Content+Technology Asia Oct-Nov 2012

PP: 255003/06831

ASIA VOLUME 1 ISSUE 1 OCTOBER/NOVEMBER 2012

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

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ON FIRE WITH HIGH DEFINITION CASBAA 2012 Preview ISSN 1448-9554

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VOLUME 1 ISSUE 1 OCTOBER/NOVEMBER 2012

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

Cover Story – Astro Fires Up Fleet for HD

25 REGULARS

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EDITOR’S WELCOME NEWS Bloomberg TV in Mongolia, New

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CEO for Singapore MDA, Ideal Systems’ Designer Touch

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CLASSIFIEDS AND EVENTS TIME SHIFTER Look Back at the 1998 Commonwealth Games Coverage

TAKING STOCK Magna Systems – Think Local, Act Regional, Galloping Horse – Reliance Acquires Digital Domain

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FEATURES

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CASBAA PREVIEW Exhibition Preview ACQUISITION Sony in Cambodia and the Snow, ARRI’s New Accessories, Prototype Panchro Lens, Hitachi SK-HD1500

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MEDIA IN THE CLOUD Türkiye’s Metus Meets the Need for MAM, The Cloud as Active Archive

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RADIO DAB+ Technology Workshop in Jakarta, Streaming Across the World, VDL Monitoring New Hong Kong DAB+ Network

SPORTSCASTING Astro HD OB, Olympic Sets, Switch’s FOXTEL App, CCTV Scores Olympic Rights, Chungwa Picks StreamZ Live

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AUDIO DPA Broadcast Microphone Range,

NEWS OPERATIONS AP’s HD Transition

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TRANSMISSION DVB-T Network in

and Transmission, Mediabackbone for TVB, YTN Korea Expands ENG with TVUPack,

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Cobalt Over IP, New Product Launches Cambodia, Appear TV Goes OTT, Rohde & Schwarz Joins the Headend

POST-PRODUCTION Blackmagic Buys Cintel Assets, Prasad Corp Buys DFT Munich, Blockbuster’s in the Pipeline, Mountain Lion Wrap-Up

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

SUB-EDITOR: Keith Ford PRODUCTION MANAGER: Lucy Salmon Tel: +61-(0)29211 8205 production@broadcastpapers.com DESIGN & LAYOUT: Wide Open Media Tel: +61-2-9690 2835 info@wideopenmedia.com.au PRINTING: 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

A ‘New’ Voice

By Phil Sandberg

AS WE NEAR OUR 10TH BIRTHDAY, the team here at Content+ Technology magazine has been looking at how we can better serve our Asia-Pacifi c and South Asian readers.

IBC Daily and SMPTE, and I’ve interviewed many industry professionals through-out the Asia Pacific and beyond – and, despite all that, I’m still learning.

In addition to our print publication, many of you would be familiar with C+T through our weekly email newsletter and online version.

With Content+Technology Asia, we look forward to working and learning with you.

In light of encouragement we received at this year’s BroadcastAsia show, we decided to launch Content+Technology Asia, a dedicated new edition of the magazine.

Thanks for reading

Drawing on our existing Asia-Pacifi c database of over 8500 individuals, C+T Asia will be printed in and mailed from Singapore and distributed free of charge to qualifi ed content production and delivery professionals throughout the region. (If you’re not already on our list, just visit www. content-technology.com to sign up).

papers@broadcastpapers.com T: +61-(0)2-9211 8205

Phil Sandberg Editor/Publisher

So, why read C+T Asia? For sure, like other industry magazines, C+T Asia will include new product information, case studies, conference previews and, yes, even press releases!

But, we also aim to off er you, the reader, original, relevant and useful content that looks at the challenges you face in the course of your work and, hopefully, points the way to solutions that make your job more effi cient, creative and enjoyable. An example of this is our cover story on Malaysian satellite broadcaster ASTRO and the home-grown and thirdparty innovations it has employed to construct its new fl eet of high defi nition outside broadcast vehicles.

The Team

Of course, for our advertisers, who make what we do possible, we hope we can off er an aff ordable, fl exible alternative to existing marketing channels.

One thing we’re not going to do, however, is beat our chests and say we’re the best there is and you can’t live without us. We’re just going to get on with the job and try to serve you to the best of our abilities.

I, personally, have been covering this industry since 1989. In that time, I’ve been part of launching Content+Technology magazine and our whitepaper website Broadcastpapers.com, I’ve worked with the likes of the

Lucy Salmon Production Manager

Keith Ford Journalist

Amanda Lee Subscriptions Manager

2012 C+T DEADLINES AUSTRALIA/NEW ZEALAND EDITION NOVEMBER-DECEMBER 2012 VOL 9 ISSUE 6

Bookings:

29-10-2012

Ad Artwork:

05-11-2012

ASIA-PACIFIC EDITION DECEMBER 2012 VOL 1 ISSUE 2

Bookings:

29-11-2012

Ad Artwork:

03-12-2012

EDITOR’S WELCOME

FOR MORE INFORMATION

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www.content-technology.com +61-(0)2-9332 2221 or +61-(0)414 671 811 Email: papers@broadcastpapers.com Sales enquiries: papers@broadcastpapers.com +61-(0)2 9332 2221

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

Bloomberg TV Goes On-Air in Mongolia BLOOMBERG TELEVISION, in partnership with The Trade & Development Bank of Mongolia (TDB) and Kit digital, has officially launched Bloomberg TV Mongolia.

Bloomberg TV Mongolia launched on October 8, using an integrated production and playout platform designed and built by KIT digital.

The launch signifies the introduction of the first international broadcast news organisation in Mongolia.

Over the last year, Bloomberg has trained over 30 local journalists who are now working at BTV

Mongolia, and built a HD studio in the heart of downtown Ulan Bator. The system combines studio production with fast turnaround editing and graphics to package content for different services.

Bloomberg is a pioneering user of the FIMS (framework for interoperable media systems) standard to speed systems integration in filebased workflows, and it is an important part of the interface between the local system and the international content repository in London.

Visit www.bloomberg.com/tv and www.kitd.com

Bloomberg TV Mongolia studios with anchor Dolgion Erdenebvaatar [left].

Ideal Systems Partners With Evertz with Evertz Technologies Limited to deliver a deeper level of local support and service, with Ideal’s Singapore-based engineers being trained in Canada and the U.K. on the full range of Evertz products and solutions. In addition, the partnership will see a major increase in regional

technology training through free workshops hosted in Ideal’s purpose-built Broadcast Labs in Singapore.

Ideal’s aim is to enhance the services being offered to current Evertz customers while designing the full spectrum of Evertz products into turnkey solutions for new customers.

According to Fintan McKiernan, CEO of Ideal Systems Singapore, “We are working with Evertz because they are a billion-dollar company that reinvests substantial funds annually into product R&D, ensuring leading products for competitive advantage.”

Visit www.evertz.com and www.idealsys.com

NEWS + PEOPLE

IDEAL SYSTEMS SINGAPORE is teaming up

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NEWS + PEOPLE

Elemental Powers Media Prima Launch of Live Multiscreen Video in Malaysia ELEMENTAL TECHNOLOGIES has announced that Media Prima in Malaysia has deployed Elemental Live to ramp its live multiscreen offerings to Internet and mobile users.

Media Prima is one of Malaysia’s leading integrated media investment groups and owns four television stations (TV3, 8TV, ntv7 and TV9), three radio stations, three newspapers, outdoor advertising and additional digital media assets.

With this deployment, live events and traditional TV content can now be viewed via Media Prima’s TonTon digital portals. The TonTon multiscreen video portal is a flagship product of Alt Media, Media Prima’s digital communications and broadcasting subsidiary, which presents content in a cinematic environment on personal computers and connected devices such as mobile phones, and soon on gaming and media set-top boxes and Internet TVs. Earlier this year, Media Prima seized the opportunity to live stream the Euro 2012 soccer championship using Elemental equipment.

“Our prior experience with other compression products forced us to look with a keen eye towards a next generation multiscreen solution for video delivery to smart phones, tablets, PCs, and other Internetconnect devices,” noted Mohamad Rezwan Khalil Azmi, Head-New Media Operations, MIS. “We chose to partner with Elemental because its innovation, quality, support and pricing were the most favourable

in the market given our desire to set our offering apart from all of our competitors.”

In support of the region, Elemental has also announced the opening of its regional sales and support office in Singapore that will provide sales, installation and support services throughout Southeast Asia.

“Since opening our first offices in Asia earlier this year, we’ve seen a host of companies like Media Prima that are perfectly suited for the groundbreaking technology that Elemental can deliver,” said David Godfrey, Elemental’s VP of sales in the Asia Pacific region.

Visit www.elementaltechnologies.com and www.tonton.com.my

New CEO for Singapore Media Development Authority MS KOH LIN-NET WILL BE APPOINTED as the Chief Executive

Production values start from the ground up, don’t compromise on camera support.

Philip Bloom DP, Director, Filmmaker www.philipbloom.net

Officer (CEO) of the Media Development Authority (MDA), with effect from 1 November 2012. Ms Koh succeeds Mr Aubeck Kam who is to take up the position of Permanent Secretary (Communications and Information).

In 2004, Ms Koh was posted to the Ministry for Information, Communications and the Arts (MICA) as Director of Arts and Heritage Development. In 2007, she was appointed as the Deputy Secretary (Infocomms, Media and the Arts) at MICA. While at MICA, she conceived the visions, positioning, budget and management structures for two major national projects – the School of the Arts and the National Arts Gallery.

Ms Koh is currently the Deputy Secretary (Trade) at the Ministry of Trade and Industry, a post she has held since 2008.

Outgoing CEO Mr Aubeck Kam took the helm of the MDA on 1 November 2010. Under his leadership, MDA made significant contributions to the development of the media industry. The MDA Grant Schemes were revamped to provide greater and more flexible support to the media sector, at the same time placing greater emphasis on the development of quality content, talent up-skilling and raising productivity. Singapore’s plans to fully switchover from analogue to digital broadcasting by 2020 were also kick-started during Mr Kam’s tenure at MDA. Visit www.mda.gov.sg

Lustre Pictures Launches in Singapore CREATIVE CONTENT PRODUCER, Lustre Pictures, has opened a new office in Singapore with Australian advertising identity Brian Hallett, who has been based in Singapore for two years, at the helm.

“The team at Lustre Pictures is extremely passionate and dedicated to positioning itself as a competitive creative force in the Asian market,” said Hallett. “The opening of an office in Singapore will enable more opportunities for face to face with international clients in the region, including key markets India and China.”

Lustre Pictures’ Singapore Head, Brian Hallett.

Hallett, who has worked as a principal, creative director and senior writer for ad agencies including JWT, DDB, Leo Burnett and AdPartnersm, will work with Lustre Pictures’ directors including Anton Beebe, Richie Ellis and Tony Pepe.

“This collection of directors possess an extremely high competency in VFX, design and post production,” Hallett said. “Each of these directors has the rare ability to deliver cinematic visuals incorporating live action, beautifully designed images and the seamless integration of VFX, 3D and animation for content destined for the big screen or small. There are so many advantages of having directors this well versed with post and VFX. This type of knowledge of aesthetic and technical direction really sets them apart.”

Lustre Pictures was launched in Sydney and India last year as a sister company of Australian post production facility Digital Pulse.

Visit www.lustrepictures.com

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NEWS + PEOPLE

ASIA NEWS

CHINA CIVOLUTION HAS ANNOUNCED a partnership with the Test Institute of Technical Film Quality (TIFTQ), to perform Digital Cinema watermark detections in China. Civolution and TIFTQ have teamed up to perform digital cinema detections of potentially pirated movie samples using NexGuard – Digital Cinema, Civolution’s forensic watermarking solution designed specifically for theatrical projection.

Visit www.pujicn.com

INDIA HARRIS BROADCAST COMMUNICATIONS is to deliver a complete high-definition (HD) integrated file-based broadcast solution to Venthar Television to support the launch of a new regional entertainment channel from ingest to playout.

The new facility in Chennai will house two HD production control rooms to manage studio production activity, and a master control room (MCR) to monitor signal quality prior to over-the-air transmission. The channel, which will also incorporate regular news bulletins, is expected to launch before the end of the year.

Visit www.broadcast.harris.com

MALDIVES RAAJJE TELEVISION PVT. LTD. of the Republic of Maldives has signed a lease agreement for C-band capacity on AsiaSat 5 to distribute a Dhivehi language news channel across the country and the Asia-Pacific region.

Raajje TV is distributed free to air, to cable operators, hotels, resorts and home viewers throughout the Maldives.

Visit www.asiasat.com

MALAYSIA Astro Malaysia has announced that the pricing of its initial public offering (IPO) has received strong demand from Malaysian and international investors.

The retail, institutional, cornerstone and Ministry of International Trade and Industry (MITI) tranches of the offering have been priced at RM3.00 per share. At RM3.00 per share, the market capitalisation of the Company will be RM15.6 (US$5.1) billion.

NEWS + PEOPLE

Visit www.astro.com.my

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SINGAPORE OOYALA HAS ANNOUNCED that Singaporebased global investment firm EDBI has joined Australia’s Telstra and others as Ooyala investors in closing its Series E round of funding. The total amount raised is $35 million. To further fuel its momentum throughout Asia, Ooyala is also establishing a new hub in Singapore to house its regional digital broadcasting operations and services.

Visit www.ooyala.com

JAPAN HITACHI KOKUSAI ELECTRIC INC. (HIKE) has placed an order for shortwave transmitters for the international broadcasting service of Japan with Thomson Broadcast. Four 300 kW Thomson TSW 2300D transmitters will be installed at the Yamata transmission facility, with the first coming online in March 2013.

Visit www.thomson-broadcast.com

HONG KONG ASIA SATELLITE TELECOMMUNICATIONS Company Limited (AsiaSat) has signed an agreement with SpeedCast Acquisitions Limited for the disposal of its entire interest in its wholly owned subsidiary, SpeedCast Holdings Limited (SpeedCast).

Following the conclusion of the transaction, AsiaSat will continue to be a significant supplier of satellite capacity and technical services for SpeedCast.

KOREA SOFTWARE GENERATION LTD (SGL), a leading provider of content archive and storage management software for media and entertainment, has announced a partnership with one of South Korea’s principal digital archive solutions providers.

From its headquarters in Seoul, storage specialist PetaData will represent SGL’s entire product portfolio.

Visit www.sglbroadcast.com

Visit www.asiasat.com

INDONESIA FIRST MEDIA, the biggest provider of pay-TV services in Indonesia, and Fox International Channels (FIC) have announced a strategic partnership which will see First Media carry FIC channels including Star, Fox, and National Geographic in high definition and FIC open a representative office in Indonesia.

The partnership also includes several aspects related to business, such as building strategic cooperation in marketing activities between the two companies.

Visit www.firstmedia.com

THE SWITCHOVER FROM analogue to digital TV continues in Australia with the South Australian capital of Adelaide due to complete the switch by 2 April 2013 and the island state of Tasmania

by April 9.

All remaining regions will make the transition by the end of 2013.

Visit www.digitalready.gov.au

NEW ZEALAND TVNZ HAS FINALISED the sale of its Avalon Studio facility in Lower Hutt. The change of ownership to a Wellington consortium, Avalon Holdings Ltd, will take place on March 31, 2013.

The consortium is made up of local business interests including Wellington businessman John Feast, and two Avalon staff members who each hold a minority shareholding. The consortium intends to retain the facility as a production base for the film and television industry.

Visit http://tvnz.co.nz

NEWS + PEOPLE

AUSTRALIA

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NEWS + PEOPLE

Ideal Systems Delivers Designer Touch

Boeing to Build SES9 Satellite for Asian DTH Services SES S.A. AND BOEING have announced that SES has selected Boeing to build a new communication satellite, SES-9, which will expand SES’ capabilities to provide direct-to-home broadcasting and other communications services in Northeast Asia, South Asia and Indonesia, as well as maritime communications for vessels in the Indian Ocean.

The spacecraft will be positioned at the orbital slot of 108.2 degrees East and provide incremental as well as replacement capacity to this well established SES slot over Asia, where it will be co-located with the existing SES-7 and NSS-11 satellites.

IDEAL SYSTEMS SINGAPORE, the newest division of Ideal Systems, announced completion of its first broadcast interior for a major Singapore broadcaster.

Ideal uses advanced design software as part of a multi-step design approach consisting of building virtual 3D models of complex broadcast control rooms and rendering them into almost lifelike 3D views of the finished rooms. The result is that broadcasters can not only visualise the look of their new facilities but also confirm the layout and spatial array of racks of equipment and multiple displays in their broadcast and studio control rooms. Ideal’s design team takes into account all operator technical requirements as well as the function of the equipment to be used in each room, before custom designing and manufacturing all broadcast furniture and consoles.

“The utilitarian interiors of past master control

rooms looked more like the control rooms of nuclear power stations,” said Fintan McKiernan, CEO of Ideal Systems Singapore. “Operations areas are now being brought into the 21st century by incorporating highly functional, ergonomic, and aesthetic interiors that enhance the transition of broadcast equipment to centralised software-based systems, allowing control room operators to do more from one or two PCs than ever before.”

Ideal Systems’ new ergonomic control rooms provide a much more comfortable workspace for control room operational staff, with greater attention being paid in the design process to operator line of vision and reach. Because the operator’s range of motion is built into the design process before the rooms are built, the facilities are operationally ready without the need for retrofitting and remodelling.

Visit www.idealsys.com

SKY Perfect JSAT Enhances Sport with Orad SKY PERFECT JSAT, Japan’s largest multi-

NEWS + PEOPLE

channel pay TV service, selected the Orad MVP system to enhance the way on-air talent delivers sports highlights. Powered by the Orad HDVG rendering platform, MVP lets on-air talent visually walk viewers through highlights, deconstructing plays and presenting alternate outcomes. The MVP system is utilised for both live and post game productions.

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views. The system provides a wide range of visual effects such as 3D markers and indicators that visually measure speed and distance. Using Orad’s camera tracking and advanced image processing technology along with Telestrator and iPad control, operators can alter colors, such as creating black and white backgrounds and highlighting specific player(s).

“Replaying key moments in sports is not enough,” says Masashi Iwawaki, assistant manager, SKY Perfect JSAT. “We realised that enhancing the visual with additional information in a way that helps the viewer better digest the play was critical for our programming.”

“MVP is the best solution for SKY Perfect,” comments Avi Sharir, CEO, Orad. “It’s a highly versatile solution that supports multiple formats with the ability to manipulate video in real time, making it possible to support both live and studio-driven programs. It’s very flexible and incredibly cost-efficient.”

The Orad MVP system manages up to 32 camera

Visit www.orad.tv

SES-9 will be built in Boeing’s El Segundo Satellite Development Center based on the Boeing 702HP platform. The satellite is designed to operate for 15 years in geosynchronous orbit with a 12.7-kilowatt payload and 57 high-power Ku-band transponders (equivalent to 81 x 36 MHz transponders). The spacecraft will carry a xenon ion propulsion system (XIPS) for all on-orbit maneuvering and a chemical bipropellant system for initial orbit raising.

Boeing has a 25-year relationship with SES. SES-9 is the 11th spacecraft that SES has ordered from Boeing and the contract includes an option for an additional satellite.

Financial details are not being disclosed.

According to Romain Bausch, President and CEO of SES, “We look forward to work again with Boeing on an important addition to our global fleet: SES-9 will greatly expand our transmission capacity over Asia, while adding increased flexibility and redundancy to a strategic orbital slot. SES is convinced that Boeing’s 702HP will prove to be mission-critical in order to provide state-ofthe-art, high-power satellite capacity to the thriving markets of Asia.”

“We are pleased to be selected by SES to build a highly flexible 702HP satellite, which has a uniquely configured XIPS propulsion system and chemical bi-propellant system, reducing the spacecraft’s launch weight while allowing for maximum payload capacity,” said Craig Cooning, Chief Executive Officer of Boeing Satellite Systems International and Vice President and General Manager of Boeing Space & Intelligence Systems. “Boeing has continuously evolved the 702 design since it was introduced over 15 years ago, allowing us to provide SES a satellite that will be consistent with their business requirements.”

Visit www.ses.com

SmartView Duo is the perfect compact SDI rack monitoring system for post production, broadcast or live events. It features two beautiful 8” LCD screens which can be remotely adjusted via ethernet. It even includes tally. What’s more, it easily handles SD, HD and 3 Gb/s SDI video formats.

Greater SDI compatibility You can rely on SmartView Duo to support multiple SDI video standards, including SD, HD and 3 Gb/s SDI formats. It was designed to meet the needs of both broadcast and post production professionals. On top of this, it supports advanced video formats like 1080p HD and 2K SDI.

SDI monitoring everywhere you need it SmartView Duo lets you build your own master control room to monitor all cameras for live production. Use it in editing desks to display all your video sources. Incredibly compact, it’s also great for broadcast vans. You can even install SmartView Duo into portable monitor racks to build lightweight flyaway kits.

Intelligent Ethernet control Forget about using little screwdrivers in an attempt to match all your monitors. Now you can conveniently adjust and match every monitor remotely from your laptop or desktop. Simply connect SmartView Duo to your ethernet network and use the included Mac or PC software.

Mount it anywhere in racks SmartView Duo can be mounted anywhere in equipment racks, even in the extreme top. That’s because SmartView Duo rotates completely upside down for optimum viewing angle. It will instantly sense the screen rotation and automatically flip the images without any need for adjustment.

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TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

Magna Systems – Think Local, Act Regional Barry Pegg joined Magna Systems & Engineering earlier this year as Systems Architect having previously been in the role of Director of Asia Pacific Services for SeaChange. C+T caught up with him on the eve of the opening of the company’s new office in Jakarta.

C+T What is the main driver for establishing the Jakarta office?

BP Well, we definitely need the office for support. A lot of people want more local support than relying on overseas backup, so that was one of the main catalysts. Also, if you are selling anything that has got RF involved, you need to be a certified company and have that certificate, you’ve got to be a local presence. For DVB-T2, we have got to have that because we are selling DVB-T2 products and at the moment we are utilising a local company, but we prefer to do it ourselves, so that is what we’re going to do long term.

C+T And, what products are they mainly?

BP ENENSYS is the product so we are doing modulators for the DVB-T2 transmitter and we are also doing the multi IP encoders and decoders, so that is all part of the ENENSYS range. We are also doing an automation system in there.

C+T The last decade has seen an explosion of new channels in Indonesia.

BP “Well there’s 20 channels versus five in Australia. And, that is just in Jakarta, so all of those guys are broadcasting. Then there’s three DTH players.

Now with DVB-T2, there’s going to be more channels again, but at some stage they are going to have to consolidate and people will have to come up with set-top boxes that are going to cover the gamut, rather than just one individual channel. So you’ve got a lot of challenges in Jakarta.

C+T What capabilities will the Jakarta office have?

BP It will be full sales and support. So, we will have a sales engineer on board and we’ll have two support guys and then we’re going to grow that from there. We’ll get the door open, get the people established, increase business and then we can still back fill from Singapore quite easily at the moment, and we are bringing technical expertise up from both New Zealand and Sydney into Jakarta on regular visits, until we build up our knowledge base in Jakarta so they are a bit more self-sustaining, that’s the ultimate plan.

C+T So, while Magna is independent, it’s also multinational and has regional resources draw on.

BP Yes, every tender that we get, whether it’s in Hong Kong, Singapore or Sydney is worked on by the actual group of engineers throughout the whole – we’ve all got expertise in certain areas, and we all feed in for a project development, then we’ll put forward the proposal and then we have the sales guy that delivers that proposal. But, at the back of it is the whole – all the offices combined in to the project so we are all aware of what jobs are being quoted on.

TAKING STOCK

C+T Is it a challenge to service projects outside of your major hubs?

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BP No, we’ve got dedicated project managers and we can assign one of those project managers to that job and then we’ve got a pool of wiremen – just like everybody other SI does the same thing – there are pools of wiremen and you just pull them in to do the job. All the SI’s work the same – utilising the same teams to do the job, so we’re covered that way.

C+T Throughout the region, what technologies are you seeing in that are in demand?

BP It’s all 3G at the moment - 3G video, not 3G mobile. So, 2K files are what they’re doing. There is a little bit of talk about 4K and maybe those production centres will be looking at 4K type solutions and then you can always scale down. So, most of the projects are based on 3G at the moment and HD, that’s what they want.

C+T What other trends do you see, aside from HD? BP I think the Telco’s are trying to get more in to media management and taking over all your storage. So, utilising storage within the cloud rather than within the house is the other thing that’s happening at the moment – the other trend. All that’s going to do is increase that type of business where storage is going to be taken away from broadcasters’ facilities and that built in is going to be in to the cloud so we are going to be doing that central repository for graphics and all that type of stuff.

C+T Do you see much of an influence from Chinese technology companies throughout the region?

BP I’ve seen some monitors coming out, screens and things like that we’re looking at – Chinese developed screens and they’re LCD screens they’re excellent, the functionality and everything they’ve got in them they seem good. We’ve been looking at a couple of products and thinking of utilising them when we go to do an SI job. If we need monitors, then we’ll probably look at that brand product as part of our project solution.

C+T If you were going out to see new customers today, what sort of advice would you give them towards technology adoption in order to maintain their longevity?

BP “Well, we still look at major brand names as our focal point and to see where they are going with their software development and planning is what we put forward. I think you still need some type of hardware infrastructure.

So, if you are looking at branding then you still need that box, but the thing of moving material around, it’s all down to asset management so you need something that is solid in the asset management space. That’s always going to be the hot product - whether it’s through the metadata part of that management or, if you want to just call it media management, I think it’s partly metadata because you’ve got to know about what the file is and then you need to know how to move that file out of where it’s stored and how to search for it and all those types of things.

So, for any customer, they are all going to be looking at some type of media management solution and we’ve looked quite intensively at this and where our current products that we represent are, where they’re going so we can then advise our end users.”

Visit www.magnasys.tv

TAKING STOCK

Galloping Horse/Reliance Acquire Assets of Digital Domain

U.S. District Court Favours SeaChange SEACHANGE INTERNATIONAL, INC. (NASDAQ: SEAC) has announced the

DIGITAL DOMAIN MEDIA GROUP, INC. (DDMG) (OTCQB: DDMGQ) has announced that a joint venture, led by Galloping Horse America, LLC, in partnership with Reliance MediaWorks (USA), Inc., (Galloping Horse – Reliance) submitted the winning bid to acquire the visual effects, Mothership Media and certain other businesses and assets of Digital Domain Productions, Inc. and subsidiaries for US$30.2 million at a September 21, 2012 auction in New York. The sale is subject to execution of an asset purchase agreement and Bankruptcy Court approval.

Galloping Horse – Reliance will acquire all assets constituting the businesses of Digital Domain and Mothership — feature film and advertising visual effects, commercial production and virtual humans, studios in California and Vancouver, BC, Canada and a co-production stake in the feature film Ender’s Game. Pursuant to section 363 of the Bankruptcy Code, Galloping Horse – Reliance will acquire these assets free and clear of all claims and encumbrances, with the proceeds going to the bankruptcy estate. The businesses will continue to operate in the normal course of business, with the joint venture assuming ownership upon Court approval.

Parent companies Beijing Galloping Horse and Reliance MediaWorks have a combined enterprise value of more than $25 billion, complementary offerings and presence in multiple worldwide geographies strategic to the entertainment industry. Galloping Horse – Reliance gives Digital Domain, a digital production studio long established as a pioneer in high-quality visual effects, strong infrastructure and significant financial support. Galloping Horse America holds a 70% stake with Reliance MediaWorks holding a 30% stake in the Digital Domain joint venture. China eCapital served as the exclusive financial advisor to Galloping Horse and its affiliated parties in this transaction.

Visit www.reliancemediaworks.com

Technicolor, Rockstar Establish Dedicated Games Unit TECHNICOLOR (EURONEXT PARIS: TCH) has established a new high-end game art and animation team dedicated to working with Rockstar Games.

The Rockstar Games dedicated unit leverages a segment of Technicolor’s experienced team of game artists, animators and technology infrastructure at its Bangalore, India-based digital production studio. Technicolor India has already worked on several major Rockstar titles including Red Dead Redemption, L.A. Noire and Max Payne 3.

TAKING STOCK

The dispute began in 2001, when n-Cube Corporation (whose interest was later acquired by Arris Group) filed suit alleging that SeaChange’s ITV video system infringed an n-Cube patent. After an adverse ruling in 2002, SeaChange redesigned its video system to avoid infringement of the n-Cube patent. In 2009, Arris filed a motion alleging that SeaChange’s 2002 workaround violated the injunction entered in the n-Cube case.

The Delaware Court rejected Arris’ allegations, holding that Arris failed to prove that SeaChange’s 2002 design-around infringed Arris’ patent.

Visit www.schange.com

Iconix Video Issued Patent for Camera Imaging Process ICONIX VIDEO has announced that the US Patent and Trademark Office has issued a patent entitled “High Frame Rate High Definition Imaging System and Method.”

This US patent, and its issued counterparts in the European Union, Korea, Australia, China and Canada, covers an “asynchronous” process for facilitating increased frame rates for high-resolution imaging. This process enables higher frame-rate video than previously feasible from lower-cost and smaller, yet high resolution, CCD sensors.

Iconix employs this technology in its Studio2K camera system, a highperformance multi-format solution for broadcast and motion picture applications, including stereoscopic 3D. Visit www.iconixvideo.com

Avid Unveils Media Executives Survey Findings AVID (NASDAQ: AVID) HAS UNVEILED new research findings that show international broadcasters and media producers are capitalising on new opportunities to monetise content by making a strategic shift to deliver personalised experiences to their viewers across multiple platforms and devices. The independent survey, conducted in association with Ovum, found that:

Visit www.technicolor.com

Two-thirds of executives believe that the industry will grow over the next five years, with the top three drivers identified as increased audiences, multi-platform distribution, and growth in ad revenues;

Thomson Broadcast Radio Business Renamed Ampegon

78% of respondents say that within the next 10 years most content will be customised based on the profile attributes of the individual viewers;

THREE THOMSON BROADCAST COMPANIES will be merged under the new name Ampegon to serve the global Radio Transmission markets.

Ampegon will consist of the former Thomson Broadcast companies in Turgi (Switzerland), Schifferstadt (Germany), Beijing (China) and Sales office in Melbourne (Australia).

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US District Court for the District of Delaware has rejected allegations by Arris Group, Inc., that SeaChange had violated a 2006 injunction.

The name Ampegon describes the roots as well as the future oriented contributions of the three companies. AMP stands both for Amplifiers with an extensive application range and AM transmission. MPEG too is part of the new name to illustrate the positioning of Ampegon in the digital broadcast world. ON symbolises switching on the power of a strong group.

Visit www.thomson-broadcast.com

Two-thirds of respondents say that asset-based workflows will enable new business models, and over 70% say they will result in OPEX savings; 85% of respondents feel that Multi-Platform Distribution is critical to capturing new growth opportunities; On average, media producers report that over a third of their archives could be profitably monetised but remain inaccessible for such use; and Even though only 23% of the respondents are using a cloud infrastructure today, over 75% are currently exploring cloud deployment for the future.

A summary of the findings can be found at: www.avid.com/researchreport

TECHNICAL STANDARDS www.content-technology.com/standards

SMPTE Publishes BXF 2.0 Document Suite THE SOCIETY OF Motion Picture and Television Engineers (SMPTE) has published the BXF (Broadcast eXchange Format) 2.0 suite which streamlines interoperability and information exchanges between business and media management systems vital to broadcast and new-media operations.

The updated BXF 2.0 XML schema and documents is available to subscribers and for purchase from the store section of the SMPTE Digital Library.

The BXF 2.0 suite includes several backward-compatible enhancements to the existing BXF schema set to ensure scalability and future proofing for broadcast and new-media operations. These include additional support for sponsored secondary events, reuse of house numbers, enhanced multi language support, and the ability to communicate currently airing, previous, and upcoming events. The SMPTE BXF Working Group (34CS-10) is already focused on BXF 3.0, including efforts to expand support for a broader range of media facilities with enhancements, such as digital rights management.

The BXF suite of documents is a messaging protocol used for information

Visit www.smpte.org

With clear and specific mapping instructions for sharing and exchanging business data and on-air content across digital media workflows, the SMPTE BXF suite provides standardised, single timeline-based support for ensuring accuracy amidst dynamically changing content — right up to the time viewers see it.

MMT Reaches Committee Draft Milestone

Standardising M2M Communications

DURING ITS RECENT 101ST MEETING, the Motion Picture Experts Group (MPEG) reached the first formal milestone of the development of MPEG Media Transport (MMT, ISO/IEC 23008-1), as a part of the MPEG-H project suite.

SEVEN OF THE WORLD’S leading information and communications technology (ICT) Standards Development Organisations (SDOs) have launched a new global organisation to ensure the most efficient deployment of machine-to-machine (M2M) communications systems. The new organisation, called oneM2M, will develop specifications to ensure the global functionality of M2M.

MMT supports emerging multimedia applications demanding efficient delivery of coded media content over packet oriented delivery networks using Transport Control Protocol (TCP) or User Datagram Protocol (UDP) over Internet Protocol (IP).

MMT has been designed to provide features such as: delivery of coded media using more than one delivery medium concurrently; logical packaging structure and composition information to support multimedia mashup applications enabling multiscreen presentation; seamless and easy conversion between the format for storage and the format for delivery; cross layer interface to facilitate communication between the application layers and underlying delivery layers; and format of signalling messages to manage the presentation and optimised delivery of media.

MMT is expected to reach Final Draft International Status (FDIS), the final stage of ISO/IEC standard development, in July 2013.

Meanwhile, the High Efficiency Video Coding standard (HEVC, ISO/IEC 23008-2) has reached the stage of Draft International Standard (DIS), the next formal stage towards its completion.

TECHNICAL STANDARDS

At a meeting in Bellevue, Washington, major ICT SDOs — the Association of Radio Industries and Businesses (ARIB) and the Telecommunication Technology Committee (TTC) of Japan; the Alliance for Telecommunications Industry Solutions (ATIS) and the Telecommunications Industry Association (TIA) of the USA; the China Communications Standards Association (CCSA); the European Telecommunications Standards Institute (ETSI); and the Telecommunications Technology Association (TTA) of Korea – formally launched oneM2M. The specifications developed by oneM2M will provide a common platform to be used by communications service providers to support applications and services as diverse as the smart grid, the connected car, eHealth and telemedicine, enterprise supply chain, home automation and energy management, and public safety.

HEVC will be finalised by January 2013 for approval of the first edition of the standard.

The initial goal of oneM2M will be to confront the need for a common M2M Service Layer, which can be readily embedded within various hardware and software, and relied upon to connect the myriad of devices in the field with M2M application servers worldwide. With an access independent view of end-to-end services, oneM2M will also develop globally agreed-upon M2M end-to-end specifications using common use cases and architecture principles across multiple M2M applications.

Visit http://mpeg.chiariglione.org

Visit www.onem2m.org

The new draft standard shows significantly better compression than the current AVC standard (Rec. ITU-T H.264 | ISO/IEC 14496-10), particularly for the case of high resolution video, where the bit rate savings can be as large as 50% or more for the same visual quality.

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exchange. The BXF suite provides a standardised approach for the exchange of schedule, as-run logs, content metadata, and content transfer instructions between systems across broadcast and new-media operations, including servers, editors, traffic and billing, sales and scheduling, automation, and digital asset management equipment.

CASBAA – Striking a Balance C+T caught up with Cable and Satellite Broadcasting Association of Asia CEO, on the eve of the 2012 CASBAA Convention.

Simon Twiston-Davies, CEO, CASBAA

C+T What do you see as the technology issues facing CASBAA member organisations today?

STD This year when you do look at the CASBAA convention, while the traditional boys are still around – and this is something that’s emerged within 18 months – you have the likes of Accedo, software provider for OTT, and other online guys. You’ve got Brightcove, a company that is entering into the market in Asia. You’ve got Exset, another company which is selling digital and analogue services, services which are analogue for India and digital for the rest of the world, pretty well in terms of OTT and online services. Elemental, a company that specialises in surrounding transcoding is one of their specialities - this is stuff that was promised for many years and we’re now seeing mobile broadband, for instance, coming along which requires more transcoding than ever and that is the change in technology that’s really become a part of the conversation. Dolby as a company, not just about sound, but also about digital ad insertion which has become more of a norm within the pay TV technical technology value chain.

So, I think that’s one of the things that, these are things that our guys need to grasp and are grasping – these new vendors coming in to the market are really adding value in many, many ways.

C+T On the subject of preventing piracy, have we moved away from the smart card model?

CASBAA 2012 PREVIEW

STD I think we’re definitely moving away from that. The next generation is going to be a cardless world. That doesn’t mean that card-based solutions are going to vanish, because they’re not - but things that were exceptional three or four years ago are becoming the norm.

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So, in technology terms, within any solution that is provided by a company which is looking at OTT or a digital Telco based solution, it will probably not be having a card based solution for it. That doesn’t mean that piracy is going away, because it’s not, but what we are able to do for instance when we’re looking at the India market, they’re digitising slowly although it must be remembered that 30% of India’s market which is DTH is all digital already. That actually does help in many ways in regards to piracy because pirating by individuals is a problem, piracy by operators in a

digital environment is really rather difficult.

changing in the market place.

C+T Do you think that, largely, the war is won?

Richard Freudenstein is going to talk about how Foxtel is facing up to some of these things.

We’ve got, in terms of the big guys from our major platforms, from Astro in Malaysia, J-COM in Japan, True Visions in Thailand, operators of cable systems and DTH systems in India. So, it’s platforms, operators, new media – if there is such a thing as new media anymore – new platforms let’s call them.

STD No, the war is shifting I’m afraid – the venue of operations is shifting. The big challenge to the pay TV business will remain piracy, but it’s going to be about online piracy as much as anything. The real challenge produced by the new world is going to be OTT and the inability or the unwillingness of the authorities to block pirate sites, pirate streaming, and that’s the biggest challenge of all. That’s where we need to see some dramatic movement if we are going to rebalance our industry. The consumer is being wrongly given the impression that content can and should be free.

If you remove intellectual property rights from the rightful owner and creator, he stops creating in the end. Who’s going to make the new shows if there is no revenue model?

C+T There’s a CASBAA-authored whitepaper that refers to the ‘tilted playing field’ with regard to pay TV and OTT. Can you elaborate on that?

STD This is one of the current conundrums and debates what is going on within the industry. At the moment in the OTT world, the providers of these services are unlicensed largely, untaxed largely, there is no control over the content largely, the cost of delivery is next to nothing and the revenue is next to nothing and these services that may or may not be semi-legitimate do not have to go through all of the hoops that the traditional pay TV multi-channel TV must go through.

This makes for a very uneven world, the ‘Tilted Playing Field’. Now we’re not suggesting that the OTT services should be heavily controlled, what we are saying quite clearly is that the old service providers should have a much more liberal approach applied to them because the world has changed.

C+T So, these issues and more will be top of mind at the Convention this year?

STD Very much so. One is called Go Go Go which is about the arrival of OTT. We’ve got a guy from Amazon coming in to talk about their video products that they’re going to be offering worldwide in time. We are looking at the impact of new technologies on sports rights. We are also going to look at VOD and the way that VOD is

We’ve got keynote speakers coming in indeed from the content world. Ben Silverman will be our key big name coming in. He is the founder and chairman of Electus, the people who produce Ugly Betty, The Biggest Loser, The Office and they’ve got a new show called Fashion Star.

We’ll also be hearing from A&E, the people who actually run the History Channel among other properties in Asia, Sundance Channel, the high end movie network.

One of the key elements for marketing TV services and extending the value of TV has turned out to be social TV so we’ve got a session embedded in to the program called ‘Do You Like Me? Socialising TV in Asia’.

We’ve got people from Google and from McCanns talking from an advertising agency viewpoint and from one of the software guys. So it’s a very varied program, very busy and lots of technology in there.

C+T You are set to depart as CEO later this year.

What will Mr Simon Twiston-Davies be doing after CASBAA? STD The first thing he has been advised by his most senior and long term advisor – my wife – is that we are going to take two months out and do things that we want to do, which is the usual stuff, a bit of travel, vegetate for a while. But after that I will be back in the industry, I will be well within sight, I will be doing many of the things that I am doing at the moment, but less frenetically and I hope with picking and choosing on a couple of things – the projects that I’m working on already.

The 2012 CASBAA Convention takes place from October 29 to November 1 in Hong Kong.

Visit www.casbaaconvention.com

29 OCT – 1 NOV

GRAND HYATT, HONG KONG

Don’t miss the unparalleled networking opportunities at the CASBAA Ball and Golf Masters! casbaaconvention.com

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ACQUISITION www.content-technology.com/acquisition

Sony on the Ground in Cambodia

UniSA Media Arts student Josephine Ietto with Sony’s HXR-NX70P NXCAM compact camcorder.

SONY’S HXR-NX70P NXCAM compact camcorder recently proved its credentials when it was used to capture a six-week humanitarian project in Cambodia. The camera was seen as a perfect fit for the assignment - being entry-level, professional camcorder with a sealed body designed for rain and dust-proof performance.

Gail Jackman, Industry Liaison Manager for the IT, Engineering & Environment division at University of South Australia (UniSA), was the driving force behind the trip.

After seeing an Engineering presentation by Dr Lynn Arnold AO, former South Australian Premier and CEO of aid agency Anglicare, Jackman decided to participate in 2011’s Year of the Humanitarian Engineering by taking a team of students to deliver hands-on, practical aid to Cambodia.

According to Jackman, “Eighty per cent of premature deaths in Cambodia are caused by unsafe drinking water and water-borne disease, and the average life expectancy is only 59.

“I realised I had an amazing resource of students that would gain from the experience of putting their training in to practice and make a difference in Cambodia.

“The idea was more than just having the students applying their skills in a real world situation, it also gave them the opportunity to learn about the history and culture of Cambodia. The experience also provided a chance to develop communication, leadership, team work and problem solving skills which would make them more employable.”

Working in her spare time, Jackman coordinated the recruitment, selection and training of twelve final year students from eight industry sectors studying Engineering, Sustainable Environments, Health Sciences, Nutrition and Food Sciences, Psychological Science, Business Marketing, Journalism and Digital Media.

ACQUISITION

Jackman approached Adelaide’s Sony professional dealer, ProAV Solutions, for support and to select a video camera for the project. Sales Manager, David Chatfield, recommended the newly released Sony HXR-NX70P camcorder.

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“It was very timely because, based on what they told me about Cambodia and working in the tropics, the NX70 ruggedised camera was new on the market and suited shooting in all weather,” said Chatfield. “It uses internal solid state recording so they did not have to worry about condensation on any camera heads in the humidity and rain. It also features external solid state recording for longer recording times so it’s a great multipurpose camcorder that has since become one of our consistently best-selling cameras.”

Josephine Ietto, who was studying for a Bachelor of Media Arts majoring in film and television production, volunteered to single-handedly shoot, edit and produce videos of the trip, which was the first time she had travelled overseas.

“I was keen to travel to experience work outside of university and to take part in something that was more than a class exercise,” explained Ietto. “Previously I had some experience with the Sony HVR-Z1P and HVR-Z7P tape-based cameras and shot some video with a DSLR, but the NX70 was smaller, lighter and produced better quality pictures.

“ProAV Solutions also supplied a tripod and an LCD light that took the same battery as the camera, which worked well. I had the camera for a week before we left - it was different in that it was more compact and had one lens ring for setting the iris, focus and zoom but it was basically the same familiar layout so I quickly got used to it.

“It had 96GB of inbuilt memory which was more storage than what I needed and that was very good for travelling because I did not having to worry about memory cards and losing them.”

The HXR-NX70P really came into its own during the trip when the students witnessed severe flooding throughout the country. Ietto was able to document the locals’ resilience by continuing to film in all conditions.

“It was the last month of their wet season and I would be filming moments that were really important to the project and it would suddenly start raining really heavily but I didn’t want to stop filming,” explained Ietto. “At these times I needed to keep filming but was only able to do so because the camera was rainproof and I didn’t have to worry about damaging it. We were there for 40 days and I filmed most days.”

Ietto copied material directly from the camera to her MacBook Pro via USB, then imported shots into Final Cut Pro in ProRes format. These files were then backed up to external hard drives.

“The whole setup up worked well with no problems. I was editing over there and making videos for the University’s YouTube channel which I sent back through Dropbox. The camera was perfect for what we needed and I would definitely use it again. It was the right size for doing interviews and documentary work and not too heavy for travelling - it also had XLR audio inputs. I was initially thinking about using a DSLR because of its size, but a DSLR would not have survived the tough terrain.”

Jackman is taking another group to Cambodia during October this year and hopes to produce a documentary about the trip.

Visit pro.sony-asia.com/broadcast

ACQUISITION

Show Business, Snow Business, Super Slo-Mo Business Cinematographer Tim Pierce.

were recently treated to images from one of the first Sony NEX-FS700 cameras delivered in Australasia. The footage was shot and presented by Tim Pierce, a Queenstown-based cinematographer and director who attained his reputation capturing imagery of some of the world’s most talented athletes for major global clients, and more recently directing television commercials.

Pierce commented, “Super Slow Motion opens a new creative toolbox that allows me to highlight certain elements which are missed when action flashes past the camera at normal speeds.”

The new camera extends the line-up of Sony NXCAM interchangeable E-mount professional camcorders and is centred on a new Exmor Super35 CMOS 4K sensor, and is capable of recording up to 145 minutes of normal speed AVCHD at 28Mb/sec to a 32GB memory card.

Slowing action by any more than about half speed was once the preserve of high-end specialist cameras, but the new camera will shoot up to 200 frames per second (fps) which is 8x super slow motion at Full HD for 50Hz productions. Speeds up to 960 fps can be reached at reduced resolution.

which encourages the widest range of third party lens adaptors for virtually any large sensor lens.

Pierce said, “Like many filmmakers I often find myself shooting action sports or documentary footage single-handedly. This is where the compact size, quick set up and convenient ergonomics of the Sony NEX-FS700 give me confidence in the audio and video configuration, leaving me free to concentrate on what is happening in front of the camera.”

Pierce finds the post process equally trouble free, with a simple import of the AVCHD footage straight into the timeline in his edit suite.

To test the low light performance of the camera Pierce shot sequences at ISO 1600 to 2000 without any noise concerns, and he warned the audience at the event that he was deliberately seeking a grainy look in his footage of artist and illustrator Bel Jones, posted on Vimeo.

Pierce said, “I have mainly been shooting at around 200 fps, in 1920 x 1080 HD. At 200 fps you get just under twelve seconds recording time offering a full 90 seconds of playback at normal speed.”

In a business sense, Pierce says the professional NEX-FS700 camera impresses clients more than DSLR. Depending on the look, he intends to make full use of it on a variety of shoots, supplementing the onboard codec with off-board recorders when requiring a broadcast quality data stream.

A bonus of high speed shooting is that handheld action shots are smoothed, a difference graphically illustrated by Pierce with handheld helicopter to helicopter footage that dramatised the tenuous grip that thin rotor blades have on the air.

Thanks to the camera’s Exmor 4K sensor, in the future the off-board recording through the 3G-HDSDI output will be boosted to 4K, a move designed to protect the value of the investment in a world where cameras are rapidly advancing.

Pierce says he has yet to try the auto focus function because his existing lenses don’t have that capacity, but points to the camera’s Sony E-mount,

Visit http://timpierceblog.com, www.sony.com.au, www.sony.co.nz and http://pro.sony-asia.com/broadcast

ACQUISITION

AN AUCKLAND STUDIO packed full of video and television professionals

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ACQUISITION

FLOVEL Unveils High-Sensitivity HD Camera FLOVEL COMPANY JAPAN introduced its new FZ-B1 high-sensitivity HD camera at FOR-A’s booth during the 2012 IBC Show. FOR-A is the exclusive distributor of FLOVEL brand cameras in the U.S., Europe, Middle East, Africa, and sections of Asia. The new camera will be available through FOR-A’s worldwide sales offices beginning in November.

As the latest addition to FLOVEL’s line of high-end HD speciality cameras, the new FZ-B1 has at its core a 2/3-inch CMOS 1.3 megapixel colour image sensor. The compact camera records in 1080/59.94i, 1080/50i, 720p/60p and 720/50p formats and has an unprecedented low-light sensitivity of only 0.01 lux.

Superior HD colour imagery combined with low-light sensitivity makes this camera ideal for demanding high-resolution applications, including day/ night nature video production, surveillance, microscopy, and day/night policing and traffic control. To make the camera smaller and less obtrusive, customers are able to use the sensor module without the camera housing.

“This new HD camera employs state of the art imaging technology. No other camera on the market offers such high-quality HD colour video reproduction at such low-light levels as mere moonlight,” said Mr. Susumu Hotta, General Manager, FLOVEL. “We’re pleased to offer this breakthrough technology to customers with demanding, rigorous HD imaging applications throughout the world.”

The FZ-B1 works with any C Mount lens and has a suggested starting price of $30,000. FLOVEL is currently developing a new 8K camera for research and large-screen applications.

VIsit www.for-a.com and www.flovel.co.jp

ARRI Releasing New Range of Accessories and Updates THE ALEXA M D-BRACKET from ARRI provides additional mounting options for the ALEXA M camera head. Now the ALEXA M body can be attached to the head in a 435 camera style. Parts of the system include the new ALEXA M Dovetail Bracket MDB-1, the ALEXA M Dovetail Plate MDP-1, and the Universal Adapter Plate UAP-1.

The ALEXA M top and bottom cage plates have been redesigned as well to allow compatibility with the rear-attachable D-Bracket in various combinations. The ALEXA M Single Fibre Upgrade provides single fibre ST connectors for the ALEXA M camera head and body, instead of the standard SMPTE 304 connectors. The Universal Adapter Plate UAP-1 can be moved from a traditional ARRI cine-style bridge plate (including BP-3, 5, 8 or 9) to a Steadicam dovetail plate.

ARRI and Carl Zeiss have partnered for three-quarters of a century and ARRI has unveiled their latest collaboration – the new ARRI/ZEISS Master Anamorphic lenses. Especially developed for the ALEXA Studio, ALEXA Plus 4:3 and ALEXA M cameras – all equipped with a 4:3 sensor – these lenses are the first anamorphic glass designed from scratch for modern digital cameras; however, they perform with analogue film cameras as well.

Now the images seen in blockbuster films are obtainable for the broadcast world through the ALEXA Fibre Remote Option. With a high sensitivity over two stops more compared to typical 2/3’ camera systems, the image quality and dynamic range of ALEXA (progressive and interlaced mode, up to 1080/60) can be applied to typical multi-camera broadcast studio or OB van productions.

ACQUISITION

Using a certified system that includes CopperHead from Telecast Fiber Systems, ALEXA and ALEXA Plus models can be connected through a SMPTE 311M fibre connection and remote controlled for live painting of the image. Besides the Telecast CopperHead components and the ARRI Fibre Remote Box mounted on top of the ALEXA body, a monitor is also required for typical pedestal use. The Fibre Remote Option is available in configurations as an upgrade to existing ALEXAs, or as complete camera sets from the ARRI dealer network.

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Fresh off the release of the colour-controllable L7-C, ARRI introduces a new addition to the L-Series LED Fresnels in a dedicated tungsten model – the L7-T. As a single-colour, 3200 K tungsten version of the L7-C, the L7-T provides in excess of 30% more light while maintaining the same size and weight. It offers the same calibrated colour quality at a lower

price than the L7-C, and is particularly suited to applications requiring maximum intensity for a given fixture size.

L-Series fixtures reduce electricity usage by 75% and further savings are brought about by the long life span of the LED light engine, which lasts around 200 times longer than a conventional tungsten lamp.

ARRI has also announced the new Wireless Compact Unit WCU-4, an all-inclusive hand unit offering up to 3-axis of lens control. It includes a newly designed, super-smooth focus knob with adjustable friction and backlit, pre-marked focus rings that are well readable in the dark without distracting performers.

The new Controlled Lens Motor CLM-4, available with various different gear modules is a compact and lightweight lens motor that is faster and quieter than the CLM-2. The CLM-4 will prove especially useful in tight situations with limited space, since the gear modules can be mounted either side of the motor.

ARRI updates the “clip-on” matte box with the Lightweight Matte Box LMB-25. Expanding the functionalities of the LMB-15 while keeping the reduced price, simplicity and weight to the LMB-5 level. New accessories like a 3/8” accessory top mount and a filter tray catcher are offered in an LMB-25 accessory set where the clip-in masks are included as well as additional bottom flag holders.

Visit www.arri.com

ACQUISITION

BROADCAST SPORTS, INC. (BSI) a leading developer and service provider of wireless camera, audio and communication systems has partnered with NAC of Japan to develop RF links for NAC’s high speed video camera. This engineering achievement from BSI means that, for the first time, the high speed NAC equipment can be used without cables, and directors can place it anywhere where there is RF coverage at an event.

NAC manufactures high speed camera systems and produces complete software packages. The NAC camera operates at 400 frames per second, which means that High Definition video can be slowed right down to show even the fastest sports action in minute detail, frame by frame, in sports action replays.

BSI’s wireless implementation of the NAC system retains the camera’s full capability. At the heart of this new wireless system is BSI’s dual stream mini transmitter which provides the RF links for the live and playback video streams while a separate receiver provides the link for the remote control.

BSI has only just completed the development of the wireless links for the NAC camera and exhibited the new system, for the first time ever, at IBC. “The NAC camera was not designed to be wireless, and this was not an easy development,” says BSI’s Technical Director Tony Valentino. “The engineering work was a major achievement for BSI and now this new system has everything that’s required for live sports broadcasts.”

Visit www.broadcastsportsinc.com

Cel-Soft Announces Pixel-Probe Camera Pixel Analyser CEL-SOFT HAS INTRODUCED a new addition to its range of broadcast-quality test and measurement tools at IBC2012. Cel-Soft’s Pixel-Probe allows television cameras and programme content to be checked prior to acceptance or for post-production analysis.

“Broadcasters have hitherto had little option but to perform acceptance tests visually,” states Cel-Soft Managing Director Robin Palmer. “Detecting rogue pixels by eye among the 6 million RGB elements in images from HD cameras is almost impossible.

Manufacturers of high-quality cameras pre-calibrate each sensor, mapping the location of any defect. An offending pixel can then be masked by digitally averaging the signals from the four or eight neighbouring pixels. Cheaper cameras use no such masking.”

Palmer adds, “Our Pixel-Probe algorithm automatically generates a statistical log of every pixel, allowing a check to be made of relative response. It can then work out, over a short period of fluctuating footage from the camera, if any pixels are not working properly. PixelProbe can also identify pixels that have changed their behaviour since the previous time the camera was checked, or between different shots in post.”

Visit www.cel-soft.com

Hitachi Introduces New SK-HD1500

Cooke Shows Prototype 65mm Panchro Lens

ON ITS STAND AT IBC, Hitachi Kokusai Electric Europe showcased the

COOKE OPTICS has brought lenses from its three ranges – S4/i, Panchro/i

new 16-bit SK-HD1500 1080/6G high speed HD production camera.

Developed for super slo-motion applications and capable of 3X speed 1080-line HD operation, Hitachi has brought to market the first 6Gbps, fully digital optical transmission system in an HDTV production camera.

and 5/i – to IBC 2012, including a prototype of a 65mm lens for the Panchro range. The company also continues to expand its production capacity with more new hires at its Leicester factory to meet increased global demand for PL glass.

The camera’s use of 6Gbps data transmission contrasts with competitive systems, which all use 10Gbps transmission. Hitachi’s implementation of 6Gbps transmission technology extends the maximum cable length possible between camera head and control unit by around 4000m.

“Many broadcasters around the world are switching from cameras with 2/3” sensors to those with PL mounts that give a full-frame 35mm picture, such as the Sony F3, F35 and F65, the ARRI Alexa, as well as RED and Canon cameras – and therefore they need lenses to go with them,” says Les Zellan, Chairman and Owner, Cooke Optics.

The SK-HD1500 represents Hitachi’s most accurate transport available for the 1080-line 150/180 images from the camera head to the camera control unit. All command audio and video signals to and from the camera are digitally transmitted hence, totally immune to EMI/ RFI interference.

“The SK-HD 1500 represents the market’s most advanced slow motion HD production camera, and when combined with the SK-HD 1200 they offer a powerful and elegant HDTV production proposition,” commented Paddy Roache, Director and General Manager of Hitachi Kokusai Electric Europe.

Each essential part of the Hitachi SK-HD1500 camera system has its own DSP processor. Different DSP ICs are used independently for the HDTV camera head processing, the transmission system and the Camera Control Unit (CCU) processing. The new, power-efficient Digital Signal Processor LSI’s are designed under the 40nm rule with dynamic processing capability in excess of 38-bits per pixel, per RGB channel.

Recent high profile projects that have been shot with Cooke lenses include the Emmy Award-winning television series ‘The Borgias’ and M. Night Shyamalan’s forthcoming feature After Earth, which is the first feature film to be shot on the Sony F65 camera.

Visit www.cookeoptics.com

X10 Real Time Continuous Ultra-Motion System

Camera power and cable condition supervision are also performed when using standard SMPTE311-type Hybrid Fiber Cable. The maximum HFOC length with applied camera power and fully operational facilities is 4,000m (13,200 feet) with no utility power.

SHOWN AT IBC 2012, the I-MOVIX X10 is the industry’s first live ultra-motion solution to deliver real-time, continuous extreme slow motion in full HD at 300 fps (or 600 fps in 720p). Developed in partnership with EVS, the X10 system is used with an EVS XT3 production server under LSM control and provides a familiar user interface and controls that any broadcast crew can use immediately, without any special training.

The SK-HD1500 incorporates an additional 1.5G HD video channel from the camera head to the Camera Control Unit (CCU) forming a second camera channel. The CCU provides reduced power consumption and improved functionality. The SK-HD1500 starts shipping in September and is available to customers worldwide.

The I-MOVIX SprintCam Vvs HD was also on show with new features included in the 1.2 software release, which refine and enhance functionality in response to input from the global community of SprintCam users. The new software release boasts major improvements to operational efficiency, image quality, and ease of use.

Visit www.hitachi-keu.com

Visit www.i-movix.com

ACQUISITION

BSI Shows High Speed Wireless NAC Camera

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

ZSPACE Sets Standard for the Olympics

[Clockwise from top] Three of seven Olympic sets created by ZSpace for CCTV and one of two created for Foxtel.

In what was truly an Olympic marathon, Sydney-based broadcast design specialist ZSPACE created no fewer than nine sets for London 2012 - seven for CCTV5 China and two for FOXTEL Australia. The company also collaborated with Australia’s Nine Network on its Olympics opener for London 2012.

ZSPACE BEAT HEAVY COMPETITION from US and UK companies to win

SPORTSCASTING

the contract for CCTV5’s Olympic sets: three in Beijing, and four in London.

The designs by ZSPACE’s Jean-Christophe Danoy were inspired by his experience working in China, the CCTV building itself, the London Olympic graphic look, and by the city of London.

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The seven sets were designed and created by the ZSPACE team, including Mark Dyson of Pitch Design, all in a very tight timeframe. With the sets being designed in Australia, and then built in both China and the UK, an international co-operation was established over three continents.

The seven sets included: In Beijing - a multi-functioning sports hub that will continue to be used as a set after the Olympics, its design inspired by the dramatic architecture of the CCTV building;

A slick, modern and versatile set based on the colours of the London Olympics; and A three-way set that housed three programs using a circular pod to shoot in any direction.

With Australia’s FOXTEL broadcasting eight channels, Jean-Christophe Danoy designed two co-joined sets with a view from one to the other through clear glass to create a sense of activity. The larger set featured a curved wall of 6 x 3 frameless plasma screens. This versatile tool enabled FOXTEL to break up the screen into the eight channels, or use it as one or more screens. RGB lighting allowed the sets to change dramatically according to the sport being broadcast, and creating a look for all eight channels.

Visit www.zspace.com.au

SPORTSCASTING

ASTRO’s OB1 HD production trailer.

ASTRO Fires Up Fleet for High Definition After deciding to move to high definition services, Malaysian satellite broadcaster ASTRO called on KIT Digital BSI (formerly Megahertz) to pimp its OB trucks for the HD ride.

IT’S OFTEN BEEN SAID two of the drivers for consumer uptake of services are movies and sport. This has been especially true of HD services. Built for the Arena sports channels, ASTRO’s latest OB vehicles certainly fit the spec, marking the satellite broadcaster’s fourth project with Megahertz/KIT Digital.

Megahertz previously built two DSNG trucks for ASTRO. According to Dennis Dovale, Head of Operations and, Technical, with ASTRO, the first of the two trucks, delivered in May this year was “built off an existing trailer that we had purchased from a truck builder that effectively had a spare body that hadn’t been sold. We redesigned the insides, redesigned it technically and made it pretty multi-purpose.”

That truck features a 13.5 metre trailer and, as well as equipped with 20 cameras, also includes facilities to house four EVS XT SD/HD video servers, up to six VTRs, a Final Cut Pro editor as well as two Yamaha DM2000 audio mixers.

“In ASTRO,” says Dovale, “we cover all sorts of events from sporting events all the way through to entertainment and dance shows. We are a satellite broadcaster who acquires all our own footage, we then post produce it all and we do transmission to home, so we are a final broadcaster as well. So, basically, we service our internal clients which are own channels.

“With the big move to HD, we have decided to obviously upgrade all our studio complexes and all the OB vehicles. We did an upgrade of a local vehicle which that’s in Malaysia at the moment so this is now, when this truck is delivered, it will be our third HD OB van and we have a studio complex as well in HD so everything is now being done in HD.”

SPORTSCASTING

Taking just nine months to build and wire, ASTRO’s second HD OB vehicle, OB2, is built on a Volvo chassis and measures 12 metres. The three-axle truck features an expanding side and is equipped for up to 16 cameras.

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While OB2 is the smaller of the new additions to the fleet, Dennis Dovale says, “In Malaysia, we are restricted by the road size, we are restricted by venues so this is the perfect truck for us. The semitrailer (OB1) we built because we needed it for sporting events, be that golf, or we needed dual production and things like that so we had to have a big truck. But if we build more, and we will most likely be looking at that within the next 12 months, we will be looking more at this OB2 style of vehicle.”

To cope with the intense rainfall and high temperatures experienced in Malaysia, the vehicle’s expanding side has been fitted with a protective cover and extensive inverter-based air conditioning units.

According to Steve Burgess, Technical Director of KIT Digital BSI (Megahertz), while general trends see equipment getting smaller, lighter and using less power, air conditioning requirements have increased with the ability to fit more within an outside broadcast vehicle.

“We must have had 30 kilowatts of cooling in [OB2]. And, just the physical space on getting it into there and keeping the power to a reasonable level is always a challenge.”

Safety rails have also be added to the roof to allow it to be used as a camera position platform. OB2 also includes facilities to house up to 16 Sony HDC-1500 cameras, feeding a Sony MVS-7000X vision mixer, Yamaha audio mixers as well as EVS and Miranda router. This technical set-up is identical to the OB1 trailer, to ensure familiarity between vehicles for operational teams.

A favourite feature for Dovale is one he co-designed. The truck’s EVS cabinets come with wooden “cut-outs” into which nest the EVS keyboard and remote control. When there is no EVS on board the vehicle, the cut-outs flip over to to close the surface up and “make the desk a desk”.

“There are just too many places where you see remotes sitting there for no reason at all, there is no remote, but the desk has holes for it or cut outs, so we made it this way and each position has got two pieces, one with a keyboard and what I do, is we actually velcro the keyboard in and so, when you flip it over, the keyboard stays underneath and the remote control either goes into a cupboard or it sits in the shelf.

“We built it in such a way that we can shift from left to right so if you have a left handed operator or a right handed operator, it doesn’t really matter you can make it work anyway you want it to.”

ROUTING The delivery of the new trucks also marks a move for ASTRO into the MADI world enabling multi-channel audio over a single cable.

“So, 64 channels of audio over a single BNC cable,” says Dovale, “and we can send AES and analogue, and that is a big trend moving in trucks now because it takes a lot of audio cable which before weighed a ton and it was always up and down the van to every single piece of equipment.

“Now we can break it out to these small devices that break out into analogue or AES and then they connect to the video router over a single cable. And then, in the video router, we can farm anything anywhere. So we can take any audio from any position and send it off to a speaker over here or put it into

SPORTSCASTING

The new OB2 HD truck.

an EVS over there - all inside this one device which is the hybrid router and that is a big new trend I think.

we have found in the last couple of years is if we put a big UPS in the truck doesn’t cost that much money.

“The Hybrid router is a new thing and we have got it in this truck so all our embedding, all our de-embedding, all the MADI allocation all the MADI audio and everything in video is all done in one router, so it is just a big software application, over IP, and there as long as you know what you are doing, we can do almost anything. “We can put 60 channels of audio into every EVS input and we can make those 60 channels of audio from anything. It can be ISOs coming in from a commentator on a field which is miles away which doesn’t even hit the audio desk it just comes through the system so it is really a very flexible thing and a very good way of doing it.”

“It is heavy, but when you have now got a truck that is getting lighter, because of the cable density, it is no major problem. That gives us the ability to run the whole truck for 10 minutes on batteries so we can change from a local power source to a generator without any disruption. It is really good for the kit.

Another important feature is a very large UPS on both vehicles so they can be maintained for 10 or 15 minutes if the power should fail or there are fluctuations in the external power supply.

“That is a bit of an upgrade, says Dennis Dovale, “because previously, we have built trucks, we have always had a small UPS somewhere that normally held a camera chain and part of a switcher and a router and just the very bare basic devices to make sure we had something going to air, but what

“From personal experience, for a production we did one New Years Eve, the incoming power from a generator source lost the neutral and sent 400 volts through the entire truck. Everything that wasn’t connected to the UPS, everybody’s mobile phone chargers, the lights, the air-con, everything that wasn’t through the UPS blew to pieces. Every single piece of technical equipment in the truck was safe so we were able to recover. If it was not through UPS we would have had a failure in the broadcast. We wouldn’t have been able to cope unless we had brought a new truck in so the amount on money we have spent on buying the UPS’s, they have paid for themselves ten times in my eyes and I will do it every truck we build, we will put a UPS in.”

Visit www.astro.com.my and www.kitd.com

SPORTSCASTING

Inside ASTRO’s OB2.

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SPORTSCASTING

Gold For Switch Media MULTI-PLATFORM VIDEO SPECIALISTS, Switch Media, have announced that the London 2012 Olympics App they developed for FOXTEL’s coverage of the games via iPad and Android, registered over 150,000 downloads throughout the duration of the sporting spectacle.

FOXTEL also used Switch Media’s Video Content Management System (VCMS) to manage and deliver live and On Demand content to the tablets, as well as to FOXTEL’s new service to Samsung connected TVs. Switch Media CEO Christopher Stenhouse said, “We are delighted to have been selected by FOXTEL to develop and produce these innovative video applications. The Olympics is a great event that subscribers clearly enjoyed watching on these nextgeneration devices. Developing and producing this kind of multi-platform video solution is what Switch Media has built its reputation on and the fact that we are continuing to work with FOXTEL, a forward thinking and major regional broadcaster, makes for an exciting future in this space.”

Visit www.switch.tv

Over 100 LiveU Units Used for Daily Olympics Coverage LIVEU HAS ANNOUNCED that over 100 units have been used to provide enhanced live video coverage of the 2012 London Olympic Games.

Customers using LiveU’s technology to increase the scope of their content include NBC, Globosat, Terra, TV Record, Televisa, Uno TV and BBC News.

LiveU, along with its exclusive UK partner Garland Partners Limited, has enhanced its technology for the Olympics using QoS SIM cards. LiveU used dedicated network resources, supplied by Broadnet Communications.

LiveU’s uplink technology was deployed for the first time at the 2008 Beijing Olympics where NBC Universal used LiveU’s live mobile units to broadcast live from the Games. Since then, LiveU has been covering the world’s top news and sporting events for hundreds of customers including tier-1 broadcasters, global news agencies and online media, notably the 2010 World Cup in South Africa, the Super Bowl, and NBA Finals.

SPORTSCASTING

Broadcasters and streaming companies alike took advantage of the HD quality coverage they were able to achieve using LiveU’s professional-grade backpack units.

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Ronen Artman, VP Marketing, LiveU, said, “This is a landmark achievement for LiveU and we’re very proud that so many valued customers recognise the power and flexibility of our technology for an event of this scale and importance.”

Visit www.liveu.tv

IOC Awards Broadcast Rights in China THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) has announced an agreement with China Central Television (CCTV) to broadcast the XXII Olympic Winter Games in Sochi, Russia, in 2014; the Games of the XXXI Olympiad in Rio de Janeiro, Brazil, in 2016; the second Summer Youth Olympic Games in Nanjing, China, in 2014; and the second Winter Youth Olympic Games in 2016, in Lillehammer, Norway.

CCTV, the state broadcaster in China, has acquired the rights across all broadcast platforms, including free-to-air television, subscription television, internet and mobile phone.

IOC President Jacques Rogge said, “The IOC is very pleased to continue its long-term partnership with CCTV. CCTV has been a great ambassador for the Olympic values in China, and we look forward to continuing our work with them to broadcast the Olympic Games to the widest possible Chinese audience.”

“CCTV is a strong supporter of the Olympic Movement and believes in the Olympic values.

We are delighted that we will continue to broadcast the Olympic Games and the Youth Olympic Games in the coming years,” said Hu Zhanfan, CCTV President.

Visit www.olympic.org

Chunghwa Telecom Chooses StreamZ Live DIGITAL RAPIDS ANNOUNCED that Chunghwa Telecom (CHT) chose Digital Rapids’ StreamZ Live adaptive streaming encoders and Broadcast Manager multiencoder management software to power live online streaming of the 2012 Summer Olympic Games for viewers in Taiwan.

A 14-channel deployment of StreamZ Live encoders was used to transform live, high definition source feeds of the London Olympics into multiple output streams for viewing on CHT’s HiNet hichannel Web platform.

Additional StreamZ Live encoders provided redundancy for fault tolerance, while the enterprise-class Broadcast Manager software provides centralised management, monitoring and automation of the encoders.

Clive Vickery, Managing Director, EMEA and Asia at Digital Rapids said, “For toptier service providers such as CHT, bringing events of this scale and importance to their viewers requires robust, reliable solutions with exceptional visual quality.”

Visit www.digitalrapids.com

ESPN STAR Sports Signs Shane Warne ESPN STAR SPORTS (ESS), Asia’s leading sports content provider, has announced that Shane Warne, widely regarded as one of the greatest bowlers in the history of cricket, has signed on as a part of ESPN STAR Sports’ commentary, presentation and analysis team for a period of 3 years.

Having played all formats of the game at the highest level, and his experience playing with and against some of the biggest names in modern day cricket, Warne’s unique insights will add to ESS’s presentation of cricket. Warne will also be actively involved in promoting cricket related broadcast on ESPN STAR Sports.

Warne has had an incredible cricket international career for Australia claiming over 1,000 wickets in Tests and One-day Internationals. In the new Twenty20 format of the game, Warne not only made his stamp as an effective bowler but also showed his ability as a strategist and as a leader when he led Rajasthan Royals to victory in the first edition of Indian Premier League.

Managing Director, ESPN STAR Sports, said, “We’re delighted to add one of the legends of the game to our commentary team.

Following on from the work with Kevin Pietersen it shows our intention to add the best international commentators to Sourav Ganguly, Rahul Dravid and the rest of our regular Indian team.”

Huw Bevan, Senior Vice President, Production, ESPN STAR Sports, said, “Warne’s unique experience and no-holds-barred insights will add immense value to ESS’s presentation of cricket. Fans in India would indeed be familiar with his achievements at the international level as well as his heroics for Rajasthan Royals, and we’re delighted to have him as part of our comprehensive cricket coverage.”

Speaking on the occasion, Shane Warne said, “I’m really excited about working with ESPN STAR Sports and their excellent team.”

Warne continues to share a strong bond with Indian fans and is extremely popular in the subcontinent. He continues to be in touch with the game and still weaves his magic in T20 tournaments like Big Bash in Australia.

Shane Warne’s announcement comes close on the heels of ESPN STAR Sports signing of former England captain Kevin Pietersen as part of its presentation and analysis team for the ICC World Twenty20, and former Indian captain Rahul Dravid in its ICC World Twenty20 programming.

Speaking on the occasion, Peter Hutton,

Visit www.espnstar.com

NEWS OPERATIONS www.content-technology.com/newsoperations

Associated Press Accelerates HD Transition KIT DIGITAL, Inc. has announced that its UK-based Broadcast System Integration business (formerly Megahertz Broadcast Systems) has delivered a large number of high definition upgrades for The Associated Press.

As a global news agency, AP has news bureaux in more than 300 locations around the world. In recent months KIT Digital BSI has been upgrading key facilities to HD and has completed Master Control Room (MCR) upgrades at two sites in Beijing, as well as Tokyo, Paris, Rome, Johannesburg, Moscow, Jerusalem, Ramallah, Gaza and Cairo.

AP and KIT Digital BSI signed a framework agreement in 2011 for systems integration work in AP’s international bureaux.

Each site is different to ensure it meets the local needs of the newsgathering operations in the region. All are based on a number of incoming and outgoing feeds, both satellite and fibre, with facilities for monitoring, recording and editing. Each MCR has a central router that can be controlled from London. Most include camera points around the building, and some have a studio operation.

KIT Digital BSI recently completed a new HD SNG unit for AP, built at its workshops in Ely, UK. Visit www.kitd.com

EditShare Partners with OCTOPUS EDITSHARE HAS ANNOUNCED a technology and distribution partnership with OCTOPUS Newsroom, developer of advanced newsroom computer systems (NRCS). The new relationship expands EditShare’s support for MOS-compliant newsroom computer systems to include OCTOPUS6, with integration benefits such as the ability to preview from within the newsroom client video asset proxies that are stored on the EditShare Media Asset Management system.

“EditShare chose to partner closely with OCTOPUS because of its robust feature set, cross-platform Mac and Windows client support, and cost-effective licensing structure,” says Andy Liebman, founder and president of EditShare. “Incorporating the OCTOPUS6 NRCS as part of the EditShare tapeless workflow provides broadcasters with a complete turnkey, tapeless production solution for managing news content and media.”

In addition to deeper integration with EditShare’s broadcast servers, journalists can browse source material stored on the EditShare shared storage systems.

Liebman continues, “Because EditShare and OCTOPUS are seamlessly integrated through the MOS protocol, journalists using the newsroom client have direct and immediate access to content stored on the EditShare shared storage systems.”

Visit www.editshare.com

Aveco Automates News with ASTRA Studio 2 AVECO’S NEW ASTRA STUDIO 2, a comprehensive automation solution for news and studio productions has been shown at IBC 2012. Also on display was Aveco’s new standalone media asset management tools and the company’s regional ad insertion solution.

Aveco’s ASTRA Studio 2 enables a single operator to produce complex live newscasts and news programs. Studio 2 is hardware independent, working with various vendors’ studio equipment, allowing users to pick the switcher, graphics, and other equipment that works right for them. New journalist tools and MOS integration with most NRCS systems enable journalists to quickly take advantage of these new capabilities without needing to understand the underlying technology.

Meanwhile, the SAS family of applications provide cost-effective solutions for media asset management, browse, ingest, archive, and playout. SAS Tools provide a simple and incremental option for users just beginning their move to a file-based workflow and only need modest capabilities.

Based on the same technology used in the ASTRA Suite of Tools, SAS Tools can scale in functionality and size from a single channel shopping network to a fully functional multi-channel TV station.

Aveco’s comprehensive Disaster Recovery Solutions provide frame-accurate synchronisation between sites for seamless failover – even with last minute changes in the playlist.

Aveco also gives broadcasters the ability to promote on-air and upcoming programming automatically to both Twitter and Facebook. With this feature, programming information from a channel playlist or a program rundown can be fed to the broadcaster’s Twitter and/or Facebook account.

Aveco’s Remote Ad Insertion is a solution for Hub and Spoke or Centralised architectures that can generate additional revenue by enabling higher priced ads to be sold that are specific to viewers in different regions.

Visit www.aveco.com

IRELAND’S NATIONAL TELEVISION and radio broadcaster, RTÉ, has

creates a wealth of opportunities for the future of mobile newsgathering.

developed a new acquisition model for mobile journalism that uses Avid Studio for iPad.

“Avid Studio for iPad boasts features and a precision that other systems, such as Apple’s iMovie, do not offer. Not only does it allow for frame accurate editing, but its split audio editing functions mean that we can produce a professional edit on location – no matter where we are. We’re delighted with the initial results, and having already broadcast features created by RTÉ video journalist Sean MacAn tSithigh using Avid, we’ve seen the potential of this solution and are looking to deploy more kits in the very near future.”

By deploying a mobile journalist kit, which includes a microphone, iPhone, iPad and downloadable apps, RTÉ journalists in the field are able to produce broadcast-quality footage, edit it to a professional standard and then send it straight to air.

Glen Mulcahy, production development manager at RTÉ News, says, “Avid’s solution ensures that we can not only generate content in a costeffective and very timely way but also by offering vital editing features, it

Visit www.avid.com

NEWS OPERATIONS

Irish Broadcaster Pioneers iPad to Broadcast with Avid

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NEWS OPERATIONS

Ross Video Integrates New Systems ROSS VIDEO’S recent venture into robotics has brought a new product line to Ross’ stand at IBC 2012. The Ross Robotics division features two distinct lines of robotic camera systems: the Furio track based Robotic Camera Systems and the CamBot Roaming Pedestal Series.

moves; XPression 3D Graphics Platform generating virtual set, production graphics and a live ticker with social media integration via Ross Inception; and Vision production switcher keying and mixing video, all being automated with the OverDrive Automated Production System.

Furio Robotic Camera Systems use a unique absolute positioning system and rail based tracking along with lift and PTZ head making it ideally suited to automated studios as well as virtual set and augmented reality applications.

CamBot is distinguished by its ability to accept payloads of up to 200 pounds (90kg) on the 700 Series pedestals.

The Inception social media management system provides a professional suite of tools to create, schedule, broadcast and manage media content in and out of newsrooms and promotions departments. The Inception café on the Ross stand was a place for visitors to try out the system from web or mobile applications to dynamically publish news and promotional content to popular social networks like Twitter and Facebook, YouTube and Brightcove.

At this IBC 2012, Ross showcased a fully integrated virtual set and augmented reality solution using all Ross technology. A live newscast was produced every half hour, demonstrating how with a single operator and talent can efficiently deliver a sophisticated virtual production. The solution combines Ross’ Furio Robotic Camera System with dynamic, tracked on-air

BlackStorm is a production-oriented playout server designed to playback clips and graphics in a live environment. It has a unique production playlist, with clip transitions and end of clips actions.

Visit www.rossvideo.com

LiveU Collaborates with Panasonic LIVEU PRESENTED its expanded range of live video uplink solutions for global broadcasters, news agencies and online media, at IBC 2012.

LiveU and Panasonic demonstrated their next-gen integrated live camera solution, utilising the LU40i video uplink device and the new Panasonic AJ-HPX600 P2 camcorder.

NEWS OPERATIONS

LiveU will present its LU70 mobile uplink unit with its second-generation internal and new external antenna arrays. Boosted by its remotely-

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located antennas, the LU70 backpack supports up to 14 cellular links simultaneously, offering strong resiliency in built-up, crowded areas and on-the-move. The LU70 includes features including: One-Touch-Live (LiveU OTL) mode with automatic adjustment of video resolutions; and point to multi-point distribution, whereby a single device can broadcast live to multiple, varied destinations concurrently.

Visit www.liveu.tv

NEWS OPERATIONS

Mediabackbone Transforms TVB Newsroom Workflow TELEVISION BROADCASTS LIMITED (TVB), a leading commercial television station in Hong Kong, has selected Sony digital news system, Mediabackbone Sonaps, and Sony archiving system, Mediabackbone Ensemble, to transform overall workflow of its newsroom from ingest, editing, playout to archiving, in addition to upgrading its production to High Definition.

Sony has developed a tailor-made solution based on Mediabackbone Sonaps for TVB News Production through critical study and evaluation to completely understand its workflow. The roll-out includes the Mediabackbone Sonaps system as well as Sony’s Mediabackbone Ensemble. Sony’s workflow and archiving tools are a combination of solutions set to streamline and enhance TVB’s existing system complexities, increase productivity and transform the entire process of delivering news to its viewers in Hong Kong and approximately 300 million households around the world.

The new system will provide a complete file-based operation from acquisition to finished product for on-air. The phased migration approach ensures the challenges of migrating the existing SD system to a total HD tapeless workflow are overcome without affecting the daily operations.

“Mediabackbone Sonaps is more than just a solution. Through an extensive consulting phase, Sony and TVB together identified current bottlenecks and future needs to design a bespoke system to perfectly fit daily operations,” said Chris Grey, Sony Corporation of Hong Kong Limited.

“The expertise of Sony’s Mediabackbone Sonaps design and solutions team really helped us to define user workflows and illuminate any roadblocks that could either be eliminated or simplified. We are pleased with the proposed system that reduces the complexities of the system architecture while making room available for future expansions,” said Lam Chun Wing, Chief Engineer, Broadcasting Department, TVB. TVB’s newsroom transformation project lasts for nine months and includes a step-by-step upgrade to enable TVB News Production’s transition to the new and more agile system by mid 2013.

Visit http://pro.sony-asia.com and www.tvb.com

YTN Korea Expands Live ENG Capabilities with TVUPack TVU NETWORKS, a global technology leader in portable live electronic news gathering (ENG) broadcast solutions, announced that YTN, South Korea’s leading 24 hour news network, has selected TVUPack to expand its live newsgathering operations.

Since 1993, YTN, a 24-hour news network headquartered in Seoul, has worked to build one of Korea’s most respected newsgathering organisations. With a large newsgathering operation that includes more than a dozen news vehicles, YTN was looking for a mobile broadcast solution to give the network the flexibility to go live from more locations and help increase the speed of getting news to air.

“We conducted extensive testing of a number of products before selecting TVUPack,” said Hyoungyill Park, professional engineer at YTN. “We selected TVUPack because it provides the best video quality of any of the solutions that we tested. TVUPack is also easier to use in the field and is able to transmit video with just the push of a button. Additionally, the TVUPack has been a very economical solution, allowing us to save money in our mobile newsgathering efforts.”

For YTN, one of the biggest benefits of the TVUPack has been increasing the speed at which the network is able to deliver live news to viewers.

“TVUPack has changed the way we can deliver live coverage of fast breaking news stories to our viewers. Since deploying TVUPack, we have been able to get quality shots from the scene faster than other broadcasters,” said Park.

“TVU’s quick and continuous customer support has been very good, helping us resolve any issues that we encounter with speed and professionalism. Also, if we need to cover events abroad, such as the London Olympics, we’re able to use TVUPack from anywhere in the world,” Park explained.

Visit www.tvupack.com

AP Upgrades to HD Transmission for Asia and Middle East Centre, has announced a long-term agreement with the Associated Press (AP), to support AP’s contribution and distribution requirements. SatLink will also support several ad-hoc feeds over satellite and fibre.

SatLink will be upgrading AP’s network in the Middle East to enable the transmission of high definition (HD) content, as well as providing transmission of AP’s global distribution to Asia via AsiaSat 5.

AP deliver a 24 hours news service all year round and needed a satellite communications partner that was able to support them in delivering fast, reliable news from the Middle East to its global customers. A key consideration in selecting SatLink was the level of service offered, combined with their location in Jerusalem, which offers a gateway to Asia over its robust Multi Channel Per Carrier (MCPC) digital satellite transmission platforms on AsiaSat 5.

SatLink will be providing uplink and turnaround capabilities for AP’s SD & HD multiplex signal through its fully automated and redundant teleport. Included in the deal is the upgrading of AP’s network to provide end-to-end HD teleport facilities.

SatLink will be replacing AP’s analogue links and upgrading fibre connectivity within the Middle East region and AP’s operations. A permanent fibre link has been established between the AP premises in London, the SatLink teleport and AP in Jerusalem, providing a powerful terrestrial contribution channel to carry traffic over both satellite and fibre. The entire network is fully backed up, with auto-sensing of the

input SD/HD signal, giving AP the management autonomy to fully monitor and control their content.

In addition, SatLink’s Occasional Use services will enable the swift and cost effective delivery of bundled, end-to-end solutions including satellite capacity, fibre optic, turnaround, streaming and added value services.

According to Matt Durbin, AP deputy director of global master control rooms, “The Middle East region generates a great deal of news events of global interest, so it was important for AP to partner with a regional provider who can supply AP with a cost effective and flexible HD contribution network. SatLink are also able to provide transmission to Asia of our global video products. We are very pleased to be working with SatLink and forming a long-term relationship.”

David Hochner, SatLink CEO, added, “For many broadcasters reaching the audience in Asia has proved to be a challenge. SatLink’s proven ability to provide high-quality transmission of content as well as its strategic positioning, means SatLink is the main gateway to Asia for news, sports and entertainment. We are delighted to be working alongside AP as they upgrade their HD delivery into the Middle East and Asia and are confident that we have the most flexible, effective and reliable end-toend transmission solution that can meet any broadcasters’ requirements in Asia and across the globe.”

Visit www.satlink.tv

NEWS OPERATIONS

SATLINK COMMUNICATIONS LTD., a leading teleport and HD Playout

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POST PRODUCTION www.content-technology.com/postproduction

Blackmagic Acquires Cintel Assets BLACKMAGIC DESIGN HAS ANNOUNCED

changes and how film is used is changing every day. What hasn’t changed is the acknowledgement that film is an extremely creative way to capture images. This acquisition gives Blackmagic Design the ability to combine our vision and expertise with Cintel technology to provide the best technology for artists using film, more efficient and affordable ways to bring film into a digital workflow, and better ways to archive and restore existing archive film worldwide.”

the acquisition of the assets of Cintel International, one of the world’s leading researchers, designers and manufacturers of motion picture film scanners.

Through this acquisition, following the liquidation of Cintel International earlier in 2012, Blackmagic Design has acquired the intellectual property and all aspects of Cintel’s entire portfolio of film scanning products. This includes all of the IP, name and brand ownership and product development rights for the Cintel diTTo and dataMill digital scanners lines, URSA, C-Reality, DSX, and Millennium telecine lines, as well as imageMill data management products.

Cintel’s dataMill digital scanner.

Service and support for existing Cintel customers will be handled by UK based Cine Solutions Ltd. and US based Cine Solutions Inc.

“This is a very exciting acquisition for Blackmagic Design,” said Grant Petty, CEO, Blackmagic Design. “Cintel products are the most trusted names in the film scanning business, and the incredible design expertise that has been built into every one of the Cintel products is amazing.

Both are independent of Blackmagic Design and will supply replacement parts and repairs, provide expert engineering services, as well as a 24/7 maintenance help line to all users of equipment previously manufactured and supplied by Cintel International.

“The film market is in the middle of massive

Visit www.blackmagicdesign.com

Rising Sun Research Changes Name to Cospective RISING SUN RESEARCH has changed its

are located.”

name to Cospective. The company chose the new name to better represent the full nature of its current and future products and services.

The company started life as the technology division of the VFX company Rising Sun Pictures, before being spun out as a separate company in April 2000.

“Cospective creates innovative solutions that solve visual communication challenges,” said company CEO, Rory McGregor. “The new name and brand represent a shared perspective, which is what our products and services enable – no matter where in the world people

“The majority of our initial customers were VFX facilities,” explains McGregor. “Over the past few years, however, our customer base has broadened to include advertising, television,

games and education, and we needed a new name to reflect that.”

Cospective will still maintain a strong presence in VFX and film production through its Academy Award-winning cineSync software.

Cospective is also developing solutions tailored for other market segments and will be making a new product announcement soon.

Visit www.cospective.com

Prasad Corp Buys Film Tech Firm DFT Munich INDIA-BASED PRASAD CORPORATION

POST PRODUCTION

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.

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times for traditional film use and production, but it is committed to support Digital Film Technologies GmbH in meeting these new challenges.

Precision Mechatronics and DFT Munich will be merged into a new company called Digital Film Technologies GmbH who 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.

Prasad Corporation’s UK Regional Director Simon Carter commented that the general market trend of traditional new film scanning was changing and becoming more about historical ingest; restoration and archive management. Scanity is a real-time 2K and 4K capstan driven ingest scanner more than capable of meeting these evolving and demanding Archival Market conditions.

Prasad Corporation, which has offices in Mumbai, Chennai, Los Angeles and London, says it recognises that these are challenging

“With our new business model we can supply and continue the development of both the Scanity and a range of Flexxity products to

facilitate the best possible solutions for this emerging archive market,” said Carter.

As part of this new business development Prasad Corporation will be retaining a significant number of Precision Mechatronics original management team and operational staff, including its service operation in the USA, UK and India so that it can continue to provide the same level customer support going forward.

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

Make the Most of Your Media with Avid Motion Graphics Your media is your lifeblood and Avid can help you use it more effectively than ever before.

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POST PRODUCTION

Blockbusters in the Pipeline

By Keith Ford The Autodesk Blockbuster tour aims to bring together members of the VFX industry and give them a chance to talk about their expertise, the challenges they face within the changing FX environment, and how they see the industry.

THE PARTICIPANTS FOR 2012 were Alex Kim, FX Technical Director for Industrial Light & Magic (ILM) Singapore; Ian Cope Visual Effects Producer at Rising Sun Pictures (RSP); and Colin Renshaw, VFX Supervisor, and Nick Angus, Head of 3D, from Alt.vfx.

Over the last few years, the use of stereoscopic 3D in movies has increased dramatically, propelled in large part by the phenomenal success of ‘Avatar’ in 2009. Since then, film studios have seen 3D as an easy way of adding to a movies box office gross, particularly for big budget, effects heavy tentpole movies. Unfortunately for the VFX people who have to implement this, it’s not quite that simple. However, as the tech catches up and standard solutions are put in place, things are becoming easier.

“It is much, much harder. It’s probably three, four times more work.

But at the same time I think it’s getting easier in that we are starting to work it out,” says ILM’s Alex Kim. “The first few movies must be much more challenging because they have to go through, ‘What can we still do and what can’t we still do?’ But we are kind of working out.”

Rising Sun’s Ian Cope adds, “I think for us as vendors, now all this software supports the stereo. Whereas three or four years ago I was working on Michael Jackson’s ‘This Is It’, and that was our sort of first big stereo job, and it was cobbled together from found solutions on the internet, and I think our polarised setup was actually a whiteboard with al foil paper. So not what you think of as sort of bleeding edge effects, but now we’re got a nice 4K projector that projects stereo and we can make these calls about the stereo.”

POST PRODUCTION

According to Alt.vfx’s Colin Renshaw, giving the artist the tool they work best with produces the best results, so the software being used has to be compatible with as many tools as possible.

“We kind of want to let them dictate what they want to use rather than us say, ‘Well here’s our pipeline, sorry you’re a fantastic artist you’d be perfect for the job, but you don’t use that piece of software so, see you next time.’ We really feel like we can’t afford to be like that and you give the artist the right tool, the tool they love, the tool they’re used to, then you get the artist as they should be,” he says.

According to Kim, “Singapore’s brand new, so we’re getting people from London, Australia, all over the world and they’re not really trained in that ILM pipeline. So, to get them to start working on the shots straight away, without any training time, and we had Max artists, Maya artists, whatever they’ve been working with, so kind of giving them tools they like.”

Planning becomes all-important when talking about stereo productions, as the extra work involved goes much easier if it can be understood from the outset.

Something that these three vendors have in common is that they operate from locations that require remote working at some stage.

Post-production in general is becoming more and more dispersed around the globe, leading to changes in the way the industry works.

Kim explains, “If from the beginning they say this is going to be 3D, or even if it’s going to be done in post, if they thought about it from the beginning then when we start doing it’s like, ‘This is going to be done in post do these are the things we can’t do...’ So you plan that all the way along and it’s fine, but it’s worse when two months before wrap it’s, ‘We’ve decided this should be 3D.’”

“I think it’s really exciting,” says Alt.vfx’s Nick Angus. “I guess our attitudes are probably almost leading the way, along with maybe a few other industries. But I think of it in terms of all these guys have to drive into the city every morning to sit at a computer all day and not interact with anyone but a phone and a computer terminal when they could basically be doing the same thing from home.”

“I think they’ve learned their lessons, I think the stereo team are doing the feedback, but you know we were working on 'Prometheus' and it was no issue at all, it was just another thing that we had assembled to try and tell a story, so I think it was a really good use of stereo,” adds Cope.

“At Alt we’ve got a permanent staff member for each discipline: 2D lead, 3D lead, animated lead, modelling lead; but we triple our team, or quadruple it, just with freelance staff, and they can either be onsite or working remotely. It means that we can just do this based on a project, and it works really, really well,” adds Colin Renshaw.

In the VFX world working with multiple other vendors is a fact of life, and having tools that allow for as much interoperability as possible can be very important.

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Interoperability is becoming more of an issue internally as well, with many artists preferring to work with different tools.

“I think as an industry given that we work on a lot of shared shows with other vendors that have a tool that you can just send something to you know like the opening shot from Potter was sort of a coordination of three vendors over two or three continents so it was trying to get all those together. To actually just be able to send them a Maya scene it’s like, ‘Here you go, are you happy with stereo camera in that, ok let’s work through it,’ rather than the convoluted process that we used to have to go through,” Cope explains.

For ILM, working across time zones is even a problem internally, without the added issue of outside collaboration.

“The whole remote working thing is definitely happening in ILM as well because in Singapore the time difference is ten, twelve hours or something, so it’s basically like working for a remote client all the time,” Kim explains. “That’s kind of worked so well that ILM has the Vancouver pod and LA pod. So instead of trying to get artists to come to San Francisco or Singapore, they’re like, ‘Well it’s actually cheaper to just open a small office and we’ll get Vancouver artists and LA artists to work there and we’ll just do the whole remote thing.’”

POST PRODUCTION

Avenging Angels ILM SINGAPORE IS A DIVISION of Lucasfilm Ltd. and part of Lucasfilm Singapore, along with Lucasfilm Animation Singapore and LucasArts Singapore.

Since opening in 2006, ILM Singapore has worked alongside ILM in the US on feature films that include ‘Star Trek’, ‘Transformers: Dark of the Moon’, ‘Iron Man’, and ‘The Avengers’. Alex Kim joined ILM Singapore in 2011. He shared his experience of working on the multi-record breaking, and effects heavy, Avengers.

“From Transformers 3 we were a lot more heavily involved in everything from throughout pipelines, and for this movie we did everything from asset moulding, rigging, texturing all the tracer effects, underwater effects, digi double for Captain America, Hawkeye, Black Widow, and Iron Man. All in all, we did 36% of the ILM shots, and the processing time was six months. So, starting in September and wrapping up in March 2012, including the stereoscopic convergence time as well,” explains Kim. Six months for a project of this size is not a lot of time, even with a large number of vendors working on the film. ILM, Weta Digital, Scanline VFX, Hydraulx, Fuel VFX and many others are among those who put their expertise to use on Marvel’s epic team-up.

Even with this massive collaboration and ILM Singapore having to divide their resources between ‘The Avengers’ and ‘Battleship’, they still had 160 people working on the project, including production and artists. Throw in the San Francisco office and the number hits around 500 ILM employees hard at work.

“It was quite exciting when San Francisco got so many of the digital double shots for Avengers. We got so many digital doubles, so many effect shots, that means that a lot of them, a lot of interesting ones, end up coming to Singapore as well, so we end up doing quite a lot of them,” adds Kim.

Alex Kim, FX Technical Director, ILM.

One of the most difficult things about working on a movie like ‘The Avengers’ can be the fan expectation.

When working with a franchise that has been around since 1963, the expectations for a definitive on screen version of these icons can be brutally high. No character had more riding on them than the Hulk, who has largely been seen as a disappointment in his previous big screen outings.

Ang Lee’s 2003 ‘Hulk’ and Louis Letterier’s 2008 ‘Incredible Hulk’ both underwhelmed audiences’ expectations for what CGI could do for the Green Goliath. Despite the low-fi look, Lou Ferrigno painted green in the television series is just about the only version remembered fondly.

According to Kim, “Even if everything else about the movie was fantastic, if Hulk wasn’t good people would turn around and go ‘The FX wasn’t that good.’”

Hunger and the Shakes FOUNDED IN 1995, Rising Sun Pictures is a visual effects house based in Adelaide. RSP provides everything from design through to Digital Intermediate work, with some of their recent projects including the Harry Potter series, ‘Journey 2: The Mysterious Island’, ‘The Hunger Games’, ‘Prometheus’, and the upcoming ‘Gravity’.

‘The Hunger Games’ is also a movie with a passionate fan base, though one that has never seen a visual representation of the story before. RSP completed around 200 effects shots, including the flaming outfits and the ‘muttations’.

One of the features of ‘The Hunger Games’ was the use of “shaky-cam” throughout, which is not often seen in blockbuster action movies. It raises some issues for the effects vendors that aren’t seen on other projects, but also allows for the opportunity to sneak things through.

“It’s like doing the first Harry Potter film,” says Ian Cope from RSP, “the first Hunger Games, where there are a number of books and they want to make it, Lionsgate was very keen to get it right. So, there were lots of pressures on the director that sort of flow through to us, all the way from on set going through to the post. So, things like the looks of the mutts and what flaming wings would do and what the city would be, there’s a myriad of questions that need to be answered and were sort of delayed and held and turnover was delayed.”

“As hard as it is just to track the Ian Cope, Visual Effects & Stereoscopic thing, that’s obviously one of the Producer, Rising Sun Pictures challenges, to try and feed that information into some software that will actually give you a reliable track is probably the challenge, and the rest is fairly easy to get away with because you’ve got a hell of a lot of motion to bury things under... Some of our shots were more the grand tribute parade shots, which were probably where the camera got to be its stillest, which is nice,” Cope explains.

Another Beer Please Deer

“Originally director Garth Davis, who’s a well respected, great director, in his mind he always saw this thing as completely in camera. He actually believed that we could train deer to do all of this fun stuff and I just kind of went along with that for quite a while, but secretly Nick and I were modelling deer and making our own,” says Renshaw. “When we finally turned up at the PPM it was kind of like this war room meeting where they’re like, ‘The deer won’t go in this way and they won’t do this and we can’t get permission to do this.’ I presented this little test of me feeding a CG deer in the car park at Vault and everyone kind of fell in love with it and suddenly it was like, ‘OK this is CG, this is CG, this is CG.’ So you know it just meant we could do a lot more than

Nick Angus, Head of 3D, Alt.VFX

Colin Renshaw, VFX Supervisor, Alt.VFX

ever had been boarded or ever been planned.”

“It was a good project for us to start with because it was kind of a test bed for all our new equipment and that is where I guess we started with Autodesk in that we started with systems that we knew. We went with Maya for everything because that had always been our weapon of choice,” added Angus.

POST PRODUCTION

ALT.VFX IS A BRISBANE-BASED effects studio that primarily caters for the commercial industry. After only operating for around a year, Alt’s first project, ‘Nocturnal Migration’ for Tooheys Extra Dry, has already won a number of awards. They have also worked on SBS’ ‘On Demand’ and FOXTEL’s ‘Seeing is Believing’ Olympics ad. During the Blockbuster tour, Colin Renshaw and Nick Angus spoke about the processes involved in completing ‘Nocturnal Migration’.

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POST PRODUCTION

Vendors Sink Their Teeth Into Mountain Lion OS X 10.8 MOUNTAIN LION, the ninth major release of Apple’s desktop operating system, has been released as a download from the Mac App Store.

With more than 3 million downloads in the first four days of release, it is Apple’s most successful OS X release ever.

Boasting more than 200 new features, Mountain Lion includes iCloud integration, the all new Messages app, Notification Centre, system-wide Sharing, Facebook integration (coming soon), Dictation, AirPlay Mirroring and Game Centre. Mountain Lion is available as an upgrade from Lion or Snow Leopard for AUD$20.99 inc. GST. “People are going to love the new features in Mountain Lion and how easy it is to download and install from the Mac App Store,” said Philip Schiller, Apple’s senior vice president of Worldwide Marketing.

“Just a year after the incredibly successful introduction of Lion, customers have downloaded Mountain Lion over three million times in just four days, making it our most successful release ever,” Schiller added.

New features for Mountain Lion include: iCloud integration, for easy set up of your Mail, Contacts, Calendar, Messages, Reminders and Notes, and keeping everything, including iWork documents, up to date across all your devices; New Messages app, which replaces iChat and brings iMessage to the Mac, so you can send messages to anyone with an iPhone, iPad, iPod touch or another Mac; Notification Centre, which streamlines the presentation of notifications and provides easy access to alerts from Mail, Calendar, Messages, Reminders, system updates and third party apps; System-wide Sharing, to make it easy to share links, photos, videos and other files quickly without having to switch to another app, and you just need to sign in once to use third-party services like Facebook, Twitter, Flickr and Vimeo; Facebook integration, so you can post photos, links and comments with locations right from your apps, automatically add your Facebook friends to your Contacts, and update your Facebook status from within Notification Centre; Dictation, which allows you to dictate text anywhere you can type, whether you’re using an app from Apple or a third party developer; AirPlay Mirroring, an easy way to wirelessly send an up-to-1080p secure stream of what’s on your Mac to an HDTV using Apple TV, or send audio to a receiver or speakers that use AirPlay; and Game Centre, which brings the social gaming network from iOS to the Mac, enabling live, multiplayer games with friends whether they’re on a Mac, iPhone, iPad or iPod touch.

Additional features in Mountain Lion include the new Gatekeeper, which makes downloading software from the Internet safer; Power Nap, which automatically updates your apps and system while your Mac is asleep; and a faster Safari browser. New features for China include significantly improved text input, a new Chinese Dictionary, easy setup with popular email providers, Baidu search in Safari, and built-in sharing to Sina Weibo and popular video websites Youku and Tudou.

Visit www.apple.com/au/

POST PRODUCTION

Following the release of Mountain Lion, a number of vendors have released updates to add support for the new OS. Among the first companies to do so were Blackmagic Design, AJA Video Systems and Matrox.

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Blackmagic Design released a series of new software updates for its products that adds full support for Mountain Lion. The updates include support for Apple’s new Gatekeeper anti malware security protection for all products.

Gatekeeper is a new security feature, which protects your computer from downloading and installing malicious software. Blackmagic Design is one of the first companies to support this new security standard from the first day Mac OS X 10.8 is available to customers. As an Apple Identified developer, when Gatekeeper is set to the default option, Blackmagic customers will continue to

be able to download software, maintaining full security protection.

“Being an Apple Identified Developer has enabled Blackmagic Design to take full advantage of the many exciting new features in Mac OS X 10.8 Mountain Lion, such as Gatekeeper, right from the very first day of its release,” said Grant Petty, CEO, Blackmagic Design. ”Our customers can be assured that they will continue to be able to easily download our software and enjoy performance improvements when they upgrade to Mac OS X 10.8 and Blackmagic Design products.”

These new software updates support all of Blackmagic Design’s products and are free for existing customers.

Visit www.blackmagicdesign.com AJA Video Systems, manufacturer of professional video interface and conversion solutions, also released a new software update supporting Mountain Lion, including Gatekeeper certification. The new v10.3.2 software is also compatible with Mac OS X 10.7 (Lion) and is available for AJA’s latest KONA, Io XT and Io Express products.

“We’re pleased to deliver Mountain Lion support right out of the gates,” said Nick Rashby, president, AJA. “This new OS with Gatekeeper provides users with improved protection against malicious software. AJA is one of Apple’s ‘identified developers’, allowing our software to be installed using the default Gatekeeper settings. Providing support for Mountain Lion is an extension of AJA’s commitment to giving our customers the broadest options and flexibility in their video workflows.”

The new v10.3.2 drivers are now available as a free download for all KONA LHi, KONA LHe Plus, KONA 3, KONA 3G, Io XT and Io Express customers.

Visit www.aja.com Matrox Video Products Group announced the immediate availability of Mountain Lion support for Apple Final Cut Pro X and Apple Compressor with the Matrox MXO2, Matrox MXO2 MAX families of I/O devices, and the Matrox Mojito MAX card.

“The timely release of this new Matrox driver underscores our commitment to providing the support our users need to get the most from their creative tools,” said Wayne Andrews, product manager at Matrox. “Our customers can take immediate advantage of Mountain Lion’s great new features while continuing to reap all the productivity benefits of their Matrox devices with FCP X and Compressor.”

Matrox support for other applications such as Adobe Creative Suite 6 Production Premium, Avid Media Composer 6, and Avid Symphony 10 will be validated as Mountain Lion versions of those applications are released.

Visit www.matrox.com

MEDIA IN THE CLOUD Türkiye’s Metus Meets the Need for MAM

By Büşra İpekçi

With the need for an effective media archive management (MAM) growing, the number of companies providing MAM software also grows. One such developer is Türkiye’s Metus Technology, a company that specialises in developing MAM and Video Encode solutions.

LOCATED IN THE TECHNOPARK complex in Istanbul, Metus Technology has been serving major companies and projects for over 14 years and is now active in approximately 60 countries. Its most comprehensive product is the Metus MAM media asset management software. beyazgazete.com, Turkey’s largest online news portal, delivers news as individual reports from a number of television channels. Broadcasts from these channels are recorded 24/7 with Metus. Operators in charge of the system watch the recordings and cut, delete and export the content to the website in flash format. The key is the simultaneous broadcast, or in this case webcast, beyazperde provides. The portal is faster than the channels’ own websites thanks to Metus.

On the media monitoring field, advertisers can use Metus to record the commercials they ordered went to air. The software monitors, records and indexes all the channels that run the commercials and produces a report on when and where each commercial is broadcasted.

From its user base in Türkiye, Metus MAM has grown substantially over the years, constantly adding more features to its toolbox. Its controllable and scalable structure and the easy user interface are considered its major advantages by the users. Easy set-up and quick integration have a lion’s share in the success of the Metus MAM, as well.

Aside from the core elements like simple/full text based searching, search by category/rating, name, tagging, proxy files etc., Metus MAM also has some unusual features. Proprietary image identification and image/frame based searching is the most innovative feature of the system. Remote admin control with high level SOAP API is also amongst its features.

In today’s world, multi-format audiovisual content is unavoidable. With a built-in transcoder, a very wide range of popular document, image and audio/video formats such as MPEG, H264, 3GPP, MXF, Wma, AAC, TIFF, PDF, txt, and RAR are supported in Metus MAM. This makes it easier to recognise and use the files by third party applications. It enables the conversion of existing files to any other format, as well as the digitising of tapes.

In addition to the broad format support such as MPEG-2, Quicktime and MXF, the fast trimming of clips, making playlists and integration with video servers makes the workflow very efficient in broadcasting. Users can transcode between these formats.

The software also comes with multi-language support including English, Russian, and Arabic.

SECURITY Another crucial aspect of MAM software is the security question. For many it is the first question they have in mind, “Are my assets safe and secured?”

In Metus MAM, archived files are sent to client via a secure “tunnel.” All access to the media is done via an application layer, so no windows or network security is involved in the process. The team strengthened the security measures by creating a detailed authorisation tool. As a server-client

Screenshot from the Metus MAM GUI.

based system, it is possible to create groups and users having different access levels in Metus MAM. Setting different authorisation levels for every action and granting different access rights to central archives is also possible.

Furthermore, the system keeps a track of every action and action history can be reported for any action or user.

The fact that it is impossible to access a file in the archives from out of Metus MAM adds a further layer to the security precautions. The user rights can be assigned based on project, Bin, container, asset or individual metadata fields.

ASSET PROXIES PREVENT TIMEWASTING In a multi-user media environment working with hi-res version of asset can be time consuming and block the traffic capacity. In order to tackle this problem, engineers who created Metus MAM equipped the software with a feature that allows for the creation of low-res proxies of every asset for browse and viewing. With the Metus Asset Viewer, users can view and operate on the media and switch between the hi-res and low-res of the asset. If you are dealing with highest quality video, you will enjoy the privilege of working with image sequences. Metus MAM will present you the whole sequence of the file as a single video and create a proxy enabling low-res operation.

Many versions of the video can be attached to each asset, in any format, compression and resolution supported by the system. These “attachments” can be generated manually or automatically by the Metus Process Server.

Metus MAM automatically creates copies of the same asset in several qualities and formats to be used for different requests whenever needed.

ARCHIVE STORAGE & ACCESS Metus MAM works with MS SQL Servers or Oracle databases and supports database clustering, replication and mirroring (dual-copy). Other supported features include SAN/NAS/DAS architectures, multiple storages per archive, HSM (LTO tape based workflow) and file clusters. Custom integration is possible between Metus MAM and third party systems, using the Metus API. The archive can be stored online, nearline or offline (tape and optical) according to the workflow. The server-client based structure enables sharing the media assets with hundreds of clients in the network or on the Internet via SOAP architecture. Windows, Mac or Linux users can browse and retrieve the assets, upload media or enter metadata from their computers. All the Continued page 36 

MEDIA IN THE CLOUD

Taking the Prime Minister’s speech, with all channels broadcasting it, as an example. Assuming the operator creates metadata fields “pm’s speech”, the portal can quickly deliver PM’s speech from various channels at the same time and users can choose from the channel of their own liking.

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MEDIA IN THE CLOUD  Continued from page 35

intensive work is done by Metus Process Server, so client machines are never over engaged.

Data Department Director of Avkom Technology, İlker Kahraman, says, “Users can create an infinite number of metadata fields, custom and automated as well as extracted from files. Therefore, regardless of the archive’s capacity it wouldn’t take more than 10 seconds to find what you are looking for as long as the server is strong.”

It is possible to create a single central archive or archive islands, and users can have access to all of the assets as per their authorisation levels, regardless of file location. Any file download or retrieval request from the users will be fulfilled by the immediate archive location. The software detects the archives in the network from the nearest location to the central archive respectively. Archive islands on the same network can be linked.

Multiple projects can be opened at the same time, multiple users can work on the same project simultaneously, and team members can message and assign tasks to each other, based on their security level. If pre-defined trigger conditions are met, users can be sent tasks and notifiers automatically.

Metus MAM archives the assets and publishes them for playout, Internet and mobile applications. The integrated Metus Online in the software can be used to distribute content to subscribers over Internet. Image recognition can be used for fast detection of certain contents inside recordings.

The software has client plug-ins for Grass Valley, Edius, Final Cut Pro, and Sony Vegas Pro. Playing and rendering the timeline is done on the Metus server directly, no files are copied to local PC. Büşra İpekçi is Corporate Planning Analyst with AVKOM Teknoloji based in İSTANBUL, TÜRKİYE. Visit www.avkom.com

The Cloud as Active Archive

by Front Porch Digital

A VIDEO STORAGE SOLUTION should allow not only for archiving and retrieval, but also for intelligent management and use of the archived data.

The storage management solution becomes an enabler of an extended video lifecycle through multiple monetisation cycles over a variety of different media and platforms, independent of any specific technology, over an extended time period. This is what many call the "Active Archive.”

The archive was about preservation – a retirement home for content – but Active Archive is about having content available wherever its needed, within the enterprise and beyond, in whatever format is needed.

The cloud offers nearly unlimited storage capacity and a universal environment in which to work. It is perfectly suited to this concept of Active Archive – known in the broadcast industry as a form of content storage management (CSM). True CSM is more than simply storage and retrieval. It is about interfacing with all media devices and storage technologies. It is about offering “content-aware” features such as transcoding, timecode partial restore, and asset analytics. It is about direct integration with business systems to link processes, resources, and metadata with the content repository in fundamental ways. Until this capability exists in the cloud, it will always fall short for media companies.

Traditional providers have focused on delivering generic IT storage solutions and have not specialised in video solutions. Therefore, whether due to cost or platform architecture, traditional solutions often appear lacklustre to media companies compared to the costs and comfort of deploying their own on-site solutions.

Also, most cloud storage services are based on traditional IT workflows, which can serve as a starting point but are far too general for video workflows and video lifecycle management. Managing video has some unique requirements that call for specialised knowledge.

MEDIA IN THE CLOUD

Cloud-based CSM solutions were created with video in mind, so they provide video-centric service for a fraction of the cost of the typical cloud service. These Active Archive cloud solutions offer cost-effective “big data” storage as well as the content-centric features of “CSM as a service”.

Longevity of content is delivered by support for the Archive eXchange Format (AXF) from SMPTE, ensuring long-term accessibility, security, and protection of assets beyond any one technology or manufacturer.

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Some cloud CSM solutions are evolving to include high-value features such as: Disaster recovery; Content distribution services; CSM as a service; Business continuance as a service; Online video publishing as a service; Elastic transcoding farms; Storage migration services; Global media asset management (MAM); Metadata mining as a service; and Hub-and-spoke distributed facilities.

The important thing to remember is that not all cloud storage is the same. Video has unique systems integration and lifecycle management requirements that even some of the big-name providers do not understand and are not equipped to handle.

Managing big data effectively in the cloud is dependent upon creating file-based workflows. When you apply file-based workflows to the cloud, it becomes far more than just a storage centre. It opens up a whole new world of working that is more productive and less expensive.

The cloud is also a collaborative workspace for high-value parts of the workflow such as transcoding and online publishing. When an organisation automates those actions, the process becomes even more efficient.

The implications are far-reaching. When more pieces of the video lifecycle move to the cloud, companies become free to build virtual organisations that are located wherever the skill set might be.

Many media companies are at the point of evaluating options and deciding whether to move to the cloud. Instead of thinking of every step and every application as a discrete piece of the process, it makes sense to think about the entire lifecycle of the production and what parts can be done in the cloud. Then, when looking at cloud service providers, look at what services they offer to complement the storage process. Consider these points:

EXPERTISE: Finding a service provider that understands the video lifecycle and how to integrate all the pieces – and has demonstrable experience doing so in companies like yours – is critical.

SECURITY AND COMPLIANCE: The standards that govern security are not written for Active Archive services and CSM in the cloud, so it is not enough simply to ask whether a provider is compliant with a certain standard. It is important to understand how the workflow you’ve established is going to be supported. Pick apart every process and look for vulnerabilities. Work with providers that are constantly revising their security provisions. Consider both physical security and cyber security.

PLATFORM: Is the provider’s platform optimised for long-term video storage? Does the provider have some sort of localised cache that can integrate with your local specialty system? There will always be parts of the process that must be done locally. Does it allow for onward integration with other systems?

COST: Look at pricing for providers that are optimised for big data – as opposed to generic platforms that are generally built for small data – and compare it to the expense of doing the work in-house.

ALTERNATIVE STORAGE: For all its capability and efficiency, the cloud is never a replacement for onsite storage of principal assets. For many organisations, a hybrid of cloud and local storage is the right mix.

Ultimately, the cloud provides users with protection against technology obsolescence. By paying for the service, not the technology, media organisations can shift the responsibility of keeping up with technological advancements to the service provider, who is motivated to migrate to new technologies at the right time because it will lower its infrastructure cost and enable it to continue meeting service level agreements (SLAs).

Visit www.fpdigital.com

RADIO The original broadcast media

www.content-technology.com/radio

Good Reception for DAB+ in Jakarta LATE SEPTEMBER SAW the Asia-Pacific Broadcasting Union (ABU), along with Indonesia’s Ministry for Communications and Technology, Radio Republic Indonesia (RRI), Commercial Radio Australia and WorldDMB host a two-day DAB+ technology workshop followed by a two-day transmission trial and field measurement exercise in and around the city of Jakarta. Delegates attended from Indonesia, Thailand, Singapore and Malaysia.

Key findings from the workshop and demonstration include a set of recommendations for broadcaster and regulators to consider when planning the digitalisation of radio in their countries.

The Director for Special Telecom Public broadcast and USO, Mrs Woro Indah Widiastuti, said, “We look forward to seeing the recommendations from the workshop so we can consider these with the broadcasters in our planning for the business and regulatory framework for digital radio in Indonesia.”

Sharad Sadhu, Director of Technology at the ABU, said, “We are delighted to be a partner at this event which brings in valuable experience to our members in Indonesia. We hope this will empower them to move forward with their planning for digital.”

Joan Warner, CEO of Commercial Radio Australia and Chair of the WorldDMB Asia Pacific Committee who oversees on the ground activity of DAB+ roll-out in the region, highlighted the key steps in Australia’s successful rollout of DAB+ digital radio, the government regulation and policy that helped make it a success, and the importance of an all-of-industry approach.

“Radio must be available across all platforms – AM, FM, DAB+, online, in mobiles, on tablets, in cars and in any other new device that comes to market,” said Ms Warner.

Ms Warner argued that two of the imperatives to pursue the transition to digital radio were spectrum access and future viability.

“In Australia, we decided to go with DAB+ because AM and FM spectrum is increasingly compromised by multi path and man-made interference. A long term view needs to be taken of the radio industry’s future. We can’t just think short term or be scared by new platforms or competition. The radio industry needs to control its own future. If radio broadcasters don’t go digital and take up broadcast spectrum for that purpose - then someone else will ... possibly the telecommunication companies.”

Ms Warner went on to stress the importance of a united voice when dealing with Government and regulators.

“It is important for all of the radio industry - commercial and public - to agree on the standard and policy,” she said. “One voice from the entire industry is more powerful than a splintered approach when talking to government and regulators.

“When developing your industry policy you must insist on access to spectrum, and transmission powers that allow you to broadcast effectively across the whole market.”

In each of the five Australian digital radio launch cities of Sydney, Melbourne, Adelaide, Brisbane and Perth, there are three DAB+ multiplexes - two for commercial broadcasters and one for public broadcasters. Each existing commercial radio analogue station was given 128 kilobits or 1/9 of a multiplex - free. Where a broadcaster has two analogue stations in a market, they were given 256 kilobits or 2/9 of a multiplex. Each broadcaster is responsible for providing their own transmission link to the ensemble multiplexer, which is located at the transmission site.

Existing broadcasters were given first option on the spectrum, but on a use it or lose it basis. The Australian Government also agreed that no new digitalonly operators would be allowed for six years.

“We believe that if a non-broadcaster holds the spectrum and multiplex license, this could add an unnecessary layer of cost,” said Ms Warner. “In terms of cost, the capital and operating costs of the multiplex are shared which makes it very cost-effective long term.

“We are now planning for the rest of Australia. We think that in smaller population areas, there will be only one shared multiplex - between commercial and public broadcasters - needed in the first phase rollout to save on costs.

“We do see DAB+ as a replacement for analogue, but there is no switch off date scheduled for analogue services ... yet! This means that we have time to plan and roll out nationally. Plus, it allows our listeners to change over the radio devices they have in their homes and gives us time to get DAB+ into cars and mobiles.”

According to Ms Warner, once the policy, regulation, technical and content elements of DAB+ are in place, operators need to make sure there is a comprehensive and ongoing marketing plan to encourage adoption.

“In October 2008 - almost a year before switch on - we created an all of industry digital ‘Radio Plus’ logo and website. The website - www. digitalradioplus.com.au - is the information gateway. At the website, listeners can enter their postcode to find out if they if they can receive digital radio in their area. At the website, they can hear all of the digital stations – streamed on the website. It also lists all the DAB+ products and where to buy them.

“In July 2009, six weeks before the official launch of DAB+, we began a series of radio ads on all analogue stations telling listeners that digital radio was coming. We have then continued a DAB+ ad campaign on all commercial broadcasters since launch. Ads are played on every analogue station threefour times a day.”

Marketing aside, Ms Warner also stressed the importance of engaging with retailers and manufacturers, saying that the Australian industry had received “great support” from both.

“About a year from switch on, we set up an advisory group made up of retailers and manufacturers to help us with launch planning and to make sure they were selling DAB+ radios when we launched. We continue to work with them, even now.

“At launch, there were around 20 different DAB+ models. Now, there are more than 130 models in more than 800 stores plus online retailers. Three years ago, at launch, the lowest price was around AUD$159. Now, an entry level radio with scrolling text is as low as AUD$39.”

“The internet and streaming, like TV, the iPod and podcasts, are not going to take over from radio, but rather radio must integrate all of these elements to extend the free-to-air broadcasts,” she said.

Visit www.worlddab.org

RADIO

Opening the event, Rosarita Niken Widiastuti, the President Director of RRI Indonesia, noted that digital will help Radio Broadcasters in Indonesia achieve more efficient use of the spectrum and offer listeners high quality services.

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RADIO

Streaming Across The World

By Brian Galante The global health of broadcast radio is a topic sure to spark responses as varied as the national New Zealand climate. But the broadcasters who work within the medium will quickly point to a wealth of growth opportunities in the digital domain.

Streaming comfortably rests at the top of that pack.

“WE SEE STREAMING MEDIA as an important platform for radio,” said Carolyn Luey, Group General Manager for Digital at The Radio Network.

“We don’t believe that radio listening is decreasing; it’s just moving to other devices. We’re seeing the leading edge of that now, and streaming will become even more important in the future.”

The Radio Network (TRN) operates 124 radio stations in 25 markets across New Zealand. The private company has gradually built its station group, and today offers nine distinct “brands” that broadcast news, talk, sports and music formats.

TRN also has built its streaming platform in increments, first focusing on the web and now expanding into mobile streaming with smartphone apps.

The mobile arm is taking off as TRN delivers new applications and improves audio quality across their digital platforms.

“Our strategy for digital is to increase the number of touchpoints into our audience through multiple platforms,” said Luey. “We’re looking to deliver listeners the full radio experience through streaming, Podcasts and even video. The mobile smartphone is a critical part of this strategy.”

TRN’s thirst for mobile streaming forced the digital media team to evaluate different service providers. The team had successfully worked with an incountry provider for the Web, but that company’s streaming capabilities were limited. TRN had essentially been locked into the Windows Media streaming format, with no possibility of mobile for the foreseeable future.

“We quickly realised we needed to support more formats as the technology moved forward,” said Luey. “So one of the key drivers for finding a new provider was the desire to launch an iPhone and Android smartphone app.”

The search took TRN to StreamGuys, a content delivery network and streaming media provider with a global streaming footprint – and a tested architecture for mobile delivery.

LOCATION NO PROBLEM StreamGuys has data centres around the world, but the company is headquartered just off the northern California coast in the United States.

The distance from here to there — 20 hours in time zone difference — initially raised concern.

“We were at first unsure about moving to an offshore provider to get the service we required,” said Wayne Sleeman, Broadcast Engineering Manager for TRN. “But the flexibility they offered and the ease of setting up streams gave us the confidence to make the switch.”

Common sense prevailed through a gradual transition that started with a single stream. Latency was a concern – “never a great thing from a streaming perspective,” notes Luey – though tests proved signal delays were minimal and reasonable.

For Sleeman it was less about latency than proving that the long-distance relationship would work.

“We had reasonable latency with our previous New Zealand-based provider as well,” said Sleeman. “In the end it was about quality and reliability of the stream – and the ability to support many formats.”

RADIO

MULTI-FORMAT SUPPORT

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Multi-format streaming support is simplified by reducing the workload at the contribution point. Sleeman and his team wanted to avoid the burden of contributing streams in every format they required for their audience.

“StreamGuys essentially transcodes our streams into all the formats we need for delivery to many devices,” he said.

In New Zealand, the TRN architecture encodes audio with Orban cards, which seamlessly hand off the signals to the StreamGuys architecture. Sleeman notes that the Orban product replaces a software-based encoder, and has sharply increased stream quality while keeping the process simple and straightforward.

The Orban cards offer both mp3 and AACplus audio processing, the latter of which gives consumers an even higher-quality listening option.

Live streaming audio is delivered via the open-source Icecast platform to support mp3 and AAC+ audio delivery. Protocols supported include RTMP for delivery to online Flash players; HLS, which handles stream packetisation for the iPhone and iPad; and RTSP, which supports delivery to Android and BlackBerry devices.

Wowza Media servers are built into the StreamGuys architecture to costeffectively support delivery to all targeted devices from a single point.

StreamGuys delivers both live and on-demand content for TRN over its cloud-based streaming platform. The company’s cloud-based service abstracts the hardware layer from services by building clusters of physical nodes on top of the VMWare ESXi platform, which enables server virtualisation. This offers broadcasters a streaming architecture with high availability, strong redundancy and flexibility to scale on short notice.

The scalability aspect is one that especially resonates with Sleeman.

“We can add a stream on short notice and at any time using this architecture,” he said. “I can have a new stream up and configured by StreamGuys within a couple of hours. There is a lot of flexibility in their architecture, to the point where we can light up a new one-off or permanent stream without a lot of aggravation.”

BEYOND AUDIO Jacobs Media provides the mobile applications that are helping to evolve the broadcast radio experience for TRN listeners. The apps integrate within the StreamGuys architecture to ensure that the live stream and other content are delivered seamlessly through a single user interface.

“Jacobs Media has a lot of experience with producing apps for radio,” said Luey. “Our apps are quite dynamic and deliver real-time audio streaming, but also deliver content pages that feed through our websites and are always up to date. We can serve all of our unique content this way, like photo galleries, video, Podcasts, news, weather and traffic. It really supports the multimedia nature of radio.”

TRN has only just begun dipping its toes into the video pool. The broadcaster has launched a live studio camera stream for its NewsTalk ZB format that is gradually building numbers.

“It’s a small following, but there’s a following,” said Luey, who notes that the numbers spike a bit when special guests are on the feed. “But we are looking seriously at video, which is expected to grow quite significantly in New Zealand. Today, service providers are in the process of deploying fibre-tothe-home connections to 75 percent of the country. So it’s expected that online video will grow quite significantly.”

This of course makes advertising over the streaming platform an important consideration. Today, TRN is selling audio pre-rolls with fairly high demand.

RADIO NUMBERS AND ANALYTICS No streaming service is complete without facts and figures. TRN is today using StreamGuys’ monitoring and reporting software to positive results, some of which have helped the company strategise for the future.

The two primary resources are SGMon, a concurrency monitoring service that provides per-stream data; and SGReports, which provides richer details within custom reports.

“SGMon offers data tied to simultaneous listeners per stream, per format and per station,” said Andrew Jones, sales engineer for StreamGuys. “The software polls the server every five minutes to take readings on listener numbers and create an archive.

“The purpose of these services is to assist with business plans and determine if and when service changes are required based on numbers and bandwidth commitments,” said Jones.

Luey notes that TRN wasn’t completely certain of its bandwidth requirements upon migration to StreamGuys. Her team worked closely with Jones and sales representative Matt Marvin to determine capacity needs at the time and into the future, gradually scaling to their current bandwidth needs.

“It quickly became clear that we under-forecasted our bandwidth requirements,” said Luey. “Matt was very good about introducing tiers into our contract that gave us the advantage to increase bandwidth requirements on the fly.”

Luey adds that the analytical software has been helpful with forecasting.

“There’s a lot of data crunching to be done, but we get all the analytics we need in terms of streaming hours, unique users, total number of unique streams and similar information,” she said. “You start to notice the seasonal trends as well. Our Radio Sport brand is a good example. Traffic really pegs during big events like the Olympics and the Rugby World Cup, and then decreases quite significantly during slower sports cycles.”

Frontier Silicon Transforms the Listening Experience FRONTIER SILICON, a leading supplier of Digital Radio and Network Audio technology, has announced the launch of its new DAB 5.0 Software Development Kit (SDK). By adding Bluetooth connectivity to Frontier’s Verona DAB/DAB+ module, DAB 5.0 introduces a closer level of integration between smartphones/tablets and radio/audio devices delivering a simple and intuitive user experience.

As trends in digital listening evolve, it is vital for consumer electronics brands to meet the needs of customers by delivering audio systems that integrate with the connected world. DAB 5.0 provides the technology to give consumers complete freedom of listening choice in one simple audio product.

“Today’s consumers expect the freedom to listen to music from a vast number of different digital sources,” said Prem Rajalingham, VP of Sales & Support at Frontier Silicon. “DAB 5.0 has been designed to enable products to bring this content together and deliver an enhanced experience via wireless integration with iOS and Android handheld devices – and all in a product the size and cost of a traditional speaker dock or quality portable radio.”

DAB 5.0 runs on Frontier Silicon’s range of Made for iPhone compatible DAB modules and chipsets. When combined with controls, display, amplifier, loudspeaker and a suitable Bluetooth module, DAB 5.0 provides a simple route to a wide range of advanced digital audio products.

Visit www.frontier-silicon.com

SPECIAL EVENTS The recent Rugby World Cup is an ideal example of TRN and StreamGuys working together to launch a special service on short notice. TRN served as host broadcast for the Cup, which took place in New Zealand last fall.

“Part of their contract with the International Rugby Board required delivery of a 128 kbps mp3 Flash stream, along with content protection that would prevent audiences from outside the country from accessing the streams,” said Jones.

Sleeman asked StreamGuys to establish a test stream within the existing architecture. The quality was confirmed, and StreamGuys added its GeoBlocking digital rights management technology to an existing Wowza Media server. This fulfilled the legal obligation of preventing access to audiences outside New Zealand.

“It’s a simplistic view, but it just works,” said Sleeman. “They turn it on and we go about our business.”

The importance of communication for both special events and ongoing support of existing services is critical given the distance between the two companies, ensuring that nothing skips a beat.

“The fact that they are 20 hours ahead of us means that our around-the-clock technical support is that much more important,” said Marvin. “We have wellestablished protocols to help them light up new streams and troubleshoot issues. It doesn’t take very detailed requests to get them what they want. It’s a big testament to the quality of their workflow and operation.”

VDL Monitoring for New DAB+ Network in Hong Kong VDL HAVE SUPPLIED ensemble and SFN monitoring products to system integrator, BTL – Broadcast Technology Ltd., who were awarded the contract to build Hong Kong’s DAB+ transmission network.

VDL supplied a number of Single Frequency Network Synchronisation Monitors (DAB Monitor SFN) that continually measure the offset timing of each transmitter in order to maintain integrity of coverage.

VDL also supplied an off-air Ensemble Logger and Monitor (DABSTORRx) that captures ETI files and, also, allows the network manager to play the audio and view DLS text and Slideshows from all 18 DAB+ services simultaneously in real-time.

BTL also used a number of VDL ETI Splitters in the DAB+ Multiplex distribution network to transmission sites.

The Hong Kong Government issued DAB+ licences to three commercial operators – DBC HK, Metro Broadcast and Phoenix U, and the public broadcaster RTHK. Broadcasting of 18 channels in DAB+ began on a 24 hour basis in November 2011.

Visit www.vdl-broadcast.com

RADIO

SGReports broadens the scope for TRN and other users. This is a log-based analytical service that can create very specific reports on visitors tied to geographic locations, average dwell times, individual IP addresses and other figures.

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AUDIO Digital soundwaves

www.content-technology.com/audio

Calrec Showcasing Hydra2 and Bluefin2 AT IBC2012, Calrec showcased Hydra2’s ability to interact with third-party control and production automation equipment. To give broadcasters a sense of Hydra2’s potential as a networking solution, Calrec will exhibit its equipment in a scenario akin to how it would be used in an actual production environment.

Demonstrating the Calrec Serial Protocol will be a Ross switcher emulator in conjunction with Ross Overdrive technology, which will allow for visibility into, and third-party control over, a number of Calrec audio console settings such as fader position, PFL and cut control for paths on faders, routing to auxes from faders, output level control for auxes, routing to mains from faders, main output level/fader control, and LB/RB input switching for paths on faders.

The SW-P-08 protocol incorporates a variety of third-party router panels — including Evertz, Nvision, and LSB’s Virtual Studio Manager (VSM) — to demonstrate remote control over input-to-output crosspoint patching. In addition to direct routing of physical inputs to outputs, it can also route to and from a console DSP via Calrec’s Hydra Patchbays.

Calrec also demonstrated Artemis Light, the newest member of its Artemis family of Bluefin2/Hydra2 audio consoles, and the Apollo audio console. New for IBC2012, the Artemis Light introduces a new compact processing rack dedicated to delivering digital signal processing (DSP) and routing capabilities in a 4U enclosure.

Visit www.calrec.com

DPA Highlights Broadcast Microphone Range DPA MICROPHONES has shown a range of

left or right side of the head.

high-quality microphones that are suited to broadcast applications at IBC 2012. Among the products on show was DPA’s expanded d:fine series of headset microphones and the new d:facto vocal mic that made its debut earlier this year at Prolight + Sound.

DPA Microphones d:facto hand-held vocal mic bridges the gap between live stage performances and studio recordings. Offering a natural sound, high separation from nearby sound sources and extreme sound level handling, this microphone combines a supercardioid pattern with superb definition to give high separation and true sound colour on stage.

DPA’s d:fine headset microphones provide presenters and guests with a discreet microphone solution that can’t be seen on the face. d:fine is available in both directional and omnidirectional options, in single or dual-ear designs and with long or short booms. Designed to fit comfortably, they adjust to accommodate any ear size and head shape and can be mounted on either the

d:facto has already been put through its paces on several TV shows, including Voice of Denmark, a standard format TV show broadcast in several countries. DPA was also showing its light-weight range of miniature microphones.

Visit www.dpamicrophones.com

DK-Technologies Unveils DK3 To Europe DK-TECHNOLOGIES is now offering

AUDIO

broadcast engineers the ability to de-embed 16 channels of audio from an SDI input by using its DK3 Compact Audio Loudness Meter.

DK-Technologies has also made its StarFish surround sound display available to all DK meter users, as well as those investing in the new DK3, which made its European debut at IBC 2012.

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The DK3 is compliant with all loudness recommendations and has pre-sets built in to allow for EBU R128, BCAP, ATSC A/85, ARIB, ABC, AGCOM 219 & ITU 1770-2. Alongside StarFish, new software features include moving coil emulation of PPM and VU mechanical

meters with user selectable scales and a goniometer display for stereo audio. These features are also available to DK1 and DK2 users via a free software download.

DK-Technologies completed its IBC line up with its full range of audio and video solutions including the PT0700 Series multi-channel waveform monitor, which delivers remote access, logging, Dolby decoding, audio delay, video measurements and loudspeaker level control. DK-Technologies also showed its SPG with auto changeover, which now has GPS and SNTP options.

Visit www.dk-technologies.com

Cobalt Digital Processing and Monitoring Over IP COBALT DIGITAL has introduced the European market to technologies at IBC that provides a path to EBU R128 and CALM compliance. Among the products are LMNTS and SpotCheck. Cobalt also demonstrated the new Blue Box Group series of throw down conversion modules, a new range of MADI cards, and both physical and virtual remote control panels.

Using LINEAR ACOUSTIC Aeromax technology, Cobalt’s LMNTS performs automatic loudness processing across many transport streams.

It operates at the MPEG IP transport layer to provide a practical loudness management solution without the need or complexity of external codecs transferring between baseband and MPEG external interfaces.

Available in both IP and ASI versions, LMNTS extracts and decodes audio codec packets from the program stream, performs high-quality PCM loudness processing, and then re-encodes and re-packets the audio within its stream.

Cobalt’s SpotCheck monitors an IP, ASI, or a transmitted over-the-air MPEG stream at the transmit (emission) encode point, and provides long-term access to loudness records for all programming initiated from a broadcasting facility.

SpotCheck pinpoints all segments that are outside of CALM/R128 compliance, providing documentary proof should an erroneous complaint appear. Ethernet control enables integration with facility IT providing long-term logging/thumbnail storage.

Cobalt returned to its roots by presenting a modular signal conversion line offering excellent performance, ease-of-operation, and practical installation. The series – named Blue Box Group – receives its power directly form video monitors or other equipment via USB without bulky adapters.

Cobalt’s new series of MADI embedder/deembedder processing cards opens up new possibilities in multi-channel/multi-source baseband audio routing (192 x 192 crosspoint switch). The 9374-EMDE Quad Stream SDI – AES – MADI series provides a full, unrestricted audio crosspoint that allows channel routing between any channels on up to four SDI steams, discrete AES-3id, and AES10 MADI interfaces.

Cobalt has developed remote control panels for control, configuration and monitoring of the 9000 COMPASS and Fusion3G cards. The OGCP-9000 can be used with multiple 8321 and HPF-9000 frames and cards. The WINOGCP virtual control panel via PC offers controls that mirror the abilities of the hard OGCP-9000 panel using computer mouse via Ethernet.

Visit www.cobaltdigital.com

AUDIO

Digigram Extends Product Ranges RTP- and N/ACIP-compliant streaming formats.

AQORD *LINK is Digigram’s new encoder/decoder/transcoder for highquality IP video and broadcast. Its applications include content contribution (point to point) from a live event to the studio, from one studio to another, from studio to transmitter, or delivery to a content distribution network (CDN). Designed for SD/HD live streaming, the AQORD *LINK simultaneously processes two video channels with a built-in storage capacity of 1TB.

DIGIGRAM HAS SHOWN additions to their range of IQOYA, AQORD, and CANCUN products at IBC 2012.

Extending Digigram’s range of IQOYA IP audio broadcast solutions, IQOYA *CALL/LE is a cost-effective, versatile audio-over-IP (AoIP) codec for use over standard Internet connections such as DSL lines, WiFi, and 3G. Designed for any real-time AoIP contribution application requiring end-to-end 24-bit fullduplex audio quality, this codec offers a symmetric RTP mode that allows for quick and easy setup of full-duplex connections over the Internet.

IQOYA *CALL/LE also provides interoperability with Digigram IQOYA V*MOTE, V*CALL, IQOYA *MOBILE, or any third-party IP codec supporting symmetric

CANCUN is a range of mobile USB sound cards for audio professionals and reporters. The range offers high-end performance and features with an ergonomic design that makes the cards efficient to use. CANCUN is initially available in two models: the CANCUN 442-Mic with four inputs and outputs, and a dual input/output version, the CANCUN 222-Mic. Both offer simultaneous analogue and AES I/O with 2×500 MIPS dual-core processing power.

CANCUN’s mic preamp delivers 55 dB gain, 105 dB THD+N, and a maximum sensitivity of -60 dBu. The pro-grade specification delivers analogue levels of +25 dBu maximum and guaranteed low latency of less than 4 mS on Windows and Mac OS X platforms.

Visit www.digigram.com

Jünger Audio Introduces M*AP M*AP – the latest addition to its *AP family of audio loudness processors.

The processor combines an audio monitor controller and a loudness measurement device in one unit.

Designed for quality checking surround (5.1) and/or stereo programs, M*AP can be used for live monitoring and also to ensure compliance with government regulations on loudness.

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values.

Loudness measurements can be performed over a long run, over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons on the X*AP remote panel.

Alongside loudness measurements, M*AP also offers functionality for

DELEC Presents New Products and Features DELEC HAS PRESENTED a range of new products and features of its oratis intercom and commentary systems at this year’s IBC, including two new oratis boards. The new party-line interface connects belt packs from other manufacturers to oratis and the new Dante interface enables remote devices from other vendors to be addressed directly, such as mixing consoles, audio routers or monitor speakers.

“These new products and features make our oratis systems even more flexible,” said Donald Dilocker, DELEC founder and CEO. “And they demonstrate once again why DELEC is well known for innovation in intercom and commentary systems.” oratis is based on current FPGA technology and offers unique flexibility and future-proofing combined with DELEC’s high reliability. oratis can be used to create compact intercom systems featuring as few as eight ports to larger installations with more than 4,000 ports accessible simultaneously.. oratis intercom systems include three basic components: one or more matrix frames, various matrix cards, and the subscriber panels connected to them.

The quantity and configuration of components are freely definable, enabling the oratis to adapt to a multitude of applications. All components of an oratis installation are networked using managed Gigabit Ethernet.

Visit www.delec.de

acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

Peter Pörs, Managing Director of Jünger Audio, says,”By incorporating 3G, HD and SD auto detection, M*AP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time.”

The M*AP’s SDI board acts as an embedder as well and comes with video delay to compensate for any kind of audio delay. M*AP also features a builtin Dolby Metadata generator and an optional Dolby decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

At IBC 2012, Jünger Audio also showed the rest of the processors in its *AP range and Loudness Logger, a tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time.

Visit www.junger-audio.com

NOA Shows Product Advances NOA AUDIO SOLUTIONS has shown their next round of innovation at IBC 2012, including an ingest tool for SD video that’s simple to use and fully integrated with NOA workflow solutions.

NOA showcased advances in ingestLINE for transcribing media content from analogue to digital format, and mediARC, a versatile, comprehensive and effective media archive management system.

NOA ingestLINE FrameLector is the first video ingest module for typical SD material such as betacam SP. This ingest tool provides scene detection, lossless compression on open source standards, remote control and an infinitely scalable multistream parallel solution, with complete previewing.

The IBC exhibit featured new mediARC features that give content librarians the tools they need to create metadata more rapidly and accurately. The new version of mediARC supports comprehensive Batch Editors, and materialised Links can now be edited from within one item. Additional enhancements include document management and Single Sign-on as part of the Web Module.

Visit www.noa-audio.com

AUDIO

DYNAMICS SPECIALIST, Jünger Audio, used IBC 2012 to unveil

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TRANSMISSION Signal distribution, test & measurement

www.content-technology.com/transmission

First Nationwide DVB-T Network for Cambodia CAMBODIA’S FIRST NATIONAL Pay Digital Terrestrial TV Platform, under the “One TV” brand name, has had its highly anticipated official soft launch. The project is being implemented as a joint venture between the Royal Group of Companies (Cambodia) and the General Satellite Corporation (headquartered in Russia). The key technology partner for the venture is Exset, an internationally recognised CAS company, which provided its Digital Monetisation System (DMS).

Alex Borland, CEO of Exset, said, “My team and I are delighted to be part of this historic launch of the DTT platforms, which will have a far reaching impact not only on the Cambodian Pay-TV market but also the DTT forays across emerging markets.”

Polina Patova, CEO of One TV, added, “The technology and approach of Exset towards the successful implementation of the platform has been exceptional and we felt that DMS will be one of the key drivers of our business going forward.”

At the One TV launch, [left to right] Polina Potapova, CEO of One TV (Royal Media Entertainment Corporation Limited); Sergey Dolgopolsky, Director of the Foreign Broadcasting Projects Department of the General Satellite Corporation; Andrey Tkachenko, President of the General Satellite Corporation; Alexei Malinin, Russia’s Deputy Minister of Communications and Mass Media; Khieu Kanharith, Cambodia Minister of Information; Neak Oknha Kith Meng, Chairman & CEO of the Royal Group of Companies; Ouk Vora, COO of One TV (Royal Media Entertainment Corporation Limited); and Sameer Sharma, Senior Advisor at ITU Regional Office for Asia & the Pacific.

Exset selected Hyundai Digital Technology (HDT) as its STB strategic partner. HDT is presently providing MPEG4 Set-Top-Boxes (STBs) for One TV, the first nationwide digital terrestrial TV platform service in Cambodia. Cambodian televisions are expected to switch to Digital Video Broadcasting Terrestrial (DVB-T) in 2015.

“We are delighted to have Exset and HDT as partners for our digital terrestrial TV platform,” said Mr. Jonas Hastnig, CTO of One TV. “The robustness of HDT STB and Exset’s security coupled with Value Added Services on Exset’s Middleware will ensure that our customers enjoyed a new digital experience.”

TRANSMISSION

Visit www.exset.com

Hiltron Helps to Shape Uzbek DTV

Aspera Opens Office in Singapore

SATELLITE EQUIPMENT MANUFACTURER and system integrator, Hiltron GmbH, has commenced three new digital video broadcast terrestrial headend installations in Uzbekistan.

ASPERA, INC., the developer of software technologies to move large amounts of data at high speeds, has announced the opening of an Asian regional office in Singapore. The new office will better serve Aspera’s rapidly growing base of high-speed file transfer software users across Asia Pacific and further drive business expansion in the region.

“Each head-end consists of a 2.4 metre satellite antenna feeding several receiver/decoders,” explains Hiltron Managing Director Michael Schiestl.

“Also being integrated are network adapters to receive national television programmes arriving from the Tashkent headquarters of Uzbek Telecom via a chain of terrestrial microwave links. Local sources will then be encoded and multiplexed with the national programmes into a single transport stream for DVB-T transmission. We are equipping each transmission site with two multiplexers and up to four MPEG-4 encoders. The equipment will be controlled from a network management system which we will be integrating into a turnkey installation.”

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“Royal Media Entertainment will be a stepping-stone and game changer in the history of Pay-TV with the implementation of the award winning DMS. We congratulated the team on the successful launch and look forward to taking DMS to the other Pay TV-platforms across emerging markets that the Exset and General Satellite association is set to embark upon,” added Mr. Rahul Nehra, Global Head of Sales & Marketing, Exset.

The first of the three head-end systems is on schedule to ship in midNovember for mid-December completion. The other two will follow in the spring of 2013.

Aspera 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 highperformance movement of ‘big data’. Well known organisations in Australia, China, Japan, Korea, Singapore, Thailand and the Philippines — including ABS-CBN, Arirang TV, Australian Broadcast Corporation, BGI, CJ Powercast, Dubsat, Encompass, Foxtel, Lenovo, MediaCorp, Modernine TV/Channel 9, National Institute of Genetics, NHK, Phoenix TV, Samsung, SBS and TV1 — have deployed Aspera solutions to support critical business operations.

This latest contract follows Hiltron’s successful completion of approximately half the digital head-ends in Uzbekistan and is being progressed in cooperation with Rohde & Schwarz.

The new office location in Singapore houses business development, marketing and support functions. The addition of local technical support in Asia Pacific to existing teams in Europe and North America allows for rapid response and completes the company’s global customer service operations, further enabling ‘follow-the-sun’ support for Aspera customers worldwide.

Visit www.hiltron.de

Visit www.asperasoft.com

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SINGAPOREAN INTEGRATED COMMUNICATIONS and entertainment company, StarHub has optimised the infrastructure for its digital cable TV platform with new technology from Thomson Video Networks.

By installing systems based around Thomson’s latest-generation ViBE EM4000 encoders, StarHub has been able to reallocate bandwidth to accommodate extra channels, while simultaneously improving video quality.

StarHub’s new infrastructure includes both ViBE EM4000 HD and EM2000 SD encoders, with NetProcessor 9030/40 multiplexers and XMS management system. The extra efficiency of the new EM4000 third-generation H.264 encoder — and EM2000, working in combination with the NetProcessor 9030/40 multiplexer, will allow StarHub to deliver better images to subscribers, and launch new SD and HD channels. The new infrastructure has been fully integrated with StarHub’s existing installation of Thomson encoders and management system.

“This latest evolution of the ViBE encoder platform offers really significant benefits to our operation,” said Ms Bee Lian Ong, VP of Interactive TV & Media, StarHub Ltd. “The pictures from the EM4000 are excellent, and the ability to add more channels to our platform means we are able to increase the attractiveness of our cable offering in both quality and quantity.”

The ViBE EM4000 multi-channel HD encoder achieves its performance through improved motion estimation and enriched encoding logic. With HD performance, the ViBE EM4000 typically allows users to add an extra channel to a transponder without reducing picture quality, or opt for improved quality with the same number of channels. Designed for evolution, the ViBE EM4000 supports future formats and provides continuous efficiency improvement through further development of the platform.

Visit www.thomson-networks.com.

CABLE TV Takes 3D Premier League to HK Cinemas HONG KONG’S CABLE TV has announced it will show the upcoming clash between top Barclays Premier League (BPL) giants Chelsea VS Manchester United in local cinemas live in 3D format.

The much anticipated match taking place at midnight on October 28 (HKT) at Stamford Bridge in London is being brought to 16 cinemas across the territory. It follows the showing last May of the UEFA Champions League final on 3D screens operated by leading local cinema circuits.

Commenting on this latest round of cooperation, a CABLE TV spokesperson said the Oct. 28 match is the cable operator’s answer to calls from fans wanting more 3D live action in film houses.

“The UEFA match in May was very well received, indicating a strong demand for viewing exciting sports events away from home or other more traditional venues. Chelsea VS Manchester United is just the kind of game that is best to be seen on big silver screens and in exciting 3D effects,” he said.

“A total of 16 cinema houses will be showing the Oct. 28 match, which is more than double that for the UEFA game in May. We are confident that football fans would be thrilled to watch BPL in such an unprecedented way.”

The match will come with Cantonese commentary provided by i-CABLE Sports. CABLE TV will broadcast the match live on its BPL Platform in multiple formats. The 3D version will be available on hd204 and can be viewed by subscribers to its BPL, Sports & Entertainment HD Packs with their 3D TVs. The HD version will be simulcast on hd200 and SD on Channel 300.

Visit www.i-cablecomm.com

KBS Gets Green Light from ABU Technical Awards TECHNICAL AWARDS took centre stage at the recent ABU General Assembly with the inaugural ABU Green Broadcasting Award being won

by Seon Kwon Kim, the Executive Managing Director on behalf of Korean Broadcasting System (KBS). The prize was presented by Choong Jin Kim, CEO and President of KOBA Show Korea, at an awards ceremony at the union’s 49th General Assembly in Seoul.

Mr Kim initiated research on LED lights in KBS which saved the broadcaster around 80% of power for lighting in just two studios. Mr Kim also set up a plan to replace 12 existing power-intensive vacuum-tube transmitters with efficient solid state units to reduce the power consumption by 90%. He increased the use of Virtual Reality studios to reduce wastage of stage props and wooden sets; reduced the number of high-cost AM transmission sites while keeping same coverage; and merged high-power server farms into a single low-power, high efficiency integrated server.

This year’s ABU Broadcast Engineering Excellence award was won by Dr Kazuyoshi Shogen, Senior Associate Director at B-Sat Corporation of Japan and the award citation was presented by Mr Chris Grey, General Manager of Sony Corporation, Hong Kong.

The ABU Engineering Industry Excellence award was won by Mr James Rodney Santiago, Consultant with the Association of Radio Industries and Businesses (ARIB). The award citation was handed over by Seon Kwon Kim, the Managing Executive Director of the New Media and Technology Division of KBS. In the ABU Technical Review prizes category, the award for the Best Article was jointly won by Dr Ngo Thai Tri, Mr Nguyen Chien Thang and Mr Nguyen Chien Thang of AVG in Vietnam. Two articles by Mr Chris Grey and Mr Aaron Hee of Sony and Mr Garry Kum of TVB Hong Kong were commended. The prizes were presented by the Secretary-General Dr Javad Mottaghi.

“The ABU technical awards are recognition of the unsung heroes of broadcasting,” Dr Mottaghi said. “These are the people who keep our broadcasters on air in all sorts of difficulties while at the same time building better systems for our industry.”

Visit www.abu.org.my

ASTRO Extends Set-Top Contract with Technicolor TECHNICOLOR HAS ANNOUNCED that it has extended its contract with Astro, Malaysia’s leading integrated cross-media group. Further to the delivery of a first batch of MediaPlay High-Definition (HD) MPEG-4 set-top boxes over 2010-2011, Astro has granted Technicolor an additional contract for the same platform to be delivered in the coming months.

The set-top box supplied by Technicolor will still offer the ability to record to one or several external disks, allowing subscribers the convenience and flexibility to tailor their recording capability for meeting their own requirements.

“This is another important milestone in our long-term relationship with Astro, which is a proof of the reliability and future proof of Technicolor’s products and services,” said Michel Rahier, President of the Connected Home Division at Technicolor. “We have been partnering for about eight years now and it is a great pride to see our products sustaining Astro successful strategy in delivering high-quality services.”

“We are happy that our customers are satisfied with our innovative high definition services. To this end we are pleased to continue our partnership with Technicolor, and look forward to more innovative range of set-top boxes,” added Kong Futt Fong, SVP of Strategic Contracts at Astro.

Visit www.technicolor.com

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StarHub Adds Channels with Thomson

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Mediaproxy Unveiling LogServer IP MEDIAPROXY PTY. LTD., a provider of broadcast, compliance logging and content monitoring solutions, has introduced LogServer IP at IBC 2012.

LogServer IP offers native TS logging, MPEG streaming, and playback, as well as enabling search, playback and analysis of both decrypted and encrypted transport streams sources. It comes with Monwall IP, a next-generation multi-viewer client, providing live MPEG-2 and MPEG-4 streaming, and TS event monitoring. LogServer IP is also compliant with all loudness regulations.

It will be available as software-only or as an appliance with either 80 TB or 120 TB of RAID protected storage. Mediaproxy offers an upgrade path from either direction: owners of its LogServer or LogServer ASI can move to LogServer IP; and customers with LogServer IP can add proxy logging and encoded streaming to their platform.

Visit www.mediaproxy.com

Appear TV Goes Over The Top APPEAR TV HAS LAUNCHED multiscreen & OTT transcoding hardware solutions to reduce the complexity for broadcasters and telcos providing professional quality OTT services in a multiscreen environment. The main aim of these products is to optimise the multiscreen experience through hardware encoding and transcoding.

These products – which were demonstrated for the first time at IBC2012 – have been launched to provide a combination of quality and reliability for OTT and multiscreen distribution.

The Appear TV multiscreen solutions have been designed to remove the issues facing operators that are increasingly finding that software-based encoding and transcoding are just not suitable for high-quality commercial OTT services. Appear TV also had a number of additional new product launches, as well as demonstrating its full range of modular head-end solutions that enable operators to deliver professional broadcast services to millions of users around the globe.

Visit www.appeartv.com

Rohde & Schwarz Joins the Headend ROHDE & SCHWARZ has entered the market for headends with the launch of its R&S AVHE100 system solution. The R&S AVHE100 differs from conventional solutions thanks to its new architecture and redundancy concepts, with the focus currently on the DVB-T2 and DVB-T standards.

At IBC, the company also showed new transmitters based on Doherty technology and is expanding its test and measurement portfolio by adding measuring instruments that are specially designed for digital video interfaces such as HDMI and MHL. The R&S AVHE100 from is built with high-performance professional IT hardware and an R&S A/V gateway that converts legacy signals such as SDI and ASI into IP format at the system boundaries. All signal processing functions were implemented using purely software-based modules. The R&S CrossFlowIP function increases system availability and ensures seamless signal switching in case of redundancy.

The R&S TMU9 is a new, air-cooled medium-power transmitter for the UHF range. It is also the first air-cooled transmitter featuring Doherty technology to significantly increase energy efficiency, allowing network operators to reduce their energy costs by as much as 40 percent. It offers more than 50

Adder Products Ensure Broadcasters Connect THE ADDERLINK INFINITY digital KVM extender from Adder Technology has been used at IBC2012 to pipe news and information to thousands of attendees across the exhibition and conference. Adder, an official technology sponsor of IBC2012, also showed the AdderLink Infinity and the AdderLink Infinity Dual on its stand, which demonstrated command and control in a mock-up of a video control room.

The AdderLink Infinity solutions offer broadcasters the ability to create a flexible infrastructure, allowing a computer and user to be separated by almost any distance over a gigabit network without any loss in capabilities, reduction in video resolution, audio quality or USB latency.

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It has the capability to run any size matrix with DVI, USB, RS232 and Audio on all ports, the only limitation is the user’s network and how the traffic architecture is configured. Designed with Apple in mind, the AdderLink Infinity Dual provides dual link DVI, allowing it to support very large screens.

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Also being demonstrated at IBC2012 was Adder’s CCS4USB FreeFlow Command and Control KM solution, which enables the operator to switch between several computers by moving the mouse to the desired screen using just one keyboard and mouse.

Visit www.adder.com

possible transmitter configurations to provide a custom, efficient solution for any application.

Rohde & Schwarz also presented its studio broadcast and post-production solutions. VENICE is a media production hub that allows the existing SDI structure of a TV studio to migrate to a modern, file-based world so that broadcasting becomes more effective and cost-efficient. The new version 5 of CLIPSTER provides considerably faster DCP remastering, makes it possible to check the quality of digital movie packages and also offers an enhanced 3D feature set.

In the field of test and measurement, Rohde & Schwarz has expanded its portfolio for manufacturers of set-top boxes, tablet PCs or smartphones by offering measuring instruments specially designed for digital video interfaces such as HDMI and MHL. The R&S VTC video test centre can be used to test the functionality of these interfaces and their compliance with standards. The instrument performs protocol and A/V analyses in realtime, including picture quality analysis.

Visit www.rohde-schwarz.com

MultiDyne Optimises High-Bandwidth Signal Transmission MULTIDYNE, provider of fibre optic-based video and audio transport solutions for broadcast and pro A/V applications, was demonstrate a new pair of CWDM multiplexing solutions, the HD6000 and HD-6000-ONE, at IBC2012.

The HD-6000 and HD-6000-ONE systems optimise transmission anywhere SDI signals need to be trunked, offering users a compact, cost-effective, multichannel solution for extending SDI transport.

While the HD-6000 offers six HD channels over six fibres, the HD6000-ONE harnesses CWDM technology to optically combine six channels onto one singlemode fibre.

“Our new HD-6000 and HD-6000-ONE CWDM HD transport systems were designed to simplify the transmission of high-bandwidth HDSDI signals,” said Frank Jachettta, president, MultiDyne. “Using just a single fibre, users can quickly and easily transport multiple highbandwidth signals, regardless of the operating environment.”

Visit www.multidyne.com

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The Future Direction of Channel Playout By: Andrew Warman, Senior Product Marketing Manager, Harris Broadcast Communications

When it comes to broadcast play to air, conventional thinking says a variety of equipment is required to reliably play out the schedule created by the traffic and sales system that drives each channel. This includes automation for control, asset management to make sure the right content is available at the right time, a video server for clip playout and graphic branding equipment to individualise the channel. Master control must be considered if live content is added, or there is a need to jump in and out of a main feed.

A variety of other supporting systems are also needed to ensure compliance with prevailing regulations. were simpler, video servers were in their infancy, and on-air graphics used were not nearly as intricate. It seems reasonable to assume that the growing popularity of “channel in a box” (CIB), or “station in a box” systems aimed at play-to-air should ultimately replace conventional wisdom as it exists today.

That said, there are challenges to consider.

Those that have either looked at or implemented systems around CIB have, for the most part, focused on low revenue-generating channels. This is driven by the ever growing proliferation of channels serving different niche interests.

This makes sense, since a key promise of CIB is lower capital costs. The costs of launching new services need to be modest in light of the modest revenue generation expected in return. Bottom line impact on a low revenuegenerating channel is relatively modest, so gambling on a less mature technology is often worth the risk.

The overall reliability of CIB has been questioned. There are numerous areas where these systems can go wrong. The primary area revolves around relative complexity of the channel being delivered. The more you ask of the channel the less stable it becomes. This is because CIB systems are running on IT solutions. Essentially they are as good as the software applications they run, and the strength of the broadcast hardware inside.

Two areas that chiefly impact CIB reliability are graphic branding and clip playout. Graphic processing power is growing rapidly, thanks to the growing demands of computer gaming and related industries. Yet loading and playing graphic elements generate spikes of activity with variable load depending on the graphics requirements for that particular element. These bursts of activity can cause issues to other software systems running on the computer used for playout.

In contrast to graphic branding, playing video clips is a relatively simple task. But clip playback can also confound CIB solutions. Common causes are the complexity and variety of codecs, malformed content received by file distribution, and the appropriate use of QC to ensure valid files are ingested.

Hardware reliability is a relatively minor concern in comparison. Building a system that requires 1:1 redundancy may be wasteful, so being able to deploy N+1 solutions to ensure system availability is desirable. This approach reduces the volume of file transfers, space requirements and equipment costs.

Overall reliability as related to software and hardware is something that maturity will ultimately bring. Some solutions are more mature than others, either due to the underlying intellectual property they are built on, or evolution of the system over time.

It has been said that unless everything to drive a channel is in “the box”, then it is not a channel in a box. CIB systems do not have everything that is needed fully integrated within. There are additional costs to ensure the channel has everything needed to go to air. So, while you may not be able to get a complete channel in a box, you can get several channels in a rack.

Since many CIB implementations are around low cost or niche channel applications, the interoperability and scalability of the system is likely small, or simply non-existent. This begs the question, “What if my channel becomes successful?”

One scenario to avoid is system replacement. Long-term value is maintained if the CIB has the ability to grow and adapt over time. That does not just mean new software modules added to the box; but also how it interacts with external systems such as traffic and billing, redeployment in shared storage applications, and the ability to support more complex automation control.

Solutions that cannot grow in functionality are little more use than the single function devices that CIB is intended to replace. This is the chief reason why IT-based solutions are chosen to build upon. Vendors get to ride the IT performance curve. CPU, GPU, RAM and drive performance is always on the rise. Parts exchange for more performance is better that complete chassis replacement to get more value long term, and support more complex features as they become available.

CIB systems rely on caching content to the playout device, and then playing that content to air. This approach is fine for many applications. However, if a channel needs more dynamic access to content, having the option to directly play from shared storage is important. This applies to cases where content is edited or added at the last minute, or where multiple channels play most, if not all, of the same content in their schedules.

One of the attractions of digital solutions and file-based workflows is the ability to make changes at the last moment. This is commonly supported in many systems, and can be further extended to activities such as selling commercials right up to airtime. There is no reason why a CIB system should not support this same dynamic approach possible with conventional solutions. Therefore, the way the system works with traffic and billing and automation can become an area of focus.

It seems that channel in a box solutions are here to stay. It is entirely reasonable to expect they will eventually play a key role in channel delivery.

While they do not suit all needs, many applications of the technology will solve and simplify the air chain and address ease of use and maintenance issues. How long it will be before they become a dominant force in play to air remains to be seen.

Versio IBC2012 saw the introduction of Harris Versio solution – a channel-in-a-box design for broadcasters that combines baseband video, channel branding and automated workflow capabilities in a software-based, single-rack-unit (RU) solution.

Versio significantly reduces 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.

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 software-based configurations range from single-channel launches to multi-channel distribution, expansion and disaster recovery systems.

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THINGS LOOKED RATHER DIFFERENT 15 years ago. Control systems

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CLASSIFIEDS ‘Adapt or Die!’ – IABM Annual Conference to Focus on Profitability THE IABM (International Association of Broadcasting Manufacturers) has announced that the organization’s annual conference will be held Nov. 29-30 at the Mercure Windsor Castle Hotel, Windsor, U.K. Open to all within the broadcast and media technology supply industry, the 2012 conference titled “Adapt or Die!” will focus on strategies for creating a profitable future through business innovation. A series of keynote presentations and discussion groups will examine the challenges of maintaining technology suppliers’ business value, profitability, and growth in today’s changing industry.

what’s on NOVEMBER

MARCH

INTER BEE 14-16 November 2012 Makuhari Messe Chiba, Japan www.inter-bee.com

ABU DIGITAL BROADCAST SYMPOSIUM 05-08 March 2013 Kuala Lumpur, Malaysia www.abu.org.my

FG-ABU DIGITAL BROADCASTING CONFERENCE FOR ASIAN BROADCASTERS 19-21 November 2012 Yangon, Myanmar www.abu.org.my

FILMART 18 February - 2 March 2013 Hong Kong Convention & Exhibition Centre Hong Kong www.hkfilmart.com/filmart/index. htm

CONNECTED ENTERTAINMENT 21-22 November 2012 Melbourne Convention & Exhibition Centre Melbourne, Australia www.con-nect.com.au/ entertainment

DECEMBER ASIA TELEVISION FORUM 4-7 December 2012 Marina Bay Sands Singapore www.asiatvforum.com

JANUARY CONVERGENCE INDIA 16-18 January 2013 Pragathi Maidan, New Delhi, India www.convergenceindia.org BES EXPO 2013 29-31 January 2013 Pragathi Maidan, New Delhi, India www.besindia.com

CLASSIFIEDS

FEBRUARY

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AUSTRALIAN BROADCASTING SUMMIT 26-28 Feb 2013 Sydney Exhibition & Convention Centre Darling Harbour, Sydney, Australia www.acevents.com.au/ broadcasting

CHINA CONTENT BROADCASTING NETWORK (CCBN) 21-23 March 2013 China International Exhibition Center (CIEC) Beijing, China www.ccbn.tv

APRIL NABSHOW 2013 6-11 April 2013 Las Vegas Convention Center Las Vegas, USA www.nabshow.com

MAY KOBA 13-16 May 2013 Seoul, Korea www.kobashow.com

The IABM, the International Association of Broadcasting Manufacturers, is the authoritative voice of the broadcast and media technology supply industry worldwide. Its wide range of services to members encompasses market research and intelligence, expert representation at standards bodies and broadcasting unions, executive networking opportunities, and preferential purchasing. A presence at every major broadcast tradeshow, the IABM also provides a valuable channel for communication between broadcast manufacturers, government, and regulatory bodies. Additional IABM activities include awards programs for innovation and scholarships designed to stimulate the development of the broadcast and electronic media industries on an international basis.

“Technology is a powerful enabler of change, and it has transformed the broadcast industry into a very different sector than it was 20 years ago, or even five years ago,” said IABM Director General Peter White. “The rules are changing, with tumbling hardware and software costs giving new players the means to participate in the industry, which in turn presents challenges for established businesses. At the IABM annual conference, leaders from companies that are meeting these challenges will provide insights into successful business strategies.”

The IABM annual conference once again brings recognized experts and industry leaders together to debate the keys to real business improvement.

Speakers slated to participate include Joshua J. Stinehour, senior vice president, Silverwood Partners; Alain Andreoli, president and CEO, Grass Valley; Jeremy Morton, partner, CMS Cameron McKenna LLP; John Maxwell Hobbs, head of technology, BBC Scotland; Niko Waesche, founder and managing partner, German Media Pool; and Janne Morstøl, COO, T-VIPS. Topics that will be addressed throughout the conference program include: understanding the current business climate; focusing on and optimizing business processes; revisiting customer-facing strategies;

generating revenue in a changing environment; exploiting business opportunities and profitable trends; and understanding changing customer requirements.

Further information about the IABM annual conference and an online registration form are available at www.theiabm.org/conference.

JUNE BROADCASTASIA 18-21 June 2013 Marina Bay Sands Singapore www.broadcast-asia.com

JULY SMPTE AUSTRALIA 23-26 July 2013 Sydney Convention & Exhibition Centre Darling Harbour, Sydney, Australia www.smpte.com.au

Advertiser Index Avid Technology .........................31

Ideal Systems ................................. 3

Blackmagic Design ....................... 9

Magna Systems & Engineering

BroadcastONE ................................ 4

....................................................11, 19

CASBAA ..........................................17 Ericsson ..................................... OBC Gencom Technology ..................13

Miller Camera Support ................ 5 Riedel .............................................23

Harmonic .......................................15

Ross Video ....................................28

Harris .............................................IFC

Thomson ..................................... IBC

C+T ASIA FEATURES + DEADLINES 2013

PUBLICATION DATE

PRODUCT ROUND-UP

Feb – Mar

Ad Bookings: 04-02-13 Editorial: 07-02-13

February 3rd Week

Channel-in-a Box Solutions

April – May

Ad Bookings: 15-02-13 Editorial: 18-02-13

April 1st Week

Loudness Solutions Cloud Solutions

June – July

Ad Bookings: 20-05-13 Editorial: 23-05-13

June 1st Week

Digital Asset Management Solutions

Aug – Sept

Ad Bookings: 30-07-13 Editorial: 31-07-13

August 2nd Week

Non-Linear Editors

Oct – Nov

Ad Bookings: 30-09-13 Editorial: 03-10-13

October 3rd Week

Encoding, Transcoding Solutions

Dec – Jan

Ad Bookings: 22-11-13 Editorial: 25-11-13

December 2nd Week

ENG Systems Stereoscopic 3D Solutions

In Every Issue of C+T Magazine

SHOW COVERAGE

+ ABU Digital Broadcast Symposium (March 05- 08) + CCBN Beijing (March 21–23)

+ NAB Preview (April 6-11) + KOBA (May 13-16)

+ BroadcastAsia Preview (June 18-21) + NAB Review

+ BIRTV (Aug 22-25) + IBC (Sept 12-17)

+ CASBAA + Broadcast India + InterBEE

+ BES (India) + Convergence India

Acquisition, News Operations, Sportscasting, Post-Production & VFX, Media in the Cloud, Digital Asset Management, Audio, Radio, Transmission, Signal Distribution, Command & Control – Automation, Monitoring, Systems Management

FEATURES + DEADLINES 2013

EDITORIAL + AD DEADLINES

ISSUE

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TIME shifter Gold Medal Performance in Kuala Lumpur THE SPORTING SPOTLIGHT in 2012 may have been on the London Olympics, but in 1998 the biggest fixture for the Asia Pacific was the 16th Commonwealth Games, hosted by Malaysia.

The Games were officially opened by then Prime Minister of Malaysia, Tun Dr. Mahathir bin Mohamad on 11 September 1998 in the newlybuilt Stadium Nasional Bukit Jalil, capable of holding 100,000 spectators.

To match the scope of the event, the International Broadcast Centre – built on a 10,000 square metre site near Radio Televisyen Malaysia’s headquarters at Angkasapuri, outside Kuala Lumpur - was manned by some 600 personnel from the host broadcaster with another 700 or so representing client broadcasters.

Costing around 71 million Ringgat, at that time, the IBC operated totally in the digital domain - PAL signals were provided to rights holders. Facilities included three video editing suites, four editing and dubbing studios for radio, and a videowall.

Archiving was also in the digital domain.

Heading up the International Broadcast Centre was former RTM engineer Zulkisli Othman who had been seconded to the project some three years before the Games themselves.

TIME SHIFTER

Up until the 1998, according to Mr Zulkisli, the biggest event covered by the Malaysian national broadcaster would have been the South Asian Games.

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“This is the first time we are hosting an event as big as this,” he said at the time.

With 31 signals coming in, including those from the Games 25 venues, the IBC broadcast 15 hours of coverage every day during the Games.

To support its coverage, RTM formed the Commonwealth Consortium, made up of broadcast organisations from selected Commonwealth countries. These included: BBC TV – covering athletics and the Closing Ceremony with RTM; South African Broadcasting Corporation – cricket; TVNZ – rugby, lawn bowls and weight lifting; Nine Network Australia – aquatics; [Singapore’s then] TCS – squash; and TV3 Malaysia – hockey.

RTM also provided coverage for the shooting while Indonesia’s TVRI and the “Thailand Pool” provided coverage for the boxing. A Dutch broadcaster handled the cycling.

Telekom Malaysia, using a fibre optic platform manufactured by Pacific Broadband Networks, provided a 16-channel primary feed between the Games’ IBC and the then two-year-old satellite broadcaster ASTRO. The link enabled ASTRO to uplink the 16 channels of Games coverage for reception at selected venues around Malaysia.

With most of the Commonwealth using the 50Hz PAL analogue standard for broadcasting, many

of those from the Commonwealth Consortium were able to bring their own equipment or were allocated resources from host broadcaster RTM. Nine Network Australia personnel, for example, operated an RTM OB truck equipped with Sony Digital Betacam equipment while covering swimming events.

Nine’s then head of OB, Warren Berkery, said at the time, “There’s an international standard for swimming coverage … and that’s to a large degree the requirement specified by the host broadcaster. We man it and produce along to their guidelines.”

In contrast, the Canadian Broadcasting Corporation’s CBC Sports, an NTSC broadcaster, used Panasonic’s DVCPRO50 format in the PAL environment for its ability to be reused after the Games.

Doug Sellars, the then Executive Producer of CBC Sports, said “CBC chose to use DVCPRO50 in the PAL configuration. The studio machines can be easily converted from PAL to NTSC operation.

DVCPRO, with its 4:2:2 technology, is perfectly suited to our sports applications.

“The lightweight camcorder will allow our camera people to operate in very tight situations. The studio VCRs will allow us to prepare a complete sports package in a limited time, which is especially critical due to the time difference between Kuala Lumpur and Canada.”

Giving You THE EDGE.

WORLDWIDE LEADER IN VIDEO COMPRESSION

>> www.t >> www.thomson-networks.com www.thomsonthomson-networks.com networks.com

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?