-Screen Streaming; DVB-T2; Satellite/ Terrestrial/Cable Broadcasting; Production and Post-Production Software; and many more at the four-day event.

To complete the entire broadcasting and film ecosystem, ProfessionalAudioTechnology2013 will see professional audio companies showcasing the latest audio products and services for the broadcasting and film ecosystem.

CONFERENCES TO EXPECT AT BROADCASTASIA2013 As Asia’s film and TV industry continues to flourish, the BroadcastAsia2013 International Conference, themed “Enhancing User Experience, Monetising Content” will highlight critical issues faced by the broadcast industry.

Focused on the shift in consumer demand for next-generation services, this conference will also feature nine specialised business and technology tracks including a series of sessions covering the hottest topics, such as OTT Opportunities in Asia, The New Content Experience, Next-Gen Innovation and Technology in TV, Multi-Platform Content and much more.

Key confirmed speakers include Astro, BBC Worldwide, ESPN Star Sports, Huawei, LG Electronics, Media Prima Berhad and YouTube.

Advertiser Index BroadcastONE................................ 5

Miller Camera Support.............. 25

Ericsson ..................................... OBC

Riedel ............................................. 29

Harris .............................................IFC

Snell.................................................43

Ideal Systems ................................. 3

BROADCASTASIA2013: INTEGRATING TECHNOLOGIES, EXPERIENCING CONTENT

The Creative Content Production Conference, back for its fourth successful year, is themed “Producing and Distributing Successful Content in Asia.” The conference will address the challenge of producing appealing and high-quality content for global audiences. Numerous industry stalwarts will provide their insights on the future of the industry at the two-day conference.

Visit www.broadcast-asia.com and www.communicasia.com

CLASSIFIEDS

DVB WORLD 2013 March 11-13 Melia Madrid Princesa Hotel Madrid, Spain www.dvbworld.org

To be held at the Marina Bay Sands Singapore from 18 – 21 June, the 2013 edition of the shows will have a special emphasis on content, as they bring together experts and exhibitors from around the world to showcase and share the latest technology developments and insights.

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TIME shifter ABS-CBN: Six Decades of Broadcasting Service 2013 is a milestone year for Filipino broadcaster ABS-CBN as it celebrates its 60th Anniversary.

ABS-CBN, which stands for Alto Broadcasting System Chronicles Broadcasting Network, has truly played a major role in the broadcasting history of the Philippines. The TV network was born back in the 1950s when CBS, owned by Eugenio Lopez Sr., bought ABS, then owned by Antonio Quirino.

ABS-CBN was the first to broadcast in full colour in Southeast Asia and its programs such “You’re Evening with Pilita”, “Tawag ng Tanghalan”, and “Buhay Artista” are popular in the pan-region.

Its broadcast centre, which was inaugurated in 1968, was considered second only to NHK of Japan in terms of technical capability.

The network was closed in 1972 after the declaration of the Martial Law, but was returned back to operations in 1986 after the historic People Power revolution.

ABS-CBN started from scratch again but through the efforts of Eugenio “Kapitan” Lopez Jr., Freddie M. Garcia, and Atty. Jake Lopez, ABS-CBN became number one again in 1988.

The network kicked off its 60 years celebration with a broadcast special hosted by “TV Patrol” anchors Noli De Castro and Korina Sanchez. Filipino stars such as Gary Valenciano, Kuh Ledesma, Jed Madela, Erik Santos, Yeng Constantino, Jovit Baldivino, Marcelito Pomoy, and KZ Tandingan performed musical numbers with accompaniment by the ABS-CBN Philharmonic Orchestra.

Speaking on the occasion of the Anniversary, ABS-CBN Chairman and CEO Eugenio “Gabby” Lopez III, said, “ABS-CBN is living institution composed of you, me and every employee that has dedicated himself or herself to be in the service of the Filipino. That’s what we have been doing for the past 60 years and that is what ABS-CBN will continue to do for all its existence.”

TIME SHIFTER

Lopez told ABS-CBN employees at a recent gathering that ABS-CBN will continue to undertake pioneering projects and introduce innovations starting this year. He said, “Many radical and trailblazing strategies will be launched that will redefine the way we do business.”

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He added, “You will see an ABS-CBN that uses the foundation of content to mould itself into a company that offers consumer solutions that has never been seen before. It a result of listening to our consumers and responding to them in ways they want and desire. It is about creating one-on-one relationships with each Filipino that we serve. This is what our mission is all about.”

ABS-CBN Chairman and CEO Eugenio Lopez III

As part of the year-long celebration, 60 employees will share their stories onair as to how ABS-CBN has become part of their lives. The first eight stories were premiered in the event that includes the stories of cameraman Val Cuenca, promo specialist Christine Estabillo, program executive Riza Ebriega, news bureau chief Dindo Amparo, regional news reporter Joan Panopio, sales executive Herman Pablico, radio supervisor Aris Jurado, and Manila Radio Division head Peter Musngi.

ABS-CBN Chairman and CEO Eugenio “Gabby” Lopez III said he was moved with the stories he witnessed and referred to it as “living reminders of why ABS-CBN was built.”

Us eC od eP A0 6

It’s all about ME, and how the Mobile Experience is energizing the transformation of Media & Entertainment.

Second screens enhance film and television with interactive content and applications — adding a new dimension to the art of storytelling and reshaping opportunities for viewer engagement.

Meeting Expectations to deliver fresh programming that thrives in Multiple Environments will depend on how well you integrate new players, strategies and technologies into your development plan.

NAB Show® is a Marketplace Energized…where the ideas fueling the future of filmmaking are revealed as creative masters, network and studio executives connect, collaborate and refine their craft. Give yourself something to smile about. Register today!

CONFERENCES April 6 –11, 2013 / EXHIBITS April 8 –11 Las Vegas Convention Center / Las Vegas, Nevada USA

www.nabshow.com

in North Hall:

Today video is everywhere – on every device, website and street corner. But where is Television? Once it was a box.

Then a at screen. Now TV is a service, on the move, on every device and getting connected. The game is changing. At Ericsson we're ready. Are you?