Content + Technology Magazine May June issue by Content+Technology

ISSN 1448-9554

content

technology VOLUME 7 ISSUE 3 > JUNE 2010 PP: 255003/06831

MAGAZINE

Media Production Management Delivery

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capture the moment

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)2-9332 2221 Fax: +61-(0)2-9332 2280 Mob: +61-(0)414-671-811 Email: papers@broadcastpapers.com Technology Editor: Peter white pw@broadcastpapers.com Sales & Marketing Manager: Daniela Huelsen Tel: +61-(0)410 880 557 Email: dh@broadcastpapers.com

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Also see C+T in PDF at www.content-technology.com VOLUME 3 > ISSUE 5

<< 18

CONTENTS 04 NEWS Foxtel via Xbox, Tivo in 3D, $25 Million for NSW production, Hogg Heads to Mediahub. 10 TAKING STOCK Harmonic to Acquire Omneon, Echolab Cancelled, Mixed Vendor Results, Investing in People.

<< 22

16 TECHNICAL STANDARDS ETSI Endorses MHEG, MPEG Looks Beyond AVC, AMWA Post Protocol, ISMA Merges with MPEGIF.

STORAGE & ASSET MANAGEMENT MAM Key to ESPN Star Sports Going HD, DAM from Las Vegas.

DIGITAL SIGNAGE Cool Signs from Coolsign, D-signage at the Petrol Pump, Singapore Resort Signs with Harris

AUDIO David Atkins Wows Shanghai Expo with Fairlight, Sounding Out NAB2010.

RADIO Digital Radio Trial in Canberra, Chinese & Australian Broadcasters to Develop ‘Push Radio’, New Audio Standards for DAB+ Content

TRANSMISSION, SIGNAL DISTRIBUTION, T&M Constraints from ‘Digital Dividend’, Freeview NZ Growth, Prime Brands with Pixel Power, Dubsat Launches in NZ, TEN Syncs with Evertz, Signals from Las Vegas.

18 NAB CONFERENCE REVIEW 22

Capture the moment Your creative visuals deserve the best audio. The new Sennheiser G3 Portable camera systems offer the ease of use that wireless delivers; coupled with the reliability and high fidelity derived from the latest technology and craftsmanship, from the leader in the field. The new Sennheiser G3 camera mount receiver is packed with innovation. When packaged with one of our award winning wireless microphones, you will ensure that your audio will be as high definition as your video.

ACQUISITION ACS Awards, NAB Gear Wrap.

NEWS OPERATIONS Converging on the iPad, NAB Newsgathering.

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3D – THE THIRD DIMENSION Australian Firsts – Pay TV and Terrestrial Football codes, More 3D at NAB.

SPORTSCASTING Riedel Gives Red Bull Wings in Perth, XDCAM Bowls Over Cricket Museum, Outside Broadcast Group Tips the Small Scale, EVS First for Fox Sports, Zspace Gets Touchy with ONEHD. POST-PRODUCTION Cutting Edge Digs Deep with WWI Epic, Tax Boost for VFX, Bond Boards EditShare Ark, Oktobor Gives Musical Twist to Malaysian TVC, DVS Increases Asiapac Exposure, CIS VFX Buys Postmodern, plus Post at NAB.

CONFERENCES, EXHIBITIONS, ROADSHOWS

CLASSIFIEDS

OFF-AIR What Happens on Tour … gets Printed Right Here.

TIME SHIFTER Gerry Brooks is on Leave.

Editor’s Welcome

Australian 1sts from the 3rd Dimension

+video

By Phil Sandberg Who would have thought there would be such a frenzy among Australian broadcasters to become the first to air a sporting match in 3D? No sooner had the Nine Network and SBS announced their joint trial terrestrial service to broadcast Rugby League and the FIFA World Cup Soccer, then Fox Sports and Foxtel jumped in with an Australian first for 3D coverage by televising the Australia Vs New Zealand soccer friendly. For its part, when the Nine Network began broadcasting a loop of pre-recorded 3D material on May 19 in the week before the State of Origin Rugby League. It the first terrestrial broadcaster in the world to undertake such a broadcast. So, congratulations to all involved in these milestone firsts. For all concerned, however, the distribution technology involved isn’t stretched too much above and beyond current HD delivery - the bandwidth required for carriage isn’t much more than a conventional HD channel. The challenge lies in the production. Nine called on the big guns from US company 3ality for advice and has spent time learning from Sky Sport in the UK whose 3D shooting philosophy is “low and slow” – camera positions and movements respectively. SBS, meanwhile is taking the 3D feed from FIFA host broadcaster, Host Broadcast Services. C+T made the visit to a rain-soaked ANZ stadium in Sydney prior to the match to get the lowdown on the 3D production (see page 22) which included expertise from US company 3ality, Global Television’s

HD1 OB truck (equipped with 3D monitors for the occasion), a special prototype camera from the UK’s Presteigne Charter and Nine’s own camera operators racking up more 3D “flight time” - not to mention transmission via TX Australia and Broadcast Australia. When it came to viewing, C+T attended a special screening at the Domayne store in Alexandria, Sydney, where a number of “lounge rooms” had been constructed around Samsung 3DTVs. The majority of the coverage was both immersive and stunning, and while the production of 3D television is still in an evolutionary phase, as Harvey Norman franchisee Sean Dixon commented, “If this is the worst it’s going to look, look out for the future!”

A PERMANENT 3D TERRESTRIAL CHANNEL?

And, the big rumour for the future is a permanent terrestrial TV channel set aside for the 3D broadcasting of sporting and other special events which existing broadcasters would have to lease (like satellite time) from the Government. An intriguing idea which could be another pay/free-to-air area of conflict or a space for a new era of cooperation. We’ll have to peer into those 3D looking glasses. Thanks for Reading Phil Sandberg Editor/Publisher papers@broadcastpapers.com T: +61-(0)2-9332 2221

Catch up on the behind the scenes action at NAB 2010 and much more with C+T’s Online Video at our brand new C+T web site. Also on the Site: • Whitepapers • News and product information from 27 C+T blog sites • Events to calendar

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Editorial/Advertising Bookings – June 21st Ad Material – June 25th September/October 2010 Vol 7 Issue 5 Editorial/Advertising Bookings – August 20th Ad Material – August 27th November/December 2010 Vol 7 Issue 6 Editorial/Advertising Bookings – October 15th Ad Material – October 22th

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2 Editor’s Welcome

For more information, visit www.content-technology.com or call +61-(0)2-9332 2221 or +61-(0)414 671 811. Email: papers@broadcastpapers.com Sales enquiries: dh@broadcastpapers.com or call +61-(0)410 880 557

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Foxtel to be Delivered via Xbox Foxtel MD Kim Williams [left] with Microsoft’s David McLean and their Xbox ‘Avatars’.

Foxtel and Microsoft have announced a new partnership offering Australians a new way of receiving Foxtel – over the internet and direct to television sets through Xbox 360’s online service Xbox Live. When the service launches late this year it will allow Xbox 360 owners in Australia to access Foxtel channels including FoxSports, Discovery, Nickelodeon, Disney and MTV via their Xbox 360 console. Foxtel by Xbox Live will also provide a wide range of Video-on-Demand (VoD) services, including television series and movies. It will enable Australians to access Foxtel without the need for a Foxtel set-top-box and will be accessible in Foxtel areas across Australia to all homes with a broadband internet connection. Requirements include an Xbox 360, Xbox Gold subscription and a Foxtel by Xbox Live subscription. David McLean, Head of Entertainment and Devices, Microsoft Australia said, “As we approach one million Xbox

360’s sold in Australia, we are looking forward to our customers having the opportunity to receive Foxtel by Xbox Live. Last year alone, Australians spent more than 106 million hours on Xbox Live. With this Foxtel partnership, there are more reasons than ever to connect your Xbox 360 to our online service,” said McLean. Foxtel Managing Director, Kim Williams AM added, “With at least 30 live channels and a wide suite of Video on Demand services, delivered over the internet via Xbox Live, no other television service comes close to this revolutionary new IP offering.” The agreement between Microsoft and Foxtel is one of the first of its type in the world, joining partnerships between Microsoft and BSkyB in the UK and Microsoft and Canal+ in France. Foxtel on Xbox Live is expected to launch in late 2010. Details will be released closer to the service launch. Visit www.foxtel.com. au or www.xbox.com.au

AUD$25 Million for Film, TV in NSW Kristina Keneally, Premier of New South Wales, has announced an AUD$25 million funding boost to support and attract Australian and major international film and TV production. Premier Keneally joined Treasurer Eric Roozendaal, Minister for State Development, Ian Macdonald, Minister for the Arts, Virginia Judge, and Australian film maker George Miller at Fox Studios to formally announce the funding. The $25 million funding announcement comprises: * An additional $20 million in screen incentives to attract largescale production to NSW; and * $5 million for Screen NSW’s Production Investment Fund to support local productions. From the US, Warner Brothers Executive Vice-President of Physical Production Bill Draper said “This fund will put NSW in serious

consideration as we scout the world for potential locations for our upcoming features.” The latest National Drama Production Survey revealed that $434 million or 63 per cent of drama production took place in NSW in 2008/2009. More than 1,400 film and television related businesses are located in NSW, employing more than 6,800 people and generating income in the vicinity of $1.3 billion per annum. In 2010-11, the Keneally Government will invest about $33.5 million in supporting film and TV production in NSW. The funding announcement follows that of AUD$1 million towards construction of a new desert film studio in Broken Hill to support the region’s growing film industry, which will see production of the latest Mad Max film later this year.

Hybrid TV Moves into 3D on TiVo

Hybrid Television Services (ANZ) Pty Limited, the creator of CASPA On-Demand and the exclusive licensee of TiVo products in Australia and New Zealand has announced that TiVo is the first PVR with the ability to time shift any free-to-air 3D broadcasts and TiVo customers will get more from their 3D experience with TiVo “trick play” functionality. The CASPA on-demand service available on the TiVo device will also deliver broadband 3D content direct to the TV. From June, TiVo customers will be able to download 3D content and watch it with their 3D television straight from their TiVo. Initially content will include movie trailers and short animations, but it will grow to include movies and documentaries shot in 3D. Visit www.hybridtv.com.au

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Vizrt Mourns CEO

Hogg Heads to MediaHub

Bjarne Berg, CEO of graphics and workflow solution developer Vizrt, has passed away at the age of 59. According to a statement by Acting CEO Martin Burkhalter, Berg “had struggled with diabetes all his life. Bjarne passed away peacefully in his bed at his home in Bergen, Norway. “I knew Bjarne personally for 25 years and many times during that period I experienced at first hand the level of passion and commitment that he felt for Vizrt. Bjarne took the company from when it sounded like just a good idea in the news room of TV2 Norway to become the global success story Vizrt is today, with a permanent staff of 500 people.” The Vizrt Board has appointed Martin Burkhalter as acting CEO until further notice. Visit www.vizrt.com

MediaHub Chairman David Pendleton has announced that Andrew Hogg has been appointed to the position of Chief Executive Officer of MediaHub, the newly formed digital playout facility co-owned by the ABC and WIN TV. “Andrew will make a great contribution in leading MediaHub as he brings an extensive background in television distribution together with strong leadership skills”, Mr Pendleton said. “Under Andrew’s direction, MediaHub will transform the capability and capacity for delivering television programming to audiences for both the ABC, WIN and other clients.” Andrew is formerly General Manager of The Playroom, Omnilab Media’s specialist Broadcast services and Digital media, aggregation, play-out and distribution company. Mr Hogg said he was looking forward to leading the new team that will provide an unparalleled service to broadcasters by using new technologies to operate and maintain television distribution. “The facility will allow new opportunities for clients to deliver services to audiences previously not possible, such as the cost effective delivery of new digital multi-channel services throughout Australia and local programming to capital cities, states and territories. It’s a new platform that will give our clients more options for content delivery than ever before,” Mr Hogg said. Visit www.mediahubaustralia.com.au

Hogan Hops on Digital by Design Digital By Design has welcomed Andrew Hogan as a new Account Manager. Andrew brings with him a vast knowledge of Autodesk products and a wealth of sales experience. Andrew joins DBD after spending seven years in the UK, where he worked for renowned 3D training facility, Escape Studios. Previously to that Andrew worked with Computer 2000 in the UK (Autodesk’s European distributor). Visit www.dbd.com.au

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6 News

4/5/10 2:45:35 PM

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NeWS

+ people

Argosy Rebrands in Asia Argosy, the UK-based international supplier of HD broadcast cables and studio infrastructure products, has announced that together with its joint venture partner company, Argosy Cable Asia Sdn Bhd, it has rebranded its business in Malaysia to Argosy Broadcast Asia Sdn Bhd (ABA), to present a more representative name for the company’s expanded product portfolio. Based in Kuala Lumpur, ABA will continue to serve broadcasters, media owners, systems integrators and installation. According to Steve Wingrove, director, Argosy Broadcast Asia, “Allows us to consolidate our brand — beyond just the supply and distribution of cables — and strengthen our operations across the region to more effectively serve customers in these key markets.” ABA’s portfolio will comprise of an array of high-definition (HD) and fibre optic products including a broad range HD video cables, connectors, high density HD video patch panels, MDUs, routers, audio jack fields, KVM switches, racks, cable drums and Sonarae, its audio monitoring system as well as a variety of video accessories. Argosy distributes brands including ADC, Belden, Draka, ISIS, Neutrik and Miranda. Visit www.argosycable.com

Magna Takes on Dalet, IPV Dalet Digital Media Systems has signed a distribution agreement with Magna Systems & Engineering. The agreement covers Australia, New Zealand, Hong Kong and Singapore regions. Magna will provide an expansive local presence, offering Dalet Enterprise Edition solution integration, implementation, and support services, including development around the Dalet Enterprise Edition API. Dalet Enterprise Edition is an open Media Asset Management (MAM) platform designed to facilitate highly efficient and collaborative workflows for news, sports, program preparation, and archives. With a unique content centric approach and an open design based on the principles of SOA, it has achieved 100 installations in 32 countries within the past 4 years. “Many of our customers are looking for MAM solutions that streamline production workflows and increase revenue opportunities by simplifying the distribution of rich media assets across both traditional and interactive platforms,” said David Bowers Magna’s CEO. “The Dalet product

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line, which manages workflows in such a broad range of live and recorded broadcast and production environments as well as archives, is an obvious fit with the other automation and file-based solutions that we provide to our clients.” Meanwhile, IPV, the supplier of media, metadata and low bitrate, frame-accurate video technology to the broadcast and professional video sectors, has also appointed Magna Systems and Engineering as its distributor to expand its business in South East Asia, Australia and New Zealand. Products from IPV include its leading Curator system, a comprehensive, browse-based tapeless workflow media system; the company’s recently introduced Teragator data aggregation engine — a tool that provides a platform to aggregate disparate metadata sources and data mining services to identify and manage complex relational links between assets; its SpectreView system — the de facto standard for browse resolution systems; as well as the company’s Process Engine which facilitates the automation of multiple media workflows. Visit www.magnasys.tv, www.dalet.com and www.ipv.com

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Fagerlund Lands at JVC

JVC Commercial has announced that Bryan Fagerlund has joined as Queensland/Northern Territory JVC Commercial Products Manager. Based in Brisbane, Fagerlund will focus primarily on business development within the JVC Commercial division by building on current business relationships, strengthening JVC Commercial’s presence in the Queensland market, developing new business opportunities and managing key accounts. Critically Fagerlund will be responsible for the full range of JVC commercial and professional products including the new ultra thin screens and 3D panels which have been making quite a stir in the market and at the recent NAB and DesignEx shows. Fagerlund brings extensive industry experience with him to JVC Commercial having spent many years with KL Photographics and the Hagemeyer Photographics Division selling product lines including Sigma, Minolta and Polaroid across Queensland. Visit www.jvcpro.com.au

Teleport Assoc Adds Directors The World Teleport Association (WTA) announced the results of elections for its Board of Directors for the fiscal year that began April 1, 2010. Elected to three-year terms on WTA’s Board were: David Justin, CEO, GlobeCast America. Mr. Justin was tapped to head GlobeCast’s Americas unit in 2009 after a successful tenure as CEO of GlobeCast Asia, where he doubled the company’s revenues in three years and oversaw the broadcasting of the 2008 Olympics in Beijing. Serge Van Herck, CEO, Newtec. Mr. Van Herck was appointed CEO in 2006, after serving as the company’s Director of Business Development for Asia. Prior to joining Newtec, he served as Senior Manager at Accenture and Head of Satellite Services at Belgacom. Mahendra Nath Vyas, Director, Essel Shyam Communications. Mr. Vyas is a co-founder and member of the management team of this prominent Indian teleport, to which he brings decades of experience including Bharat Electronics and the Indian Space Research Organization. Visit www.worldteleport.org

8 News

TVS Chief Signs Off Having overseen the Sydney community station’s recent transition to digital broadcasting, TVS Chief Executive Laurie Patton has announced that he is signing off. As Secretary of the Australian Community Television Alliance, Mr Patton spearheaded the community television sector’s negotiations with the Federal Government. Late last year the Government allocated a digital channel in each of the mainland state capitals, along with funding for a new transmission system, for each community station through until the switchover to digital-only broadcasting in 2013. TVS launched its digital service on 1 March 2010. While he is leaving TVS, Mr Patton will remain Executive Director of the Television Sydney Foundation. The Foundation has been created in order to solicit public donations and to provide financial support to not-for-profit community groups and individuals wishing to make programs for TVS. Visit www.tvs.org.au

Reynolds Directs ABC in Tasmania The Australian Broadcasting Corporation has announced that Fiona Reynolds has been appointed to the position of ABC State Director Tasmania. Formerly the Editor of the Fairfaxowned Launceston Examiner, Ms Reynolds is a former reporter with the ABC in Hobart and Canberra and has also worked as an editor, producer and reporter with news and current affairs, across radio and television, in Melbourne, Brisbane and Launceston. Fiona Reynolds has been a journalist for 22 years and has a Master of Arts (International Relations). She will start her role on 7 June 2010. The Tasmanian State Director position became vacant on the retirement of Rob Batten from the ABC in early 2010.

FSM Expands with Lau and Yuan FSM Design has taken on two motion graphics specialists in the form of Jimmy Yuan and Michelle Lau. Yuan was previously involved in designing title sequences and effects for “Race to Witch Mountain” and “Fast and Furious 4”. His designs have also served a wide array of leading brands including Coca-Cola, BMW, HP, Royal Elastics and MTV. Meanwhile, Michelle Lau graduated from Sydney´s University of New South Wales with a degree with Honours in Digital Media, specialising in After Effects, Illustrator and Maya. She began work as a Motion Graphics Designer in yU+co [HK] for projects based in the areas of film & broadcast and advertising. Before joining FSM she was a freelance designer in the comfort of her own Hong Kong fortress. Visit www.fsm.com.au

New CEO for Global TV

Technology Leading you into the future… Affordable Prompting Autocue have introduced a new range of ﬂexible low cost prompting packages: • Screen sizes available from 7” to 17” • Professional colour Flat Sceen displays • High brightness • Free prompting software with Starter Series

Global Television has appointed of Keith Andrews as Managing Director and Chief Executive Officer. He joins Global Television from software provider Viewlocity Technologies, where he has been CEO. The company also announced that Tony Shepherd, Global Television’s General Manager – Victoria and a 30-year television industry veteran, would join Global’s board of directors. Mr Andrews succeeds Kerri Thompson who is moving to the role of Managing Director, Retail with ANZ Bank in New Zealand. Global Television Chairman Brian Gatfield thanked her for leaving Global in a sound financial and operational position.

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Salloch Signs Off at Klotz Managing Director for Klotz Digital Asia Pacific, Patrick Salloch, has resigned from the company handing over operational responsibilities to Keith Prestidge until the Klotz Board of Directors appoints a replacement. Salloch’s resignation follows the acquisition of Klotz Digital AG by UnitedScreens Media AG and the appointment of Dr. Andreas Gruettner as the new Klotz Digital AG CEO. Keith Prestidge can be reached via k.prestidge@klotzdigital. com.my

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Taking Stock

taking STOCK

- MOVES IN THE BUSINESS OF CONTENT+TECHNOLOGY

Harmonic to Acquire Omneon Harmonic Inc. (NASDAQ: HLIT) and Omneon, Inc., a leading provider of video production and playout solutions, has announced it is to acquire Omneon for an enterprise value of approximately US$274 million in cash and Harmonic stock. The proposed acquisition would combine Harmonic’s video delivery infrastructure with Omneon’s technology for the production, management and distribution of digital media. For the year ended December 31, 2009, Omneon’s revenues were approximately US$105 million, of which 67% were outside the United States, with no single customer representing more than 10% of total revenue. Omneon’s gross margin was 58% in 2009. Omneon has approximately 280 employees worldwide, and is headquartered in Sunnyvale, California, with research and development facilities in Sunnyvale and Beaverton, Oregon.

The products and solutions of the combined company are deployed with over 2000 customers across more than 100 countries, for broadcast and on-demand video services delivered via cable, satellite, telco, terrestrial, broadband and mobile networks. The company will have a combined videofocused global R&D organization of 450 engineers, a combined global sales and service organization of 330 people and a network of over 250 global sales channel partners. Under the terms of the definitive agreement, which has been approved by the Boards of Directors of both companies, Harmonic will pay $190 million in cash and issue approximately 17.1 million shares of its common stock. This represents an enterprise value of approximately $274 million, based on the closing price of Harmonic common stock on May 5 and is net of Omneon’s cash balances which are expected

More Moves from Technicolor As foreshadowed in its debt restructuring plan, Technicolor (Euronext Paris: 18453; NYSE: TCH) has signed two “committed receivables facilities”. The funding agreements include both French and US institutions. In France, Technicolor’s wholly owned subsidiary, Thomson Telecom SAS, signed a €100 million 3 year factoring facility with GE Factofrance. In the U.S., certain of its US subsidiaries signed with Wells Fargo Capital Finance, LLC, part of Wells Fargo & Company (NYSE:WFC), a US$125 million, 3-year credit facility, secured by the subsidiaries’ receivables. The loan agreements follow the release of First Quarter Revenues for Technicolor. Q1 2010 Group revenues from continuing operations amounted to €691 million, down 24.4% at current currency and down 25.0% at constant currency compared to Q1 2009. Excluding the retail telephony business, from which the Group completed its exit at the end of 2009, revenues declined by 20.9% in Q1 2010 at current currency and by 21.5% at constant currency. Entertainment Services benefited from a strong release slate in Film and high level of activity in Digital Production. However, Postproduction and Media Management Services remained affected by fewer productions and theatrical releases. The rate of volume decrease in DVD markedly slowed during the first quarter compared to 2009.

10 Taking Stock

The trend seen in the Connect business in the final quarter of 2009 continued in Q1 2010. Revenues fell by 35.8% at current currency and 37.0% at constant currency compared with a first quarter of 2009 which benefited from particularly high Set-Top Boxes volumes. Through Q1 2010, Connect market positions were maintained, and market conditions stabilised. Technicolor recently announced a reorganisation plan to enable its Grass Valley business to adapt to “a strongly deteriorated business climate”. Grass Valley, currently being divested, is not within Technicolor’s strategic re-focusing, centered upon services for content creators and distributors. According to Technicolor, “the worldwide market for professional broadcast equipment, where Grass Valley does business, has been in sharp decline - about 30% since the end of 2008 - mainly as a result of declining broadcaster budgets and advertising expenses. Like all companies in the sector, Grass Valley faces serious economic difficulties, as evidenced by a 31% decline in revenues between 2008 and 2009 and losses totalling 87m€1 in 2009.” The plan was based upon Grass Valley’s reorganisation into three distinct activities: broadcast, head-ends and transmission. It would include a 25% reduction in Grass Valley headcount by eliminating 625 jobs worldwide. Visit www.technicolor.com

to be approximately $32 million at closing. The proposed acquisition is subject to customary closing conditions and regulatory approvals, and is expected to close in the third quarter of 2010. The proposed acquisition is also subject to the approval of Omneon’s stockholders, and Harmonic has entered into voting agreements with holders of a majority of Omneon’s outstanding shares of capital stock, pursuant to which such Omneon stockholders agree to vote in favor of the transaction. Most of the Omneon executive management team is expected to join Harmonic at closing, including Mr. Lawrence Kaplan, a founder of Omneon, and CEO Mr. Suresh Vasudevan. BofA Merrill Lynch acted as exclusive financial advisor to Harmonic in connection with the transaction. Visit www.harmonicinc.com and www.omneon.com

Echolab Cancellation

Echolab, the US independent switcher manufacturer, has been placed into liquidation following a decision by its primary investor to pull all funding. “It was a great shock to us all,” said Managing Director Nigel Spratling. “I am truly sorry that this action leaves many unemployed, suppliers with unpaid bills and customers with unsupported products. The recent introduction of an expanded Atem switcher family look set to take us into growth and profit as the market reception was excellent and our sales funnel had grown by $2M as a result. We had been sustaining a run rate of about $5M and the addition of Atem was set to double that.” The liquidation decision came despite an announcement prior to NAB in April that Harris was to become a reseller of Echolab’s ATEM 1M/E and 2M/E switcher displays – an agreement negotiated by Echolab’s primary investor. “I truly believe that our small team had created the very best of breed in small and medium sized production switchers and at a price point that provided exceptional value and margin, facing the loss of these efforts is difficult for everyone involved,” concluded Spratling. A liquidation company has been tasked with selling the company’s assets, product IP and inventory in order to pay creditors.

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Taking Stock

2010 The Year of Growth!

Create Compelling Live Video

Media Staff & Strategy by Karl Jansson* corporate growth that will influence spending at all levels of the community. We are but one country that is in survival mode on the global stage, but we are not alone! 2010 is the year of growth!

Employed Persons

adj. However, we are not here to re-live and feel Seas. negative of what we have lived through, because 2010 is shaping up to be one of the biggest investment years ever. I mean investment in terms of resources of both staff, company and as a result of research by those companies who were savvy enough to re-direct resources into R&D during 2009 a new wave of product releases. Okay, you might be thinking, is this guy living in a bubble? Has he not heard about the concerns with the European economy that could lead to a re-birth of the GFC nor the additional Tax on mining in Western Apr Jul Oct Australia, just to name a few? 2009 Sure those newsworthy items will sell papers and there is certainly substance behind the concerns, but we all know commercial profits drive the economy. On a home scale, our economy is based upon all types of transactions from corporate, Government, and even down to the retail sector where you and I open our purses and wallets. Monetary, and fiscal policies drop out of this mix.

Granite Switcher

% 5.9 5.7

10960 10910

Granite 1000

10860 10810 10760 Apr Jul 2009 Governments are managed like a corporation with the public and corporates as shareholders. On a world stage we appear to have pulled through the GFC with little000 blemishes to show. So what really is the state of the11060 Australian economy?

Oct

Jan 2010

Apr

Unemployment Rate Trend Seas. adj.

11010 THE STATE OF THE ECONOMY

Taken from “The Australian Bureau of Statistics” the 10960 following figures reflect a trend of substantial growth from 12 months proceeding April 2010, with 10910 particular interest from the end of last year. Just on these figures alone, Employment increased 10860 to 11,016,500 and Unemployment decreased to 615,900. However, interestingly aggregate monthly 10810 hours worked had increased to 1,537.7 million hours. 10760 Reason for the increase in hours worked? Most Jan Apr staff were more than happy to work the additional 2010 hours due to the insecurities of possibly losing their job. This confirms that as a nation we are resourceful and we will do what is needed to pull through. It’s our inbred Aussie culture to not accept laziness, nor do we accept a lack of loyalty. Coupled with modest corporate profits that are forecast for this year we have an economy that is balanced upon key staff retention and projected

Granite 100 with iPixPanel on an Apple iPad

5.5 Granite Server

5.3

A legacy control room with a switcher, clip store, graphics system and other gear can create powerful live video, but is very costly to assemble and staff.

5.1

Now there Granite combines an HD switcher with an HD server to deliver the best workflow with the best Apr is aJulNo Compromise Oct Jan solution. Apr picture quality, 2009 at a price that 2010is unmatched in the industry today. You don’t have to compromise. You can have it all.

Granite Switcher % 5.9

Granite Switcher runs pristine native HD 1080i end-to-end, and is an easy upgrade to 1080p insuring your investment is future proof. Granite is true multi-definition as you can run a mixture of 1080i, 720p and SD inputs, in both 16:9 and 4:3, sync and async. It has up to 22 HD SDI inputs, plus 7 channels of file inputs from the integrated server. There are 12 HD SDI and 2 DVI outputs. Granite ships with 3 or 6 keyers. Low delay makes it exceptional for live events. Upgrade to 1080p for 3Gb/s processing, which is twice the data rate of conventional HD, for even better picture quality, 1080p I/O, and a superior platform for live 3D productions.

5.7

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Cost-Effective 5.1 Apr Jul 2009

Oct

Jan 2010

Apr

Karl Jansson is General Manager of “BroadcastJobz.tv” and “J-Curve Broadcast Recruitment Consultants”. Email: corporate@BroadcastJobz.tv Web: www.broadcastjobz.tv & www.jcurve.tv

Read the Blog Online at www.broadcastjobz.info 12 Taking Stock

Trend Seas. adj.

11010

Employed Persons

2010: THE YEAR OF INVESTMENT Trend

000 11060

Trend Seas. adj.

Granite 5000

Unemployment Rate

Back To Contents Page

With Granite there are no compromises on your budget. A limited budget and staff will no longer result in an amateur production. Granite 100 systems are ideal for the smaller end of operations, and can be easily upgraded to 1000 and 5000 models. Granite enables a single operator to create compelling live video, and gracefully expands for team operation. Alternatively, start with an entry-level Slate hybrid system and upgrade to Granite later.

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FMT/C+T/001

Speaking from a recruitment consultant perspective, 2009 was a painful year to forget as recruitment consultancies and agencies shed nearly 5000 staff from the industry floor, with the deadwood and driftwood the first to go. I speak harshly in these terms, because so many left a smudge of unprofessional behaviour across the landscape that most of us long term professionals have tripped over for ages. However, it’s good once in a while to purge the corridors leaving just the strongest to survive. Now before those of you who were unfortunate casualties of the GFC take umbrage over my comments, they are directed to those who knew they were on borrowed time, not those who were productive and for no fault of their own, were thrown into a state of personal and financial crisis. As mentioned in previous editorials, the recruitment industry has the ability to see the tsunami coming well before it hits the corporate beach, because the first lifeboat to be launched is staff related. “Let’s place the position ‘XXX’ on hold and redirect resources”, was a common cry. Pipelined appointments and underperformers were unexpectedly given the opportunity to seek new careers.

Taking Stock

IMAX Screens Ahead IMAX Corporation (Nasdaq:IMAX) (TSX:IMX) has reported adjusted EBITDA (as defined by the Company’s credit facility) of $42.0 million and $93.4 million for the first quarter and last twelve months ended March 31, 2010, respectively, compared to $7.0 million and $15.1 million for the first quarter and last twelve months ended March 31, 2009, respectively. Total revenue for the first quarter ended March 31, 2010 increased 120% to $72.8 million, a record for a single quarter for the Company, compared to total revenue of $33.1 million in the same period last year. First quarter 2010 adjusted net income, which excludes the impact of variable stock compensation, was $35.3 million, or $0.53 per

diluted share, compared to an adjusted net loss of $2.6 million, or $(0.06) per share on the same basis last year. Reported net income was $26.6 million, or $0.40 per diluted share, for the first quarter ended March 31, 2010, compared to a reported net loss of $(2.6) million, or a net loss of $(0.06) per share for the first quarter last year. During the first quarter of 2010, the Company signed contracts for 41 theatre systems including 19 joint revenue sharing system arrangements and 22 sales arrangements, of which 14 were digital system upgrades. This compares to a total of three system signings in the first quarter of 2009, all of which were system sales, and a total of 35 system signings for all of fiscal 2009. Since quarter-end, the Company has

“ inspiration. partnership. support ”

signed deals for another 13 theatre systems. According to IMAX Chief Executive Officer Richard L. Gelfond. “Our strong operating and financial performance demonstrates what can happen when great films are combined with our growing theatre network. While we are pleased to have generated record quarterly financial results, we believe the longer term benefits of titles such as Avatar and Alice in Wonderland to our business transcend a single quarter. Such benefits are perhaps best evidenced by the number of theatre deals we are doing, which will fuel additional growth for the Company over the long-term, and an increased level of tentpole movies being committed to the IMAX theatre network.” Visit www.imax.com

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Positive Transmissions from Crown Castle

Transmission service provider Crown Castle International Corp. (NYSE:CCI) has reported results for the quarter ended March 31, 2010. “We had a very good first quarter, exceeding the midpoint of our Outlook for site rental revenue, site rental gross margin, Adjusted EBITDA, and recurring cash flow,” stated Ben Moreland, President and Chief Executive Officer of Crown Castle. “We continue to see significant tenant

activity, particularly related to the deployment of mobile data services. Based on our strong first quarter results and our expectations for the rest of 2010, we have raised our full year 2010 Outlook, which now suggests annual site rental revenue and Adjusted EBITDA growth of 8% and 11%, respectively. Longer term, I am excited about Crown Castle’s position relative to the deployment of the mobile Internet across a number of devices

Barco Returns to Profit Barco (Nyse/Euronext: BAR; Reuters: BARBt.BR; Bloomberg: BAR BB) announced results for the three month period ended 31 March, 2010. Barco’s order book at the end of March 2010 stood at 382.6 million euro. At the end of March 2009 the order book was 366.5 million euro. Order intake for the quarter increased 36.8% to 216.2 million euro up from 158.0 million euro a year earlier. Sales of 176.1 million euro were up 21.7% from 144.7 million euro in 1Q09. Gross profits grew 52.7% to 59.3 million euro up from 38.9 million euro the previous year. Gross profit margin was 33.7%. In 1Q09 it was 26.8% and in 4Q09 it was 21.4%. EBITDA was 18.7 million euro compared to 7.3 million euro in 1Q09. EBIT was 5.3 million euro versus minus 6.0 million euro in 1Q09. EBIT margin was 3.0% compared to minus 4.2% in 1Q09. Net income for the quarter was 4.1 million euro compared to minus 0.9 million euro the year before. Net earnings per share were 0.34 euro compared to minus 0.07 euro in 1Q09. Free cash flow at the end of the quarter was minus 0.3 million euro compared to 36.6 million euro the year before. Mr Van Zele, President & CEO of Barco, said demand for Barco’s products in the medical division grew strongly in 1Q10 and that orders booked in the digital cinema division exceeded management’s expectations. As for the other divisions he said: “All other divisions have implemented programs aimed at meeting their long term 10/10/20 targets (10% growth; 10% EBIT margin; 20% ROCE) and I am happy to report that all six divisions have again turned EBITDA positive.” Mr Van Zele concluded by saying: “I am cautiously optimistic about Barco’s performance for the remainder of 2010.” Visit www.barco.com

14 Taking Stock

and wireless networks. With the largest tower portfolio in the most populated cities in the U.S and the highest level of customer service in our industry, we have a unique ability to benefit from the growth in mobile data services. In the last couple of quarters, we have begun to see early signs of these mobile data deployments in our results, and I believe significant opportunities lie ahead.” For full details, visit http://investor.crowncastle.com

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Dip in the Road for IDC

International Datacasting Corporation (TSX:IDC), a distributor of broadband content via satellite, announced its financial results for the three- and 12-month periods ended January 31, 2010. Revenue was CANADIAN$23.3 million, compared to $29.1 million for fiscal 2009. Gross margin was 43%, compared to 47% last year. EBITDA was negative ($1.5 million), compared to $2.6 million for fiscal 2009. Net loss was $6.6 million, or $0.12 per share, compared to earnings of $3.0 million, or $0.05 per share, for fiscal 2009. During Q4 Fiscal 2010, revenue was $6.9 million, compared to $6.4 million in Q4 fiscal 2009. Gross margin was 40%, compared to 57% in Q4 fiscal 2009. EBITDA was negative ($1.1 million), compared to $ 0.7 million in Q4 fiscal 2009. Net loss was $2.9 million, or $.05 per share, compared to earnings of $1.6 million, or $.03 per share, in Q4 fiscal 2009. “Fiscal 2010 was a challenging year for IDC as the economic downturn led to an industry-wide reduction in capital expenditures,” said Frederick Godard, President and CEO, International Datacasting Corporation. “I believe that IDC’s core technology offering, which was strengthened through the purchase of additional product lines last year, offers significant potential for growth and we are actively pursuing these opportunities. Visit www.datacast.com

Back To Contents Page

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technical STANDARDS

ETSI Endorses MHEG Hybrid TV

IMPALA, the International MHEG Promotion Alliance, has announced that ETSI – the European Telecommunications Standards Institute – has published the latest version of the public standard interactive TV middleware as a formal European standard. Version 2.1.1 of ETSI standard 202 184

MPEG Evaluates AVC Successors The recent 92nd MPEG meeting in Dresden, Germany, heard from the Joint Collaborative Team on Video Coding which has evaluated 27 proposals for HEVC (High Efficiency Video Coding). The Joint Call for Proposals on Video Compression Technology was issued jointly by MPEG and ITU-T VCEG in January 2010. 27 complete proposal submissions were received, and the associated video material was evaluated in extensive subjective tests. More than 4000 video clips in all were subjectively evaluated at the three testing laboratories - FUB, EPFL and EBU. The testing laboratories conducted 134 test sessions involving 850 human test subjects, who filled out 6000 scoring sheets on which 300 000 quality scores were recorded for analysis. The technical evaluation of the proposals was performed by the Joint Collaborative Team on Video Coding (JCT-VC) during its first meeting, which was held under MPEG auspices in Dresden. The results clearly indicated that some proposals exhibited a substantial improvement in compression performance as compared to the corresponding AVC (ITU-T Rec. H.264 | ISO/IEC 14496-10) anchors. In a number of cases, the performance of the best proposals can be roughly characterised as exhibiting the compression capability to achieve similar quality using only half of the bit rate. The JCT-VC has begun identification and integration of proposed design elements toward development of a new video coding design to be known as High Efficiency Video Coding (HEVC). A report of the results of the subjective testing will be made available as a public document N11275. Visit http://mpeg.chiariglione.org/

16 Standards

contains a raft of very significant updates to the original ETSI MHEG specification from 2004, representing the most important increase in the technology’s capabilities since its inception. These include support for the IP-based MHEG Interaction Channel, which enables hybrid broadcast broadband receiver operation via an

IP connection – already being used by Freesat in the UK for catch-up TV services – and full support for HD graphics with increased colour depth and screen resolutions. The latest version of MHEG was submitted to ETSI in late September and has now been fully ratified. Visit www.impala.org

AMWA Post-Production Protocol The Advanced Media Workflow Association (AMWA) has announced that the Advanced Authoring Format (AAF) Effects Protocol (AS-05) has been formally approved by the association. The AAF Effects Protocol allows greater interoperability between video post-production systems by defining a set of new effects beyond those in the AAF Edit Protocol (AS-01). Using the AAF Object model the specification supports the exchange of metadata concerning title, opacity and colour effects. Title data includes the position, font and colour of video titles. The colour metadata is based upon the American Society of Cinematographers Colour Decision List (CDL) format, which defines a set of parameters for interchanging basic colour correction information. The specification can be downloaded from the AMWA web site at www.amwa.tv

Polling in Palestine AVnu Alliance Adds Members

The AVnu Alliance recently hosted its second PlugFest and added five new members. The industry forum is dedicated to promoting the adoption of the IEEE 802.1 AVB (Audio Video Bridging) standards and the related IEEE 1722 and 1733 for professional A/V, automotive and consumer applications. The five new members that recently joined the AVnu Alliance represent diverse industry segments committed to reliable, low-latency, and high-resolution networking capabilities for a high-quality A/V experience. The new members include; - Audinate, creator of the Dante digital media networking technology - Micrel, global manufacturer of IC solutions - Sennheiser, manufacturer of microphones, headphones and wireless transmission systems - Universal Media Access Networks (UMAN), developer of the Universal Network Operating System - University of New Hampshire Interoperability Lab (UNH-IOL), a third-party laboratory dedicated to testing data networking technologies. Visit www.AVnu.org

ISMA Merges with MPEGIF The Board of Directors of the MPEG Industry Forum (MPEGIF) and Internet Streaming Media Alliance (ISMA) have entered into a binding agreement to merge the two organisations by allowing MPEGIF members to become ISMA members and going forward as MPEGIF within the ISMA California nonprofit corporation. MPEGIF’s current structure as a Swiss association will be dissolved. “ISMA delivered massively important technology contributions resulting in great value and lasting benefit to our industry over the years,” said Prof. Dr.

h. c. Sebastian Moeritz, President of MPEGIF and CEO at dicas. “We are absolutely delighted to see the long cooperation and mutual admiration between ISMA and MPEGIF result in this agreement.” “ISMA’s highly successful standards will gain additional visibility through the merger, and will continue to be widely available to the broader industry through the success and influence of MPEGIF,” said Yuval Fisher, Chair of ISMA and CTO of RGB Networks. Visit www.ISMA.tv

Back To Contents Page

Conference Review ‘Z Factor’ Rules at NAB 2010

Shoot. Edit. Share.

Now faster with Sony NXCAM and XDCAM EX.

By Peter White

The roll out

of High Definition television has been like many overnight sensations in the music business - it takes a decade or more of practice to get it right. Which is why the massive surge of new 3D stereoscopic products at this year’s show was such a surprise. The almost unholy rush to bring the Z dimension to apparently salivating audiences saw NAB 2010 seemingly given over completely to launching, discussing and demonstrating stereoscopic tools and techniques. There was some interest at last years show but it seems the success of the all-conquering

>> >> NAB President and CEO Gordon

Smith, “Broadcasting is not an ATM that can keep spitting out spectrum.”

Avatar behemoth has led to a global marketing drive resulting in a frenzied scramble to feed this new market. This requirement has led to an enviable position in this post GFC climate where there is an alignment of the three planets of content creators, buyers and distributors - all pushing, pulling and creating demand for 3D material. The previous move to HD means there are already some fat and fast workflow pipelines to cope with the considerably larger files, throughputs and bandwidth requirements in most facilities. But 3D is double or quits with twice as much of everything needed to shoot, post-produce and transmit in full stereoscopic glory. So NAB 2010 reflected a scenario where everyone was offering products that were capable of recording, processing, transmitting or screening the Z factor. While recent NAB goers may have glazed over at HD capabilities, everyone who managed to get a budget to attend this year was paying attention to 3D.

18 NAB Review

LENZ

In the acquisition corner it was almost Steampunk retro with a massive range of rigs in all shapes, sizes and configurations completing for attention. At the KISS end of the market people queued to get their hands on the GoPro miniature HD camera at a show special price of US$199. Strap two together and you could record in stereo from practically any position or view. A similar philosophy applied to the new and dynamically expanding DSLR arena with an equally expansive range of third party equipment on offer. Next up the chain Panasonic debuted its soon to-be released AG-3DA1 camcorder. Billed as the world’s first professional quality, fully-integrated full HD 3D camcorder offering SD media card recording, its list price of US21,000 makes the AG-3DA1 a ‘no brainer’ for those wanting to capture 3D without having to worry about lens alignment, intraocular distances etc. A built-in twin lens configuration in a very portable 3 kilogram camera will attract many buyers who will hopefully quickly learn the rules of 3D camera moves. At the big end of town the 35mm film and HD cameras were fitted into the already mentioned array of rigs while Arri released its Alexa digital camera with a new Super 35 format CMOS sensor. Aaton went down a hybrid path with its Penelope-Delta digital magazine for its Penelope 35mm film camera. Users can simply change from a film to digital magazine so the same camera can shoot 35 mm or digital. Panasonic took the DSLR concept to a new level with its AVCCAM HD camcorder, the AG-AF100, billed as the first professional micro 4/3-inch video camcorder optimised for HD. Essentially it has taken the chip from its micro 4/3-still camera and optimised it for HD video recording.

SCREENZ

The most obvious stereoscopic wonders were of course the screens on seemingly every stand. With

views ranging from small monitors to massive arenasized displays, the exhibition stands were seas of heads with dark glasses gazing sometimes in awe at the latest technology. The options of active shutter and passive polarised were all present with content including live golf at the Sony press conference. As with the SD-HD move, conversion options were available to create 3D from 2D including Blackmagic Design’s DeckLink HD Extreme 3D capture card and JVC’s IF-2D3D1 stereoscopic image processor.

MOBILEZ?

On a physically smaller but equally important note, interest in mobile and smart phone technology continued unabated at NAB. No 3D here - yet! While content management and transmission systems of any note included options for delivering video and information to those very small screens, some are now turning the tables. Harris featured its citizen reporter application that allows iPhone users to capture and send video to designated catch servers, complete with GPS location verification and callback phone number. Radio was not immune from the video explosion with Netia now offering CamDirector, the voiceactivated camera module for its Radio-Assist 8 suite of digital audio automation software. CamDirector enables automatic in-studio video production by switching cameras according to the speaker and mike currently in use. Another trend at NAB was the move to include easy-to-activate or automatic Emergency Alert System/homeland security notification generation in as much equipment as possible. Options ranged from QuickShot, a one button, presentation room product to dedicated products from Digital Alert Systems.

PRESIDENTIAL FIGHTBACK

Despite the buzz, newly appointed NAB President and CEO Gordon Smith left 3D out of his debut NAB “State of the Industry” opening keynote at the show. Instead he put on the boxing gloves to lead the Broadcast industry’s political fights. The first issue Smith cut into was radio and the fee the recording industry wants to levy on stations when they play music. Citing 80 years of free promotion for free play, Smith said the recording industry had lost its head in

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continued page 20

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sony.com.au/production

NAB Review continued from page 18 the digital revolution and now “with desperation in its eye, has decided to bite the hand that feeds it.” “It’s what we call a “performance tax.” Labels like to call it a “right” or a “royalty,” but whatever you call it, it’s basically a bailout of the major recording companies, three of the four largest of which are foreign owned. I think the American people have had enough bailouts,” he declared. Next on Smith’s list was “the great spectrum grab of the new National Broadband Plan.” He said that the broadband plan would give more than a third of the TV spectrum to wireless broadband companies. The $15 billion transition to digital had

already included giving more than a quarter of the TV spectrum to the government, which then auctioned it off to broadband companies. “And they haven’t even started to use it yet,” Smith noted. “With the many advancements coming to wireless that use spectrum more efficiently, you have to ask, what makes this spectrum grab - and the disruption and loss of innovation it would cause - really necessary? Broadcasting is not an ATM that can keep spitting out spectrum.” Smith’s last target was the continuing battle over retransmission consent rights for broadcasters. He stated that broadcasters create the most compelling and most popular programming on television and

“broadcasting is a cornerstone of our democracy.” “Our programming provides real value to our pay TV partners, and we deserve fair compensation for providing cable and satellite viewers with programs like The Olympics, The Super Bowl, “American Idol” and “Lost.” But pay TV doesn’t want to compensate us - despite the fact that our content is the backbone of every pay TV package sold.” Smith finished by promising NAB’s aggressive advocacy at the FCC and in Washington, to ensure that broadcasters can continue their legacy of service to the American public.

Sony Exec Adds Dimension to NAB 3D from the Lens to the Living Room was the theme of NAB2010’s opening keynote from Hiroshi Yoshioka, Executive Deputy President of Sony Corporation. Mr Yoshioka set out Sony’s vision for promoting 3D, the concrete measures it has taken to that end and upcoming developments. It is the Blu-ray disc format, said Mr Yoshioka, that is behind the current push of 3D into the home. “Las Vegas is such an appropriate place for Sony,” he said. “We’ve always been high-stake gamblers and, most of the time, we’ve won. Videotape bypassed 16mm film. We placed a bet on Betamax, and lost. Blu-ray won the day against HD-DVD ... with help from our friends at Disney, Fox and Warner’s. Without Blu-ray, 3D would still be in our future instead of about to arrive in our homes.” Mr Yoshioka also highlighted the role James Cameron’s Avatar has played in driving interest in 3D. “That film, which was shot with Sony HD cameras, proves that 3D can and will transform the way entertainment is produced and experienced,” he said. “And, if anyone thought ‘Avatar’ was a one-hit 3D wonder, look at ‘Alice in Wonderland’ - with 3D effects produced by Sony’s own Imageworks studio. It had the biggest opening weekend of any 3D film ever. “There is no question that 3D is the next great entertainment platform. And Sony, with all of its resources, intends to lead the way in bringing great 3D into the lives of millions of people around the world. “I say ‘great 3D’ because making 3D images is relatively easy. But making high-quality 3D is not. Poorly executed 3D harms consumer perception and acceptance of the technology, threatening its longterm success.” Mr Yoshioka said the company’s approach to 3D would be the same as it applied to high definition – making sure every link in the production and delivery chain is strong. Sony’s “Lens to the Living Room” 3D ecosystem includes 3D production equipment, 3D movies, 3D digital cinema systems with 4K and 3D-capable projectors, and 3D Bravia TVs, Blu-ray players, home theatre systems and PlayStation 3 systems. Sony expects strong demand for its 3D Bravias in 2010 and expects the 3D TV market to grow to

20 NAB Review

>> >> 3D champion: Hiroshi Yoshioka, Executive Deputy President of Sony.

around 100 million units globally over the next three years. “In addition to the launch of our 3D Bravias and 3D Blu-ray disc players, Sony will offer an upgrade to our more than 33 million PlayStation 3 systems that will enable them to play 3D stereoscopic games and 3D movies,” said Mr Yoshioka. “3D game titles will be available for the upgraded PS3s this year, and we will grow our portfolio of 3D devices even further with 3D-compatible Vaio computers and Digital Imaging products.” Sony’s 3D production chain begins with its Professional Solutions group which used NAB to display rigs and cameras for 3D production, 3D capable switchers, VTRs and image processors, as well as 3D professional monitors and a prototype 3D LED display. There was also a new 3D mobile production truck on the show floor built by US company All Mobile. For its part, Sony Pictures Entertainment is producing a number of new 3D movies, including the next “Spider-Man,” and “The Smurfs.” And Sony Pictures Home Entertainment will deliver 3D Blu-ray discs for consumers to enjoy in their homes, including “Cloudy With a Chance of Meatballs”. Sony is also partnering with ESPN to develop and deliver content through the network’s new 3D channel launching in June. ESPN 3D will broadcast 85 live sporting events in 3D in its first year, including the

World Cup (soccer finals) in June and July, the Summer X Games in August, and weekly BCS college football games in the fall, including the Championship in January. Work is also well underway on Sony’s joint venture with Discovery Communications and IMAX for a dedicated 3D television network in the U.S. “Our long term cooperation with RealD in the area of Digital Cinema, has now led to further partnership in the area of global 3D broadcasting format called the “Side by Side method”, where we hope to take 3D broadcasting to the next level,” said Mr Yoshioka. Sony Pictures Entertainment’s Hot Ticket division - working with Sony Music Entertainment – is also producing a series of 3D live concert performances. Sony has also partnered with CBS to create the new “Sony 3D Experience” - the first consumer research centre dedicated to 3D. It is part of the CBS Television City facility at the MGM Grand. A new Sony 3D Technology Center, located on the Sony Pictures lot in Culver City, California, also offers 3D classes for content creators. “For nearly a century, most filmmakers have had to depict our 3D world in a 2D medium,” concluded Mr Yoshioka. “But now, technology has finally caught up with reality. With today’s stereoscopic 3D, we have the ability and the tools to deliver stunning 3D entertainment experiences to consumers around the world. And we know audiences want much more.”

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NAB Show Attendance Up

The National Association of Broadcasters released its preliminary attendance figures for the 2010 NAB Show which reflected a slight rise on 2009’s GFC-affected attendance. Registration figures included: Total registered attendees - 88,044 International attendees - 23,900 Countries represented - 156 News media attendees - 1,153 The 2009 NAB Show final attendance was 82,650. Visit www.nabshow.com

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The TheThird ThirdDimension Dimension

The Third Dimension

- Stereoscopic Production & Exhibition

Nine, SBS Kick Off Terrestrial 3DTV By Phil Sandberg

It was in temporary office space adjacent to the ‘GO’ channel control area at Channel Nine Sydney that world television history was made on May 19, 2010, with the first terrestrial broadcast of 3D TV. Beating a cooperative effort by Korea’s KBS, MBC, SBS and EBS by mere hours, the Nine Network/SBS Australia 3D broadcasts commenced with a loop of 3D material shot by Panasonic at the Vancouver Olympics followed, a week later, by Nine’s coverage of the first of three State of Origin Rugby League matches. The trial covers all matches in the Rugby League series and will culminate with SBS’ 3D transmission of 15 matches from this year’s FIFA World Soccer Cup. Outside of the live fixtures, match highlights will be broadcast along with a loop of locally shot 3D material produced with the help of equipment supplier John Barry. According to Charles Sevior, Network Manager Broadcast Technology, with Nine Network Australia the trial broadcast has involved partnering with a range of vendors and service providers – and in quick time. “We commenced with transmissions in Sydney and Brisbane. Sydney’s using the spectrum previously used by Broadcast Australia for their niche television service Digital 44. “Broadcast Australia had that capability so we approached them and luckily they hadn’t sort of pulled it apart so we were able to turn that around and get it ready for this broadcast, so the main thing has been getting our contribution system organised, getting feeds out to Gore Hill but also to around the country to all the transmitter sites where we’re operating and then obviously having them commence operation.” Outside of Sydney, TX Australia transmission sites at Mount Coot-Tha and Mount Dandenong are carrying the trial service to Brisbane and Melbourne respectively. Meanwhile, the WIN Television transmission site at Knights Hill is servicing the Illawarra region south of Sydney with NBN Television transmitting the 3D trial via its Cooks Hill and Charlestown translator sites which service the city of Newcastle, north of Sydney. The trial will also make use of SBS transmission sites at Mount Lofty (operated by TX Australia and servicing Adelaide) and Bickley (operated by Broadcast Australia and servicing Perth). “We’re basically running a 14.5 megabit total transport stream at 16 QAM because we’re using 22 The Third Dimension

Fox First for 3D Down Under “Scoring early in the game”, Fox Sports was the first to make Australian TV history with a 3D sports broadcast of its coverage of the Socceroos’ last home match before the 2010 FIFA World Cup. FOXTEL iQ2 and AUSTAR MyStar HD subscribers with a 3D ready television were be able to watch the game on Monday, May 24 from the Melbourne Cricket Ground, via a specially set-up 3D channel (Channel 200) called Fox Sports 3D. The coverage was also carried on Fox Sports 3HD (Channel 205) and Fox Sports 3 (Channel 503). With 3D capability already built into its set-tops, delivery was more an issue of bandwidth allocation, EPG enablement and, of course, customer uptake. On the production side, Fox sports and Global TV used five Sony-equipped 3D camera rigs from Panavision with software-based stereo monitoring and control and the use of passive Sony monitoring. Hinting at future 3D forays, Fox Sports chief executive, David Malone, said “As Australia’s leading sports broadcaster, Fox Sports is proud to be making history by delivering an Australian television first to

Socceroo Tim Cahill with 3D glasses.

viewers around the country. This live and exclusive Socceroos 3D experience is Fox Sports next step in an on-going quest to take the sports broadcasting

experience to exciting new levels for all Australian fans. Foxtel chief executive, Kim Williams AM, said “Once again, Foxtel is at the forefront of television innovation in Australia. This is an important announcement and a key step in our overall 3D development plan through the trialling of the first 3D Australian sports broadcast. “Trials like this with Fox Sports will continue this year and next as we better develop our range of 3D skills preparing for its eventual incorporation in the Foxtel suite of services.” Carl Rose, Managing Director, Sony Australia & New Zealand, added “There is an extremely exciting future for 3D TV in Australia, particularly when it comes to sport. Viewing sport in 3D replicates the feeling of being right there at a game, while providing a completely new perspective. Sony’s expertise in creating and delivering a 3D experience is unmatched and this partnership with Fox Sports, FOXTEL and AUSTAR is a landmark in our roll-out of 3D technology to Australian homes.”

>> >> 3D Control at TCN 9, Sydney. lower power transmitters in a lot of cases,” says Sevior. “Instead of using 64 QAM, 23 megabit which we normally use, dropping it back to 16 QAM gives us the equivalent coverage even though it’s a lower power transmitter. And because we’re using MPEG4 and we’re just broadcasting a single service, we’re not multiplexing anything else, the picture quality at that bit rate, it’s around 13 megabits. Something like that is ample. The MPEG4 is working quite well.” 3D material will be broadcast in the side by side format. According to Charles Sevior, “it would appear that the industry consensus is side by side is best used in 1080i environment particularly with interlace. Under/over or top/bottom has been more popular in the 720p format. “If you think about interlacing, every second line is from an alternate field. If you then decimated that under/over, you’re reducing your vertical resolution but then you’ve also got the interlacing which is essentially a vertical resolution form of compression. So, by doing side by side you’ve already done interlacing in a vertical domain. With side by side you’re reducing the resolution horizontally, so it’s a more equal form of compression rather than putting it all on the vertical domain. “So, with things that we’ve seen that other broadcasters around the world have done, side by side seems to go hand in hand with a 1080i format which is what we originate at the OB and, obviously, what we normally deal with here in Australia.” For the broadcast of loop material, programming is recorded onto an EVS server after encoding with a

Harris X50 encoder. “The X50 is like the X75 or the X80,” says Sevior. “It’s one of their little workhorse devices that does lots of things. They showed it to us at NAB as a prototype. The X50’s a product they’ve been making for a while but they had some new software in there to do the 3D encoding and they can go into left eye, right eye or split them, split and pull out one eye or the other eye, that sort of thing so there’s a number of companies with 3D processes and Harris offered that one to us so we’ve used it for real time encoding.” From the EVS, material goes through a “command and control area” adjacent to the ‘Go’ Channel control with “standard 3D screens” used for monitoring. “Samsung have helped us out with a few TVs so that we actually make sure that the signal we’re putting out is actually being decoded properly. All of the consumer televisions that have been marketed are active shutter displays, but what we see in the professional environment and the outside broadcast production environment, you would use polarised screens which only require the passive glasses which are the standard Real D or similar polarised glasses.

One of the Fox Sports/Global TV/Sony/ Panavision 3D rigs at the MCG.

content

technology MAGAZINE

presents

STATE OF ORIGIN

For State of Origin Rugby League matches in 3D, Nine has engaged Global Television’s HD-1 OB truck (HD2 is employed for the conventional 2D broadcast). As part of pre-production, a joint Nine-Global team visited the UK to see 3D sports production in action. According to Nine Network Engineering Manager

Stereoscopic monitoring at the match.

3D-DAY

November 16, 2010,

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continued on page 26

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The Third Dimension 23

RAI Amsterdam

The Third Dimension

Conference 9-14 September : Exhibition 10-14 September

Ericsson Delivers 3D

3D Camera and Recorder from Silicon Imaging

Ericsson used NAB 2010 to highlight its new solution for both direct-to-home (DTH) and contribution and distribution of 3D content. The Ericsson CExH42 MPEG-4 AVC HD Contribution Encoder provides a platform for 3D contribution links, ensuring full control of encoding parameters, exact synchronisation and time-stamping of the compressed frames and the generation of a fully packaged 3D simulcast. The Ericsson RX8200 Receiver features new technology which ensures that the exact temporal and spatial relationship between left and right feeds is also maintained at the receive end, avoiding possibly severe reductions in early 3D customer experience. Meanwhile, the Ericsson EN8190 HD encoder is designed for DTH 3D deployments and uses frame-compatible compression methods to maximise the consumer 3D experience. This encoder provides the MPEG-4 AVC HD compression, using new in-house technology designed to enable conversion to an all-HD world. Visit www.ericsson.com/campaign/ televisionary

Silicon Imaging has unveiled the SI-3D camera at the National Association of Broadcasters Convention. The new SI-3D stereo camera utilises dual SI-2K Mini heads integrated with a single processor, which mixes and synchs the left- and right-eye images into a single 3D QuickTime file. These can be recorded with the new SI-3D Minideck Recorder, or fed into the new SI-3D Live system for stereoscopic SMPTE HD-SDI broadcast or 2K Cinema playback and projection. The SI-3D offers filmmakers built-in tools for checking and adjusting camera alignment and parallax shift between the two views. All of the controls are accessible through a simple touchscreen interface. The stereo data is processed in one system, eliminating the need for a separate stereo processor to mix the two signals for a stereo display. Currently, 3D content is captured from two independent left and right cameras, each with its own settings, colour controls, record start, timecode, content management and monitoring outputs. A variety of complex “workarounds” are used to synchronise the recordings or combine the outputs for viewing. Other systems use a fixed optical system with highly compressed H.264 or J2K codecs to record, which either limit 3D depth for closeups or large scenic views. Using the overscan resolution of the 2K imager, the SI-3D provides virtual alignment and parallax controls so that the cinematographer can digitally shift the position of the two images while maintaining a full 1080P HD output. All adjustments are non-destructive and are stored as

Weather System for 3DTV

At NAB 2010, Weather Central LLC showed live demonstrations of 3D:LIVE Fusion - its on-air broadcast weather platform - showing the capability to deliver weathercasts for 3D stereoscopic television channels. The demo illustrated how the technologies built into the 3D:LIVE platform provide the performance and toolset to address the emerging demands of 3D broadcasts. The demonstration was produced and played out entirely from a current-generation 3D:LIVE Fusion system with software enhancements created by Weather Central to take advantage of the depth and perspective capabilities available to 3D channels. Sony contributed a Bravia 3D television on which to showcase the output. Built on the latest 64-bit Windows 7 operating system, 3D:LIVE Fusion takes advantage of enhancements in hardware performance to enable the instant creation of visuals. Resolution independent graphics and enhanced 3D objects for weather elements and cityscapes are inherent capabilities of the 3D:LIVE platform, enabling the creation of believable and immersive 3D weather stories. Visit http://www.wxc.com

24 The Third Dimension

metadata in the file. This allows for re-adjustments in post to fine-tune content for cinema versus TV, or Internet delivery. The camera has the ability to switch back and forth between left and right view, as well as mix them and in anaglyph, side by side, or split screen without needing any special external hardware. The camera can also capture the timecode into the system. The SI-3D shoots uncompressed raw data encoded directly to a single stereo CineFormRAW QuickTime file, along with 3D LUT colour and convergence metadata. The stereo file can be played back instantly and edited in stereoscopic 3D on an Apple Final Cut timeline, without requiring proxy conversions. With the addition of CineForm’s Neo3D, convergence plus stereo or individual eye colour adjustments can be dynamically controlled and modified, while viewing live 3D playback. Further grading and stereo sweetening can be done on Quantel’s Pablo, IQ, or Irida’s SpeedGrade DI. Silicon Imaging also introduced the new, portable SI-3D Minideck solid-state recorder which can simultaneously capture 12-bit RAW 2K or HD images from two SI-2K cameras, or from the new SI-3D stereo camera. The SI3D Minideck processes content for real-time viewing and storage on removable 2.5” SATA SSD drives. A single 250GB SSD is capable of storing about 30 minutes of uncompressed stereo 2K footage, including audio and timecode, or up to two hours of stereo material using the CineFormRAW QuickTime codec. Visit: www.cinedeck.com and www.si-2k.com

IBC2010 Experience the state-of-the-art IBC is the premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide. • 45,000+ attendees from 140+ countries • 1300+ key international technology suppliers across 11+ exhibition halls • world-class demonstrations of groundbreaking technology such as stereo 3D • agenda-setting conference with 300+ high-profile international speakers

• NEW Connected World for IPTV, Mobile & Digital Signage (Hall 9) • FREE hands-on training; Production Village (Hall 11) and Post Production (Hall 7) • FREE Exhibition Business Briefings • FREE movies screenings in the IBC Big Screen • FREE entry to the prestigious awards ceremony on Sunday 12 September

Snell Ready for Third Dimension Snell has announced that systems across the company’s product portfolio are 3D-ready and already being used to support 3D productions around the world. Equipped to support image processing, live production, automation, workflow control, and distribution within the 3D environment, Snell’s 3D-capable systems allow broadcasters to leverage familiar tools in meeting the rising demand for 3D content. Among the Snell products enabling 3D are the company’s Alchemist Ph.C – HD standards converter, Kahuna SD/HD multi-format production switcher, RollCall control and monitoring range, and Morpheus automation. In live 3D production, Snell’s Kahuna production switcher offers the capacity to handle stereo video feeds on a single mixer bus, as well as the advanced image calibration required to deliver a quality 3D experience to viewers. The Snell range of control and monitoring systems also supports 3D production by enabling the management of parallel signal paths and, in turn, ensuring consistent processing for left and right video feeds. Additionally, Snell’s Morpheus automation system is currently deployed within a European 3D transmission center for 3D broadcast productions. As 3D content is taken to air, Morpheus offers advanced features, such as MediaBall, that allow twin feeds for stereo video to be handled as single events for operations and traffic systems within the facility. Finally, the Alchemist Ph.C – HD played a key role in the broadcast of the RBS 6 Nations Rugby tournament, and international broadcasters will be working with the system for 3D coverage of the 2010 FIFA World Cup South Africa. Visit www.snellgroup.com

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www.ibc.org IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK T. +44 (0) 20 7832 4100 F. +44 (0) 20 7832 4130 E. info@ibc.org

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at r ow iste n ter g/reg s i eg c.or R .ib ww w

The Third Dimension

continued from page 22 Jason Pendleton, while 24 cameras are employed on the 2D coverage, the 3D coverage originates from just seven camera rigs. “We’ve got a total of seven cameras on the 3D coverage,” says Pendleton, “which is made up of six rigs from 3ality which are full 3D cameras using Sony 1500 HD cameras and we’ve also sourced a proto or a pre-production model from Pristeigne Charter (of the UK) which is a 3D camera that they’ve engineered based on a 1/3-inch Sony CCD block mounted into a body that’s not dissimilar to a standard Sony 1500 camera. That’s going to use an RF system. “That RF camera’s really the trickiest thing that we’re pulling together, but from what we saw in the UK that does provide some of the best shots in the 3D space. It’ll basically get used around the sideline primarily to get the teams running out onto the ground and then it’ll just rove around either sideline or behind goals. “It’s got a standard HD Link Research link on it, but that’s been modified to have two encoders. Traditionally, with the 2D and HD RF cameras, we’re using a 10 meg slot. With this system it’s actually using a 20 meg slot.” The prototype camera has no remote control over interocular separation, but this will be a feature of the finished product. In the meantime, a Sony MPE200 stereo processor is used to algorithmically adjust the interocular separation. “In terms of fixed cameras, we got four basically on the ground, just in the corners, effectively, and then we’ve got two at a lower camera deck to what we traditionally use.” According to Pendleton, directors really need to look at completely different camera angles for 3D coverage compared to the normal 2D coverage. “The motto is lower and longer,” he says. “From a director’s perspective, you sit on a shot a lot longer than what you would normally because the transitions between camera angles are critical. If you used the traditional high mid shot for the 2D coverage you tend to lose the 3D depth of field.” The seven 3D cameras go into HD-1 via dual links appearing to the truck as 14 cameras through 14 inputs. “What we’re sourcing from 3ality in the States is effectively six fixed cameras. They’ve currently got two versions, one is called a TS2 which is basically a beam split set-up and that tends to work better for stuff that’s in tight to the camera. The other rig is a side by side which is the TS4 and, obviously, the interocular separation between the two lenses is restricted to how how tight the two cameras can actually get together. “The best way to describe the operation is you’ve still got your traditional TD and CCU guys looking after the matching of the cameras. Generally, they’re working with two CCUs per camera rig – i.e., two cameras. The iris control is generally linked between the two cameras but the paint and colour matching is all manual between the two. “Obviously, the side by side rigs are fairly easy to keep matched, but with the split rigs, because they’re actually shooting through a mirror with one of the cameras, there is a difference between those two.

26 The Third Dimension

>> >> 3ality-designed convergence operator stations at Sydney’s ANZ stadium. “So, you’ve still got your TD and CCU guys are doing their traditional role and then in the 3D space you’ve got a stereographer who’s kind of the 3D TD and he’s managing a team of convergence operators.” “What we’re doing,” says Charles Sevior, “is we’re tapping as much information as we can get from these guys, but at the same time we’re doing it ourselves. We’re using our own people, our own camera operators, our own engineers and so on to get our hands on this.” In addition to coverage from the 3D rigs, HD-1 will also take in 2D signals and “convert” that to three dimensions. “We recognised early on that there will be some camera angles that we can’t cover with our seven cameras,” says Pendleton, “so what we’re actually doing is taking two ISO router outputs from the 2D truck and we’re running them through a 3ality processor which will have a fixed offset to make a virtual 3D signal which we can present to the vision mixer and use in our coverage. We kind of recognise that potentially there may be some video ref-type decisions that it may be prudent to hang off the main coverage.” Inside HD-1, 3D replays will be handled by four EVSs running in a synchronised or 3D mode. “That basically turns a six-channel box into two cameras in and one replay out,” says Jason Pendleton. “So we’ll effectively be ISO-recording all seven 3D cameras with effects mics and enhancements. It’s supplementary audio but it’s still being done in surround.” Graphics technology for the trial has been supplied by VizRT who has loaned Nine a 3D engine being fed by Nine’s normal statistics system. “On the initial advice of 3ality, we moved the ticker that we would normally have in the lower left to

the top left,” says Pendleton. “They just advised that any graphics that are going to sit in front of the screen in the 3D space are better off floating at the top of the screen rather than at the bottom.” According to Charles Sevior, coverage from the game will then be compressed to a contribution quality compression of around 40 megabits and uplinked via an itinerant satellite back to TCN9 in Sydney. “We’re putting it into a Ericsson IRD to take that out so it comes out as normal one and a half gigabit left right encoded signal, says Sevior. “Basically, we’ve got a lot of options here but primarily we’re just putting it into our router infrastructure, we’re switching it through a master control switcher and taking it back out again and we have the ability there to switch into the demo loop or back to a live event and I think we also have the ability to do some bugs, some graphic keys which have been authored in 3D. “Then, from there, we put together a terrestrial network predominantly ASI but also there’s a satellite uplink that’s being provided for the purpose of this trial by Optus for terrestrial distribution to all of the transmitter sites. “We’ve actually launched in Brisbane with a low-power transmitter that TXA were able to get organised but we have another transmitter that Harris is providing for us for this trial which is higher power and that should get most of Brisbane with good coverage. “Similarly, in Melbourne we’ve got an interim transmitter operating for the first event for Origin 1. Still medium power, I wouldn’t call it low-power, still be quite a good signal over Melbourne but we’ll be able to reconfigure and put in a higher power transmitter. continued on page 28

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The Third Dimension

continued from page 26

>> >>

Nine Network Engineering Manager Jason Pendleton with 3ality TS4 3D camera rig, including two Sony HDC-1500 cameras.

It’s a 3D World ... Cup For its part in the 3DTV trial, Australia’s multicultural broadcaster SBS will take 15 matches from the FIFA World Cup’s world cinema feed. According to Capital Development Manager at SBS, John Lock, the matches will go out in the same side by side format as Nine’s Rugby League coverage. “The receivers in the market are currently there and the ones that are soon to be there can all be coded,” he says. “It’s a pretty big advantage. We can put it out on existing DVB equipment in MPEG4, that’s another advantage. We could do it in MPEG2 but we’re doing it in MPEG4. “Side by side is appealing. We’ll use the full 1920 pixels across, so half of that still gives you a pretty big number.” “We’d love to have a lot of people interested in it and interested in seeing a lot more 3D and then we’d respond appropriately, we’d start looking for 3D content. “I think there’ll be more and more 3D content coming in sport. You continually see more announcements or material being shot in 3D, there’s continually more cost-effective ways of shooting in 3D coming onto the market so if it’s going to be what the consumers want we’d looking at doing it more.” Matches covered in 3D at the FIFA World Cup will use seven pairs of Sony’s HDC-1500 cameras on rigs at every match and be processed with Sony’s MPE-200 multi-image processor and a customised 3D Outside Broadcast truck. 3D filming will be undertaken at five out of the 10 FIFA World Cup stadiums: Soccer City and Ellis Park in Johannesburg, Durban, Cape Town and Port Elizabeth. 25 matches in total will be filmed and broadcast in 3D. Post-tournament, Sony Pictures Home Entertainment will produce and distribute the official FIFA film in 3D on Blu-ray Disc this year.

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“We’ve had incredible support from the transmission service providers from Broadcast Australia and TX Australia and also from Harris who have provided transmitters on loan at very short notice for this event and also slightly behind the scenes RFS have helped out with combiners and things that have been needed to get the UHF signals into the transmission towers. “The purpose of the trial, from a scientific point of view, is to see if the 3D television format can be broadcast successfully through the normal terrestrial means and also to provide the H264 MPEG4 video transmission. “That’s very interesting to understand what percentage of televisions in the market have that capability because it’s something we talk about a lot at conferences, and with the future of free to air television, whether we can or can’t convert from MPEG2 to MPEG4 in the future. “That’s one of the reasons behind Freeview. We’re trying to ensure that the Australian public are offered high quality televisions with MPEG4 as part of the base specification because we don’t want Australian consumers buying things that don’t have a future.”

28 The Third Dimension

The Australian Communications and Media Authority has issued licences which will allow the Nine Network and the SBS to conduct scientific trials of 3D TV in Sydney, Melbourne, Brisbane, Adelaide, Perth, Newcastle and Wollongong. The licences allow the trial operators to “test new radiocommunications technologies” between 19 May 2010 and 19 July 2010 by broadcasting 3D high definition television to viewers with access to 3D-enabled digital television receivers. The trials will include live telecasts of the three State of Origin rugby league matches. The ACMA understands retailers will be using the trials to showcase the first generation of 3D television receivers. “It is important people are aware that these trials have only been approved for this two month period,” said ACMA Chairman, Chris Chapman. The 3D TV trials will be broadcast in digital mode by the SBS on UHF channels in Sydney (Channel 35), Adelaide (Channel 29) and Perth (Channel 35) and by the Nine Network in Melbourne (Channel 35), Brisbane (Channel 50), Newcastle (NBN Ltd) (Channel 35), and in Wollongong (WIN Television) (Channel 50). Each trial will carry both SBS and Nine services. Viewers in these locations will access the trial through logical channel number 40 on a 3D-enabled digital television set. The UHF channels allocated for the trials are unassigned channels (generally known as Channel B). Together with other unallocated BSB spectrum known as Channel A, Channel B was previously reserved for digital television services such as a limited range of in-home broadcasting services and for mobile television services. The concept of Channel A and Channel B has been discarded by the government as part of the current policy review of the allocation and use of spectrum known as the digital dividend (spectrum to be vacated upon the switch-off of analogue television). Channel A has been allocated to community television in each mainland metropolitan market until analogue switch-off in 2013. This leaves Channel B as the only BSB spectrum available for temporary use until the process of finalising the digital dividend is complete. The approval of the 3D TV trials for a period of two months is not an indication that the future permanent allocation of these UHF channels will be for broadcasting purposes. That is a matter for consideration by the government.

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rentals

Talent in View at Cinematographers Awards

30 Acquisition

>> >> [L-R] Marc Van Agten (Fujifilm),

Australian Cinematographer of the Year Andrew Commis and Simon Murphy (Fujifilm) at the 2010 Australian Cinematographers Society National Awards.

• Golden Tripod - Tom Gleeson (NSW), Fearless • Distinction - Jason Hargreaves (QLD), Kate Miller Heidke “Caught in the Crowd” CATEGORY No. 5 - NEWS - LOCAL/REGIONAL Golden Tripod - Jayson Flakus (QLD), Cane Disease Outbreak CATEGORY No. 6 - NEIL DAVIS INTERNATIONAL NEWS • Golden Tripod - Ben Emery (NSW), Bangkok Battle • Distinction - Wayne McAllister (NSW), Long March CATEGORY No. 7 - CURRENT AFFAIRS • Golden Tripod - Louie Eroglu ACS (NSW), Detroit ‘Ain’t Too Proud to Beg’ • Distinction - Wayne McAllister (NSW), Cats in the Clouds CATEGORY No. 8 - TV MAGAZINE, LIFESTYLE & REALITY • Golden Tripod - Frank Maurici (NSW), Eskimos • Distinction - Roger Price (ACT), Portugal - Cheese Slices CATEGORY No. 9 - CORPORATE & EDUCATIONAL • Golden Tripod - Peter Davies (NSW), Choices • Distinction - Aron Leong (QLD), Bishop Brothers Engineering CATEGORY No. 10 - DOCUMENTARIES, CINEMA & TV

workflow design

system integration

• Golden Tripod - John Biggins (NSW), Feral Peril • Distinction - Pieter De Vries ACS (NSW), Tasmanian Devil CATEGORY No. 11 - WILDLIFE/ NATURE • Golden Tripod - Rory McGuinness ACS (VIC), Turtle - The Incredible Journey • Distinction - Malcolm Ludgate ACS (SA), Lizard Kings CATEGORY No. 12 - COMMERCIALS -LOCAL/REGIONAL • Golden Tripod - Callan Green (NSW), Samantha Wills “Every Moment” • Distinction - Wayne Aistrope (VIC), Herald Weekly Times 140 Years CATEGORY No. 13 - COMMERCIALS NATIONAL/INTERNATIONAL • Golden Tripod - Mandy Walker ACS (NSW), Tourism Australia - “VP Sales” • Distinction - Simon Duggan ACS (NSW), Jameson’s Lost Barrel • Distinction - Greig Fraser (VIC), Tourism Victoria - Daylesford CATEGORY No. 14 - DRAMATISED DOCUMENTARIES • Golden Tripod - Jim Frater (WA), The Great Escape “The Reckoning” • Distinction - John Radel ACS (NSW), In Our Name CATEGORY No. 15 - FICTIONAL DRAMA SHORTS • Golden Tripod - Murray Lui (NSW), Jacob • Distinction - Stuart Gosling (VIC), A Love Story CATEGORY No. 16 - TELEFEATURES, TV DRAMA & MINI SERIES • Golden Tripod - Allan Collins ACS (NT), 3 Acts of Murder • Distinction - Mark Wareham ACS (QLD), A Model Daughter CATEGORY No. 17 - FEATURES - CINEMA • Golden Tripod - Andrew Commis ACS (NSW), Beautiful Kate • Distinction - Ellery Ryan ACS (VIC), Van Diemen’s Land NEWS DIRECTORS AWARD Gold - Craig McKeough (QLD), Kybong Fatal Clips of this year’s Golden Tripod-winning entries can be viewed at http://showreelfinder.com/ ACS2010/ Visit www.cinematographer.org.au

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TV Drama

Documentary

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from the Logies, cinematographers from around Australia gathered at the Victorian Arts Centre in Melbourne for the 2010 Australian Cinematographers Society National Awards. Presented by FUJIFILM, these are the peak awards that celebrate the art of moving image photography in Australia. The ceremony saw the presentation of awards in eighteen categories, including 16 Golden Tripods. It also saw three members - David Burr ACS, David Lewis ACS and Howard Rubie ACS - inducted into the ACS Hall of Fame. Special awards on the night included the prestigious Milli Award for Australian Cinematographer of the Year, the International Cinematographer of the Year Award and the ACSNFSA John Leake OAM ACS Award to an Emerging Cinematographer. The Milli Award went to Andrew Commis ACS, for his work on Beautiful Kate, for which he was also awarded a Golden Tripod in the Feature Film category. The International Award for Cinematography was accepted via video by Robert Richardson ASC for the film Inglourious Basterds. The inaugural winner of the ACS-NFSA John Leake OAM ACS Award to an Emerging Cinematographer was Kirsty Stark from SA. She plans to use the $5000 cash prize towards a project that will enable her, along with another emerging SA cinematographer, Vivyan Madigan, to develop their skills working with 16mm film as opposed to digital formats. The winners in the following categories were also announced: CATEGORY No. 1 - STUDENT CINEMATOGRAPHY Gold - David Rusanow (VIC), The Fumes “Python for a Pillow” CATEGORY No. 2 - EXPERIMENTAL & SPECIALISED CINEMATOGRAPHY • Golden Tripod - Matthew Horrex (NSW), Zero • Distinction - Richard Chataway ACS (SA), Schmackos Popcorn “Schmatrix” CATEGORY No. 3 - TV STATION BREAKS & PROMOS Golden Tripod - Michael Beresford-Jones (NSW), FINA Swimming Promo for ONE HD CATEGORY No. 4 - MUSIC CLIPS

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Acquisition

JVC’s New ProHD Camcorders The GY-HM790E is JVC’s new shoulder-mount camcorder that supports multi-core or fibre-based production. The camcorder features three 1/3-inch CCDs, which allow a lighter, more compact form factor for better manoeuvrability in the field and more flexibility with robotic camera control systems in the studio. It produces 1920x1080 images and can record in 1080i, 720p, and SD (480i). The camera records at 35 Mbps (HQ mode/variable bit rate) or 19 Mbps/25 Mbps (SP mode/constant bit rate). The camera accommodates a variety of lenses with its 1/3-inch bayonet lens mount and features a dual card slot design that records to lowcost, non-proprietary SDHC Class 6 or 10 solid-state media cards. JVC’s native file recording technology

allows recording in ready-to-edit file formats for Apple Final Cut Pro (.mov) and other major NLE systems (.mp4) that are compatible with the Sony XDCAM EX workflow. An optional ASI output module provides a direct feed from the camera to a satellite uplink or microwave transmitter via BNC – no “black box” interfaces required – for live HD video from the field. Other ENG features on the GY-HM790E include an analogue SD pool feed input, 4.3-inch LCD screen, and a highresolution, 1.2 megapixel LCOS viewfinder. Two XLR inputs with phantom power offer uncompressed LPCM audio recording with manual level controls. With its HD/SD-SDI port, the GY-HM790E provides an uncompressed 4:2:2 full HD signal for live

Panasonic Debuts 50 Series System Panasonic’s new 50 Series System is the company’s first implementation of an Internet Protocol (IP) and Serialcontrolled video production system. The range includes the AW-RP50 remote camera controller, the AW-HE50 multi-format HD/SD camera with an integrated pan-tiltzoom mechanism, and the AW-HS50 sub-compact live switcher with built-in MultiViewer. The AW-RP50 remote unit can control up to 100 AW-HE50 cameras via IP control, and up to five cameras and five pan-tilt heads with RS422 control. It is capable of accessing up to 100 presets for each Panasonic PTZ cameras (the AW-HE50 and AWHE100), and up to 50 presets for other pan-tilt heads. Panasonic’s new AW-HE50 multi-format HD/SD

camera with integrated pan-tilt-zoom mechanism will be available in two versions, the AW-HE50H with an HDMI output and AW-HE50S with an HD/SD-SDI output and genlock. The AW-HS50 half-rack HD/SD live switcher offers four HD/SD-SDI and one DVI-D inputs as standard, as well as a built-in MultiViewer. It offers a 10-bit frame-synchroniser for each input, one-channel of upconversion, two HD/SD-SDI outputs and one scalable DVI-D output. As a 50 Series component, the AWHS50 provides IP links to the AW-RP50 remote camera controller, enabling automatic selection of the currently controlled P/T/Z camera video on the switcher’s AUX bus. Visit www.panasonic.com/broadcast

Sachtler Revamps Video 18/20 Heads

Sachtler, a Vitec Group brand, presented the Video 18 S1 and Video 20 S1 fluid heads at NAB 2010. These are the latest models of the classic Video 18 and Video 20 Sachtler ENG / EFP heads. The payload range of the Video 20 S1 has been expanded: just like the Video 18 S1, it can now take on cameras starting at two kilograms instead of seven and both heads now have a Boost Button for a quick payload range shift. Broadening the payload and expanding the counterbalance range to 16-steps enables extremely fine tuning of a large range of cameras including DSLRs shooting HD Videos. Due to their heavy mass in comparison to the camera the tripod heads enable a distinctly precise panning.

ABE2010

Cartoni Support Grows for 3D & HDSLR monitoring, and a FireWire port provides output of SD signals or the HDV transport stream, so footage can be backed up economically with an HDD recorder. An optional SxS media recorder module attaches directly to the camcorder and allows simultaneous recording to SDHC cards and SxS media. The new GY-HM790E also offers a redesigned studio adapter sled that incorporates a modular approach to multi-core or fibre connectivity for a cleaner interface. Modules connect directly to the camera without external cabling, so they can be used either with the studio sled or handheld. A specially configured low light version of the camera, the GY-HM790LL, will be available later this year. Visit jvcpro.com.au

Gravity Software Eases Multicam Production At NAB the newly formed SSL DV, Inc., a Solid State Logic Company, announced the debut of the Gravity Studio Recorder MC Software option. Building on the capabilities of the Gravity Studio Recorder (GSR), the MC software option is designed to provide master control of up to three satellite GSR units for expanded, multi-camera video and audio coverage of a program, while still preserving the traditional tape workflow paradigm engineers use for prerecording ‘live’ productions. The Gravity Studio Recorder is a digital linear recording device that allows for the overwriting of previous takes with new material onto the same file. The GSR MC software option creates a master/slave relationship between a designated master Gravity Studio Recorder and up to three additional GSR units. With MC, an end user can now successfully include a range of independent camera positions and production options not available with a single GSR unit. With each camera’s data stored on individual GSR units, a director may now re-take a question and answer segment, refine the video flow, insert and compile into a single file for air without separate time and budget intensive post-production. Visit www.solidstatelogic.com/gravity

Cartoni introduced new and updated products in its range of support solutions at NAB. To satisfy the demand by videographers for “true” fluid pan and tilt heads to support the new HDSLRs, DSLRs and compact Video cameras, Cartoni has revamped the classic Action Pro, introducing the new Action Pro HDSLR. This head includes the patented Cartoni Labyrinth fluid modules in both pan and tilt, positive lock, 75mm bowl and a newly designed quick release sliding camera plate for better balance of the off-set loads such as long focal lenses. The Action Pro HDSLR system comes equipped with an aluminium tripod, built-in spreader and transport soft bag at a price comparable to popular photo tripods. Cartoni has upgraded its Cartoni Focus with the Focus HD, which blends the performance of the Focus

with continuously variable fluid drag in both pan and tilt and a versatile counterbalance from “0” to 12,5 kg. The increased payload capacity makes the Focus HD the ideal support for all existing Digital HD cameras, even in heavily accessorised configurations. The latest tripod in the Cartoni Heavy Duty tripod family is a new 2 stage Heavy Duty version fulfilling the demands for super-sturdy legs in OB situations. It handles large heads and payloads of more than 100 kg making it ideal for 3D film rigs. This new tripod offers exceptional torque rigidity and a rugged construction, with the final section in stainless steel and double locks on both stages on the 3 legs. These locks have a new ergonomic design to ensure the best grip and the easiest operation in all weather conditions and with gloves.

The new 2 stage can have a 150mm bowl base or a flat Mitchell standard base with Vinten style 4 bore holes. Cartoni has also designed a new set of railwheels for the Dolly, now available for the extendable dolly. With this accessory mounted in seconds your P20 Pedestal or any extendable dolly can be mounted on standard tracks for dolly travelling shots. Lastly, the Cartoni E-REM 15 is now available with new accessories and integrated equipment, which increase the field of action of this remote controlled and encoded pan and tilt head. The E-REM 15 can be operated by joystick, hand wheels or pan bar. A new console allows a multiple control for up to 8 different heads and cameras, making it a great tool for conference rooms, theatres and parliament houses. Visit www.cartoni.com

New Fujinon 3D, HD Lenses Fujinon, Inc. introduced a raft of lenses at NAB including six for 3D production and 5 for HD. 3D HD lenses include: Four new B4 mount lenses are designed for 3D HD productions. • HA23X7.6BEZD-T5DD: 23X zoom with a focal length of 7.6-175mm (15.2-350mm with 2X extender). • HA16X6.3BEZD-T5DD: 16X zoom with a focal length of 6.3-101mm (12.6-202mm with 2X extender). • HA18×7.6BEZD-T5DD: 18X zoom with a focal length of 7.6-137mm (15.2-274mm with 2X extender). • HAs18X7.6 3BZD-T5DD: 18X zoom with a focal length of 7.6-137mm with no 2X extender. All four lenses include Fujinon’s Inner Focus, Zoom Limit, and Quick Zoom features, with an optional 16-bit encoder.

Fujinon is also offering two extended definition 3D lenses. The A4X7.5BMD-DNL features a 4X zoom with a focal length of 7.5-30mm, while the A8X12BMDDNL features an 8X zoom with a focal length of 1296mm. Both broadcast quality lenses include a B4 mount. The six new lenses work in conjunction with Fujinon’s 3D Synchronous Control System or third-party controllers for simultaneous zoom and focus control. New HD lenses include: • HA14×4.5BE RM/RD: a new high-end, ENGStyle wide angle HD production lens designed for 2/3-inch cameras. It features an exclusive 2.2x extender that extends the focal length from 9.9 to 138mm. Without the extender the lens has a focal length of 4.5 up to a maximum of 63mm. The lens has a 14x zoom range and a maximum relative aperture at 1:1.8 from 4.5mm to 41mm and 1:2.8 at 63mm.

• XA16sx8BRAM: designed for 2/3-inch cameras and features a 16x zoom range and a focal range of 8 to 128mm. The XA16sx has a new ergonomic digital servo and a newly designed rear-focusing system. • XT17sx4.5BRM: a 1/3-inch ENG-Style lens that also features the new digital servo with Quick Zoom Cruise Zoom and one second zoom speed. • XA20sx8.5BRM: a cost-efficient, ENG telephoto lens designed for 2/3-inch cameras that features 20x zoom range • XT20sx4.7BRM: also a cost-efficient ENG-Style zoom lens designed for 1/3-inch cameras. This lens features a focal length of 4.7mm up to a maximum of 94mm. It has a maximum relative aperture at 1:1.4 from 4.7mm to 87.7mm and 1:1.5 at 94mm. Visit www.fujinon.com/DigitalCinema/

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32 Acquisition

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Acquistion 33

Acquisition

Silicon Imaging Unwraps SI-2K 2.0 & SI-3D The SI-2K can be docked into the SI-2K Cinema DVR or tethered to the new Silicon Imaging Minideck for Steadicam, shoulder-mount or handheld operation. “The SI-2K camera delivers the image quality necessary for HD television and theatrical releases,” explained Ari Presler, CEO of Silicon Imaging. “The ability to capture and record uncompressed 12-bit log is unprecedented and enables our content to be easily cut with film or any other digital format out there. The CineformRAW QuickTime codec offers real-time cost-effective editing, metadata managed grading and ultimately, DCI Mastering.” The SI-3D stereo camera utilises dual SI-2K Mini heads integrated with a single processor, which

mixes and synchs the left- and right-eye images into a single 3D QuickTime file. These can be recorded with the new SI-3D Minideck Recorder, or fed into the new SI-3D Live system for stereoscopic SMPTE HD-SDI broadcast or 2K Cinema playback and projection. The SI-3D offers filmmakers built-in tools for checking and adjusting camera alignment and parallax shift between the two views. All of the controls are accessible through a simple touch-screen interface. The stereo data is processed in one system, eliminating the need for a separate stereo processor to mix the two signals for a stereo display. Visit www.si-2k.com

Camera Robotics and Control Systems New Telemetrics, Inc. additions include the TPM Telescoping Pedestal Mount; the 55D-CAU Coax/ Fiber Camera Adapter; the new RCP Series Remote Control with EVI-D100 and EVI-HD1 interfaces for comprehensive control of integrated PTZ cameras from various manufacturers; and robotics and coax/ fiber link interface for the Sony EX3 cameras. The Telemetrics Telescoping Camera Mount (TCM) and Telescoping Pedestal Mount (TPM) are remotely controlled, motorised camera positioning mechanisms. The TCM has a ceiling/teleglide mountable hanging

configuration, adding vertical positioning to pan/tilt camera movement, while the TPM is an upright version. The new 55D-CAU Coax/Fiber Link is an affordable camera control system with increased operating distance. The system is ideally suited for both permanently installed or mobile applications and eliminates the need for video equalisers, frame synchronisers, intercom adapters, microphone phantom power and remote power supplies. Enhancements to the Telemetrics Remote Control Panel (RCP) Series include compatibility with the Sony

Angenieux Focus on HD, 3D Thales Angenieux NAB lineup showcased the new 14 x 4.5 HD Video Wide Angle lens and its Optimo DP Series lenses. The company also announced collaboration with Cooke Optics Ltd. in which Thales Angenieux will incorporate Cooke’s /i Technology into its range of lenses to capture metadata. Angenieux’s NAB 2010 line-up included: HD Video Lenses: The new 14 x 4.5 HD Video Wide Angle Lens with a focal range of 4.5 to 63mm (9 to 126mm with 2x extender) and an aperture of f/1.8 (4.5 to 41mm); the 19 x 7.3 HD Video Lens with a focal range of 7.3mm to 139mm; and the 26 x 7.8 HD Video Telephoto Lens with a focal range of 7.8mm to 203mm (5.6mm to 406mm with a 2x extender) and an aperture of f/2.2. Digital Production Lenses: The Optimo DP 16-

42mm lens features a wide angle position of 16mm (75.4 degrees), a fast aperture of T2.8, calibrated focus marks and no ramping or breathing; and the Optimo DP 30-80 mm lens features a focal length of 30-80mm (2.7x zoom) and delivers the image coverage of full S35 (32mm diagonal). The 3D Ready Optimo DP Lens Package holds two factory matched 16-42 or 30-80 Optimo DP lenses in a customised compact carrying case. The Optimo 3D ready package includes specific features for 3D applications like factory matched zoom and focus scale, comparable optical quality and easily adjustable tracking. The new WA 0.75x Wide Angle Adapter easily attaches to the front of the Optimo 1540 35mm Film Lens and the Optimo DP 16-42 Lens for a fish eye effect. Visit www.angenieux.com

Arri Alexa Adds FCP Support

Arri announced that its new Alexa digital camera now includes native support for Apple ProRes codecs used in Final Cut Studio. The Alexa camera supports Apple ProRes 422 (HQ) and ProRes 4444, and allows HD images to be captured and recorded onto commercially available removable storage media. These unique recording and workflow capabilities offers native recording of ProRes compressed HD images onto high performance SxS cards and provides instant access, viewing and editing of images in Apple’s Final Cut Pro on Mac desktop and notebook computers. No ingestion or transcoding step is required. The Arri Alexa will be shipping to customers worldwide in June. Visit www.arri.com

34 Acquisition

EVI-D100 camera, Panasonic’s line of broadcast pan/tilt heads as well as the company’s AWE-HE100 PTZ camera, and Canon’s BU-45 PTZ camera. RCP Series units feature a user-intuitive Graphical User Interface (GUI) with a joystick for camera pan, tilt, zoom, focus, iris and master pedestal control. The new LIU-EX3 Lens Driver provides remote focus and zoom control for the original lens supplied with Sony PMW-EX3 camcorder and also serves as TTL/ RS-422 camera control data converter. Visit www.telemetricsinc.com

AJA Ki Pro 2.0

AJA Video Systems has announced the upcoming version 2.0 firmware for its Ki Pro portable digital video device that records highquality Apple ProRes 422 QuickTime files onto computer-friendly media. New features include support for 8-channel embedded audio; gang recording with multiple Ki Pro units via the web interface, and RS-422 device control. Because it features SD/HD-SDI, HDMI, and analog inputs, users can interface with virtually any type of camera or video source they may own or rent. Ki Pro’s numerous simultaneous outputs enable flexible monitoring, connecting to both professional and consumer monitors. From a distance, users can control Ki Pro with a laptop or iPhone web browser via ethernet or wireless connection. And now, through its own Avid Media Access Architecture (AMA), Avid enables users to connect the AJA Ki Pro to Mac-based Media Composer and Symphony systems to instantly view, edit and play back ProRes QuickTime files with access to all clip metadata. Ki Pro Version 2.0 firmware will be available by mid-2010 as a free software download to all Ki Pro customers. Visit www.aja.com

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© 2009 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, Deko, iNEWS, Interplay, Sundance Digital are trademarks or registered trademarks of Avid Technology, Inc. in the United States and/or other countries. All other trademarks are the property of their respective owners.

Silicon Imaging presented the SI-2K 2.0 and SI3D camera systems at the National Association of Broadcasters Convention. The SI-2K 2.0 HD and 2K cinema-quality RAW camera combines improvements in the SI-2K’s firmware and software to deliver up to 11-stops of dynamic range, 12-bit log processing, an IRIDAS colour-managed pipeline, improved sensitivity, 360-Shutter modes, ambient timecode integration and uncompressed CineformRAW Quicktime recording to 2.5” Solid State Drives. The QuickTime files can be instantly edited in Apple’s Final Cut or imported into AVID with the ALE and metadata generated in-camera.

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News Operations

news OPERATIONS

Audio Reporting via iPhone

Broadcasters, Publishers ‘Converge’ on iPad Print and electronic news organisations have converged on Apple’s new iPad tablet, seeing content for the device as a ‘mustoffer’. The new platform, which went on sale in Australia in late May, is now also available in the US, Canada, France, Germany, Italy, Japan, Spain, Switzerland and the UK. In the US, Apple has already sold over one million iPads and customers have downloaded over 12 million apps from the App Store, as well as over 1.5 million ebooks from the new iBookstore. Apple plans to release the iPad in Austria, Belgium, Hong Kong, Ireland, Luxembourg, Mexico, Netherlands, New Zealand and Singapore in July. News Corporation’s ‘The Australian’ newspaper has announced the launch of a dedicated newspaper iPad app that brings together all the best features of The Australian on the latest technology platform. The Australian app will be updated constantly and offer interactivity for readers. With an introductory price of AUD$4.99 a month from launch, The Australian’s iPad app will feature stories from The Australian’s daily print edition, updated as news unfolds. Over the coming months, additional content and user features will be added. Chris Mitchell, editor-in-chief of The Australian, said “The Australian’s iPad app marries the best of print and digital: its layout and browsing features offer a similar reading experience to the physical newspaper. Being digital the reader is guaranteed to be up to date with breaking news. “We will be adding numerous features and more content to the app. We will actively engage with our readers, seeking their feedback on the app, helping us develop future versions.” The Australian’s iPad app, the first of many that News Limited is developing for its mastheads, has been created by the newspaper’s editorial team in conjunction with News Digital Media. The Australian is the second News Corporation newspaper in the world to launch an iPad app and has benefitted from the experience of its Wall Street Journal colleagues who collaborated closely with Apple on its launch. The News Digital Media team involved in creating The Australian’s iPad app includes: Les Wigan – director of operations; Paz Saavedra – senior mobile product manager; Myles Lagolago-Craig – technical manager; Diana Silva – project manager; Programming: Tigerspike. Visit www.theaustralian.com.au/ipad

36 News Operations

Meanwhile, independent current-affairs title ‘the Monthly’ has launched an application for iPad and iPhone. Built by Bonobo Labs specifically for the Monthly, it is a full text edition designed to take advantage of the iPad’s reader-friendly screen. Mainly publishing thousand-plus-word essays, the Monthly’s iPad edition will create “a compelling reading experience featuring page-turning, font adjustment, bookmarking, jump-to navigation and a table of contents”. Each issue will be available for in-app purchase with pricing yet to be announced. Archival issues will also be purchasable via the app, which has steered clear of the “notoriously slow-loading print-replica approach”. It also does not require a constant Internet connection for reading. The iPhone and iPad versions will have different interfaces but both will share the same code-base and display the same content. Visit www.bonobolabs. com The Australian Broadcasting Corporation is taking a free approach to the device with a custom-built iPad app featuring a range of ABC content which capitalises on the functionality of the device. The ABC app features: • National and local news, entertainment stories, selected ABC Television and Radio programs, live and on demand. • News in 90 Seconds video bulletins to watch via 3G and WiFi. • Podcasts of selected ABC Television and ABC News programs at good quality for the larger tablet screen. • Live radio streams of Radio National, News Radio, triple j, Classic FM, ABC Dig Music, ABC Country and ABC Jazz available via 3G and WiFi. Ian Carroll, Director of ABC Innovation, says the

app is the latest offering in the ABC Mobile suite. “We believe that tablets will grow to be an integral part of our audience’s lives, just as smart phones are now part of many people’s day to day media consumption,” he said. ABC Mobile was launched in March 2009 and is aimed at extending ABC content onto many mobile devices. The Mobile suite includes four free ABC apps – for iPhone/iPod Touch, Android, Blackberry and some J2ME enabled Symbian phones – as well as the m.site which can be accessed from any webenabled mobile phone on http://m.abc. net.au. The ABC has also built two specialist iPhone apps for triple j Unearthed and Rage. These apps have been hugely successful, with the ABC iPhone app alone recording 720,000 downloads since its launch in March 2009. An ABC iView iPad app is currently in development and scheduled for release later in the year. Visit abc. net.au/mobile Back in the newspaper world, Fairfax Media has announced The Sydney Morning Herald and The Age electronic edition apps for the iPad. The Sydney Morning Herald and The Age electronic edition apps will include all sections of the printed newspapers and let readers flip through pages just as they do with the paper editions. Features unique to the electronic editions include easy zooming in and out, scrolling, clicking on a story to read in text form only if preferred, and clickon headlines to highlight individual stories. Readers can search for topics, people, keywords and back copies, as well as share articles with friends and colleagues, and comment on stories. Content on the apps will be updated daily, and is delivered to iPads anywhere in the world provided they are connected to the internet. When released, The Sydney Morning Herald and The Age electronic edition apps can be downloaded for free for a trial period from the Apple App Store. Fairfax Media has already announced its first magazine app with the launch of Sport&Style for the iPad. Fairfax Media Chief Executive and Managing Director, Brian McCarthy, said “It is important to remember that content is at the core of the applications we are developing. Whatever platform or delivery mechanism we utilise, it will continue to be our rich and deep content which attracts audiences and advertisers.”

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Tieline Technology released Report-IT Live, an iPhone IP audio codec application for newsgathering. Report-It Live is a professional wireless IP codec for transmitting live, broadcast quality, low delay audio to a Tieline IP audio codec in the studio over 3G cellular broadband or WiFi. The ReportIT Live software application delivers the lowest-cost portable wireless IP audio codec solution on the market today. By downloading the Report-IT Live app from the iTunes App Store users can turn iPhones into an IP audio codec with the ability to: - broadcast live and record broadcasts on the iPhone at the same time to keep a copy of the live report. - record an interview or report offline and then go live on air later. Users can also report live and play grabs from any recorded interview while on air. - conduct an interview off-line and store the report for forwarding later. Audio files can be forwarded in real time to a Tieline codec in the studio for recording, or uploaded via FTP to a news server with no codec required in the studio. Tieline has also designed and built the palm size Report-IT Live hardware Dock (sold separately) to connect broadcast quality microphones and headphones and better manage audio levels. Visit http://www.tieline.com/products/G5/ Report-IT-Live

Flat-Screen and Portable Prompting Autoscript presented a range of high performance prompting solutions at NAB 2010, including high brightness LED TFT flat screens, and the Xbox Ultra and X-Lite portable prompting systems. Autoscript’s LED TFT flat screens utilise recent advances in LED technology to provide superior brightness, higher contrast levels, improved reliability and energy efficiency. Based on the XBOX USB external box solution, the Xbox Ultra connects via USB port to a laptop or PC and provides enhanced features and capabilities which make it particularly useful for portable prompting. Now featuring four outputs, it can power twice as many on-camera units, and also features a smooth on-screen scroll on the computer screen, eliminating the need for an external preview monitor. The video output is standard composite PAL or NTSC and is compatible with all Autoscript oncamera units. The X-Lite, which replaces the WinPlus VGA unit, is an entry level prompting tool which incorporates one output, and is suitable for simple pieces to camera and for educational purposes. Visit www.autoscript.tv

Weather System for 3DTV At NAB 2010, Weather Central LLC showed live demonstrations of 3D:LIVE Fusion - its next generation on-air broadcast weather platformshowing the capability to deliver weathercasts for 3D stereoscopic television channels. The demo illustrated how the technologies built into the 3D:LIVE platform provide the performance and toolset to address the emerging demands of 3D broadcasts. The demonstration was produced and played out entirely from a current-generation 3D:LIVE Fusion system with software enhancements created by Weather Central to take advantage of the depth and perspective capabilities available to 3D channels. Sony contributed a Bravia 3D television on which to showcase the output. Built on the latest 64-bit Windows 7 operating system, 3D:LIVE Fusion takes advantage of enhancements in hardware performance to enable the instant creation of stunning visuals. Resolution independent graphics and enhanced 3D objects for weather elements and cityscapes are inherent capabilities of the 3D:LIVE platform, enabling the creation of believable and immersive 3D weather stories. Visit http://www.wxc.com

Workflow Tools for News and Sports Harris Corporation has used NAB2010 to demonstrate a range of new tools in its NewsForce news production and Invenio asset management systems. With the introduction of its new “citizen journalist” application, Harris says it is helping broadcasters reinvent news production — enabling consumers to become reporters and stations and networks to benefit from a new form of immediate newsgathering. New, cost-cutting business models are now possible wherever a citizen is already on-site capturing the action. An Apple iPhone “app” allows iPhone users to capture video and send it to designated catch servers. Newsrooms receive fast content that’s verifiable by GPS location and call-back phone number, and is fully searchable using the Invenio asset management system. Harris NEXIO servers manage the non-broadcast resolution of the iPhone material and ready it for broadcast via Velocity editors — taking the guesswork out of creating standard-definition and high-definition broadcast content from cell phone footage.

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At NAB, Harris also demonstrated a new global proxy, low-resolution workflow comprising NEXIO servers, Velocity 2.0 nonlinear editors and Invenio asset management. Within this global proxy workflow, TV journalists can browse and edit low-res proxies created from high-res media on NEXIO servers networked across multiple cities and facilities. Global proxy eliminates proprietary file systems, making the workflow platformindependent. Proxy media plays on most common software (QuickTime, Windows Media Player, VLC, etc.) and via Apple iPhone, iTouch, Blackberry and others, making it suitable for Web and mobile applications. Creation of only one proxy version is required, as the same file — a standard MP4 — can be used by Invenio and third-party products and reside in the customer’s choice of standard IT storage. An embedded SMPTE UMID marks the clip in a truly unique way, so that it can always be referenced back to the NEXIO server system that contains the corresponding high-res clip. Harris also has added Sony XDCAM-EX and Panasonic AVC-Intra to its Velocity editor capabilities,

giving customers a broader choice than ever of broadcast codecs from which to choose. The Velocity editor’s ability to create different resolution clips with their own unique codecs and output media assets via a single click simplifies the process of repurposing content for multiplatform delivery. NAB also marked the debut of the Production Playout Center, a multichannel ingest and playback system that adds functionality to NEXIO AMP and NEXIO Volt servers for stadium applications. A single Production Playout Center chassis lets users initiate records, select replays from one or multiple camera angles, create highlight packages, use off-speed playback control and deliver crowd-pleasing video to big-screen displays around the venue — from up to 16 playout channels. The Production Playout Center allows NEXIO AMP and Volt servers to support common stadium workflows, where fast-moving action from multiple angles needs to be captured and turned around for instant replay and highlight packages. Visit www.harris.com

News Operations 37

Sportscasting

XDCAM Bowls Over Cricket Hall of Fame

SPORTSCASTING The clear skies of late April provided perfect conditions for the second race of the 2010 season of the Red Bull Air Race Championship in Perth. The large crowd of more than 140,000 spectators witnessed a thrilling final on the 6.3-km long race track through a challenging 17-Air Gates obstacle course set up just meters above the surface of the Swan River. After an exciting race weekend, the Austrian Hannes Arch finished first only 50 millisconds faster than Matt Hall, who won the second place, while last year’s champion Paul Bonhomme came in third. For the seventh year in a row, Riedel Communications is serving as the official global supplier of the Red Bull Air Race World Championship. Riedel, the manufacturer of intercom, fibre and audio systems and one of the world’s biggest rental services for wireless and wired communications solutions, is at the forefront of the event providing the entire communications and signal distribution solutions, integrating both HD video and audio signals as well as wireless and wired digital intercom systems. Additionally, Riedel is supplying the wireless video links and HD cameras for the race planes’ onboard cameras enabling stunning pictures to be delivered from the pilots’ perspectives. The demands on the technical infrastructure of such a production, which includes the setup of a mobile airport including a control tower, are enormous. The signal distribution infrastructure for video, audio, communications and data of such a production plays a key role, since it directly affects all other areas of the production. Since the 2009 season this infrastructure is based on Riedel MediorNet, a new fibre signal transport solution that includes routing and signal processing. The communications and video signal infrastructure of the Air Race production in Perth covered large areas. Video signals were needed at several locations for various applications such as the broadcast production, race control or video wall production. MediorNet’s network approach is capable of point-to-point and multipoint routing and delivered camera signals to both the German production company SIVision with its 16.5m 26 camera HD truck and the video production for the event’s video wall production. The fibre-optic signal backbone of the event was based on 13 MediorNet nodes, which transported all intercom, HD video and audio signals uncompressed in real-time. Audio signals were interfaced via MADI and Riedel’s digital audio network solution RockNet to integrate the event’s main mixing console, which provided the mix for the live audience. Since the 2010 season, DiGiCo’s SD8 is serving as the main mixing console. A close technology partnership 38 Sportscasting

Pic: Paul Kane/Red Bull Air Race.

Riedel Gives Red Bull Wings in Perth!

between Riedel and DiGiCo allows for a seamless integration of both technologies. The events communications infrastructure was based on an Artist Digital Matrix Intercom network consisting of eight nodes connected via a dual redundant fibre ring. The eight frames were located in the Air Race control tower, the TV compound, the organisation compound and at the race airport. At a day-time open air event like this, the special 8-digit LED display keys of the Artist 1000 series allows clear labelling of destinations and readability under all lighting conditions including direct sunlight for all 130 RCP-1028 panels. In addition, the Artist 1000 panels provided broadcast quality audio and individual listen level control for each talk key. According to Yungmin Lee, project manager of Riedel Communications, “We are enabling the communications of over 650 people involved with each Red Bull Air Race. Everyone from the pilot to security and referees are utilizing our state-of-the-art system.” The Matrix intercom system was integrated with Riedel’s Digital Trunked Radio installation (TETRA). TETRA combines the advantages of analogue trunked radio with those of digital mobile radio, resulting in optimal frequency usage, the highest transmission quality for speech and data, maximum security against eavesdropping, as well as flexible networking and connection management. Additionally, digital trunked radio offers full duplex communication, GPS-positioning and connection to the public telephone network or company telephone systems. Over 550 Motorola MTH800’s were utilised to assist in the production of the races. Additional walkie-talkie radio systems were connected to the wired communication systems through 30 of Riedel’s universal radio interface RiFace. Onboard views of the Red Bull Air Races came directly from the cockpits with 28 wireless video links. On-board HD cameras captured live footage from

the pilot’s perspective. Riedel specifically developed the wireless transceivers as well as the on-board HD cameras in close collaboration with leading camera and lens manufacturers to meet the high demands of the Red Bull Air Race broadcast production. The lenses feature a 110 degree angle without the distortion fish-eye lenses usually have. A special engineered six-channel diversity receiver combining technologies of various manufacturers guaranteed the secure signal transmission of audio and video event during the most extreme flight manoeuvres. Four ground cameras were also used as well as two Cineplex high definition cameras in helicopters. Wireless Riedel Best Boys transceivers provided the wireless video transmission to the various video walls placed around the race tracks. Time is a crucial factor for set-up of the event installation and has a direct effect to the production costs. MediorNet’s integration of various cabling infrastructures such as video, audio and data into one network significantly reduces time and effort in installation. Besides time, weight is another relevant issue for the Red Bull Air Race. With races in 6 different countries around the globe the reduction in weight through the use of fibre instead of copper cables translates directly into a lower transportation costs. In addition MediorNet’s on-board signal processing and conversion also result in less transportation costs since it eliminates the need for various external devices such as up- and down-scalers. Riedel is also providing the most appropriate IT infrastructure for all Red Bull Air Races, including Internet access, VoIP telephone, network infrastructure with servers and firewalls and a media center for journalists. In the end, Riedel delivered six containers with approximately 11 tons of communication equipment to the Red Bull Air Race World Championship. Visit www.riedel.net

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The International Cricket Hall of Fame (ICHOF), the world’s first fully interactive, permanent exhibition of cricket is being built at Bradman Oval in the Australian town of Bowral, NSW. Recently The Bradman Museum in Bowral received AUD$6.5 million of funding from the Australian Federal Government to develop and build the site which will house the ICHOF. Sydney-based Surfside Productions were brought in to shoot a large number of interviews of former and current cricket greats to be shown on the site. The design of the new building includes an interactive experience on touch-screen monitors and a number of high definition displays. According to Surfside Productions’ Sean Mulcahy there was a comprehensive decision process on which format to use, which equipment to buy and which supplier to go to to help with the entire workflow. Mulcahy explained, “From our point of view we had been working with tape based solutions from day one and therefore a data solution that could be utilised in Avid couldn’t come soon enough. XDCAM was the obvious choice, as handing over a low cost disc at the end of the day was the ideal scenario for us. The ICHOF project had to be shot in HD, data based and the workflow needed to be very reliable – all of which XDCAM covers off beautifully.” When undertaking the ICHOF project Mulcahy had very specific reasons for choosing XDCAM, “The first one was obvious - it was HD. It is also affordable and the practicalities of using a data based HD system for this project worked well. Second was the archiving process, XDCAM discs have over 50 years of storage life and that was enough to get through in terms of museum archiving and security in relation to the interviews and material that would be transferred onto it. In terms of practical ability for jobs like the ICHOF that require shooting

and editing with quick a turnaround, XDCAM is hard to beat.” For the ICHOF project Mulcahy shot documentarystyle interviews for more than an hour in an electronic field production-style set up in a studio or on location and also a number of situations involving cricket matches, crowds, vox-pops, vision and the overlay of various cricketing grounds and sporting venues. When searching for the best equipment supplier Mulcahy and his team had a wide range of options. “To be honest the main reason we went with Videocraft is the service that Andy Liell and his team offer. The camera and the after sales support were superb - I can’t say enough positive things about Andy and the team. It also really helped having Rob Floro there with his Avid system support expertise and as a result, the XDCAM’s integration into Avid went very well too.” With such a high profile set of interviewees the quality and efficiency of the workflow was one that Mulcahy had to be very conscious of. He said, “The proxy video workflow is excellent, in terms of ease. I was able to e-mail or FTP the

proxys to the client and they could integrate them easily into their edit, get the disc and reconform it with the HD material. Another useful method was to bring the disc home, simply copy the file structure onto a portable hard drive and courier it up to the client. Then they sent me back the hard drive and we repeated the process. So, from our point of view the opportunities and possibilities are endless with the format, Avid loves it, the pictures are brilliant and the whole system works very well. “The feature on the camera that has worked extraordinarily well is the switchable formats – going from standard definition to HD is very handy. The continuous clip function makes a big difference to the ingest process in terms of bringing the data in and not having so many clips. The other thing that was very good is the optional external video input. This allows SD video to be upconverted and recorded as XDCAM HD in the camera.” The International Cricket Hall of Fame will open in late 2010. Visit www.surfsideproductions.com.au and www.videocraft.com.au

See you at NAB 2010, Booth C6747

WORLD-CLASS COMMUNICATIONS RENTAL • SALES • SUPPORT

ARTIST

Digital Matrix Intercom

MEDIORNET

Re-Deﬁnig Fibre-Optic Networks

MOTOROLA

Professional Mobile Radios

Riedel Communications Australia Pty Ltd. • South Sydney Technology Park • 68/45-51 Huntley Street • Alexandria 2015 • Australia • www.riedel.net

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Sportscasting 39

Sportscasting

OB Group – Tipping the Small Scale Formed in 1992 with a focus on the corporate market, the Outside Broadcast Group went on to make a name for itself on sports such as basketball, the Sydney 2000 Olympics and soccer. Today, the majority of its work is for Network and Pay TV broadcasters and from its base in Sydney, it also regularly provides facilities in Adelaide, Canberra, Melbourne, Gold Coast and Brisbane. One of the last niche outside broadcast operators left in Australia, the OB Group is fully HD compatible with its main truck (HD/SD) wired for 8 cameras, 6 VTR’s, Chyron HyperX (HD/SD) and a 6 Channel EVS-XT2 complete with XFile. The truck is also equipped with a Sony MVS-6000 HD vision mixer and Sony HSC300 HD cameras, Evertz 3000MVP multiviewing, an Innovason SY48 digital audio console as well Link Research wireless camera system and Clear-Com Eclipse PiCo 36 (upgradable to 72) port running Eclipse Management Version 5 software for talkback. A portable fly away system is also available and features a fully optioned Grass Valley INDIGO-HD and the unit is supplied with 10 LCD monitors. According to OB Group Managing Director Colin Rothenberg, “Our philosophy is to facilitate all jobs of eight cameras and under. We feel there are enough large trucks in the market.” The smaller scale sports productions covered by

<< <<

Outside Broadcast Group MD Colin Rothenberg

>> >> Sony MVS-6000 HD vision mixer inside the OB Group’s main HD vehicle.

the OB Group include cycling such as the Tour Down Under, boxing with Fox Sports and the Rugby League Show for National Indigenous Television (NITV). Awards shows also feature on the OB Group roster, as has the Arafura Games and the Bledisloe Cup rugby. The small scale focus is reflected by the OB Group’s personnel line-up which features Colin as the mainstay supported by a pool of regular freelancers. “I call them full-time freelancers,” says Colin, “because I’ve got pretty much a permanent audio director and my senior cameraman does all my shots

and while, they’re not staff, they are pretty much permanent. “That’s all we really need. I do the technical direction and the audio director and camera go in beyond the rest and we just bring the others when needed. “We prefer to do smaller jobs. There are enough facilitators out there for large-scale jobs. We get calls from all over Australia. The difference with our organisation is it’s a very sort of personalised service. I’m the person that quotes and the person that comes out that will serve other people on the job and does the invoicing and that’s actually worked really well.” Contact the OB Group via +61 (0)412 619 757 or visit www.obgroup.com.au

EVS Graphics First for Fox Sports Australia Not widely reported at the time, but Fox Sports Australia successfully operated the first ever EVS sport graphics system, Epsio, fully integrated to the original LSM replay controller, for live inserts of a virtual offside line during the soccer match between Australia and Indonesia at Suncorp Stadium, Brisbane during March. Epsio is a new sport analysis tool that adds virtual offside lines and other analysis effects on live PGM. The system is designed to be operated using the existing EVS XT[2]-LSM remote controllers operated for live replays and slow motion sequences in most OB and live production facilities. On Site Broadcasting Australia (OSB), in charge of the Football and Rugby Union outside broadcast production facilities for Fox Sports, used the new graphic solution from EVS for the first time at the Qualifier soccer match for the Asian Cup between Australia and Indonesia in early March. The new system was operated to mark the offside positions of the players on the

40 Sportscasting

pitch with virtual graphic overlays created during the live production. The EVS set up in the OB truck included 4 HD XT[2] servers, connected on the XNet[2] network and controlled by LSM remote systems for slow motion replay actions and highlight edits. The Epsio graphic system was added to one of the servers and managed using one of the existing LSM controllers, allowing the operator to manually create the virtual graphics in just a few seconds. “Although several tests have been organised by EVS since the introduction of the new solution in September 2009 during the IBC show in Amsterdam, this was the first time that Epsio was fully integrated to the existing XT[2]-LSM based solution,” said Luc Doneux, General Manager Asia & Pacific & Big Events for EVS. Todd Procter, Manager, Outside Broadcast Projects at Fox Sports, said “We needed a simple and efficient system that is able to immediately recognise the playing field during actions and draw the offside line along the borders of the

playing field.” He added, “One of the real advantages of the system is that you don’t need an additional operator or controller to create an offside line graphic. The graphics creation operation is extremely simple, and can be managed by any LSM operator after a few minutes of training.” The system is managed through the implementation of the new Epsio software that is integrated to the LSM systems, allowing operators to manually trigger the offside line with the jog wheel of the remote controller. After a one-time-per event calibration wizard, where each camera sends images of the playing field with predefined angles into the system, Epsio is able to instantly and automatically recognize the playing field during actions and virtually draw the offside line along the borders of the playing field. The configuration allows the producer to automatically see a screenshot with the offside line, so that he can decide whether or not to playout the entire action with the offside line effects. Visit www.evs.tv

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Code of Practice for Sports Reporting A number of sports and media organisations have come together to forge a voluntary Code of Practice for Sports News Reporting in Australia. The Code of Practice outlines the rights and obligations of sporting and media organisations regarding the provision of access to sporting venues, and the collection and reporting of sports news. At the inaugural Code Administration Committee Meeting, Kevan Gosper, former Vice-President of the International Olympic Committee, was nominated as Chair and Mark Hollands, Chief Executive Officer of the Newspaper Publishers Association, as secretary. Sporting Organisations represented on the initial Committee, include: Australian Football League; Australian Rugby Union; Cricket Australia; National Rugby League; and Tennis Australia. Media Organisations represented on the initial Committee, include: Fairfax Media; News Limited; Australian Associated Press; Agence-France Presse; and Getty Images. The drafting of the Code follows actions by the Australian Minister for Broadband,

Communications and the Digital Economy Senator Stephen Conroy who referred the reporting of sports news to the Senate Standing Committee on Environment, Communications and the Arts which tabled a report on 14 May 2009. He subsequently asked Graeme Samuel, Chair of the Australian Competition & Consumer Commission, to hold roundtable meetings with the major media and sporting organisations. “I congratulate Mr Samuel and the sporting and media organisations for using the roundtable process to develop a voluntary industry code for sports news reporting,” Senator Conroy said. “The agreement and signing of the Code will help to ensure the Australian public continues their enjoyment of sports through news reporting without the disruptions that have occurred in the past. The signing of the new Code is a great outcome for the sports and media organisations, and the general public.” A copy of the code can be downloaded from www.dbcde.gov.au

Clear-Com Enhances Concert Comms Clear-Com Communication Systems, a Vitec Group brand, launched an enhanced version of the its ClearCom Concert intercom software, which now offers new external audio interfacing capabilities. With this new connectivity option, Concert can easily interface with external audio systems, including partyline systems, paging systems, program feeds and other matrix systems using a four-wire interface over a standard IP network. Communications among key production crew members typically take place over closed-circuit twowire and/or four-wire intercom systems, restricting other users from joining the intercom loop. Concert allows authorised users with Internet access to easily communicate with other crew members using hardwired panels and wireless beltpacks on the partyline and/or matrix intercom circuit who are using hardwired panels and wireless beltpacks. In addition, Concert can now accept and send audio through a facility’s public announcement system, program feed, and other 4-wire audio devices via most commercially available audio interface boxes. Visit www.clearcom.com

HD, 3D Slo-Mo Replay At NAB 2010, Grass Valley introduced the latest version of its K2 Dyno Replay System, which includes the ability to handle super slowmotion and 3D projects. With new features for live production applications, as well as instant replay with slow-motion and super slow-motion capability, the K2 Dyno Replay System can streamline file-based workflows for a wide variety of live production environments. The next-generation controller coupled with the K2 Summit production client helps producers and other professionals capture live events in crystalclear HD resolutions and instantly play them out at variable speeds for critical analysis during fast-paced events — all housed in a compact 2 RU chassis. It is ideally suited for studios, HD production trucks and shared storage production facilities, as well as live A/V staging events and in-stadium entertainment networks. The K2 Dyno v1.6 software is fully compatible with Grass Valley K2 Summit software release v7.2. The new software is also compatible with Grass Valley’s K2 Solo server, representing an even lower-cost replay system. K2 Solo can also be networked with a K2 Dyno/Summit system to offer a variety of alternate record and playout options. With the new ChannelFlex option, new channel configurations can be added such as 4 inputs and 2 outputs, or 6 inputs and 1 output on

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a single system. One or two channels of 2X and 3X Super Slow-Motion operations can be used as well. For 3D operations, the left and right eye inputs can be synchronised within a single channel. The new software (v1.6) adds newly designed user interface enhancements with improved onscreen display indicators for both VGA and SDI outputs, and better operational control to boost productivity. Designed with direct input from experienced replay operators, the K2 Dyno replay controller features a highly intuitive user interface a touchscreen LCD, colored buttons, and optional mouse, keyboard and VGA output. The K2 Dyno solution offers easy connectivity with other production systems. There is high-speed Gigabit Ethernet networking and connectivity with off the shelf removable storage such as USB and NAS devices. Transferred files are wrapped with MXF or MOV, so the content can easily be shared with editors, archives, and other storage systems with no special equipment or processes. Editing systems such as Grass Valley’s EDIUS and Apple’s Final Cut Pro, can be directly connected for editing in place. Live feeds can be edited while being recorded, and packages quickly made ready for playout. Users can also implement metadata into the replay process to enable the re-use of content for

various purposes. Metadata layouts can be created off-line in advance of an event, clips can be given names, and text metadata can be added during the event along with ratings and icons. All metadata created can be saved along with the clips and used from session to session or system to system. The Grass Valley K2 Dyno replay system offers powerful features for live production replay. These include: • Highlight and Marks creation • Synchronised key/fill or left/right 3D operation in a single channel • Integrated metadata through all production phases • Playlists with mix effect transitions per playout channel • Simple editor integration with edit-in-place or file transfer of content • Up to 7 configurable input/output channels in a single unit • Up/down/cross/aspect ratio conversion • Standard networking and storage support • Built-in VGA multi-viewer and SDI video monitoring • DVCPRO, AVC-Intra formats Visit www.grassvalley.com

Sportscasting 41

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Sportscasting

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Zspace Wins Gold Medal in Swimming Australian broadcast design house zspace recently empowered the ONEHD on-screen presenting team (Libby Trickett and Mark Howard) at this year’s Telstra Australian Swimming Championships with a new piece of technology that incorporates zspace’s software engineering and technical know-how, to allow the presenters to have up to the minute stats at their fingertips. The new ‘Touchscreen’ technology, affectionately dubbed “Lib’s [Libby Trickett] TV” by Mark Howard, allows the presenter to visually enhance what they are discussing. For example, they may be reviewing an upcoming race and with literally one touch of the ‘Touchscreen’, they can call up the list of swimmers competing in that particular race; from there they may want to concentrate on one swimmer and in a similar fashion, with one touch of the ‘Touchscreen’, they can call up in depth details about the relevant swimmer that was just selected and so on. Libby Trickett, ONEHD Presenter, said “At the recent swimming nationals it was great to use the innovative Touchscreen technology. I think it allowed the audience to get more involved in the statistics we were talking about, and engaged them in a way that hasn’t been seen previously in the sport. I’m excited about developing and using the Touchscreen in different ways to further enhance the viewing experience!”

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According to Zspace, the opportunities and tailor made solutions that the company can create with this technology for its clients are endless. This includes plans for 3D or stereoscopic vision to be available for its clients. zspace Executive Producer, Tim Jardine said “It has been amazing how many requests we have had

the flexibility to ensure live coverage of all 64 matches of the tournament, and thereby enhance the viewing experience for football fans across the country.” The changes will be given effect by a notice amending the Broadcasting Services Act. The notice will amend the anti-siphoning list to remove eight group stage matches from the list. This de-listing will allow multicultural broadcaster SBS to show the eight matches live on SBS TWO while other concurrent group stage matches are also shown live on SBS ONE.

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across the world. GlobeCast deployed engineers at each of the three venues: Providence Stadium in Guyana, Beausejour Stadium in St Lucia, and Kensington Oval in Barbados. Additionally, GlobeCast provided a 24-hour satellite booking centre and helpdesk during live transmission. The GlobeCast Backbone Network transmitted the world feed as well as a unilateral feed for ESPN STAR Sports. For the world feed, the signal was sent from the various locations in the West Indies to GlobeCast’s

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partner teleport in London, where it was uplinked to several international satellites reaching audiences in North America, Western Europe, South Africa, Oceania, Middle East and Asia. For ESPN STAR Sports’ unilateral path, GlobeCast downlinked the feed in London and sent the signal directly via fibre to GlobeCast in Singapore for uplink. An SNG in New Delhi then downlinked the feed and routed it to ESPN STAR Sports facilities in India for additional production before ingesting into its networks. Visit www.globecast.com and www.espnstar.com

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This would have otherwise been prevented as the anti-siphoning scheme precludes free-toair broadcasters from premiering events on the anti-siphoning list on their digital television multichannels. SBS will then replay each of the eight matches on SBS ONE immediately after their live telecast on SBS TWO. The 2010 FIFA World Cup will begin on 11 June 2010. Visit www.sbs.com.au

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Asian sports content provider, ESPN STAR Sports employed GlobeCast as its technical broadcast partner to deliver cricket from the ICC World Twenty20 in the West Indies to the rest of the world. As the International Cricket Council’s global distribution and broadcast partner, ESPN STAR Sports (ESS) needed a hybrid satellite/fibre solution to broadcast all the games to rights holders across the world in the highest quality, and GlobeCast was chosen as the best provider of this solution. Close to 40 broadcast and syndication partners of ESPN STAR Sports showed the action in over 181 territories

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Oz Govt Bends Anti-Siphoning for Soccer on SBS Australian Minister for Broadband, Communications and the Digital Economy (and soccer fan) Senator Stephen Conroy has announced a change to the anti-siphoning list that will allow full live free-to-air coverage of all matches of the 2010 FIFA World Cup. “The Rudd Government is a strong supporter of football in Australia and recognises that the FIFA World Cup tournaments are the pinnacle events for football on the world stage,” Senator Conroy said. “The changes announced will provide SBS with

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KAYENNE™ VIDEO PRODUCTION CENTER Sportscasting

Vividas Streams Socceroo via Facebook

Thanks to Australian video software development company Vividas, soccer fans were recently able to chat with Australian Socceroos Captain Lucas Neill live from his new Turkish Club Galatasaray. This unique live webcast drew praise from participants around the globe including comments suggesting they had “never seen anything like this on Facebook”. In the first of two live webcast this week, the Socceroos Captain answered questions via a live video Facebook chat. Neill discussed his life in

Turkey, his future in football and how he thinks the Socceroos will do this year in South Africa. You can see and archive of the exclusive video here http:// apps.facebook.com/get_in_the_fight/event Sydney US, one of the partners responsible for putting this event together stated that ‘we think it’s a really unique little achievement for us all!” According to Dave Winter, CEO of Vividas, the Nike Football live webcasts through Facebook are a perfect opportunity for Vividas to showcase its live streaming capabilities.

RED AND GREEN... AND EVERYTHING IN-BETWEEN.

“Because of the unlimited scalablility of Vividas, the stream is unaffected by the number of viewers, contrasting with traditional streaming technologies and making it perfect for streaming major live events through Facebook who can provide virtually unlimited number of viewers,” Winter says. A second in the series of Nike live webcasts was held with the Captain of the New Zealand All Whites, Ryan Nelsen, answering the burning topics of the day in a live web chat on Nike Football NZL. Visit www.vividas.com

Even Bigger Sport from EVS At NAB 2010 EVS displayed its expanded its range of servers and software systems for live and OB productions featuring two new servers, integrated graphics and on-the-fly editing solutions. The new solutions included: New Production & Live Storage Server - this newly developed server offers boosted live production capabilities and scalable storage capacities– with up to 20TB storage capacity per server – for all live broadcast productions. The new SD/HD server is available in 6, 4 or 2 channel configurations, with new SAS disks controllers, new external storage arrays and dual networking capabilities. New Edit-While Playout Mode - This is the first timeline editor to offer on-air fixing and on-the fly editing features optimised for multi-time zones and fast turnaround program editing. The new editwhile-playout mode from IPEdit allows highlights to be played out while they are still under editing

progress. New Entry Level Replay Server - XTnano is the new 4-channel HD/SD slow motion replay server from EVS that has been designed for live sports productions requiring simple workflows. New Sports Graphic Analysis Solution - this new sport graphic tool has been fully integrated to the XT[2]+ LSM system, allowing users to control live slow motion and create overlay graphics from one single remote controller. Loop Recording Server for Studio Applications - XS is the latest multi-format server solution with peerless recording and ingestion of multiple A/V feeds and playout control. XS is available in 2 to 4 flexible channel configurations in SD or HD. XS is optimised for third-party control, including automation systems, linear or hybrid editors, switchers and controllers. New Multi-Channel Playout Controller - MPlay is an intuitive remote control system that is used for the playout of clips, playlists and graphics. With

this newly developed system, a single operator can control up to 4 channels simultaneously. MPlay is also designed for live productions, guaranteeing fast and efficient roll-out to air operations, including fill & key graphics and ganged clips. All MPlay functions are fully configurable with IPDirector software. New ENG Files Import & Virtual Editing - This feature offers smooth and efficient reviewing, clipping and on-the-fly transcoding. Content from the ENG camcorder (XDCAM, P2) is displayed on an intuitive interface enabling instant browsing for clip selection, sub-clipping and/or fast rough-cut editing. Once selected or created, clips and consolidated edits can be easily transferred (with on-the-fly transcoding operation if required) from the ENG device to any EVS server for further production or postproduction operations. Visit www.evs.tv

created on the EVS server it can be identified and exported as an MXF file, and the metadata as XML, to the Quantel server using the EVS IP Director. As soon as media begins to arrive in the Quantel environment, editing can commence on all connected

Quantel editing workstations. When edited it can be played to air from the Quantel sQ server, or the media and metadata can be sent back to the EVS server as a DVCPRO HD MXF OP1A file. Visit www.quantel.com

Quantel/EVS Gateway At NAB Quantel previewed its EVS Gateway to handle faster than realtime, bi-directional transfers of media and metadata between a Quantel Enterprise sQ server-based production system and EVS XS and XT[2] instant highlights servers. When a clip is

Put an end to production missteps. With the RGB buttons in the new Kayenne Video Production Center from Grass Valley™ you can assign different colors to different M/E rows and keys, as well as functions like macros and router control. You can also configure source button colors to distinguish sources like cameras and DDRs. Whatever your workflow, more color means less hassle.

It’s Gotta Be A Grass!

Compact Camera Transmitter RF Central, a Vitec Group brand, unveiled its next generation microLite HD compact transmitter at NAB 2010. microLite HD is a miniature COFDM digital transmitter designed for the next generation of compact cameras featuring full HD/SDI capabilities that are primarily used in news and field production.

44 Sportscasting

The unit is ultra compact, features MPEG-4 encoding/decoding in HD/SD with extremely low power consumption. Packaged in a size that will easily mount on the new generation of cameras, microLite HD is ideal for news crews, point of view camera applications, sports and entertainment production, reality television production,etc. microLite HD occupies less than six cubic inches,

and can be operated in either 20mW or 200mW output power modes. microLite HD features superb H.264 HD and SD encoding. The support video/audio and data transmission with selectable modulation bandwidths of 6, 7 and 8 MHz, require little setup and are designed to be user friendly. Visit www.rfcentral.com

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Post Production

post PRODUCTION

Bond Boards EditShare Ark

Cutting Edge Digs Deep for WWI Epic Australian post house Cutting Edge was responsible for 120 VFX shots and the full DI on the recently released Australian World War I film ‘Beneath Hill 60’ which was directed by Jeremy Sims and starred Brendan Cowell. The film features one of the largest CGI explosion scenes ever to grace Australian screens. Cutting Edge partnered with The Silence Films and became deeply involved in planning for post and VFX on the film early in pre-production. Through development and pre-production Cutting Edge’s VFX Supervisor Ron Roberts worked very closely with director, producer, DOP and production designer to determine which shots could be enhanced, or achieved in total as CGI. Some of these decisions resulted in tangible financial and time gains in production. At key times, Ron flew up to location in Townsville to ensure that everything needed for VFX post was captured on film. At the end of the day, Ron and his team completed 120 VFX shots, comprising everything from set extensions, sky replacements, matte paintings to full CGI explosions. “To bring Cutting Edge in with us from the start meant that our path from pre-production into post was seamless. The experience and can-do attitude of everyone on their team enabled us to concentrate on story and performance.” said Bill Leimbech, Producer. Senior Colourist Adrian Hauser, DOP Toby Oliver and Jeremy started early determining the look of the

46 Post Production

efficient workflow option for the University’s archiving and backup needs. “We chose Editshare as it is the only product on the market that meets all our needs. It is the only shared storage solution that allows us the flexibility to work in either Final Cut Pro or Avid collaboratively.” The Ark Disk installation moves the University to

a completely tapeless workflow, from acquisition to storage and archiving. Bond University currently uses four EditShare servers with a total of 24 terabytes of storage space – all within its Humanities and Social Sciences faculty. The new Ark system would provide an extra 16 terabytes of storage. Visit www.videopro.com.au or www.editshare.com

Oktobor Gives Musical Twist to Malaysian TVC

>> >> German troops about to be shafted in Beneath Hill 60. film. Time was taken testing different film stocks and treating them both digitally and photo chemically to decide on the best plan for the shoot. Specific consideration was given to shooting in low light conditions as so much of the film takes place in tunnels. Toby and Adrian continued to communicate regularly especially in the early days of the shoot, sending reference stills back and forth to ensure that rushes looked as close as possible to the planned final look. “Talented colourist Adrian Hauser and I worked very closely in pre-production testing stocks and looks, so the rushes were as close to the desired look as I’ve ever experienced; and when I walked into

the final grade the were few surprises meaning we were able to comfortably fine-tune the images with excellent results. Working with such a friendly and dedicated team at Cutting Edge made every day of the grading process a pleasure.” said Toby Oliver, DOP. With the convenience of the post-production office and Editor, Dany Cooper based within the Cutting Edge EQ facilities it ensured that the Beneath Hill 60 team could work cohesively together and with their post-production team. The proximity to sound post production facility Soundfirm also made a very busy final grade/final VFX/premix schedule achievable. Visit www.cuttingedge.com.au

Tax Boost for Australian VFX The Australian Federal Government has used its 2010 Budget to announce changes to eligibility requirements for film tax offsets that will provide a boost for the Australian film industry. The Government will remove the current requirement under the Location Offset for productions valued between AUD$15.0 million and $50.0 million to spend a minimum of 70 per cent of their production budgets in Australia. The Post, Digital and Visual Effects Production (PDV) threshold will also be reduced, from $5.0 million to $500,000. Both changes will apply from 1 July 2010. Rising Sun Pictures, which has produced visual effects for more than sixty feature films including the Harry Potter series, expects to be a

The first EditShare Ark Disk archiving system in Australia has been installed by the Videopro Business Centre at Queensland’s Bond University Faculty of Humanities and Social Sciences. The EditShare Ark Disk will backup and archive material from the University’s main EditShare servers. The Faculty’s Technology and TV Studio Manager Daniel Murphy said the Ark Disk was the most

chief beneficiary of newly expanded trade rebates designed to promote film production in Australia. The new lower threshold promises to pay huge dividends for Rising Sun, the largest independent provider of visual effects services in Australia. It will allow the company to compete effectively for many more film projects that previously considered the $5 million threshold an impediment for completing their work in Australia. The cyclical nature of large-scale VFX contracts means that companies such as Rising Sun need to compliment this kind of work with numerous smaller contracts to achieve a consistent workload. The lowering of the threshold will enable Rising Sun to not only attract new clients but also maintain the capacity to create high volumes of complex visual effects on

packages of work greater than $5 million. PDV has evolved into a global industry over the past several years. Innovations in technology such as Rising Sun’s cineSync have made it possible to collaborate remotely with film producers in Hollywood, London and elsewhere. A workforce of highly skilled and talented post-production and visual effects artists has also emerged worldwide. Additionally, governments in many parts of the world have enacted tax rebates and other measures to attract production work. The Film Incentive program developed by the Australian government allows a large company like Rising Sun to compete on a level playing field with the top visual effects suppliers in the US, UK & Canada. Visit www.rsp.com.au

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NZ-based VFX, animation and digital creative convergence studio Oktobor has completed its first 60 second, fully computer generated TVC for 2010. To be broadcast across Malaysia, the brief from the client Twisties and agency Saatchi & Saatchi Malaysia, was to appeal to ‘cool kids’ in the same way a music video would. After early consultation, the idea’s concept development fell to Oktobor Animation Director Gary Sullivan. “We heavily layered each scene with crazy detail,” said Sullivan. “We started with the garage where the challenge was to light it in such a way that it looked dramatic and not dour, cool and real but not grotty. It was also the only interior shot. From there the pack of Twisties escapes into the street and the waiting clutches of workmen. There are themes of connectivity and musical continuity here with dustbin lids as cymbals, a lightning bolt jackhammer and Kiss style face painting. From there we see the pack fly by birds who are plucking telephone wires for sound while a guy on a telegraph pole tries in vain to clutch the Twisties. Having eluded the birds and the engineer the pack enters the soccer stadium which culminates in a 360-degree slow motion shot of a character based on famous Brazilian soccer

player, Ronaldhino. The soccer characters were the most challenging to get right with several redesigns taking place. If you watch carefully you’ll see each football has a Twistie-grasping tongue too. This is where the fairground comes in with giant conductor complete with top hat, big wheel, roller coaster and a pack grabbing character who stands up as the car he’s in is moving. The next scene is a street with countless musical references – a grand piano building, saxophone building and the KL towers in the form of giant recorders. As if it wasn’t surreal enough we then move to a giant Jimmy Hendrix octopus, microphone eating wrecking ball and variety of hands all trying to grab the Twisties. Finally we end up with the characters in front of the skyline

ABE2010

from the mystical Kuala Lumpur styled city of Twistie World as the ‘irreTwistable’ message appears on the screen. No one actually manages to catch and eat the Twisties!” As the spot was fully CG Sullivan, Oktobor Account Director Ganesh Raj and Animation Producer Meg Sullivan had logistical issues that had to be dealt with early in the piece. The entire ad was modelled in 3D using Maya with music cueing the animation throughout. Illustrator Andrew Archer completed concepts for the city and the characters and with a short timeframe, the rest of the Oktobor team moved up a gear. The animatic, timing, camera angles, 3D storyboard and the final shot of the city all had to be locked down and signed off. Sullivan said, “There was continuous character design, camera flow and positioning to take into account. We locked the edit and timing before we got the final animatic and building models. We pretty much modeled 24/7 to get every object in 3D and had regular WIP and approvals meetings with the client and agency. We used Premier for editing and After Effects and Nuke for compositing with a few minor adjustments in Flame.” Visit http://oktobor.com/#/work/twisties/

Visit www.abeshow.tv

exhibition

featuring the latest in digital broadcast & production technology

August 3-5 2010 Manly Pacific Hotel, Sydney Australia

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Post Production 47

Post Production

DVS Increases Asia-Pac Expo-sure Hong Kong-based DI specialist Digital Magic has expanded its 4K DI pipeline by integrating a second DVS Clipster into its workflow. Running from May 1 to October 31, 2010, Digital Magic will be responsible for footage shown at the Shanghai Expo’s Hong Kong Pavilion, the China Theme Pavilion, and the Oil Industry Pavilion – thus, they were looking for a high-performance real-time 4K DI gateway. Clipster met these requirements with ease, providing Digital Magic with a very efficient DCI workflow. Essential to this workflow is Clipster’s capability to ingest and play-out more than 100 graphic formats. In addition to DPX, Cineon, TGA and TIFF, Clipster also handles formats such as JPEG2000, QuickTime, Windows Media, MXF, MPEG 1/2, Panasonic DVCPRO, AVC-Intra, Sony XDCAM and Avid DNxHD and enables flexible project use at Digital Magic. Digital Magic has employed Clipster’s ability to playback 4K material in real-time and handle dual 4K material for the Oil Industry Pavilion’s 4D theatres, with their 24M x 7M screens. Clipster’s digital acquisition package lets Digital Magic combine several RAW data on a single timeline. The DVS DI workstation then decodes, demosaics and supports all formats in real-time. For the Shanghai Expo workflow, Clipster ingests 4K RED material and processes it with its extensive feature set including conforming, editing, colour correction, and versioning in real-time – working with various display systems. Digital Magic also benefits from the DI workstation’s direct connection to digital projectors and its flexible play-out capabilities: At the Shanghai Expo several 4D theatres’ large-screen projections are fed by four projectors for both 4K and 3D material. Clipster processes this data in real-time.

DCI DOWNUNDER

When Sydney-based company Motionlink expanded into the business of distributing Digital Cinema Packages (DCPs) for cinema in 2010, they were faced with the challenges of DCP packaging and DCPs workflows – specifically speed and performance. The DCI (Digital Cinema Initiative) establishes exacting specifications for digital cinema that ensure a uniform and high level of technical performance, reliability and quality control. Motionlink, being a smaller facility and mindful of both the expenditure and the complexity DCI workflows, realised there was no margin for error or downtime. In January 2010, Motionlink installed the DVS Clipster supplied by Sydney-based post-production and digital media specialist Digistor. Clipster can perform all the steps required for the production of Digital Cinema Packages for distribution to cinemas for digital projection – steps that would otherwise need to be distributed over several products. Motionlink can now create DCPs as a new revenue stream and service to their clients. When they integrated Clipster into their pipeline, Motionlink benefitted immensely from the DI

48 Post Production

workstation’s DCI wizard that guides the user through all DCI Mastering steps. They also achieved an extension to their product range and service offerings, a high-speed workflow and increased security. Well supported by DVS’s DI workstation, Motionlink is now able to create DCPs at lightning speed, QC the whole process reliably and expand into a brand new area for the business. Clipster, the DVS flagship, consists of a robust feature set including conforming, editing, colour correction, and versioning in resolutions up to uncompressed 4K in real-time. All necessary DCI

steps from DSM (Digital Source Master) to DCP (Digital Cinema Package) can be created in a single system thus preventing time-consuming transfer processes through the use of many different components. Since the DSM and JPEG2000 material can be played back with audio in real time, the entire process is very transparent and time-saving. The possibility to view the finished DCP directly in Clipster helps Motionlink’s editors control its quality fast and easy. Visit www.motionlink.com.au www.digitalmagic. com.hk and www.dvs.de

Cameron-Backed 3D Doco at Digital Pictures

Digital Pictures has welcomed the Sanctum production team to its state of the art, 3D ready, postproduction facility in Melbourne. The reported $30 million dollar stereoscopic feature tells the thrilling tale of documentary filmmaker Andrew Wight’s near death experience whilst leading a diving expedition of 15 men in the remote underground cave systems of the Australian Nullarbor Plains. Wight, who scripted the film, is co-producing the project along with FilmNation’s Aaron Ryder. Alister Gierson (Kokoda) is directing, and Oscar award winner James Cameron cements his commitment to stereoscopic technology and storytelling as the film’s Executive Producer. Emmy Award winning post-production supervisor Marc van Buuren and his team are working exclusively with Digital Pictures on the feature’s 3D post-production. Digital Pictures will undertake the 3D conform, digital colour grading, digital mastering for 3D cinema, 2D digital cinema, the DI 35mm negative, and the HD video deliveries for the production. “We have been set up for Digital Cinema for some time, and now we have set ourselves up with the 3D software and hardware packages, we are 3D ready! We have completed a number of tests for Sanctum, which have been screened for Universal in the US and to great success. Now we are in the process of renovating our theatrette and installing a silver screen for RealD,” said Penelope Felton, Head of Digital Film, Digital Pictures.

CIS VFX Group Acquires Postmodern Sydney North America-based CIS Visual Effects Group has acquired the assets of Postmodern Sydney. CIS, based in Hollywood (USA) and Vancouver, Canada, is an award-winning brand in the international visual effects industry. Postmodern, established in 2001, is a fast growing design and visual effects business servicing high-end feature, commercial and television clients in Australia and throughout Asia. Andrew Robinson, Managing Director of Postmodern Sydney said, “The CIS guys reached out to us late last year to talk about joining forces with them on an Australian shop,” explains Robinson. “We look forward to bringing CIS technologies and capabilities into our creative pipeline for film studios, commercial production companies and television networks in addition to the

independent feature market.” Don Fly, President and General Manager of CIS, said, “The depth of Australian creative talent and strong governmental support for the industry make entering the Sydney market very attractive. The Postmodern team has done some great work. They are a design led boutique company with a lot of talent and energy. We’re all very excited about working with them,” adds Fly. The business will continue to operate as Postmodern from its existing premises with all key personnel remaining in-place. Plans are underway to build a new purpose-built Sydney facility later this year to house an expanded CIS-Postmodern operation. Visit www.postmodern.com.au and www.cisvfxgroup.com

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Cintel Bows diTTo Scanner, imageMill2 Processor At NAB Cintel showcased its modular and upgradeable diTTo Evolution film scanner which is instantly switchable from pin to non-pin registration operation. In this way it can evolve from a simpleto-use, calibrated pin registration scanner for Digital Intermediate use to a multi-format, non-pin registration machine for archive scanning, shrunken and damaged film. It also includes film grain management and image stabilisation tools. diTTo evolution offers an easy to use Interface and the D/SCO - Dust/Scratch

Concealment option. diTTo evolution additionally provides a fast shuttle capability, imageMill2 processing tools and a 3.2D density range. Also seen at NAB was Cintel’s imageMill2 image processing platform that adds network capabilities and data file management to the existing imageMill capabilities. ImageMill2 addresses the industries need for a fast yet simple to use noise and grain management tool for both data-centric Digital Intermediate applications, and restoration projects within one product. imageMIll2 offers scanning

Blackmagic’s Revolution for Da Vinci Following its acquisition of Da Vinci last year, Blackmagic Design has announced big changes to how DaVinci colour correction systems are sold. The company is introducing three models of DaVinci Resolve. A new Mac-based software only version, a Mac-based version that includes the DaVinci control surface, and a high end Linux version for multiple GPU supercomputer-based systems. It is also making it easy for users to upgrade. A new fully featured Mac-based software-only version of Resolve will retail at US$995. The main DaVinci Resolve model includes both the Mac software and the DaVinci Resolve Control Surface which allows users to adjust settings in DaVinci. Users get the same power of a single GPU system and because it’s Mac-based, they can install it themselves. DaVinci Resolve with the full control surface will be priced at US$29,995. For heavy correcting in HD, 2K, 4K or even 3D, the company has a Linux software upgrade that can be added to the DaVinci Resolve Control Surface for US$19,995. This is a full DaVinci Resolve Linux license, and lets users connect the control surface into Linux computers with more slots for installing GPUs. “The single GPU performance on Mac is similar to the single GPU Linux systems that cost $200,000 only six months ago,” said Blackmagic Design CEO Grant Petty. “DaVinci Resolve might be affordable now, but it’s still a high end solution, so requires a third party control panel such as the Tangent Wave, and single CUDA capable GPU card. If video I/O is required, then it also requires a DeckLink HD Extreme card. Of course we will work hard to open DaVinci Resolve up to other brands of control panel, capture cards and GPUs as fast as we can.” All existing DaVinci customers with DaVinci Resolve or Splice will get a free updated version of DaVinci Resolve 7.0 software - the Linux version first in June followed by the Mac version. Customers with an older DaVinci 2K system can use the control surface they have, and upgrade to DaVinci Resolve by paying the Linux license only. Visit http://www.blackmagic-design.com/products/davinci/resolve/

Bluefish444 Expands Red Support

Specialist 2K and HD video cards manufacturer Bluefish444 had delivered significant software upgrades to its support for Final Cut Studio, Adobe Creative Suite and Symmetry software. The upgrades will be available Q2, 2010 and provide desktop and SDI/DVI/HDMI preview and mastering of Red Camera R3D files. Bluefish444 will extend its supported workflows for Final Cut Studio, Adobe Creative Suite and Symmetry by including presets for the playback of R3D files. This will provide a cross platform solution using either the Epoch or Create video card range. For offline workflows using either Adobe Creative Suite or Final Cut Studio, Bluefish444 will provide a preset to enable low resolution R3D files to be real-time hardware up/cross converted, using the Bluefish444 scaling technology, for full screen preview as either 2K/HD. For online workflows using either Adobe Creative Suite or Final Cut Studio, Bluefish444 will provide a preset to enable R3D 2K files to be previewed as 2K/HD using the 12 bit internal processing power of Epoch or Create. For mastering R3D files, Bluefish444 will provide options for 422 or 444 VTR mastering using either Symmetry for Windows or Final Cut Pro for Mac OSX. Bluefish444 will make a series of free driver software upgrades to Adobe Creative Suite, Final Cut Studio and Symmetry throughout 2010 to enable Epoch and Create support for Red Camera digital intermediate workflows. Visit www.bluefish444.com

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speeds in excess of 25fps for 2K and HD files, 10fps for 4K files and SD files at twice real time. A new Dust/Scratch Concealment option called Origin is due later in 2010. Cintel also demonstrated a new Millennium dataMill workflow utilising the Yoyo system from Yoyotta. Film is scanned to HD data in real time with the Yoyo system controlling both the film scanner and an imageMill processing engine. Visit www.cintel.com

Avid Raises Bar with New Editing Systems

Avid has introduced new versions of its Media Composer (v5), NewsCutter (v9) and Symphony (v5) editing systems. New features include: - Support for Matrox MX02 Mini monitoring hardware, for customers looking for a low-cost external monitoring solution that enables field editing and simplified client screening sessions. - HD-RGB finishing capabilities that enable customers to keeping high-end finishing work inhouse. Avid Media Composer Nitris DX now offers Dual Link HD-RGB support, allowing customers to digitise RGB 4:4:4 material from video sources like Sony HDCAM SR. A new RGB player and fulleffects processing support provide greater precision for colour, keying and effects work, satisfying the demands of the highest quality productions. - Multi-channel audio support and an enhanced interface. - Avid Media Access (AMA): Native support for popular industry formats including Red, QuickTime, Canon XF, XDCAM proxies and AVCHD which eliminates timely transcode, re-wrap and log and transfer processes. Additional New Features in Media Composer, NewsCutter and Symphony, include: - Improved audio effects and multi-channel audio support: Delivers the ability to apply hundreds of realtime audio effects with support for Real-Time Audio Suite (RTAS) audio plug-ins, providing customers with more creative and corrective audio options within Avid video editing systems. Additionally, stereo timelines can now be treated as one channel/layer, easing handling and increasing available timeline real estate. - Enhanced user interface: Offers a new timeline Smart Tool, featuring “drag and drop” audio and video elements as well as editing and trimming features for direct manipulation of clips in the timeline, providing customers with more choice in the way they work. Media Composer, Symphony and NewsCutter software will be available on June 10, 2010. Media Composer v5 educational pricing is US$295 and academic versions 4 - 5 will qualify for complementary upgrades for four years from the date of software activation. Visit www.avid.com

Post Production 49

Storage & Asset Management

storage &

ASSET MANAGEMENT MAM Key to ESPN Star Sports in HD System integrator TSL has included the IBIS “iFind” media asset management platform in a new HD playout facility currently being installed for ESPN STAR Sports’ (ESS) 73,000 square-foot broadcast facility in Singapore. TSL has completed pre-build for the first two new HD channels, the first scheduled to go live in June. The system is designed to accommodate expansion to six channels and ESS has already ordered a third channel to go on air in July. According to TSL Managing Director David Phillips, “We evaluated multiple media asset management solutions in order to find one that was the right fit for ESPN STAR Sports’ workflow and the IBIS offering was clearly the most appropriate system for this project.” The new ESS iFind MAM system includes IBIS’s

“iAcquire”, which controls the acquisition and redirection of material from multiple sources to multiple destinations. iAcquire includes tools to ingest from tape; via lines feed with router control; or by file transfer. Recordings can be started instantly for the fast turn-around situations required of live sport as well as being scheduled in advance using the iAcquire Scheduler application. As material is ingested, operators at IBIS iLogger workstations can tag the incoming sports events with appropriate, validated metadata which is held with the media throughout its editorial life cycle. IBIS Chief Technical Officer John Haselwood said, “TSL is a world leader in systems integration we have enjoyed working closely with them on the precise technical specifications required for ESS. This new HD playout facility is state-of-the-art and we are

Integrating Workflow Silos

Telestream, the provider of video transcoding and workflow solutions, used NAB2010 to announce Vantage, an enterprise-class software solution that integrates silos of digital video processing into a single managed workflow. Vantage combines video capture, transcoding, analysis, quality control, metadata processing, graphics assembly and video file management into three solutions, Vantage Workflow, Vantage Analysis and Vantage Transcode. Vantage Transcode automates transcoding between all major video and audio files formats. Transcoding as part of the workflow provides the industry’s broadest and deepest file format support for broadcast, cable, edit, web, mobile, VOD, and

IPTV workflows, including MXF, VANC, timecode, captions, multiple audio streams and metadata. Built upon Telestream’s award-winning FlipFactory technology, Vantage transcoding is optimized for speed and reliability. When used as part of the workflow deployment, Vantage can automate “smart” transcoding workflows that incorporate adaptive decision-making and automated encode configuration. Meanwhile, Vantage Analysis allows users to create adaptive workflows that react to content properties and quality. Analysis supports any video file format and properties such as letterbox, curtains, black, slate, telecine and ITU 1770 loudness. Results can be fed directly to transcoding, reporting

pleased to again be working with TSL to incorporate an integrated, flexible media management system that will benefit ESS for years to come.” The IBIS “iFind” broadcast media optimisation platform is a multi-device search tool that provides intuitive, intelligent, system-wide search capabilities for valuable clip metadata. The iFind interface also enables the user to work with the associated browse proxies generated on ingest by trusted partners like IPV to create a shot list before exporting an EDL in XML format to edit on Final Cut Pro. The iAcquire workstation running on the platform can be used to trim the in and out points of material; review material just loaded; add automation metadata at the point of ingest, or later on the server; or call up a clip and review it in jog/shuttle mode. Visit www.tsl.co.uk and www.espnstar.com

or web services; this allows the creation of self- CMY healing workflows. Users can design workflows that K detect and correct errors at any step in the workflow process and provide input to other tasks, including reporting and downstream video processing. Capture from tape or live sources can be added to the workflow using Telestream Pipeline which seamlessly integrates with Vantage to immediately automate workflow processes during capture. Graphics assembly can be added to the workflow using Telestream GraphicsFactory to increase the value of media by branding, localizing and tailoring media for specific regions and audiences. Visit www.telestream.net

LTO-5 Archive Appliance At NAB2010, Cache-A introduced Pro-Cache5, an archive appliance for digital film, broadcast and video professionals working with file-based workflows. One of the first LTO-5 archive products on the market, Pro-Cache5 offers nearly double the storage capacity of existing LTO-4 cartridges - now 1.5 terabytes (TB)/LTO-5 cartridge - while also providing significantly faster archiving speeds. The small form factor Pro-Cache5 enables creative professionals to create source masters in acquisition workflows when using the new memory card or diskbased cameras. At the same time, it also provides long-term archival storage with easy access to content

50 Storage & Asset Management

assets at every stage of production. Pro-Cache5 writes data on low-cost, secure, portable, interchangeable and IT industry-standard LTO-5 tape cartridges using the standard “tar” format, and the archive life is 30 years. LTO-5 also offers read/write compatibility with LTO-4. Both the LTO-5 based Pro-Cache5 and LTO4 based Pro-Cache4 network-attached archive appliances are easy to install and use. Operating system-independent, they can be deployed into Windows, MacOS and Unix environments to provide direct access to archived data from any platform with simultaneous multi-user access and volume sharing.

Both the rack-mountable Pro-Cache5 and ProCache4 offer an internal 4TB of RAID configurable as either striped for maximum speed (RAID 0) or for data redundancy with mirrored reliability (RAID 1). With additional ExpressCard and eSATA connections, the Pro-Cache platform is ideal for the fast archiving of direct connected storage. It also offers SAS connections for high-speed mounts and expansion as well as a sturdy three rack unit (3RU)/half rack chassis for industrial compatibility. In addition, the ProCache platform can be upgraded to control robotic libraries. Visit www.Cache-A.com

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Storage & Asset Management

Video Archive Recorder with LTO-5 Support FOR-A introduced the LTR-100HS Video Archive Recorder at the 2010 NAB Show in Las Vegas. The new recorder supports LTO-5 technology, the latest standard in long-term, high-capacity tape storage, to provide a simple and effective archive solution. The LTR-100HS is equipped with a high quality MPEG-2 codec, the LTR-100HS includes an MXF wrapper/un-wrapper, so MXF files (XDCAM HD/HD422/IMX) recorded to LTO-5 tape can be used directly by many NLE systems. LTO-5 tape cartridges can store approximately 50 hours of programming recorded at 50 Mbps. Within its compact chassis and half rack design, the LTR-100HS includes an LTO-5 drive, 2 TB hard drive, HD/SD-SDI I/O, and LCD monitor. Other features include front panel playback controls with a convenient jog/ shuttle wheel, RS-422 for external VTR control, gigabit Ethernet interface for file-based I/O, and USB 2.0 interface for barcode reader, PC keyboard, or USB storage. Visit www.for-a.com

Storage & Asset Management

EditShare Storage Series/XStream 6.0 At NAB EditShare announced the availability of Version 6 of its Storage Series and XStream shared storage solutions designed for project and media sharing for Final Cut Pro and Avid editors. Highlights of the new Storage Series and XStream Version 6.0 include: • optimisations for DPX Workflows - users can enable DPX optimisations on a per-Media Space basis, and choose specific optimisations for HD-DPX or 2K-DPX workflows. • new definition of groups of users. Once a group is defined, it can be added and removed from Media Spaces and Project Spaces and managed the same way as individuals. Users can also belong to multiple groups. • includes the ability to convert Managed Spaces to Unmanaged. • administrators now have the ability to change the name of a Media Space. • new versions of Netatalk and Samba - EditShare ensures the fullest compatibility with the latest versions of Mac OS X and Windows 7. • new Graphical Interface to bring it visually in line with EditShare’s Flow, Ark and Geevs solutions. • integration of Solid State Drives allows EditShare to offer its first shared storage server with Solid State Drives (SSD). A single set of 16 SSDs can support multiple streams of 2K DPX files, 50 or more streams of video in formats including ProRes or DNxHD, or hundreds of audio streams for mixing applications. In addition, EditShare will soon be implementing a new “data movement” capability that will allow customers to intelligently move Media Spaces from SSDs to Spinning Disks when the higher performance of SSDs is no longer required for that media. • dual Port 10-Gigabit cards - about 80 percent of all EditShare systems ship with 10-Gigabit networking. With Version 6, EditShare systems now offer a Dual 10-Gigabit option, providing facilities with greater bandwidth and flexibility. Visit www.editshare.com

Collaboration via SAN At NAB 2010, Studio Network Solutions (SNS) announced the immediate availability of SANmp version 3.1 SAN sharing software. SANmp SAN sharing software allows multiple users to access the files on a Fibre Channel or iSCSI SAN, enabling everyone to capture, share and edit directly onto a storage system in real-time — improving collaboration and eliminating wasted time copying files. SANmp offers the benefits of safely sharing all of the storage on a SAN, but without the administrative complexities of clustered file systems. SANmp works at the volume level with native file systems such as HFS+ and NTFS and doesn’t need any metadata network or special servers. It is easily deployed and can be used with anywhere from two to hundreds of users. SANmp is compatible with Final Cut Pro, Avid, Adobe Premiere Pro, Pro Tools, Smoke, and most similar applications for Mac and Windows. It is also compatible with most popular storage arrays, Fibre Channel HBAs, as well as the free SNS globalSAN and Microsoft iSCSI initiators. SANmp is now available for immediate download as a free trial on an unlimited number of computers. Visit www.studionetworksolutions.com

52 Storage & Asset Management

Live Production Content Management At NAB 2010, Grass Valley unveiled K2 Dyno Production Assistant which provides a suite of tools to easily keep track of and manage K2 server media assets on location. Users can create metadata grids off-line in advance of an event to tag critical information, such as names and relevant event action types. The metadata tags can then be easily distributed to Grass Valley K2 Dyno replay controller. Metadata can be logged and added during an event. All metadata created can be saved along with the content and easily repurposed. Content stored on a network can be viewed, aggregated, and then sent to removable storage or network destinations using user-selectable, automated rules. Using the captured metadata, users can search for content, create new sub-clips, and build complete playlists. All Grass Valley K2 clients offer managed, guaranteed bandwidth networking that the K2 Dyno Production Assistant takes advantage of for performing file transfers in the background while production operations continue. This includes moving content between servers and to network storage locations as well as to standard off-the-shelf removable USB storage devices. The use of standard IT technologies facilitates seamless file-based workflows. As the K2 platform provides file wrapping of MXF and .MOV, the content can easily be shared with systems dedicated for editing and archiving, with no special equipment or processes. The new Grass Valley K2 Dyno Production Assistant can also be easily integrated into all types of nonlinear editing workflows. Edit systems such as the Grass Valley EDIUS, Final Cut Pro and Media Composer can be networked to K2 server clients, making file transfers fast and easy. With the EDIUS and Final Cut Pro NLEs, they can also be configured to directly edit in place. Metadata can also be sent to Final Cut Pro workstations and interchanged to use when searching for material. The K2 Dyno Production Assistant can be used to establish rules to automatically move content to locations for editors to use, even while a live production is in process. Visit www.grassvalley.com

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Comprehensive Production Platform At its 2010 NAB Show press conference, Omneon Inc. unveiled new components and enhancements across its product line, along with key production application partnerships, that further extend the Omneon platform to support a broad range of production workflows. A new Omneon Spectrum MediaDirector 2201 module delivers more channels and more IP bandwidth at the same price as the legacy MediaDirector 2102B model. This new MediaDirector is the second in the line of new MediaDirectors introduced last fall, offering industry-leading system bandwidth and price/ performance. The new Omneon MediaGrid ContentServer 2124 combines with the latest release of MediaGrid software, V2.3, to deliver performance and cost-efficiency for highbandwidth production workflows. The smallest Omneon MediaGrid system with just three ContentServer 2124 systems can deliver up to 1GB/sec in bandwidth, support up to 100 simultaneous Final Cut Pro editors, and natively host transcoding and QC applications. The company’s Spectrum and MediaDeck System software release V6.1 adds support for the MediaDirector 2201 while contributing new capabilities including support for recording XDCAM HD compliant with Sony’s RDD9 standard. Omneon ProXplore simplifies workflows by automatically harvesting and clearly presenting key metadata such as format, bit rate, resolution, and aspect ratio. Intelligent rules and notifications facilitate the movement of media through production workflows with minimal manual intervention, tracking content through its lifecycle and improving efficiency across the workflow. Using business rules built into the platform and using Omneon ProXchange for transcoding, ProXplore automatically formats content as required for the next step or user in the production workflow. Visit www.omneon.com

Dalet Upgrades Enterprise Dalet Digital Media Systems released its latest version of Dalet Enterprise Edition, its open Media Asset Management (MAM) platform designed to facilitate collaborative workflows for news, sports, program preparation, and archives. Natively integrated production tools manage ingest, logging, production, playout, archive and distribution of content across multiple platforms. Delivered with the comprehensive Dalet Newsroom Computer System (NCRS), Dalet Enterprise Edition provides a fully integrated end-toend solution that can be adapted to any newsroom operation. The versatile Dalet platform also meets the production needs for complex end-to-end, multiplatform production workflows. Developed on the principles of Service Oriented Architecture (SOA), Dalet Enterprise Edition leverages the full capabilities of modern IT technologies. Its Workflow Engine and Web Services API provides future proof openness. Dalet Enterprise Edition includes: - News wheel playout and pre-production workflow is a revolutionary concept initially designed for Time Warner Cable’s 24/7 news production workflow. The new feature maximises playout automation efficiency of news clips across multiple channels, with different formats and languages. - Dalet’s “CG on the timeline” feature simplifies the process of creating broadcast graphics from the journalists’ desktops. No burn-in required as playout is fully automated. - Comprehensive web-based NRCS. WebSpace, Dalet’s Windows-based web client now includes a full-featured NRCS. In addition to video tools, newsgathering, planning, rundown management, and script editing are available to users from anywhere via web or PC clients. WebSpace runs on Mac and Windows platforms. Dalet has also unveiled new core MAM functions including a new Business Process Management engine to orchestrate workflows and optimise resources; management of Digital Rights and Genealogy for any type of content: an extended set of supported media formats and new functionalities for centralised ingest: and new manual and automated Quality Check (QC) tools. Visit www.dalet.com

Volicon Expands Observer Family Volicon has announced a significant expansion of its Observer family of digital video logging and monitoring systems. Observer Professional for budget-conscious television stations and companies that require streamlined features and workflows for scheduled recording, searching media mentions, and clipping for quick export. Observer Enterprise for larger broadcasting networks that require 24×7 multichannel media monitoring and compliance logging. The Observer Enterprise includes integrated Nielsen Ratings for side-by-side competitive analysis based on viewership, and it also supports Volicon’s optional Content Matching and Producer modules for audio fingerprinting and content repurposing workflows. The system supports monitoring of unlimited channels and unlimited user access, offers inputs for analogue, SD-SDI, and HD-SDI sources, and provides up to two years of storage. Observer Enterprise Plus for the largest and most complex editorial production facilities that require multiple bit rates and resolutions for high-resolution finishing. The system includes a unique capture card that enables dual encoding of full-frame HD (1280×720, 6 to 9 Mbps) and a corresponding lowresolution SD proxy (320×240, 384 to 512 kbps) for efficient network bandwidth browse editing and high-resolution conformance. The Observer Enterprise Plus provides a fully integrated, automated transcoding engine that converts Observer-based broadcast content to more than 40 codecs and containers for easy import to industry-standard non-linear editing systems, Web sites, video servers, and mobile applications. The system offers multi-bit-rate encoding from a single input, and it includes inputs for analogue, SD-SDI, and HD-SDI sources, plus composite and component I/O for RF inputs into a wide range of supported set-top boxes. Visit www.volicon.com

OmniBus, DataDirect Partner to Power iTX OmniBus Systems, the provider of comprehensive broadcast automation, content management and workflow solutions, has added DataDirect Networks’ (DDN) S2A architecture to the range of storage platforms certified for use with the iTX automation and transmission platform in critical broadcast and media applications. DDN’s xSTREAMScaler platform, together with the S2A9900 and S2A6620 storage systems, have been assessed in continuous use with iTX for resilience and data integrity during intensive media transfer activity. Certification by OmniBus indicates that server and storage products exceed the performance and reliability criteria for critical broadcast applications with iTX. OmniBus iTX combines all the functions of a broadcast conventional chain in a single, integrated suite of software applications. With support for SD and HD formats, and the ability to integrate with third-party systems, iTX allows broadcasters to cost-effectively launch and operate high-quality channels in broadcast, IPTV, mobile TV, disaster recovery and business continuity applications. Visit www.ddn.com and www.omnibus.tv

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Storage & Asset Management 53

Digital Signage

digital SIGNAGE

Singapore Resort Signs Harris for D-Signage Harris Corporation has received an order to supply its Digital Out-of-Home (DOOH) solution to the Marina Bay Sands integrated resort complex in Singapore. The solution at Marina Bay Sands comprises several hundred InfoCaster Player content playout devices, which will provide information and advertising to enhance the resort experience for customers. InfoCaster Creator software will handle content creation, and the InfoCaster Manager network management system will drive broadcastquality video to screens and video walls in various parts of the resort. Harris video wall playback technology will enable Marina Bay Sands to change the screen configuration on the resort’s video walls — through the network to the playout devices — to enable more dynamic display arrangements. The synched player output feature will allow graphics, animation or pre-

Cool Signage Lou Giacalone, Founder and President of Coolsign.

A spin-off

of US D-signage network provider Adspace, Coolsign has focused on creating an ecosystem of partners to solve the technological challenges of digital signage. Using Coolsign technology, Adspace has created the largest out of home media network in shopping malls in the world with in excess of 120 US shopping malls running 1400 screens. But Coolsign has taken its ecosystem idea further with deployments in Denmark, the Pentagon, Nike Worldwide and numerous others. For Lou Giacalone, Founder and President of Coolsign, the company’s mission is to make sure all the D-signage pieces come together with the best practices to make it successful. C+T: You emphasise D-signage is not like TV or the web. So, how would you describe it? LG: “Really it’s media at a glance so it has the flexibility and the motion of television and kind of the immediacy of the web in the sense that again you change stuff minute to minute, you can target different messages to different audiences and it’s a rich media which again people tend to look at it like a TV ‘cause it uses the similar screens to TVs in a lot of cases but again you just don’t have the focused attention that you get in TV. That’s a very different experience than being out and about and you have a purpose, you’re going somewhere, you’re doing something or you’re waiting for something. The digital media is really something outside of what you’re there for so it really has to grab your attention and make an impact and then be prepared that you’re going to disengage ‘cause again you’re never going to have a focused experience out in public like you do at home.” C+T: Where is the industry in terms of standardisation? LG: “We’ve been helping push standardisation with collaboration with the other software folks like Scalar and Harris and there’s a community

54 Digital Signage

of interest inside POPAI which is the Point Of Purchase Advertising Institute and there is a digital signage technical standards group that we are very active in. So far we’ve addressed content, formats, we looked at scheduling, communication so we’re pushing towards having something this year where playback devices could speak a common language so that they would potentially be able to have one vendor’s playback device or more importantly like an embedded hardware playback device that could speak a lingua franca signage and connect into a Coolsign server or a Scalar server and be a part of that network without having to recode so there is significant progress being made at this time. And, we think that’s critical to the success of the industry.” C+T: How much does that standardisation process draw upon efforts in other industries like TV? LG: “We’ve looked at some of the broadcast transfer standards. Some of it is applicable, some of it isn’t. We’ve drawn a lot from the Smil Standard (Synchronized Multimedia Integration Language) which is a multimedia standard that was more internet-focused. That seemed to have a little bit more relevancy in terms of metaphors and scheduling that is relevant to digital signage. Television is a very long format so it has a very different feel than the signage stuff which tends to be shorter and more of a composite media, that you’re bringing a lot of stuff together. So, we’re definitely keeping an eye on the other standards because we understand that it is part of a bigger media community.” C+T: So when people are creating their deliverables for TV and here’s our web file and so on, where do you see you guys fitting in? LG: “There’s obviously a bigger issue to be addressed for dynamic content that is composite,

but for the base content formats we’re making a clear recommendation to either use mpeg 2 or H264 as the base content format and we’ve got recommended bit rates and sample test files that have been put forth in the community so that we can all validate that for the given tests that we’re able to play those. So, again, that’s the mean line recommendation for content - MPEG2 being the broadcast standard and H264 being the up and coming favourite within the broader multimedia community and IPTV. “We feel comfortable that support for those formats is the core of what we’re doing. So, in the workflow for cut and production, as long as your tool suites support IPTV and H264, that you’re able to get those files out, that digital signage will adjust those directly and be prepared to deal with them.” C+T: You’ve emphasised this is a medium that functions on a network. Are there any problems using wireless as a component of this? LG: “This is something that we’ve worked really long and hard on which is to make sure that we’re compatible with just about any infrastructure because IP is IP. That’s the beauty of it which is you’re insulated from the actual transport layer so we with our product again are compatible with all the wired and wireless transports. “We intrinsically support multicasting, we feel this is a critical thing because, again, with a network of scale you want to be able to get the stuff out there efficiently, multicast being the most efficient thing out there. But, of course, wireless is really important, too. I’ve spoken a lot about the cost of deploying hard infrastructure and you’re going to want to take advantage of wireless, so we deal really well with heterogenous networks because again that’s going to be critical.

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defined sequences to be activated for playout across multiple screens simultaneously. “The Harris DOOH solution will enable Marina Bay Sands to communicate more dynamically with its customers throughout the resort,” said Denise MacDonell, director and general manager for digital signage, Harris Broadcast Communications. “Our solution is highly scalable and surpasses the capabilities of a typical digital signage network in terms of both quality and workflow. Customers are better able to manage content and drive revenuegenerating opportunities.” Harris Digital Out-of-Home solutions enable the creation, scheduling, distribution, playing and reporting of live video and graphics. Users can acquire or create digital content and manage it throughout the entire delivery chain — from a central site or multiple remote locations — on a TCP/IP network.

InfoCaster Creator content creation stations enable easy acquisition and generation of graphics, live video and dynamic data content. InfoCaster Player devices synchronize and deliver content from multiple sources to thousands of remote displays spread over a nationwide network, addressing individual messaging display requirements. Advanced management, scheduling and monitoring tools give users unprecedented control and flexibility over the enterprise network. The company’s solution at Marina Bay Sands is the largest Harris casino/resort DOOH installation in the ASEAN region. It follows other resort hotel and casino projects in which Harris solutions have been implemented, most notably The Venetian Macau Resort-Hotel and Four Seasons Hotel resort in Macau. Visit www.harris.com

“Pump Priming” Digital Signage PumpTV is Australia’s first and only digital petrol station “TV network”. The network now covers four metropolitan markets having recently rolled out across petrol stations in Adelaide and Brisbane, following launches in Melbourne and Sydney. Delivering video and advertising content through its network partners, Channel 7 and Yahoo!7, PumpTV has been rolling out through select United Petroleum locations in both cities. Channel 7 and Yahoo!7 are PumpTV’s exclusive content partners, providing news, sports and weather and lifestyle updates. The roll out is part of PumpTV’s plan to extend its network to 4800 screens across 400 petrol stations by 2012 - giving advertisers exposure to over 12 million highly engaged consumers per month while they fill their vehicles at the pump. Measurement of audience numbers is achieved through an accumulation of

>> >> David Parker, CEO of PumpTV. transaction reports across all locations, reporting the number of people who bought petrol and therefore were exposed to the PumpTV screen. Advertisers have the choice of 15sec or 30sec

Australasia’s ONLY Dedicated Digital Signage Conference & Expo

Sydney Convention Centre, July 20-21, 2010

Be Seen on the

Fourth Screen!

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TVCs or animated “wraps” that are displayed on a split screen alongside the video content. PumpTV follows a US model where almost 32,000 petrol station screens were launched in four years from 2005. “Our business has grown from strength to strength with more advertisers acknowledging the opportunity of reaching out to a captive audience through a whole new platform,” says David Parker, CEO of PumpTV. “PumpTV is a very interesting and innovative model as it creates a point of difference for petroleum retailers and for advertisers, it adds a whole new dimension to engage with captive audiences through verifiable and measureable digital outdoor advertising,” says Mark Harris, National Merchandise Manager, United Petroleum. Visit www.pumptv.com.au

Digital Signage World Australia 2010 is an exhibition of the world’s leading D-Signage solutions providers alongside a world-class, applications-focused conference. Digital Signage World Australia 2010 where innovation is showcased, solutions are found and experience is passed on. Truly a business and technology show, DSW is the only event that brings together end-users from all the key vertical markets and the advertising industry, all eager to engage with the entire digital signage value-chain. Participating companies include: - NEC, JVC Professional, Dynamic Visual Systems, NetComm and TouchScreen Solutions.

Visit www.terrapinn.com/2010/digital/ Digital Signage 55

Digital Signage

that sign for numerous days, then you replace a fuel cartridge or fuel it up with some recharge mechanism and then off it goes. “I see that being really a powerful transformational thing for the industry but, again, it’s probably a little bit of ways away ‘cause the fuel cell guys right now have been really focused on home energy and automobile.”

It’s not the tip of the iceberg, it’s the tip of the tip of the iceberg. Most people think about signs as being big things that are in big places, but really what I see as the future is they can go a lot of different places.

continued from page 54 “We’ve satellite in the United States where they do satellite deployment but, of course, in a downtown area you might have building shadows where you can’t see the bird and then you have to deploy a DSL or something else in its stead to get the connectivity there and you have to be able to handle again multiple transport types on a single network so this is something that we’ve really focused on to make sure that we can do. C+T: As well as fixed displays, is there a role for mobile, solar or other powered devices? LG: “I definitely think so. That’s still kind of in its infancy but we’ve seen battery-powered deployments where they just recharge them at night. I think fuel cell technology is really going to be the way to go ‘cause when you think about something like a signage kiosk you’ve got a sign which you’re putting at eye level and then you’ve got a footprint below it which is basically just structural. Well, imagine if you would some type of safe fuel reserve that’s actually powering that through a fuel cell technology which is, of course, a very green power mechanism. That could probably power

56 Digital Signage

C+T: In terms of the overall global market where do you see the opportunities for growth? LG: “The opportunity is everywhere. It’s not the tip of the iceberg, it’s the tip of the tip of the iceberg. Most people think about signs as being big things that are in big places, but really what I see as the future is they can go a lot of different places. I see where there’ll be small signs at every table at every restaurant and certainly in every hotel room in the world instead of those little cardboard things sitting there talking about the restaurant or the daily special at the restaurant. There’ll be a digital sign and just because it’s small and just because it doesn’t do a lot doesn’t mean it’s not a powerful network device delivering value to the business. Again, you could see where there could literally be billions of these devices in the world and that’s the future of the industry. “So, today where we see deployments there’s probably under a million signs deployed in the world. We’re less than a fraction of a per cent of penetration and so the future is all ahead of us and it’s all fantastic.” C+T: What’s the potential for integration with other types of systems, say, in a retail environment? Is it, for instance, possible to link into a system that’s keeping track of stock numbers? LG: “Very much so. Too many times the marketing folks who are excited about signage treat IT in an adversarial capacity because the IT guys have very high expectations about what a technology system should look like and traditionally most vendors of digital signage, their systems are not up to par with IT standards. “Something we’ve focused on is making sure that is possible, to give them the tools that they feel are up to enterprise standards and, in fact, with a system like Coolsign, and there are others in the marketplace as well, it’s actually quite straightforward to create interfaces with things like e-pos and to very simply create relationships where a product on the screen is shown or not shown based on its stock level at that particular store. “The thing that you hear about as well is that if the outside temperature at a location is in excess of 20 degrees you show t-shirts and if it’s below 20 degrees then you show sweaters and that stuff is do-able today with the existing technology, with really relatively straightforward integration and this is again why we think it’s incredibly important to do more outreach and evangelism into the IT community ‘cause again

we do see this being a part of the IT ecosystem.” C+T: So, what role does mobile digital signage have and how’s that different to broadcasting? LG: “I’m not sure there’s necessarily any correlation to broadcast but certainly signs will be mobile. I mean, again, any kind of transit vehicle is an excellent choice to deploy signage ‘cause you generally have a captive audience for some period of time and there’s no reason why you wouldn’t want to talk to them and again traditional media businesses have made a good living serving those audiences around the world for decades, so there’s no reason that mobile wouldn’t be a part of it. “Again, the technology is cool in the sense that leveraging GPS and technologies like that in combination with the marketing medium, you’re now able to take it to a new level where you’re moving through an urban environment and there’s a new restaurant in this neighbourhood and that restaurant over there has a dinner special tonight and it’s $14.95 for a steak dinner, or a boutique opens here or there’s a play happening in this part of town and that can change as you move through the neighbourhood. So, I think it definitely will be transformative in terms of better connecting people and the communities and this is the power where it’s the reverse of broadcast. “In the history of the industry, people tried to coin the term narrowcast which I just felt was a horrifically ugly term but I talk about a local context and, in the old days, this is what the newspaper was, that it was a local thing that talked about what was happening in your immediate neighbourhood. But, of course, economies of scale forced everything to be aggregated and it became less and less local and contextual to the point where it’s almost become irrelevant and certainly not cost effective or green deploying that. “Digital can turn that back around to be extremely local, extremely contextual because again it’s got the time element, can be changed day to day, can tell you what’s going on tonight in your local venues and with your local merchants and local restaurants and again that’s what people want. I mean they’re living their lives and if signs can add value to their lives they’ll pay attention to them and if people are paying attention to them then you’ll have an opportunity to squeeze some advertising in there and take advantage of that audience but, again, it’s no different than television, you’ve got to find the right balance between content – and, again, I would argue that advertising local stuff could be considered content ‘cause it’s relevant, it’s contextual – and then national brand advertisers can come along for the ride and enjoy the benefit of the gaze on those screens. Coolsign is represented in Australia by Dynamic Visual Systems. Visit dynamicvisualsystems.com. au and www.coolsign.com

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AUDIO David Atkins Wows Shanghai Expo with Fairlight With over 70 million people - almost all of them Chinese - expected to visit World Expo 2010 Shanghai, it was imperative that the opening ceremony for this extraordinary event went without a hitch. Billed as the most spectacular outdoor multimedia display in history, the opening ceremony for World Expo 2010 Shanghai took place at the end of April and pushed the boundaries of technology to its limits. The extravaganza made non-stop use of fireworks, sound and light, with numerous elements such as mobile fountains, laser projections, and the world’s largest LED screen. Australian production company David Atkins Enterprises (DAE) worked alongside Expo organisers to handle all aspects of the ceremony including the live and broadcast audio, which was sent to television stations around the world. And among the equipment chosen for this task were two identical Fairlight playback systems each consisting of two Xynergi controllers, two workstation PCs, two SX20 I/Os and a Fader sidecar. DAE’s music editor and playback engineer Steve Logan says “In any live event, but especially one of this magnitude and importance, reliability is paramount. This is why we always choose Fairlight for our audio requirements – because we know that, with Fairlight, we simply wouldn’t have any problems.” Logan adds that Fairlight’s ability to edit directly on the playback system really came into its own

>> >> The Fairlight set-up at World Expo 2010 Shanghai.

during rehearsals and production as it enabled very fast turnaround. “We also like Fairlight’s MADI capabilities as linking multiple systems and routing signals is much easier using single coax cables as opposed to what would otherwise be large quantities of multi-core cable,” he explains. “Fairlights also have powerful and flexible synchronisation features that can be accessed in real-time during playback, as well as very fast response transport controls, which are essential for synchronising with live action. Another benefit is the internal Bussing, Patching and Mixing as this allows for a highly customised configuration.” Broken into three Acts – Welcome To China, Harmonious Gathering and Celebration - the Outdoor Ceremony of Expo 2010 Shanghai took place on a ‘stage’ that stretched 3.2 km along the Huangpu

River, crowned on either side by the Lupu and Nanpu Bridges. The music featured a drum prelude by A R Rahman, who won a 2009 Academy Award for Best Music for Slumdog Millionaire; Overture from The Spring Festival Suite by Huan Zhi Li and performed by the Shanghai Philharmonic Orchestra and Peng Cao, and The Dragon, by Academy Award winning composer Vangelis. Alongside a selection of classical pieces, there were also musical contributions from Zhao Guang, Peewee Ferris, Chen Gang, He Zhanhao, Zhen Lu, Wang Xilin and John Adams. Logan adds that the complex nature of the audio production meant that a temporary studio needed to be constructed at the Expo site. “The whole show was synchronised from the Fairlights, with timecode sent to Lighting, Video, Lasers and Fountain control. We also sent FSK (Frequency Shift Keying) tracks from the Fairlights to set off all the Fireworks.” DAE has extensive experience of handling complex events of this nature, having previously been involved in the opening and closing ceremonies for the Winter Olympics in Vancouver, the Opening and Closing Ceremonies for the Sydney 2000 Summer Games and the 15th Asian Games Doha 2006, in Qatar. “It certainly helps when you can tap into previous experience,” Logan says. ”And it also helps when you have faith in the equipment you have chosen because you’ve used it often enough in the past to know it won’t let you down.” Visit http://www.fairlightau.com

Tannoy Spreads Out with Speakers As of July 1, 2010, Amber Technology will take over the distribution of the Tannoy range of studio monitors in Australia. Tannoy is part of the TC Group International for which Amber Technology has been a long time distributor. Export Sales Manager at TC Group International, Rune Jacobsen, says “Having worked closely together with Amber Technology for many years, it made perfect sense for us to expand that partnership with the addition of the Tannoy range of studio monitors. I am very excited about this development, and am confident Amber Technology will attend to the Tannoy brand with the same passion and professionalism as they do with the TC Electronic brand.” Filip Saelen, Product Manager at Amber Technology responsible for the new range is also “thrilled” about the new arrangement.

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“It’s perfect timing for Amber to take on this range,” he says, “particularly with the recent announcement of an all new Tannoy Reveal range.” There are three monitors in the new range: the active 501a and 601a and a passive solution, the 601p. With its arrival in the mid ’90s, the original Tannoy Reveal monitor blazed a trail of affordable, high quality monitoring that saw it installed into thousands of music making set-ups across the globe. Tannoy is building on that strong legacy with an all new Reveal range, representing the latest evolution of their high-resolution active reference monitor technology. Visit http://www.ambertech.com.au Meanwhile, Tannoy has appointed Audio Products Group (www.audioproducts.com.au) to distribute the company’s consumer and professional/installed sound products in Australia, from 1 July 2010.

“Tannoy’s decision to entrust the fortunes of its historic brand to APG reflects our commitment to build a business that operates as three distinct, specialist streams, focussing on Consumer HiFi, Pro Audio and Installed Sound respectively,” explained Ken Dwyer, APG’s Managing Director. “We are very proud to be able to work with Tannoy. I am confident that Tannoy’s portfolio of innovative, high-quality products will complement our existing loudspeaker offerings, and strengthen our presence in the consumer, professional and installed sound markets.” In announcing its appointment to distribute Tannoy, APG acknowledged Syntec (the outgoing distributor) for its contribution to the brand over many years, and pledged to work with Syntec to ensure that the transition will be smooth for all parties. Visit www.tannoy.co.uk

Audio 57

Audio

Miranda Simplifies Loudness Miranda’s new Kaleido-Solo simplifies monitoring of 1080p, HD and SD programs and their associated Loudness and DIALNORM properties. Kaleido-Solo converts 3Gbps, HD and SD SDI, with embedded audio, to DVI and HDMI for display on an inexpensive LCD screen. In addition to providing the high quality scaling necessary for display in professional applications, Kaleido-Solo provides continuous measurement of loudness, and overlays a histogram of the loudness and DIALNORM on top of the program video. Unlike traditional loudness metering solutions, the histogram conveys the progression of loudness and DIALNORM over a user defined period of time. In addition to performing the 3Gbps/HD/ SD to HDMI or DVI conversion and displaying the audio loudness and DIALNORM histogram, the Kaleido-Solo provides overlays of key audio and video parameters, including aspect ratio markers, AFD Codes, time code, and peak meters. Kaleido-Solo provides automatic video input format detection, and supports a wide range of video resolutions, including 525i, 625i, 720p, 1080i and 1080p. To ensure the correct aspect ratio for video monitoring, it fully supports AFD, WSS, and VLI Metadata To simplify embedded audio monitoring, Kaleido-Solo provides two RCA audio connectors to output a digital 5.1 stream as SPIDF, a 5.1 Downmix, or any two user selected channels. The ultra-compact Kaleido-Solo is designed to be attached directly on the back of any LCD screen. Visit www.miranda.com

Wireless Digital Audio Transceivers

Euphonix MC Control v2 for Artist

Zaxcom has announced a new addition to its line of wireless digital audio transceivers, the TRX900LT. The new TRX900LT combines wireless transmission, recording, and remote control receiving functions into a single lowercost system for the production of episodic television, motion pictures, and live broadcast events. The TRX900LT features 100-percent digital transmission for audio quality. All audio transmissions from the TRX900LT are fully encrypted to eliminate the possibility of production audio interception and theft. With a patented internal timecodereferenced audio recorder that backs up all wireless transmissions on a removable microSD card, the TRX900LT eliminates the possibility of audio loss due to interference or signal dropout. Each TRX900LT unit will operate for up to five hours on a single AA lithium battery and is compatible with all Zaxcom wireless receivers and IFB transmitters. Also included in the TRX900LT system is ZaxNet, Zaxcom’s new 2.4-GHz RF network that enables distribution of remote control signals, timecode, IFB audio, and metadata. With ZaxNet, TRX900LT users will be able to control gain and audio replays remotely via a timecode reference so that multiple Zaxcom wireless systems can replay audio in sync. The TRX900LT-ZaxNet integration also will allow production sound mixers to remix audio from multiple transmitters, creating a virtual multitrack playback and re-record system. The TRX900LT with integrated recording will be available mid-2010. Microphones are sold separately. Visit www.zaxcom.com

Euphonix has announced MC Control v2, the latest addition to its line of Artist Series media controllers. MC Control v2 features the same ergonomic layout and slim line design as the MC Control, but offers enhanced graphics thanks to a new LED-backlit touch-screen and even better tactile control of parameters via eight new custom rotary encoders. MC Control v2 is the new flagship of the Artist Series and provides a host of controls to speed up and enhance the workflow process with almost any audio or video application. At the heart of MC Control v2 is a new highresolution 800 x 480 pixel LED-backlit touch-screen interface that offers a wide viewing angle, bright graphics and excellent colour consistency. The touch-screen not only displays all top-level project information like track names, metering (from mono to 5.1 surround data), automation mode, fader/ pan values, etc., but also allows the user to solo/ mute/record arm tracks, trigger Soft Keys, perform surround panning, and much more directly from the surface. Soft keys are one of MC Control v2’s most powerful features to speed up workflow, instantly updating when switching between applications and providing quick access to the most used functions. MC Control v2 ships with comprehensive Soft Key sets for most media applications, and custom Soft Keys can easily be created for almost any function from basic keystroke shortcuts to complex macro commands for each application. Surrounding the touch-screen, MC Control v2 features eight new touch-sensitive rotary encoders that offer direct control over everything from panning and gain to editing plug-in and EQ parameters, and can be pressed to instantiate and navigate through parameters. MC Control v2’s ergonomic layout includes dedicated transport controls as well as a data entry wheel that can be assigned on the fly to control everything from basic jog/shuttle navigation and zooming to a host of advanced editing functions. Four touch-sensitive motorised faders round out the controls to deliver accurate and smooth mixing, and touching a fader automatically selects and controls the corresponding track. Like all Artist Series controllers, MC Control v2 easily integrates into any studio, fitting perfectly between a computer keyboard and screen, and can be used standalone or combined with other media controllers to build a larger, integrated media control surface. MC Control v2 features EuCon, a high-speed control protocol developed by Euphonix that enables simultaneous control of multiple applications and even workstations over an Ethernet cable at 250 times the speed and eight times the resolution of MIDI. EuCon automatically detects whatever application is in the foreground and instantly sets all controls and high-resolution touch-screen display to match. MC Control v2 also supports the HUI and Mackie Control protocols. Visit www.euphonix.com.

SSL Networks with Opticore Solid State Logic, the manufacturer of industry leading digital consoles for the broadcast industry, announced the integration of their digital broadcast console range with the Optocore Optical Digital Network System at NAB 2010. “This collaboration enables SSL C10 HD and C100 HDS consoles to connect directly to the Optocore Optical Digital Network System via MADI optical fibre,” said Niall Feldman, Director of New Products at SSL. “Optocore produces a high quality system that has enjoyed considerable success in the stadium and theatre installation sectors so this integration extends the range of facilities for which the benchmark audio quality and rich feature set of SSL digital consoles will be a plug and go option.” With the SSL MADI I/O control protocol now integrated into Optocore’s topology, Solid State Logic C10 HD and C100 HDS consoles can now transmit/receive up to 128 audio I/O channels over an Optocore Optical Digital Network System. In addition users will have the ability to remotely control the microphone preamplifiers in the 48 input Optocore LX4AP stagebox. Under the new implementation SSL C10 HD and C100 HDS consoles will automatically identify, label and control any connected Optocore LX4AP Stageboxes. Combining SSLs MORSE Stageboxes with Optocore LX4AP Stageboxes allows users to connect multiple consoles and stageboxes with full redundancy. The ability to remotely control stagebox gains over the Optocore fibre network is a major advantage for users, giving that extra degree of flexibility and control over the relevant parts of an installed system, particularly in theatres and stadiums. Visit: www.solid-state-logic.com

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Loudness Control... From Production to Transmission Only Linear Acoustic – the leader in television audio control and QC – has the solution every step of the way from content creation to transmission:

Production/Ingest: ITU-standard Loudness Metering and Correction with at-a-glance indication of current and program-length loudness. Upmixing to maintain surround field and center channel presence with perfect downmix compatibility. In-plant: ITU Loudness Metering and Audio Monitoring, with flexible routing, switching, decoding and de-embedding. Transmission: Loudness Control and Metadata Management that stops listener complaints while maintaining “Hollywood approved” production values on the latest surround systems.

Get it Right in the Mix: Loudness Monitoring That’s Truly Useful Evolved from extensive field research during high-profile events, the new Linear Acoustic LQ-1000 Loudness Quality Monitor shows you everything you need to know to mix to the new recommended practices for loudness control. Think of it like an audio speedometer: one quick glance and you can get back to driving the mixing desk. With the LQ-1000, current loudness, target loudness and peak level are clearly indicated with an intuitive combination of large numbers, bargraph meters, and a loudness histogram. Color is used to display the loudness comfort zone: blue if too quiet, green to yellow within target and red if too loud.

Get it Right on the Air: Television Audio Controlled AERO.air or AERO.one in your transmission chain – just before the digital encoder – automatically monitors loudness range, adjusting it to keep the audio comfortable for the viewers at home, not too loud, not too soft. It prevents commercials from blasting out of the set, keeping you legal. And AERO provides seamless and automatic upmixing of local plant audio from stereo to surround so your transitions from network to local don’t collapse the sound field or your viewer’s interest. Both AERO.air and AERO.one offer optional HD/SD-SDI support and integral Dolby® Digital (AC-3) encoding. AERO.air – fully-featured for the major local station or cable/satellite network. AERO.one – simple, cost-effective solution for single programs or backup paths.

Sounding great and staying legal doesn’t have to be complicated.

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www.linearacoustic.com • +1.717.735-3611

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Audio

Sound Devices Boosts Digital Audio At NAB 2010, Sound Devices previewed the newest version of its 788T firmware as well as its revised Wave Agent software package through onsite demonstrations at its booth. The newest update on the Sound Devices 788T firmware allows multiple 788T’s to be linked together for applications requiring high track counts. The linking ability extends to all recorders in the company’s 7-Series line. This gives users added flexibility when working with multiple Sound Devices models. In addition, the new version includes functional enhancements and several important upgrades. As with all Sound Devices firmware updates, Sound Devices gives its users an effective way to upgrade to the latest technology at

no charge. Sound Devices is also offering its Wave Agent software package, which provides a comprehensive and indispensable range of tools for preparing audio files for problem-free passage through complex production workflows. Designed

specifically for production sound mixers and post production editors, Sound Devices’ most recent version, Wave Agent 1.1, features the ability to connect to the 788T and monitor its levels directly on the computer. Compatible with the latest operating systems including Windows (7, Vista and XP) and Mac OS (10.4+) formats, this new editing tool offers playback of polyphonic/monophonic BWF and standard WAV files from any source, supporting up to 12-tracks. When the 788T is connected to the computer, this new version offers multi-channel metering and real time monitoring of 788T meters and time code display. Visit www.sounddevices.com

TV Audio Processor Dynamics processing specialist Jünger Audio unveiled a new TV Audio Processor at this year’s NAB Convention. The device, which is primarily designed for TV playout facilities, will provide Loudness control, Upmix and surround sound processing for up to eight channels of audio. The wide band 8 channel processor (8x1, 4x2, or 6+2) focuses on automatic and adaptive loudness control using Jünger Audio’s Level Magic algorithm (ITU compliant). It also offers dynamic filters so that the sound can be ‘coloured’ much more easily than one can achieve with a traditional multi band sound processor. Optional Dolby Decoding and Encoding (D, D+, or Pulse), as well as metadata management, are

also provided along with 5.1 Downmix and Jünger Audio’s recently introduced Upmix functionality. The new processor is capable of handling digital inputs (AES) and, through interface slots, all other usual audio formats including all SDI versions (SD, HD, 3G). It is controllable through front panel and Web based GUI, plus remote control, and GPI – and it comes with a redundant power supply as standard. Level Magic offers a fully integrated workflow solution for managing surround sound and Dolby coded 5.1 audio signals in production, ingest and playout. This includes 3G HD/SDI De-embedding/ Embedding with VANC, Dolby E resynchronisation with in-built video delay and Dolby Metadata generation.

The latest addition to the suite is Upmix functionality which effectively completes the chain, making it possible for broadcasters to resolve the interrupted ‘surround sound feeling’ while reproducing mono and stereo sources and also maintaining Upmix loudness consistency compliant with Dialnorm and ITU specifications. The UPMIX function takes a mono or stereo signal and filters the ambient information as well as the spectral composition to create a proper 5.1 upmix. The solution comes with a surround checker auto format detector, enabling the Level Magic suite to identify the channel format of the signal and initiate adequate Upmix or 5.1 processing. Visit www.junger-audio.com

Audio

RTW/Lawo mc² Collaboration German audio manufacturers RTW and Lawo have announced that the new RTW TouchMonitor TM7 will be available as a fully integrated hardware option for the Lawo mc² range of digital audio consoles. Lawo showed its redesigned mc²66 console during NAB with a special OEM version of the RTW TouchMonitor TM7 as part of the desk’s control surface. The TouchMonitor version specifically developed for Lawo features a customised GUI that allows for the upright operation of the screen so that it integrates perfectly into the mc²66. In its final level of integration, the unit also will lock directly into the console’s project data management so that the TouchMonitor’s configuration and presets will be saved and loaded together with the actual console project data. The Lawo mc²66 is a professional audio console with 512 DSP channels, 144 summing busses and top quality signal processing ensuring maximum precision. The newly developed operation philosophy “assign at destination” allows fast and secure interference also in critical live situations. The redundantly designable MKII Router with 8192 cross points provides a fully integrated control system for the highest possible level of reliability. RTW’s brand new TouchMonitor range with ultra-flexible audio metering systems features the TM7 with a 7-inch touch display, also available as an OEM product for Lawo’s mc² digital consoles. The TM9 comes with an bigger 9-inch touch sensitive TFT screen. The stand-alone versions of both models will be available with analogue and/or digital audio I/O interfaces including AES3id versions with BNC connectors and a 3G SDI option for the TM9 supporting up to 32 audio channels. With the modular software concept of the TouchMonitor range, the user can precisely define the functional range of their individual unit. In addition to RTW’s highly respected measurement tools such as high quality Peak Program Meters or the popular Surround Sound Analyzer, also third-party software modules will be available. Visit www.rtw.de or www.lawo.de

DTS Ups the Mix!

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When you think “excellence in audio”, think CDA Professional Audio.

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Test & Measurement Engineering 60 Audio

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DTS, Inc. has unveiled its Neural UpMix by DTS, a new Pro Tools plug-in designed to upmix content to 5.1 and 7.1 channels, and the latest version of its best-in-class audio encoding suite, DTS-HD Master Audio Suite v2.5 (MAS 2.5). Neural UpMix by DTS marks a first in 7.1 surround expansion for the Pro Tools community. Combining precision and creative flexibility, this plug-in can output 5.1 or 7.1 multi-channel audio tracks from stereo or 5.1 source material while preserving the spectral and timbral balance of the original mix. Mixing engineers will be able to upmix audio tracks on a scene-by-scene basis to create an immersive audio experience that can greatly enhance both standard 2D as well as 3D Blu-ray soundtracks. DTS–HD Master Audio Suite v2.5 makes one of the fastest Blu-ray Disc audio encoders on the market even faster with the introduction of Folder-Based Batch Encoding for Blu-ray, DVD and online digital delivery. This new functionality automates the encoding process, enabling hundreds of audio encodes to be processed with just a few mouse clicks. Visit www.dts.com

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Audio 61

Radio

THE ORIGINAL BROADCAST MEDIA

RADIO

Digital Radio Trial for Canberra The number of commercial and SBS radio stations available to listeners in Canberra is set to increase with the announcement by Commercial Radio Australia (CRA) and multicultural and multilingual broadcaster SBS that a regional trial of DAB+ digital radio would begin in Canberra in early July 2010. Commercial Radio Australia chief executive, Joan Warner said the first regional trial of DAB+ is the next step in making digital radio services available to all Australians. “The radio industry is committed to ensuring all Australians are able to access free to air radio broadcasting via digital technology. People living in regional Australia must have the same rights of access to digital radio as do those living in the five big cities. We do not want to see a nation of metropolitan digital ‘haves’ and regional digital ‘have nots’,” Ms Warner said. Through a digital radio trial many Canberra radio listeners will be able to experience digital quality audio, robust transmission and significantly improved functionality as part of digital broadcasting including more audio services, text and graphics on screen, plus pause and rewind on some receivers. “The Canberra trial will provide valuable firsthand experience for regional radio broadcasters in working with the DAB+ signal and increased functionality, while we continue to work to get the Federal Government to commit to allocating spectrum so that regional Australians will have the same right to digital radio as Australians living in metropolitan areas. The trial will also allow us to test how to ensure a signal can be received in a building such as Parliament House, a structure with both man-made

Supporters of the regional trial include; broadcast transmission infrastructure company Broadcast Australia, and multiplex infrastructure providers and systems integrators UGL Infrastructure/Radioscape (suppliers of audio encoding, multiplexing and monitoring equipment) as well as digital radio receiver manufacturers who are all keen to fast track the roll out of digital radio into regional Australia. All sectors of the radio industry have made detailed submissions to the Federal Government’s Digital Dividend Green Paper requesting the allocation of vacated VHF Band III spectrum for digital radio as analogue TV switches off and that this allocation take precedence over the reallocation or sale of this spectrum for new services such as wireless internet or mobile telephony. Stations that will be available on the DAB+ digital radio trial transmission: • 2CA - Capital Radio Network • 2CC –Capital Radio Network • Capital Radio Network - 2 additional commercial services to be announced • Mix 106.3 FM - Canberra FM (Austereo/ARN) • 104.7 fm - Canberra FM (Austereo/ARN) • Canberra FM (Austereo/ARN) - 2 additional commercial radio services to be announced • SBS Radio 1 – News & Information Network • SBS Radio 2 - News & Information Network • SBS Chill Another trial is in the planning stages for Darwin and two other areas currently being considered are Townsville and Hobart. Visit www.digitalradioplus.com.au

more engineers. more innovation. more award winning products.

Polling in Palestine Polling in Palestine and natural barriers,” said Ms Warner. SBS and commercial radio broadcasters, Capital Radio, ARN and Austereo will jointly fund a trial that will transmit from the Broadcast Australia transmission tower on Black Mountain. Although the signal will be at relatively low power for the trial, it is still expected to cover a large part of the Canberra area. The second phase of the Canberra trial will be a retransmission of the trial signal into Parliament House to allow Federal politicians to experience digital radio first hand. SBS Managing Director, Shaun Brown said “SBS radio is pleased to be part of such an important trial and to showcase the additional in-language services available on digital radio to SBS’s Canberra listeners.”

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Boardroom Radio Streams with Magna Magna Systems and Engineering has supplied Boardroom Radio with a Spinnaker Audio/80A multichannel, multi-format encoder for live audio streaming. Magna Systems Technical Sales Engineer Dave Alderton explained, “Boardroom Radio is an easy and effective communication service that lets companies speak directly with investors. The process is simple, using a standard telephone system Boardroom Radio broadcasts announcements over the Internet to the online investment community directly and via their partners. As Boardroom Radio expanded, their existing encoders needed upgrading and they approached us for a solution as they

62 Radio

particularly wanted a company with experience and local support.” Alderton suggested the Spinnaker 80A from Inlet Technologies. He added, “Inlet Technologies is redefining the web audio visual experience with innovative solutions for media preparation, whether it’s live or pre-produced for delivery to any device on any IP network. The Spinnaker 80A was the perfect encoder for Boardroom Radio’s requirements as it is a flexible, multi-format, scalable solution, ideal for a variety of audio streaming applications, such as Internet radio, live music, voice and multiple language broadcasts.”

The Spinnaker 80A also boasts 32 simultaneous high quality, multi-format streams with a single Spinnaker 80A supporting up to eight audio input channels in a 1RU form and the ability to output up to four streams per channel. Alderton said, “The Spinnaker 80A also provides professional, cost effective and efficient live audio streaming with dense, multi channel audio support. It’s also very easy to manage the encoder via a simple Web GUI, or XML SOAP messaging. As far as pricing goes all the audio codecs are built into the one box so there’s one purchase price and no add-ons or extras.” Visit www.magnasys.tv

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Radio

Chinese, Oz Broadcasters to Develop ‘Push Radio’ Chief executive

officer of Commercial Radio Australia (CRA), Ms Joan Warner, and Mr Xuegang Qin, managing director of Beijing Jolon Digital Media Broadcasting Co.,Ltd (affiliated to Radio Beijing Corporation), have announced the signing of a Memorandum of Understanding (MoU) between CRA and Jolon to develop a groundbreaking DAB+ digital radio application that will allow podcasts to be sent via the broadcast band directly to a listener’s radio without the need to connect to the internet. Named “Push Radio”, the technology, developed by Jolon, will send an audio file directly to a DAB+ digital radio receiver instead of requiring the listener to connect their iPod or mp3 player to the internet to receive programming. “Commercial Radio Australia is very pleased to announce we will be working collaboratively over the next 12 months with one of the most influential Chinese public broadcasters, Jolon, the market leader

in digital broadcasting in China, to further develop and test Push Radio,” said Ms Warner. Mr Xuegang Qin, managing director of Beijing said Jolon is delighted to be working with Commercial Radio Australia. “Jolon and CRA will harmoniously work together to promote the application of DAB+ Push Radio and explore its many practical applications,” said Mr Qin. The MoU outlines a framework for a strategic partnership to identify, define and manage all stages of technical co-operation to develop and jointly promote technical specifications of DAB+ Push Radio. The two organisations will set up a task force to operationally test the current technical standards for DAB+ and DAB+ Push Radio and hope to have a trial of the system in Australia late in 2010. Podcasts are another example of how the radio industry has adapted new technology to extend its audience. There are more than 4,661,046 podcasts

(It’s also for those who live in the real world.)

downloaded each month in Australia. (Source = CastMetrix, February 2010) “To free listeners from the necessity to connect to the internet to receive podcasts and other specific information and targeted programming is a major step forward for DAB+ digital radio,” Ms Warner said. “Push Radio will make a podcast even more accessible for all digital radio listeners.” Beijing Jolon Digital Media Broadcasting Co., Ltd is affiliated to Radio Beijing Corporation. It was the first broadcaster in China to obtain a government license for DAB Broadcasting that covers Beijing and its surround area. Jolon started the first DAB trial in April 2005 and launched the commercial services a year later. They include 17 sets of programs and audio on demand (AOD) services based on Push Radio with a coverage area of about 2,800km2, 12 million people and 1.5 million vehicles in Beijing. Visit www.commercialradio.com.au

Emergency Broadcaster Status for Community Radio Situated in the northeast of the state of Victoria, UGFM – Radio Murrindindi has become the first Australian community broadcaster to have official emergency broadcaster status. The station signed a formal Memorandum of Understanding on Friday 23 April in a bid to boost emergency messaging for communities in times of need. The station performed a vital role during the bushfires that devastated much of the Shire during February and March, 2009 and during the major

Polling in Palestine Polling in Palestine

fires in the preceding years. UGFM also broadcast vital information to their local communities during the floods and storms on the 1st January, 2010. Victorian Minister for Police and Emergency Services Bob Cameron stated that “Under the new agreement, UGFM will break into programming to broadcast emergency warnings at the request of the emergency services, and move to continuous coverage in some circumstances.” Emergency Services Commissioner Bruce Esplin said community broadcasters throughout Victoria have

WorldDMB Car Manufacturer Workshop The WorldDMB Forum, the international nongovernmental organisation coordinating the implementation of all Eureka-147 based technologies, is to hold a Car Manufacturers Workshop in Munich, Germany, on July 7th, 2010. Last year’s event attracted leading broadcasters and car manufacturers from around Europe and included such topics as services on air, multimedia, coverage, regulation, analogue switch-off, data services in-car, multi-standard chips for the car industry, navigation and Infotainment systems. As Digital Radio grows in popularity across Europe, more and more countries are rolling out services using the DAB family of standards that includes DAB, DAB+ and DMB. It is essential that the radio and car industries maintain a regular dialogue in order that compatible digital radio systems can be implemented in cars across the continent. In related news, Japanese car manufacturer Mitsubishi’s European division, Mitsubishi Electric Automotive Europe, is WorldDMB’s newest member, bringing the car manufacturer’s perspective on digital radio directly to the table.

64 Radio

Other WorldDMB members working with and supplying equipment to the automotive industry include Alpine Electronics, Clarion, Continental AG, DiBcom, Fraunhofer IIS, Harman/Becker, Institut für Rundfunktechnik, Jasmin Infotech, J&K Car Electronics Corporation, NXP Semiconductors, PURE Digital, Robert Bosch and STMicroelectronics along with leading chip makers such as Frontier Silicon, producing modules specifically for the car market. WorldDMB Project Director Letty Zambrano said “As the number of countries in Europe and across the world deploying digital radio increases, it is vital to the continued success of the platform that broadcasters and the automotive industry work together to ensure that the in-car listener receives the quality of service expected from any digital medium. “Digital radio enhances the radio experience and this event will look at the roll out of digital radio, the development of traffic and travel services such as TPEG, future trends from broadcasters and receiver development for the car market.” Visit www.worlddab.org

played an important role in keeping their communities informed about unfolding emergencies. “UGFM demonstrated their ability to help the community by broadcasting emergency information to the community in February last year, and this agreement recognises and strengthens their work in emergency broadcasting,” Mr Esplin said. “Giving emergency warnings to the community as quickly as possible is critical to saving lives.” Visit http://ugfm.lakeeildon.com/

NAB Broadcasting Excellence Award

Sri Lanka’s Shree FM and India’s MY FM received the 2010 NAB International Broadcasting Excellence Award at this year’s 2010 NAB Show. The award recognises international broadcasters that have demonstrated excellent leadership and originality in serving their audience through broadcast advancement or remarkable service to the community. India’s 94.3 MY FM tirelessly served their community, dedicating its airwaves to several philanthropic initiatives aimed at helping its listening area. MY FM successfully co-ordinated large-scale blood collection drives and clothing donation centres. One of the most popular stations in Sri Lanka, Shree FM has participated in several programs aimed at providing health care assistance to its listening audience. In 2008, Shree FM launched Shree Sathkaraka Rohala (Shree Mobile Medical Camp), which assists citizens living in economically-challenged communities with free health care services.

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Introducing

iQ™. The brilliant new IP-Audio console from Axia.

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Radio

New Audio Standards for Australian Commercial Radio The commercial radio industry has announced that from 1 July 2010, all Commercial Radio Australia (CRA) member stations would adopt and encourage the use of the Commercial Content Technical Standards and the file format Piñata to ensure that the advertiser message is delivered in the highest quality possible. The Commercial Content Technical Standards and Piñata were developed by the Commercial Content Standards Group (CCSG), a working group of CRA’s Digital Technical Advisory Committee (DTAC) to meet digital radio’s unique needs, but the audio quality and delivery process can be equally applied to digital and analogue broadcasting. Joan Warner, chief executive officer of CRA said, “Radio advertising continues to be cost effective and

quick to market and we’re encouraging our members to implement these content standards to assure the advertising sector that the radio industry has a reliable production process.” Industry wide technical standards for text, images and audio were developed for digital radio, followed by Piñata a world first concept for delivery, to ensure that during the production process, all elements of a digital radio advertisement; scripts, text, images and audio are delivered together in a complete package at the final broadcast point. DTAC Chairman, Des DeCean and chairman of the CCSG working group said, “We’ve created Piñata to distribute all elements of a digital radio commercial together for easy handling and in the highest possible quality but this process can also be

Hong Kong on Wave of DAB+ Factum Electronics, the supplier of equipment for mobile digital multimedia broadcasting, has announced a contract for the provisioning of additional DAB+ digital radio equipment to Wave Media Ltd. in Hong Kong PRC. Factum Electronics wins the order in co-operation with BTL Digital Communications Ltd. “Factum is again confirmed as the leading and preferred digital radio equipment provider”, says Fredrik Hånell, CEO of Factum Electronics AB and Effnet Holding AB. “Broadcasters prefer reliable and future-proof solutions, and indeed that is what Factum provides.” Visit www.factum.se

used to deliver analogue ads.” The content standards will apply equally to those stations broadcasting in both analogue and digital, however, where audio only is being delivered to a station email files will still be accepted for the time being, as long as the audio quality meets the technical standard of uncompressed PCM, 16bit, 48kHz. The content standards were developed following extensive consultation with advertising creative directors, broadcast engineers from ARN, Austereo, DMG and Fairfax Radio and leading digital distribution organisations; AudioNet, DubSat, Music Point, DStar, Adstream and Fairfax Digital. Commercial Content Technical Standards can be viewed at www.digitalradioplus.com.au Innes Corporation GM Deborah Ford on the Nautel booth at NAB2010.

Polling in Palestine Polling in Palestine Innes Tops Asia-

Chinese National Radio Installs Solid State Logic

Solid State Logic has announced that Chinese National Radio (CNR) has installed a 24-fader Duality console in its main production facility that features advanced digital multimedia studios, recording studios and a world-class concert hall. CNR operates nine different channels covering everything from national news broadcast in Mandarin and Nationality Radio broadcast to minority and ethnic groups, to the Story Channel and a popular music channel that includes concert performances. Duality covers live to air and capture of concerts servicing performances in the facility’s concert hall. While CNR transmits all programming in digital, both terrestrial and via the Internet, Duality’s flexibility and signature sound provides the necessary high-level quality for orchestral performances. Visit www.solidstatelogic.com.

TransLanTech Selects OnAir Solutions OnAir Solutions has announced it has been selected by TransLanTech Sound as dealer for the Asia Pacific Region. TransLanTech Sound was formed to improve the sound of FM radio. In 2001, TLT introduced the Ariane Stereo Audio Leveller, a multiband RMS processor. The Ariane Sequel made its debut at NAB in 2005. The alldigital processor delivers the same gain and stereo image control as the original analog device. “OnAir Solutions brings together their understanding of customer needs and their strong technical knowledge of the products they sell to ensure that your content arrives just as you sent it.

66 Radio

Chris Dredge, General Manager of OnAir Solutions, has been in the broadcast business since 1992, first in the studio and then as a solution provider to the industry. He is dedicated to his manufacturers’ products and prides himself on working closely with both customer and manufacturer to achieve the best outcome for all. “This approach is just what we want in our dealers, and I’m looking forward to working closely with Chris to make things sound even better in Australia,” said Jim Huste, managing director of TransLanTech. Visit OnAir at http://www.onair.com.au

Distributed Audio for Radio Studios Harris’ VistaMax audio management system offers a networked audio platform for larger, centralised studio facilities — tying multiple access points together. At the 2010 NAB Show, Harris announced the immediate availability of three new VistaMax systems that provide entry-point audio networking and/or lower the cost of studio and automation system integration: VMConnect: Provides the easiest means of networking consoles and other VistaMax devices through local I/O (input/output) sharing. Establishes a low-cost distribution audio access model for up to 12 studios and enhances control between each networked device. VMXpress: Delivers distributed I/O (16 or 32 inputs/outputs) at the lowest competitive entry point. Provides an ideal audio and logic access point from anywhere in the studio with minimal cable requirements. Suitable for point-to-point applications. VMQuadra: Provides an elegant interface between VistaMax digital studio networks and radio automation systems. It’s an ideal foundation for new media workflows in the studio. Provides up to four stereo inputs and outputs each for up to four automation computers. VistaVue software simplifies operation of the VistaMax network by allowing changes at the desktop instead of the technical core area. It provides a choice of two user interfaces and flexible access rights that can be defined for each user. Individual and community macros provide one-click routing changes and supplement scheduled and automated macros available through VistaTouch software. Visit www.harris.com

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Fraunhofer IIS, the innovator of technologies for audio and multimedia systems, has been selected by Texas Instruments (TI) to provide its DAB/ DAB+/T-DMB software solution for TI’s software defined radio (SDR) platform for the automotive industry. Fraunhofer’s DAB receiver kit is licensed and optimised for TI’s Jacinto processor, which is based on an ARM + DSP architecture. The DAB receiver kit takes advantage of Jacinto’s C64x+ DSP core to implement a software defined radio, specifically for the digital audio broadcasting standard DAB. The Jacinto-based platform delivers a unique approach for the automotive market, implementing a worldwide radio design concept that allows a single design to be used with multiple radio standards around the world, reducing design time and cost. In addition, as a software library, DAB can combine with other features required in automotive head units. Jacinto’s ARM + DSP core combination provides enough performance to efficiently execute SDR functions while leaving headroom for other differentiation. Developed for high quality DAB radio reception and fully validated for the automotive and consumer market, the Fraunhofer DAB Receiver Kit is a reference design for efficient implementation of DAB, DAB+ or T-DMB radio receivers. The innovative software radio approach and flexible software options allow TI to efficiently enhance its radio platform with the full range of DAB/DAB+/T-DMB feature set. Fully compliant with ETSI EN300 401, the basic feature set includes baseband processing as well as high quality audio and data decoding. Optional features such as 5.1 MPEG Surround sound or conditional access are available on request. Visit www.iis.fraunhofer.de

Pacific for Nautel

NAB2010 saw Innes Corporation awarded the honour of being named the Top Nautel Agent in the Asia-Pacific region for 2010. The award was presented at NAB in Las Vegas, and was given in recognition and appreciation of contribution to significant market growth within Australia. Innes Corporation’s General Manager, Deborah Ford said “We are very proud to have received this award, and to be acknowledged by our peers for the work we are doing within Australia. Working with Nautel is working with the most advanced technology in the marketplace today. This paired with the best pre and post sales support available, ensures that our clients continue to have complete confidence in their decision to choose Nautel as their product, and Innes as their agent.” Nautel’s VS Series products offer IP Audio I/O, Livewire support, Orban Inside option, an integrated digital exciter, and USB playout engine for local playlists. VS Series transmitters are compact (as small as 1 RU) and offer power levels ranging from 300 watts to 2.5 kW. All VS Series transmitters may be upgraded to HD Radio or DRM+ operation. Visit www.innescorp.com.au

TI Taps Fraunhofer IIS for In-Car Digital Radio

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New WorldCast Astral Audio Codec

Ariane Sequel Digital Audio Leveller

Mobile Field Strength Mapping for DAB+/DVB

The new WorldCast Astral is a rock-solid IP STL platform offering a full complement of professional audio algorithms including Eapt-X, Linear, MPEG L3, MPEG L2, G.711 and G.722. Packed full of innovative new features such as streaming audio back-up and broadcast facility management, the WorldCast Astral is a key device for every studio and transmitter site.

The second-generation Ariane Sequel features TransLanTech’s signature sum and difference processing and can also work in conventional left and right stereo with adjustable coupling between channels, as well as in dual channel mono mode. It’s the unique multiband, release gated, ‘windowing’ feed-forward RMS control that sets the Ariane in a class by itself. It just makes things sound better!

The NAVIGATOR DAB+ has been designed to perform mobile measurement campaigns for DAB+ networks. This handheld equipment can be used in a vehicle, or on foot (indoor or outdoor). The campaign can be dedicated to a single channel (frequency) or for multiple channels at the same time.

Don’t hesitate to contact OnAir Solutions with your enquiry Phone +61 2 8882 7766

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Email sales@onair.com.au

www.onair.com.au

Radio 67

Transmission

transmission

Dubsat Launches Service for New Zealand

SIGNAL DISTRIBUTION, TEST & MEASUREMENT

Oz “Digital Dividend” Could Constrain New Services Following the release of stakeholder responses to the Australian Government’s Digital Dividend Green Paper, digital transmission specialist Broadcast Australia has highlighted the risk of locking free to air TV and digital radio into today’s technology rather than providing an evolutionary pathway that will enable the deployment of emerging technologies such as 3D TV or national, rather than just city-based, deployment of digital radio. The Broadcast Australia submission outlines how the Government’s desired digital dividend of 126MHz can be achieved, and provides spectrum on a national basis for: * Seven RF television multiplexes; * Twelve digital radio ensembles including regional radio; * An additional 21MHz of spectrum to facilitate the

Continued Growth for NZ Freeview Nearly three years after launch, Freeview NZ continues to “connect with Kiwis” thanks to increases in the number of channels, the imminent prospect of the FIFA Football World Cup being available free-to-air in HD and continued free-toair digital technology innovation. “We’ve moved fairly quickly from five channels to 16 and with the arrival of the MediaWorks alternative music channel, C42 on May the 1st, that number will increase yet again,” says Sam Irvine, Freeview General Manager. As well as the new channel, FIFA Football World Cup games are scheduled to screen live on TV One in HD while TVNZ 7 will broadcast selected alternative live games plus replays. “So, clearly the content that’s not available on analogue TV is proving to be a big part of a really attractive proposition for TV viewers,” Says Irvine. Sales figures for the first quarter of 2010 show that nearly a quarter (23.5%) of New Zealand homes can now access free-to-air, digital TV and radio through Freeview. The total number of households able to receive Freeview is now 376,389 (up from 346,116 in December 2009), which consists of both Freeview satellite homes and Freeview|HD® homes. The number of Freeview enabled satellite households has grown to 12% whilst the number of Freeview|HD enabled homes also grew to 11.5%. Visit www.freeviewnz.tv

68 Transmission

transition to the next generation of services such as 3DTV and/or more efficient broadcasting technologies such as DVB-T2; and * Sufficient spectrum for 4G wireless broadband nationally. According to Broadcast Australia, its proposal has the added benefit of potentially yielding a second digital dividend of 21 MHz sometime in the future. Broadcast Australia’s preferred spectrum restacking scenario allows for the six in-home DTV RF channels already earmarked by Government, plus a seventh channel that could be used for more in-home services (including, national broadcaster multi-channels, or niche broadcasting services) or broadcast mobile TV. It also allocates three contiguous 7MHz VHF channels for twelve digital radio DAB+ ensembles to allow expansion into regional areas, enabling

coverage beyond the initial five capital city services. This scenario also provides an additional contiguous block of 21MHz to enable a dedicated transition path for free to air television broadcasters to future broadcast transmission services or technologies such as DVB-T2, achieved by relocating a 14MHz block of unassigned spectrum from the top-end of the 694-820MHz digital dividend band to the bottomend. This, in conjunction with access to 7 MHz through the release of Channel 27, provides scope for a second digital dividend of 21MHz at a later date. Broadcast Australia’s complete submission in response to the Digital Dividend Green Paper is available from the company’s web site at www. broadcastaustralia.com.au.

Indigenous TV FUNDING

Prime BRANDS with Pixel Power

The Australian Government has announced it will continue funding for the National Indigenous Television (NITV) Service with AUD$15.2 million ensuring its operation for the next 12 months. Arts Minister, Peter Garrett, said “Having provided this funding, the Government will also start a review into its investment in the Indigenous broadcasting and media sector to be coordinated by the Department of Environment, Water, Heritage and the Arts.” “The Government is committed to supporting the Indigenous broadcasting sector with substantial investment in NITV and Imparja Television, as well as support for Indigenous Community Television, five community radio stations in Sydney, Melbourne, Perth, Brisbane and Darwin, licensed community radio stations in 22 regional centres, eight Remote Indigenous Media Organisations and 71 Remote Indigenous Broadcasting Services.” The review will be conducted across Government to include input from the Indigenous Affairs and the Broadband, Communications and the Digital Economy portfolios. NITV currently has no free-to-air carriage outside remote Australia. Communications Minister Senator Stephen Conroy said “The Government will use this information to explore options for the carriage of Indigenous broadcasting content on new digital broadcasting platforms, including the Government-funded Viewer Access Satellite Television (VAST) service.” The review will also look at indigenous content on the ABC, SBS and Community Broadcasting.

Pixel Power, the supplier of broadcast graphics systems, has announced that Prime TV, one of Australia’s four regional broadcasters, has extended its relationship with the company, purchasing a further four BrandMaster branding switchers. The latest purchase brings the total number acquired to 19. Since 2000 the broadcaster has been using a centralised playout model – with a total of six streams - from its Canberra headquarters with routers out in the field to handle ad insertion under automation control in order to localise the content. Last year Prime began an overhaul of its playout systems and it anticipates that all nineteen BrandMasters will be on-air by the end of May, alongside the broadcaster’s new Snell Morpheus automation system. “This latest purchase is an extension of our requirement to allow more dedicated branding options for the network streams that we create as well as expanding the number of those unique streams,” says Lyndon Cox, Network Project Manager, Prime TV. “With a dedicated BrandMaster for each centrally played out channel, we can handle the delivery of far more individual streams because we have added this additional switching capacity. This increase in our playout flexibility allows us to expand our revenuegenerating possibilities with true channel branding.” Once the broadcaster had decided that branding came first, switching second, the path to Pixel Power was a clear one. Cox also highlights the additional economies provided by each BrandMaster as they are effectively two units in one. Visit www.pixelpower.com

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Distributed advertising and media asset management company Dubsat, has announced the launch of its new locally based and managed New Zealand service www.dubsat.co.nz Founded in 2000 as Australia’s first digital delivery method of TV commercials Dubsat uses the latest software and web development integrated with dedicated distributed networks. The company manages and distributes rich media content to television stations, print publishers, radio stations and online publishers in Australia, New Zealand and South East Asia. According to Grant Schuetrumpf, General Manager of Dubsat, “Previously our New Zealand customers were going through our Australian site. Now with the launch of www.dubsat.co.nz they can go directly to their custom-made local site for a complete service that includes management, tracking and delivery of their ads - all of which is done simply as a ‘self serve service’ from their own desktops.” New Zealand users can now access their assets online, generate instant quotations and make ‘live bookings’ directly into the Dubsat system. Live bookings allow users to instantly book and manage their media in realtime. Once the order has been completed, content is sent by FTP to Dubsat sister company AAV New Zealand, for encoding QC and attachment to bookings. Based in Auckland, AAV NZ is the New Zealand service centre for Dubsat and is one of New Zealand’s leading broadcast and digital media services providers. AAV NZ offers a full range of broadcast and corporate media services that include digital video encoding, format conversions, transcoding, digital asset management and delivery, DVD authoring, duplication and replication. Visit www.dubsat.co.nz

Ten Syncs with Evertz

Sydney-based Ten Network has become the latest in a line of Australian Free to Air and Pay TV Broadcasters to have upgraded to the Evertz 5600MSC GPS locked Master Sync Pulse Generator system. The system will provide all of the critical equipment timing and synchronisation signals required by their facility. Main and backup 5600MSC units and a 5600ACO2 autochangeover unit have been installed at the Network’s Pyrmont facility which is the primary playout facility for delivery of Channel 10 and One HD services nationwide. The equipment was supplied by Quinto Communications, the Evertz distributor throughout Australia and New Zealand. Quinto Sydney’s Manager of Technical Sales, Mike Ellis, explained, “With broadcasters like Ten running advanced single frequency networks for digital transmission it becomes absolutely essential for MPEG compression gear to receive stable GPS locked 1Hz and 10MHz timing signals. In this way digital transmissions from multiple different transmission sites can be accurately and very precisely co-timed.” The 5600MSC provides an all-in-one solution that provides ultra-stable GPS locked house video references for a facility and also provides other GPS locked timing signals critical to a digital broadcaster such as main and redundant sources of GPS locked 10MHz and 1Hz timing pulses. The system may also be configured to provide digital audio reference signals, HD and SD test patterns and black, and to operate as the GPS referenced timecode and network time protocol source for a facility. The 5600 can provide accurate UTC or time of day timecode to all of the facility’s business systems and transmission automation systems, for example. Visit www.quinto.com.au and www.evertz.com

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Transmission

Tektronix Up to the Test

Filters for DTV Transmitters

At NAB2010, Tektronix, Inc. showcased the WFM8200 and WFM8300 advanced waveform monitors and introduced the new WVR8200 and WVR8300 rasterizers. These instruments provide high quality, real-time, automated 3G-SDI Eye pattern display and jitter measurements that help broadcasters and network operators easily monitor and diagnose signal problems. The new rasterizers provide the same capabilities as the waveform monitor equivalents, but are designed for use with an external display and offer enhanced remote monitoring and control capabilities. Tektronix further enhanced its family of waveform monitors and rasterizers with critical audio loudness capability. Building upon its current loudness measurement capability, Tektronix now offers WFM6000/7000 and WVR6000/7000 Series customers new firmware and software upgrades that adhere to the ITU-R BS.1770-1/1771 specifications. The upgrades include capabilities such as an Audio Loudness Meter, an Audio Loudness Session Display, and the industry’s first audio loudness monitoring of Dolby Digital Plus audio, among others. Visit www.tektronix.com

Radio Frequency Systems (RFS) has released a new line of PeakPower+ filters and combiners. The filters, which represent a “breakthrough” in coaxial filter technology, are specifically designed for the very high peak-to-average power ratio nature of DTV. While the average RF power level of DTV is similar to that of traditional analog television transmitters, its peak power is considerably higher. This can translate into real-world problems for transmitting equipment. For example, a 5 kW average power transmitter running multiple DTV signals can produce peak power of more than 50 kW, causing TV transmitters to shutdown and leading to revenue loss for broadcasters. The PeakPower+ filters allow DTV to be transmitted at higher power levels and consume less space than previous solutions. As a result, broadcasters can expect fewer system shutdowns and increased revenue through the safe addition and diversification of digital channels and services within their existing infrastructure. RFS’ PeakPower+ filters also include improvements in overall average power handling and are fieldtunable to any UHF channel. Visit http://www.rfsworld.com/

‘Green’ TV Transmitter The new Elite 1000 GreenPower television transmitter line from Grass Valley features 50V LDMOS technology and boasts an output power of up to 14 kW ATSC per unit with energy consumption savings of up to 15 percent over the previous Elite transmitter series. Equipped with an open exciter — compliant to standards including DVB-T, DVB-T2, DVB-H, and DAB — the RoHS-compliant Elite 1000 GreenPower transmitter line uses real-time Digital Adaptive PreCorrection (DAP) and provides DTV transmission efficiency, optimized output power, exemplary signal quality and high redundancy. Users benefit from long-term cost cutting thanks to the DAP feature for automatic linear and nonlinear corrections as well as the thorough diagnostic capabilities with embedded SNMP agent and web server. Thanks to its hot-swappable, modular design, the operator can easily increase its amplifier power while maintaining continuous operation and also continuing to contain energy consumption. The Optiphase and Optigain concepts as well as the automatic power supply voltage management system, which are incorporated in the unit, guarantee that power consumption is kept to a minimum while sustaining maximum RF output power. Visit www.grassvalley.com

Harris Boosts NEXIO Servers Harris has introduced the NEXIO Volt integrated storage server — a small form-factor, high-performance baseband video server equipped with its own media storage, delivering lower operating costs and high levels of resilience and reliability. Like the NEXIO Volt storage area network (SAN) server introduced in 2009, the NEXIO Volt integrated storage server offers support for up to four mixed SD/HD or SD-only baseband channels in a space-saving 1RU package. Built on the same platform as the NEXIO AMP server, the NEXIO Volt integrated storage server provides 1 TB of RAID-3 protected internal media storage. It is ideal for applications including disaster recovery, delay, edge server, on-air cache, production playout and ingest-to-archive. The NEXIO Volt integrated storage server comes standard with the NEXIO Playlist event sequencing application for playing content to air and the NEXIO Remote application for ingest, playout and media management. The NEXIO FTP server also is provided to support file-based workflows. A simple software upgrade enables the NEXIO Volt integrated storage server to attach to the NEXIO shared storage system. The NEXIO AMP and NEXIO Volt platforms now feature software licensing to key the I/O channels, allowing customers to pay for only the channels and resolutions they need now — with the ability to upgrade their licensing in the field over time as their needs change. All hardware is provided as standard. Visit www.harris.com

70 Transmission

MHEG VOD At NAB 2010, Strategy & Technology (S&T) launched the S&T Player and Mediator, an MHEG-based solution for Video on Demand (VoD) and Catch-up TV services. It combines flexible back-office integration using the company’s new Mediator product. The S&T Player is a flexible, data-driven MHEG-5 Video on Demand application that runs on MHEG-enabled integrated digital TVs within the TV’s CI Plus browser, (iDTVs) or through MHEG-enabled set-top boxes. S&T Player uses the latest version of the MHEG Interaction Channel specification for hybrid broadcast broadband receivers and also runs on CI Plus iDTVs. It offers a configurable and customisable application for browsing and navigating of content as well as playback control for hybrid broadcast broadband platforms for streamed media delivered over broadband. The client interface can be easily reskinned and configured for customer branding. To support the S&T Player client, S&T also launched Mediator for flexible integration into back office systems for content provisioning and subscriber management. Visit www.s-and-t.com

Sony Expands Switcher Range The MVS-8000X is the latest in Sony’s MVS switcher family, which has become the standard in live and control room production. The new MVS model provides a bridge from 2D 720P and 1080i high-definition production to the growing need for 3D stereoscopic production capability. The MVS-8000X is multi-format and fully scalable up to 5ME and 200 input/100 output, including dedicated interfaces for DME at 3Gbps 1080P/59.94. The switcher’s 3D-on-3G mode enables the full performance of 5MEs and simplified operation for 3D production. In 3D 1080i/720P mode, complex link settings are not necessary since 2D and 3D signal sources can be assigned to crosspoint buttons, enabling flexible production of 2D/3D sources. If the left and right signals are reversed, users can exchange signals easily through the switcher’s menu display. The Digital Multi Effects of the MVS system can adjust depth for 2D graphics using a newly supported Parallax menu. The MVS-8000X processor (1080i/720P) incorporates eight keyers with digital video resizers, border generators, and advanced chroma key, all as standard; and an advanced frame memory system, including 16 channels of still and clip recording and playback, available as an option. Also available are format converters, including up-, down- and crossconversion for both inputs and outputs; and colour correction, featuring RGB and six-vector correction modes. The MVS-X offers powerful MultiProgram2 technology, which allows splitting a single ME to two Mix/Effect sections. This enables 5ME systems to perform with the equivalent capabilities of 10ME, with four keyers for each ME. Visit http://www.sony.com.au/production

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Broadcast ONE Cries ARG! ARG ElectroDesign, a leading developer of signal distribution products for the broadcast and telecommunications industries, has announced Broadcast ONE as its new reseller for Australia and the Oceania region. Broadcast ONE will represent ARG’s full portfolio of signal distribution products including the new 1900EX Media Combiner network adapter. According to Darren Kirsop-Frearson, Managing Director, Broadcast ONE, “The new range of network adapters from ARG enables content distributors to build low delay, fault-tolerant ring and meshed Ethernet networks, which has not previously been possible using standard enterprise Ethernet technology.” Media Combiner 1900EX network adapters have been designed for the transmission of real-time video IP sources and DVB-ASI and 2 Mbit/s G.703 signals over carrier Ethernet and private microwave circuits in ring and meshed topologies, making it suitable for all content distribution applications, including mobile back-haul, DVB-H, digital terrestrial DVB-T and digital radio DAB distribution. The 1900EX’s integrated 32 Gbit non-blocking Ethernet switch with Fast Redundant Ring technology enables users to attain redundancy switching speeds of less than 5mS per link. This far out-performs other products based on traditional enterprise Ethernet switch technology that make use of STP (spanning tree protocol). In addition, Fast Redundant Ring technology has no risk of generating broadcast storms which can occur with traditional Ethernet switches if used in ring or meshed configurations. Visit www.arg.co.uk and www.BroadcastONE.com.au

MediaProxy Enigma 7.6 Log Server Mediaproxy, the provider of broadcast, compliance logging and content monitoring solutions, showcased Version 7.6 of its flagship Enigma LogServer system at NAB 2010. Mediaproxy’s ASI and IP-based logging allows for access to all metadata present in the entire transport stream and a much richer logging and monitoring experience compared to the significantly smaller amount of metadata available in SDI and analogue-based solutions. v7.6 features include: • New 4-channel 2RU LogServer for 90 days recording in both WMV and native resolution MPEG-2 formats. • Cost-effective software-only version of LogServer for off-air recording and streaming of programs from multi-transport streams using IP set top boxes. • Seamless sub-clip extraction from WMV or the native MPEG transport stream • Redesigned and enhanced user web-interface for review and monitoring • New Teletext and Closed Caption decoders providing original position and colour-coding in both overlay and script streams. • Chinese (simplified and traditional) versions of the user interfaces • Seamless integration of the XDT’s Catapult protocol for fast media migration and backup. Any LogServer with HD-SDI will be provided at the same cost as SD-SDI. By releasing a software-only option of LogServer ASI and IP, Mediaproxy meets the needs of ‘budget-driven’ broadcasters that want to use their own server hardware. Visit www.mediaproxy.com

Ateme | Audemat | Volicon | UBS Exir Broadcasting | Meinberg Dielectric

A division of Dingbat Technology

FREEGE2 MP

Multi Channel Video Logging and Monitoring

FREE MPEG2 Contribution Encoding

The broadcast and cable industry’s most efficient, reliable, and cost effective automated multi-channel video content logging and monitoring system for compliance, media analysis, content repurposing, and quality of service. Volicon Observer solutions meet the demanding requirements of broadcasters and IPTV service providers, and enterprise and government organisations looking to improve broadcast product quality, enhance video management, and lower costs.

Ateme, manufacturer of the first commercially available 4:2:2 / 10 Bit H.264 Contribution Pair (Kyrion CM4101 / DR8400) is pleased to announce the INCLUSION of MPEG2 for HD and SD AT NO ADDITIONAL COST! Now you can migrate to MPEG4 and maximise the value of that investment by maintaining compatibility with all your legacy MPEG2 Equipment without needing additional Encoders.

Don’t hesitate to contact OnAir Solutions with your enquiry Back To Contents Page

Phone +61 2 8882 7766

Email sales@onair.com.au

www.onair.com.au

Transmission 71

5th annual Australasian Transmission

Live HD Production System Broadcast Pix has introduced Granite, a native HD, 1080p-ready live video production system, at NAB 1O10. The new flagship product line combines the company’s Fluent workflow software with a new HD switcher and HD server. The Granite Switcher provides simultaneous multidefinition SDI I/O for 1080i, 720p and SD sources and is upgradeable to 1080p. The companion Granite Server completes the video production system by running Fluent workflow software. This provides up to 120 hours of clip store, a graphics system with a new Harris CG, a multi-view that displays video and file sources, watch-folders that streamline file import from editing systems, and macros for file-based effects.

Available in three models - the 1 M/E Granite 100 and 1000 and the 2 M/E Granite 5000 - the new product line provides an easy upgrade path between models. Customers can also upgrade to Granite from current Broadcast Pix Slate hybrid HD/ SD/analogue systems, which use the same control panels and Fluent workflow software. Housed in a 3 RU frame, the Granite Switcher offers 11 HD/SD-SDI video inputs (expandable to 22), plus the equivalent of 14 more inputs from the server via its PCI Express connection, including a clip channel (with key), two animation channels (with key), and four graphic channels (with key). The separate 2 RU Granite Server features an Intel Quad processor with up to 2 TB of storage in a

high reliability RAID 10 array. The server also offers optional software to control other studio devices and new CG and Omneon support will also be available on Slate systems. The Granite 1000 and Granite 100 share the same feature set, but the Granite 1000 includes a physical control panel with push buttons that dynamically change to display the file name of the content. The entry-level Granite 100 is controlled from a Web browser-based SoftPanel, its multiview, or the new Broadcast Pix iPixPanel application for Apple iPad. The Granite 5000 has a larger 2 M/E control panel, and brings the power of 2 M/E productions, such as dual screen shows, to new applications. Visit www.broadcastpix.com

Snell Completes Circle with Kahuna 360

Snell has unveiled Kahuna 360, a production switcher platform that breaks away from the tradition of fixed M/Es, fixed resources, and fixed formats while supporting 16 simultaneous broadcast productions in a single mainframe. Kahuna 360’s feature set, effects, and DVE cater to the requirements of news, sports, outside broadcast, live entertainment, and multi-screen presentations. Employing live assist and workflow tools to streamline operations, the new switcher platform from Snell reduces the likelihood of error and enables the turnaround of content in seconds.

Rapid recall options further enhance efficiency by allowing users to reconfigure entire studios and trucks for different productions. Snell’s proprietary Format Fusion3 technology, built into Kahuna 360, supports any combination of SD, HD, and 3G/1080p inputs and outputs, seamlessly converting them to and from the required standards. This capability eliminates the need for external conversion equipment, reduces initial capital outlay, removes system timing issues, and saves valuable engineering and setup time typically required for mobile production units and other regularly changing

environments. Also integrated into Kahuna 360 is Snell’s patent-pending EPP (Enhanced Progressive Processing) which provides quality in video processing. The Kahuna 360, like the rest of the Kahuna range, handles 3-D content with ease. Supporting stereoscopic video on a single M/E, the switchers have the unique capability to calibrate 3-D images internally, including the ability to change depth of focus by adjusting left right convergence. Visit www.snellgroup.com

Special Discount for Content & Technology Magazine subscribers: book before 2 July 2010 and save up to $1,075

20 – 22 July 2010, Swissotel Sydney, Australia

Key speakers:

Adapt

Nicholas Wodtke Vice President, Business Strategy & Development, New Media Disney ABC International Television (Asia Pacific)

Chris Wharton Chief Executive Officer West Australian Newspaper Holdings

Australasia’s most comprehensive gathering of media leaders High level insights into the latest industry trends and growth opportunities

CEOs from print, broadcasting and online industries share their ideas and strategies David Sibley Managing Director MTV Australia

Jack Matthews Chief Executive Officer Fairfax Digital

Disruption and opportunity in the media landscape

Evaluate the impact of new technologies and platforms on traditional business models and distribution channels

Content as a competitive differentiator

Understand how to deliver and create content for tomorrow’s media consumer

Ross Video Welcomes More on Board openGear Platform Ross Video has welcomed Cardinal Peak to the openGear platform, offering high end consulting services to terminal equipment manufacturers. Cardinal Peak, based in Lafayette, Colorado offers end-to-end engineering consulting services including high-level requirements definition, hardware design, embedded software design, application software design, QA and documentation. “Our clients turn to us because of our qualified staff and engineering expertise,” said Chad Scates,

Partner, Cardinal Peak. “We expect that our strength in embedded engineering consulting services, with special expertise in cable video products, will be a great addition to the openGear platform, aligning nicely with openGear clients needs.” Ross Video has also welcomed EEG to the openGear platform, offering advanced closed captioning and HD workflow tools to broadcasters, content providers and post production. EEG, headquartered in Farmingdale, NY has

Codan Expands Router Range

Following last year’s Codan Broadcast release of the NK-3G144, a 144x144 3G/HD/SD routing switcher, supporting SMPTE 424, 344M, 292M, 259M, and DVB/ASI standards in a 10RU frame, the company has added two new frames to this range. The compact 3RU frame can be upgraded to a maximum of 72x72 (NK-3G72) and the new 19RU frame provides expandability up to 320x320 (NK3G320). The 3G routers are part of the NK Series router range. The 10RU and 19RU frames offer full matrix, control and power supply redundancy. The

72 Transmission

10RU router also has 32 duplicate outputs. All routers have a three year warranty. Codan Broadcast has also released the NK-3RD Third Party Interface, a 1RU T-Bus compatible device which allows NK Series routers to be controlled by thirdparty control or automation systems. The initial release of the NK-3RD supports systems using the SW-P-08 protocol via RS485 connection. Codan Broadcast will continue to work with other manufacturers to expand the list of supported protocols. The company has also released Global Labels,

a complete line of solutions for closed captioning, quality control, affiliate communications, VANC monitoring, AFD and more. “The openGear program from Ross Video enables a higher density of EEG solutions in a compact, costefficient space,” said Philip McLaughlin, President of EEG. “This platform is a perfect fit for EEG’s new systems, which are modular, highly configurable, and completely interoperable with other openGear products.” Visit www.rossvideo.com

an enhancement for the Phoenix Control Surface, providing a convenient and central method to manage labels for NK Series routing systems. The Global Labels update is available from the Codan Broadcast website and is free of charge to all registered users of Phoenix with a USB key. Codan is also developing specialised output modules to compliment its large frame routing systems. The first will be a multiview system which will be followed by “clean switch” outputs. Visit www.codanbroadcast.com.au

Back To Contents Page

The future of advertising Jeremy Macvean Head of Digital Strategy Austereo

Harold Mitchell Executive Chairman Mitchell Communication Group

Online Video Speakers:

What consumer engagement and revenue opportunities are being created by new media platforms?

Social Media

Find out what the real implications of the social media phenomenon are for marketers and publishers, and how brands communicate with consumers Dedicated Online Video Day Thursday 22nd July, 2010

Ricky Sutton Head of Video Fairfax Digital

Brendan O’Shaughnessy Online Delivery Manager Foxtel

Hugh Martin General Manager APN Online APN News & Media

Karen Stocks Head of Media Solutions, You Tube and Display Google

Back To Contents Page

Obtain the latest insights regarding the online video landscape, and hear how broadcasters are capitalising on this growth story

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It’s quicker and easier to book and pay online – go to www.terrapinn.com/2010/media click on register now or call +61 2 9021 8808 and quote voucher code: C&T for your special offer Gi12458

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conferences

EXHIBITIONS & ROADSHOWS June

Los Angeles Convention Center www.siggraph.org/s2010/

>>Digital Signage Expo 2010 15-17 June, 2010 Messe Essen, Essen, Germany www.digitalsignageexpo.eu

>>Wireless Broadband World Africa 2010 12-15 July 2010 Sandton Convention Centre, Johannesburg, South Africa www.terrapinn.com/2010/wirelessza

>>BroadcastAsia2010 CommunicAsia2010 Interactive DME 15-18 June, 2010 Singapore Expo www.broadcast-asia.com www.communicasia.com www.interactivedme.com

>>Digital Signage World Australia 2010 Wed, 21 Jul 2010 Sydney Convention Centre http://www.terrapinn.com/2010/ digital/

>>KOBA 2010 15-18 June, 2010 COEX, Seoul, Korea www.kobashow.com

August

>>Australian Broadcast Exhibition Sydney, Australia 3-5 August 2010 www.abeshow.tv

>>CEDIA EXPO 2010 Mon, 21 Jun 2010 Melbourne, Australia http://cediaexpo.com.au/

>>BIRTV2010 22-25 August, 2010 Beijing, China www.birtv.com/english/

>>Internet Show Amsterdam 2010 22-23 June 2010 RAI - Amsterdam www.terrapinn.com/2010/ amsterdam

SEPTEMBER

>>SatCom Russia & CIS 2010 22-24 June 2010 Moscow, Russia www.terrapinn.com/2010/satcomrus

July

>>Siggraph2010 Conference 26-30 July, 2010 Exhibition 27-29 July, 2010

>>IFA 2010 Consumer Electronics Unlimited 3-8 September, 2010 Messe Berlin Germany www.ifa-berlin.com >>IBC2010 Conference 9-13, September 2010 Exhibition 10-14, September 2010 RAI Amsterdam www.ibc.org

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