Content + Technology November 2010 issue by Content+Technology

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technology VOLUME 7 ISSUE 6 > NOVEMBER/DECEMBER 2010 PP: 255003/06831

MAGAZINE

Media Production Management Delivery

3d takes flight downunder legend of the guardians: the owls of ga’hoole

Product Round-Up

ISSN 1448-9554

Going Green Pg 58

‘Sim-casting’

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CONTENT+TECHNOLOGY ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN: 34 095 653 277) PO Box 259 Darlinghurst NSW 1300 Australia www.broadcastpapers.com Publisher: Phil Sandberg Tel: +61-(0)2-9332 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

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CONTENTS 04

NEWS Foxtel Launches 3D, Ovation Seeks Oasys, ASTRA 2011 Conference, Phoenix TV Upgrades Automation, Video-8 Commissions Alchemist, plus people moves.

TAKING STOCK The Accenture Experience, Question Time!, Profits and Acquisitions.

TECHNICAL STANDARDS Seamless Reception across Devices, MHEG Testing, Interoperable Media Services, GigE.

3D – THE THIRD DIMENSION Legend of the Guardians: the Owls of Ga’Hoole, New 3D Processors.

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<< 58 35

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ACQUISITION Videocraft Floats Navy’s Boat, Nine in Boxx seat for Footy Show, Cameras Connect at IBC, NEWS OPERATIONS ‘SIM-casting’ over the Internet with Viocorp liveBox, New plans for 2.5GHz spectrum, TV3 Ignites NZ News with Grass Valley. SPORTSCASTING Gearhouse Broadcast Acquires OSB Australia, London Olympic Spectrum Update, SIS Goes Live in Delhi, EVS Tapeless Hub for Commonwealth Games, Globecast on Track at Bathurst Races, Premier Media Group Delivers with Signiant, ABU Forms Sports Rights Committee. POST-PRODUCTION Engine Branded ‘Monsters’, Post-Production Releases from IBC 2010.

STORAGE & ASSET MANAGEMENT DAMsmart Digitises Australian Parliament Video Archive, Dubsat Makes Mark in Print with Vio Worldwide, DAM solutions from IBC.

DIGITAL SIGNAGE NEC Puts D-Signage “in the Limelight”, Massive Multi-touch Install for Canberra Museum, New Hardware and Software.

GREEN SCREEN – SUSTAINABILITY & the ENVIRONMENT Broadcast Australia Commissions Green Transmission, UK Film Industry Goes Green, Energy Management for Data Centres.

RADIO Award for ARN Radio Data Solution, WorldDMB General Assembly, Radio at IBC

AUDIO Otago Uni Upgrades with SSL, IMAX Audio Calibrator, Dolby Debuts Audio Description for HDTV, Simon Leadley Honoured, Sound moves from Amsterdam.

TRANSMISSION, SIGNAL DISTRIBUTION, T&M Nine Picks Grass Valley for Melbourne Relocation, CSIRO Brings Broadband to the Bush with TV Channels, Deluxe Australia Unveils Satellite Plans, TX and T&M from IBC.

CLASSIFIEDS

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

BABBLING BROOKS The Last from Gerry Brooks Returns.

Editor’s Welcome

Television Recycling

+video

By Phil Sandberg No, I’m not talking about tape-loop TV – The Simpsons on Channel 10, for example – rather the disposal of the good old analogue television set in an environmentally friendly manner. To their credit, the Australian, South Australian and New South Wales Governments have introduced free-of-charge TV recycling to those areas in regional South Australia and Broken Hill in NSW that will switch over to digital TV on 15 December 2010. All free-to-air television broadcasters in Australia will complete the switch from analogue transmission to digital-only transmission by the end of 2013. Local councils in regional SA and Broken Hill will be inviting their communities to drop off their obsolete and broken televisions for recycling between December 2010 and mid-February 2011. According to Federal Environment Minister Tony Burke, the initiative is the beginning of a landmark television and computer recycling scheme that will see a national, industry-led effort to recycle 80 per cent of all TVs and computer equipment by 2021. “But, until the scheme is up and running we want to make sure people switching to digital television services early in regional areas have a way of responsibly dealing with any television waste,” Mr Burke said. “Ordinary household items like TVs can become quite dangerous to the environment when they’re added to landfill. We need to find a smarter way for dealing with old electronic equipment than just sending it to the tip.” The industry-run National Television and Computer Recycling Scheme will be underpinned by Commonwealth Product Stewardship legislation. The legislation is a key plank of the National Waste Policy agreed by all environment ministers late last year. The passage of the Commonwealth legislation and subsequent roll-out of the Television and Computer Recycling Scheme will be in time for the commencement of the switchover to digital in most of Australia.

GREEN BUCKS As well as having environmental benefits, going green can also have money saving advantages for high energy users – such as broadcasters and postproduction facilities.

In this issue (page 58), we look at the benefits that transmission services provider Broadcast Australia has gained from utilising alternative energy sources to power remote facilities that otherwise would not have been upgraded due to prohibitive costs. With power being one of electronic media’s biggest overheads, there is much to be learnt from not only alternative energy technology, but also more efficient use of current technologies (no pun intended). Of course, another big overhead for media companies are their owners and it was heartening to see the fear of the mogul raising its head again with the recent share manoeuvres for Network TEN stock. The chatter over the Packer/Murdoch posturing illustrates that many in the mainstream media are still old media in their thinking and, while the old names still have pulling power, the abilities of the father are not necessarily inherited by the son – does no-one remember the tears shed over One-Tel? Whatever the strategic aims of the young moguls, the TEN board shows every intention of sticking to its knitting with a commitment to industry-leading innovation of the like of the ONE sports channel. The Board has limited its invitation of seats at the table to two for Pack-Doch and appointed a new director in the form of media and technology lawyer Paul Mallam, a nominee agreed to with Bruce Gordon who is TEN’s second largest shareholder with 13 per cent of the Company’s issued capital. While Nine and Seven gear up for a stoush over Rugby League rights (among others), TEN’s plans for local news are set to prove, like suburban newspapers, that people will pay attention to the stories that impact on and are relevant to them. Unlike The Simpsons, it may not be recycling, but in terms of the news industry in Australia, it will be good for the environment. 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 IBC 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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2011 Deadlines January/February 2011 Vol 8 Issue 1 EARLY BIRD Advertising Bookings – December 17th, 2010 Editorial/Advertising Bookings – January 10th, 2011 Ad Material – January 14th, 2011 March/April 2011 Vol 8 Issue 2 Editorial/Advertising Bookings – February 18th, 2011 Ad Material – February 25th 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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2 Editor’s Welcome

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FOXTEL LAUNCHES 3D, ADDS MORE HD CHANNELS Foxtel has launched Australia’s first dedicated 3D channel and more new HD channels. The new channels include SPEED (channel 505), SPEED HD (channel 206), MTV Hits (channel 808), MTVN Live (channel 812), MTVN Live HD (channel 252), BBC Knowledge HD (channel 242), Nat Geo Wild HD (channel 238) and Foxtel 3D (channel 201). SPEED is a motorsports channel from Premier Media Group with racing coverage 24 hours a day, seven days a week. MTVN Live is a mix of new and classic concerts and music festivals from around the world. Foxtel 3D will be a mix of sport programmes and live events from Fox Sports and ESPN. The 3D Channel will be available to Foxtel’s HD subscribers who also subscribe to the Sports Package. All HD channels will be a simulcast of the standard definition channel. Foxtel has also launched Foxtel by Xbox Live, a partnership with Microsoft which allows reception of Foxtel over the internet and direct to television sets through

Xbox 360’s online service Xbox Live. That launch follows the announcement of an agreement with a number of Hollywood studios to start bringing forward movie release dates in line with the DVD release. Starting this week, selected titles on Foxtel’s existing pay-per-view movie service, and its new broadband connected Foxtel On Demand internet television service, will be released within the DVD window time-frame. Universal Studios has agreed to make all November and December movie titles available at the same time as DVD release, kicking off with Get Him To The Greek on November 3. Foxtel has also reached agreement with Warner Bros for same day as DVD rights to director Christopher Nolan’s Inception on December 8. Agreement has also been reached with Disney for the blockbusters A Christmas Carol and The Sorcerer’s Apprentice to be made available the same day as the DVD on November 24 and January 12 respectively. Foxtel also announced that it will broaden its suite of services by connecting the internet to its set-topboxes.

Ovation Finds Oasys with Magna Magna Systems and Engineering recently supplied OASYS Player linear broadcast playout systems to Australia’s Ovation arts channel. Magna Systems Technical Sales Engineer Dave Alderton explained, “Ovation approached us with the requirement for a technology refresh that included options to update their current ageing hardware running the OASYS system with new hardware and a more up-to-date playout system with the ability to place a redundant machine off site at their satellite uplink supplier. We suggested two new OASYS Player systems – one main and one for back-up.” Player is a simple, reliable and efficient linear broadcast playout system that uses a single PC combining video server functions with all secondary events allowing Ovation to output a fully branded channel. The software can also be used in an entire OASYS workflow. Alderton continued, “Player is scalable and flexible, with integration to common third party software and hardware, such as MXF, routers, storage and editing systems. Each Player license is controlled by a USB hardware dongle which controls the features enabled so you can start with the standard features and can add further features at a later date with a simple software update. You can choose from a range of

hardware ranging from analogue, to SD SDI, or HD SDI. In addition we also refurbished Ovation’s existing Player boxes adding more RAM, bigger drives and the latest software. These were then used by Ovation for increased redundancy.” Ovation Channel’s On-Air Services Manager Charles Horry said, “There are numerous standard features that make Player a unique automated playout system. The standard features enable us to create and manage our playout, scheduling, traffic and graphics both static and dynamic; and to control external devices.” Dave Alderton concluded, “At its heart Player is a schedule management system. Player’s software allows Ovation to create, edit, report and transfer schedules and schedule information, providing the ability to use a single system to broadcast all primary and secondary events. Schedules are made up of not just video clips, but of transitions, metadata, notes, audio tracks, graphics overlays, picture in picture controls, third party device triggers and controls, sub-titles, teletext, WSS, recording, and links to data sources. As the system is based around Windows, Ovation users get the standard Windows type options of cut, copy, paste, and they can drag and drop items around the playlist.” Visit www.magnasys.tv

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4 News

on the strategy behind and demand for programming that is driving the industry today. The Channel Keynote Speaker is Anne Sweeney, Co-Chair, Disney Media Networks and President, Disney/ABC Television Group, who was recently named one of The World’s 100 Most Powerful Women by Forbes, one of the 50 Most Powerful Women in Business by Fortune and the Most Powerful Woman in Entertainment by The Hollywood Reporter. “Subscription television is a significant

investor in the Australian media sector, through technical innovation and infrastructure, production and employment. Attendees to the ASTRA 2011 Conference will have the opportunity to explore the issues shaping, and content created by, the Australian and global media and entertainment sectors, said Petra Buchanan, CEO of ASTRA. Local industry leaders John Porter, CEO of AUSTAR, and Kim Williams, CEO of FOXTEL, will each address attendees providing their view of the competitive

environment and what their respective organisations are tackling in the quest for growth and innovation. The ASTRA 2011 Conference will also honour excellence with Awards that debuted successfully at last year’s Conference – the ASTRA Pioneer Award and the ASTRA Industry Excellence Awards. Registration details are available at http://www.astra.org.au/ Conference2011

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6 News

Bleakley to Lead Intelsat Asia-Pac Sales

Omneon ANZ Sales Manager

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Intelsat S.A, has announced that Terry Bleakley has been appointed Regional Vice President, Asia-Pacific Sales. He will lead Intelsat’s APAC sales and marketing activities from Singapore. Bleakley previously served as Vice President, Commercial Operations for another satellite operator serving the region. He has also served more than five years with Intelsat in various sales and sales management positions in the Asia-Pacific region. Separately, Intelsat appointed David Ball as Managing Director of Intelsat Broadband Pty. Ltd., a subsidiary based in Sydney, Australia. Ball will focus on providing broadband connectivity solutions and infrastructure services to Australia, and will oversee specific business development activities in Asia-Pacific. Visit http://www.intelsat.com

Christer Whitehorn has been appointed as Omneon’s new Regional Sales Manager for Australia and New Zealand. He has been with Omneon, now a part of Harmonic, since 2006 and initially joined the company as a field service engineer in the UK. In 2008, Christer moved to Sydney and set up a full time technical support location to manage the technical needs of our growing client base in this region. Prior to joining Omneon (now Harmonic), Christer was a senior automation engineer at Harris Broadcast and Encoda Systems for nine years, specialising in their D-Series product line. Christer holds a degree in electronic engineering from Portsmouth University in the UK. He can be contacted at christer.whitehorn@harmonicinc.com or +61 424 175 900.

The ABU has elected two new Vice-Presidents - the President of KBS-Korea, Kim In-Kyu, and the Director General of PBC-Pakistan, Murtaza Solangi. They replace Manuel Goncalves of TDM-Macau and Hassan Khojasteh of IRIB-Iran. The new Vice-Presidents join the President, Yoshinori Imai, and Vice-President Ibrahim Yahaya in the ABU leadership group. RTB-Brunei was elected to the ABU Administrative Council and BBS-Bhutan and KBS-Korea were re-elected. India’s national television broadcaster, Doordarshan, will host the 48th ABU General Assembly in New Delhi in 2011. Visit http://www.abu.org.my

Quantel Reinforces Oz/ NZ Support Quantel has appointed two additional engineers to its Australia/ New Zealand support team. Robin Appleby has joined from GVG and is based in Sydney. Prior to GVG, Appleby worked in Quantel’s support department for a number of years. Scott Harman, based in Auckland, New Zealand, is a Support Specialist whose areas of expertise include databases, networks, system architecture and third party integration. Harman has relocated from Quantel’s Head Office in the UK, where he performed a similar role for the central support organisation. Visit http://www.quantel.com

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Glasson Goes International for Miller Sean Glasson has taken up the position of International Sales and Marketing Manager for Miller Camera Support. Based in Sydney, Glasson has moved over from the position of General Manager of Sales for the Panavision Asia Group. Prior to Panavision Glasson ran the Kodak Entertainment Imaging group for ANZ having previously managed the Wellingtonbased film laboratory, The Film Unit, for five years before moving to South Africa as Managing Director of Film Lab and Video Lab for the Sasani Group. Glasson will be responsible for the company’s sales operations including UK and US sales offices as well as in charge of developing new marketing strategies. Visit http://www.millertripods.com/

ACMA Appointments The Minister for Broadband, Communications and the Digital Economy Senator Stephen Conroy has announced the reappointment of the Chair, and the appointment of a new Deputy Chair, to the Australian Communications and Media Authority (ACMA). Chris Chapman is the ongoing Chair of the ACMA and Richard Bean is the ACMA’s new Deputy Chair. Mr Bean will bring valuable legal experience in both the telecommunications and broadcasting industries. He was General Counsel and Company Secretary for Unwired from 2003 to 2010 and Networks Business Manager for Network Ten from 1996 to 2003. Louise Benjamin, Emeritus Professor Reg Coutts and Mr Hugh Marks have been appointed as new part-time Authority Members.

First Aussie MD for NEC Australia NEC Australia has announced the appointment of Alan Hyde as Managing Director, the first non-Japanese head of the local business in its 41-year Australian history. According to a statement by NEC, “Mr Hyde’s leadership, significant experience and understanding of the Australian services market and his customer-centric approach will be a major advantage in driving new business for NEC Australia. This appointment marks a clear and serious signal of NEC’s intent to focus on and accelerate the growth of its Systems Integration and Services businesses in Australia.” Previously Mr Hyde spent five years at SAP as General Manager for the Northern Region before taking over as CEO in 2007. Before that he held a number of senior executive positions at PeopleSoft in Australia and the UK. Most recently Mr Hyde has been acting in an advisory capacity on corporate strategy in the IT sector.

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Phoenix TV Upgrades Automation Hong Kong’s Phoenix TV recently expanded and upgraded its automation system in conjunction with Magna Systems and Engineering. Phoenix TV has been providing high quality content to Chinese speaking audiences across the globe since 1996. Frankie Yau, Engineering Manager at Magna Systems and Engineering Hong Kong explained, “Magna Systems and Engineering installed and commissioned the original Pebble Beach automation system at Phoenix TV’s broadcast facility. Our brief then was to provide an automation system which would support their complex workflow where the content has to under-go a very strict quality control process. Thus we provided a Pebble Beach Systems Neptune multi-channel automation solution which allows the flexibility to integrate into a diverse existing workflow and ensure upmost reliability throughout the QC process and transmission.” To assist with the strict QC process, the system has been purposely partitioned; one to temporarily hold items until they have been checked with as QC passed and another to hold items for playout only. Content sent to transmission playlists can only be taken from the playout partition, which in turn only stores content that has been tagged as QC passed. The automation solution, housed at Phoenix TV’s purpose built broadcast facility in Taipo, now forms part of a six-channel playout system, upgraded from five. Of those six channels, three are broadcast to China, one to the USA, one to Europe and one is used for internal purposes. Yau added, “We have also upgraded the automation system and added more clients so more in-house Phoenix TV staff can now work on material ingest, preparation and presentation. Phoenix TV has also purchased a second system for internal testing, engineering and training.” The Phoenix TV workflow is quite unique in many ways. Part of the solution and one of the essential requirements, was for the automation system to integrate with the DaYang Media Asset Management (MAM) Archiving System. To achieve this Magna provided Phoenix TV with a customised software interface which allows the Neptune automation to identify archived content from the MAM system through the Pebble Beach database and transmission client. The Neptune system also integrates with Miranda Master Control switchers, a Thomson router and uses Pebble Beach’s own Anchor Media Manager to move files between the DaYang archive and Omneon servers. A single controller drives six ports on the video servers. Visit www.magnasys.tv

New Oz Office for Mediasmiths Media technology consultants Mediasmiths have established a Sydney office in Australia and appointed Australian broadcast industry veteran Greg Doyle as its General Manager for Australia and Asia/Pacific. Doyle previously spent nine years establishing and developing the Ardendo, (later Vizrt), business in Australia/NZ and in Asia, and earlier fulfilled a similar role for SGI in the region. Recruitment of the local technical team has already commenced in Sydney. Visit http://www.mediasmiths.com

8 News

Technology Leading you into the future… Affordable Prompting

Video-8 MD Gareth Collins [right] and Operations Manager Rod Capon.

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

Video-8 Commissions Snell Alchemist Video-8 has commissioned Australia’s first independently operated Snell Alchemist Ph.C-HD motion compensated high definition standards converter in Australia. The product of extensive research into the exacting demands of HD frame-rate standards conversion, the Alchemist Ph.C-HD yields converted images of the highest quality and clarity so that even the most dynamic content is delivered with very fine detail, free from artifacts and virtually indistinguishable from the original HD input. Video-8 Operations Manager Rod Capon said, “Video-8’s policy has always been to stay ahead of the game in conversion standards. We have a big digital offering and a high quality tape room. As a result of purchasing the new Alchemist

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we can now offer an even better service for converting SD stock or library footage to HD. It was widely appreciated that the Alchemist is the best HD converter on the market.” Purchased from Australian distributor Quinto Communications, Video8’s Alchemist is powered by Ph.C technology from Snell which has won four Emmy Awards. Capon continued, “The Alchemist’s list of functionality is seemingly endless. We were particularly impressed by its Ph.C motion compensated HD and SD standards conversion, multi-rate HD/SD SDI inputs and outputs, advanced format conversion (up, down and cross), automatic aspect ratio conversion - including AFD authoring - and CleanCut technology. Visit http://www.video-8.com

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DAMsmart! has appointed of Adam Hodgkinson to the position of Business Manager. Prior to joining DAMsmart!, he was General Manager at the Sales Success Group, an STW group activation company. Based at DAMsmart’s new Sydney office on Sydney’s Northern Beaches, Adam will head business development and marketing programs for the business. Visit http://www.damsmart.com.au

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Taking Stock

taking STOCK

- MOVES IN THE BUSINESS OF CONTENT+TECHNOLOGY

Accenture – from Straight Lines to Convergent Paths Traditional

Linear broadcasting won’t go away overnight, but it is dying, and to survive traditional broadcasters need to adapt to the world of live streaming and the IPTV environment. That’s the word from James Scott, Managing Director, Media and Entertainment Industry APAC, Accenture. In recent times, the company has been involved with platforms such as Foxtel by mobile, and rebuilding the Bigpond movies and Bigpond music services, and while other initiatives are a step in the right direction, the local market still has a way to go. “I think the Australian market has probably still got you know quite a way to go if you compare it to some of the things that we’re seeing definitely in the UK market or the US market,” says Scott. “I think there’s some great examples of where you know clients are starting to put their toe in the water. “Personally I love you know devices like the T-box, I think that shows a great innovation in terms of bringing your traditional linear media together with the internet world. I think that’s got a long way to go in terms of you know useability and how people will sort of use those capabilities but I think, again, it’s a good model of showing convergence.” C+T: Would you say the same about TVs with embedded applications? JAMES SCOTT: “I think people are missing the point when the public are going to the Dick Smiths or the Bing Lees to buy their TV, they’re being sold on buy your Samsung with 3D capability. Now that’s great in terms of you know people using that as a feature set but I think long-term people really should focus on is the fact that it’s got an Ethernet port and it’s going to open up a completely new world of content to be delivered. “I personally think that Apple TV might have a bit of a resurgence, whether it’s as the standalone device or whether it’s a widget on a connected TV but I just think if you look at that broader suite of content that’s available - HBO, NBC, ABC’s content and Foxtel putting their content onto these devices like the X-Box, that’s what I see is going to really shake the market up. That ability to have that broader suite of content or that library of content that you can search for, you can have the you know social networking elements making recommendations and reviews of content. You know, just really putting the power back into the consumer’s hands.”

10 Taking Stock

James Scott, Managing Director, Media and Entertainment Industry APAC, Accenture.

C+T: You’ve mentioned Foxtel. Who in this market should be examining their alternative delivery strategy? JAMES SCOTT: “The answer is probably all of them. I think if I looked at the sort of scenarios, I’d say ‘Foxtel big tick’ in terms of moving to Foxtel by broadband. “Looking at what content would you traditionally distribute to your consumers via a linear capability, the set top box capability, what are they bringing into that online environment? “Foxtel and the free to airs are putting that toe in the water with catch-up TV. Foxtel say ‘we want to deliver content to multiple devices, we don’t want to just be restricted to the existing set top box. That’s a big tick and again I think they’re sort of saying well you know do we want the limiting factor to be the technology? “Let’s not forget that Tivo also started to introduce a lot of social networking capabilities. So, if you look at IQ and Tivo they’re not just PVRs but they enable the consumer to be able to search, review, record and store content that the consumer’s wanting to watch. “Tivo may have been slightly restricted with Seven’s model because I think again Tivo really sort of operates on that broader content, again that broad content library but if it is just the free-toair’s content that it has access to, the device and the content library you know might have certain limitations there but I think Seven have got the right idea. They’re looking at how can they use the IP channel to put more content onto those devices and, again, they’re also putting a toe in the water from an online perspective in terms of catch-up TV.

“I think that’s the biggest hurdle that these guys have got to get through, which is there’s very much still at the traditional mindset you know which is we cannot cannibalise our traditional advertising revenues and anything that we’re doing online you know would cannibalise those revenues, whereas I think if you look further afield, if you look in the UK you know parts of Asia-Pacific and the US you know there are clients and there are broadcasters who have made that jump to say ‘well no, we’re going to look at new and incremental revenue streams online or on mobile that effectively drive more business back to other channels or make cross-reference to other channels.” C+T: So where does Accenture fit into this whole transformation? JAMES SCOTT: “We’ve been very involved in the evolution of technology platforms right the way through the ability to acquire content, to process content and distribute content. And that’s very much still where we play. It’s very much still in terms of helping our clients build these video platforms. And, especially with the emerging business models, it’s now in terms of ‘how are these technologies going to impact your revenue model today and tomorrow?’ “So it’s the technology and it’s the business side. So whether that’s building a media distribution platform or a content delivery network or even working out what’s the linear revenue model that you want to apply to your long tail content or premium content? And, is it an advertising-supported model? Do we need to have targeted advertising? Do we need to bring in analytics? So, there’s a wide variety of areas that we work with our clients.” C+T: What are the main issues a broadcaster should address in order to future-proof their business? JAMES SCOTT: “We always encourage people to look at the digital supply chain and that might appear like consultancy, but if you look at that and you start to say ‘Are you involved in content production? Are you involved in content aggregation or content processing or distribution? “I think if you look at the last five to 10 years where some of the service providers have got it wrong, if you look at what some of the telcos did with IPTV, they tried to be everything along that value chain all the way through to competing with the traditional cable in acquiring content. And, it wasn’t their core business.“ Visit www.accenture.com

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Media Staff & Strategy by Karl Jansson* Picture this!

Your hands sweat. Your heart palpitates. Your mind is a confused jumble of fragmented advice and expected behaviour. No, it’s not your first date, nor your first interview, it’s your first time interviewing candidates for an important job opening. Although the ability to hire the right people is critical not only for your organisation, but for your own success and advancement, very few managers know how to tell the difference between a top performer and an ‘eloquent incompetent’. In fact, a recent survey showed that more than forty per-cent of hiring decisions are made on the basis of appearance factors. I guess that’s why recruitment consultancies, and to the lesser extent recruitment agencies remain in business. Just to qualify the difference, an agency is an organisation that is given a job to fill along with maybe another agency or two. They scramble just to find a number of candidates they can ‘flick’ (a somewhat tongue in check technical term) over to you before the other agencies can do similar. The result is that half baked candidates who somewhat meet some of the criteria are presented. The end result is that the client has dozens of resumes emailed to them from the agencies and as a result the client has additional work to sift through all of the candidates. However, if one candidate is selected and an invoice is issued, it’s no more than what a consultancy appointed exclusively would have charged except that they would have delivered a high quality short list for interview, and all the work would have been done for the client within an agreed time frame. Bottom line is though, recruitment agencies and consultancies are in business for one main reason. It’s their profession, and that’s all they do. In the case of a consultancy they research, select, interview and manage the process from start to finish to ensure that only the best short listed candidates (usually three) are selected for the position. Along with additional tools and an ingrained sixth sense they have the necessary experience in managing numerous careers. However, for those who prefer to mange their own assignments and will search out an on-line job board such as www.broadcastjobz.tv, the

<< <<

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following interview techniques and guidleines may be useful when interviewing candidates.

Behavioural Interviewing.

Behavioural Interviewing is asking a series of questions about a candidate’s experience to ascertain if the way they behaved in a situation is what you want for your organisation or for the job. Behaviour in the candidate’s past experience is a good guide for future performance. An example: (In the following example there are three parts) You are looking for someone to work on their own a lot, so firstly you need to factor this into the question. Secondly, is to define the behaviour expected within the job, and thirdly, design it so you obtain evidence from the candidate. ‘Working Alone’ (Behavioural question) “Can you think of a time recently when you needed to ask someone else’s advice before you could complete a piece of work?” or “Talk me through a project which you managed on your own over the past 12 months.” or “Describe a deadline you have missed recently.” or “Describe the most important decision you have made recently.” In some of the above examples the questions could have been directed to a work related target area, or simply to a life based question for the purpose of understanding how they managed the situation. By opening up the target area, you may start to understand the personality of the candidate, which maybe what you are looking for in a position within a call centre, sales, or training type role where oneon-one interaction with others is paramount.

Regardless of the position here are a couple of tips! • Drill down to specifics with 3-4 behavioural questions in order to correlate the findings. For example: • What was the Situation in which you were involved? • What was the Task you needed to accomplish? • What Action(s) did you take? • What Results did you achieve? • Read the candidate’s resume thoroughly, and draft any behavioural questions in advance. • Stick to recent examples. • Identify an incident or point in time, then probe with relevant questions. If you are seeking an answer related to what they have done individually, then be aware of replies in the second person (“What we did was..”) If this occurs, you should ask “what was your role …..?” Ok, if you want to dial up the intensity within the interview to test the candidate’s resilience under pressure then you can ease into it with a soft intro question like; “Can you think of a time when you struggled with a decision and needed someone else’s help?” or “Describe a deadline you have missed recently.” or similar. Once you have a reply in action, be sensitive to how it was delivered to you. Was it with confidence, or with regret and honesty, or were they appearing to withhold what really happened? By expanding upon the answer for additional detail, character flags will start to appear, and the interviewer will be able to make a judgement decision whether to pursue that line of questioning or not. There will always be a danger to pursue a line of resistance, as it may impair or colour your judgement particularly if they are a favoured candidate, so best to back away before cracks start to appear. Better to contain the concern for an additional interview and pursue it there, potentially by another staff member which might be more appropriate. Interviewing is a skill that is honed from experience, so if you are unsure or not confident, sit in on a session with a colleague who maybe more experienced, or simply look at outsourcing the skills. For additional information or assistance contact Darren Judd, “BroadcastJobz.tv” Email: corporate@BroadcastJobz.tv Web: www.broadcastjobz.tv

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Taking Stock

WideOrbit To Acquire VCI Solutions

Quantel Announces Record Results for 2010

WideOrbit Inc., has announced its intent to acquire the Orion Business System assets of privately held VCI Solutions, a leading provider of sales and traffic software solutions for the broadcast and cable industry. WideOrbit provides innovative, proven solutions for managing the business of broadcast and cable operations. Headquartered in San Francisco, WideOrbit is used by more than 4,000 television stations, radio stations, cable networks, cable interconnects and digital out of home networks worldwide, managing more than $14 billion in annual advertising revenue. The closing of the proposed transaction is subject to the completion of customary agreements. Subject to these conditions, WideOrbit anticipates closing of the transaction by November 1. Visit www.wideorbit.com

Quantel has announced its provisional results for the 2009/10 financial year, which ended on 30th September. Orders were up 34 percent compared with 2008/9 (itself a record year for Quantel), and Profit (EBIT) up 125 percent to £9 million. “We’re delighted with these results,” said Ray Cross, Quantel CEO. “They have been achieved in the face of challenging market conditions which have seen many other companies in our sector struggling. On the very last day of the financial year, we took £10 million in new orders from existing customers which will feed straight into next year’s figures. “We have invested heavily in R&D over the last 10 years, and continued to do so right through the economic cycle. The latest fruit of this investment in innovation is QTube.” Visit www.quantel.com

Haivision Acquires CoolSign Haivision, a provider of H.264 IP video solutions, has acquired the assets of CS Software Holdings, LLC, including the CoolSign product technology. CoolSign, a veteran of the digital signage market (established 1998), provides software solutions for enterprise signage deployments. CoolSign boasts a large installed base of networks and players at premier clients, covering a broad spectrum from retail to corporate, to pure-play digital-out-of-home advertising (DOOH) networks. CoolSign is a feature-rich signage solution, incorporating sophisticated technology to control, schedule, distribute, display, and monitor digital media. Haivision is maintaining the CoolSign brand under the Haivision umbrella and is planning strong cross product technical development to introduce Makito performance HD video encoding into the CoolSign solution suite and to extend the Furnace IP video system with the signage control capabilities of CoolSign. Visit http://www.haivision.com

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Miranda Acquires Omnibus Technicolor Reduces Stake in Screenvision Technicolor has completed the sale of the majority of its 50 percent stake in Screenvision US to Shamrock Capital Growth Fund II, a leading private equity fund focused on media, entertainment and communications, in return for $60 million in cash and will retain an 18.8 percent interest in a newly formed Screenvision holding company. Screenvision is a leading cinema advertising company, providing marketing and media solutions for advertisers and representation of the cinema advertising interests of its theatrical exhibitor partners. In the United States, the Screenvision cinema advertising network is comprised of 15,000+ screens, 2,400+ theatre locations, and nearly 400 universities. Technicolor will continue to be Screenvision’s provider of both film and digital services. The film processing & distribution agreement extends through end of life. Technicolor will retain one seat on the Board of Screenvision and apply the $60 million proceeds towards repayment of the DPN. Visit www.technicolor.com and www.screenvision.com

Heading: Asia-Pac Mobile Broadband Revenue US$7.1 Billion by 2015 Mobile broadband revenue in the developed Asia–Pacific (DVAP) region stood at USD2.4 billion (EUR1.7 billion) in 2009, but this will increase almost threefold, to USD7.1 billion (EUR5.1 billion), in 2015, according to the latest report by global telecoms, media and IT adviser Analysys Mason. According to the Mobile broadband in developed Asia–Pacific: forecasts and analysis 2010–2015 report, the total number of mobile broadband connections in DVAP will increase from 6.2 million in 2009 to 27.2 million in 2015, growing at a CAGR of 28 percent. Penetration will rise from 2.6 percent of the population in 2009 to 11.3 percent in 2015. Japan will generate the most revenue out of the countries in the region throughout the forecast period, thanks to its high mobile broadband ARPU.

14 Taking Stock

“We expect Japan and South Korea’s mobile broadband markets to grow significantly during 2010–2015,” says Yanli SuoSaunders, author of the report. “Japan will have the largest market at the end of 2015, when it will account for 43 percent of the region’s mobile broadband connections.” Australia has the highest mobile broadband penetration rate in the region. It stood at 13 percent in 2009, which is almost ten times the rates in Japan and South Korea. “We expect Australia to continue to lead the market in terms of penetration rate, which will increase to 28 percent by the end of 2015,” adds Suo-Saunders. “We forecast that consumers will account for 64 percent of mobile broadband connections in 2015, up from 56 percent in 2009.” Visit www.analysysmason.com

Miranda Technologies Inc. has acquired all of the outstanding shares of privately held OmniBus Systems Ltd., the IT-based media management and delivery solutions for television and internet broadcasters, from Palamon Capital Partners, a leading pan European private equity firm. The all cash purchase, valued at CDN$48.7 million, will be financed equally between cash on hand and an existing credit facility. OmniBus Systems, based in Loughborough, UK, had revenues of approximately CDN$24 million for the trailing last 12 months ended June 30 2010. “The addition of OmniBus, and specifically iTX, allows Miranda to uniquely offer the complete range of playout solutions, from traditional hardware to a fully software-based environment,” commented Strath Goodship, Miranda’s President and Chief Executive Officer. OmniBus Systems’ iTX is a software-based television production and transmission solution, built on standard IT hardware and advanced software technology. Visit www.miranda.com and www.omnibus.tv

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IABM Market Sector Reports The IABM (International Association of Broadcasting Manufacturers) has announced the availability of a series of Market Sector Reports compiled from the organization’s 2009 Global Market Study, an in-depth survey of the broadcast supply industry published every two years. Targeted to suppliers, analysts, and venture capitalists, the Global Market Study provides detailed information on the current state of the broadcast and media technology industry, up-to-date forecast data to 2012, regional analytics, commentary on emerging technologies, and a detailed look at nine distinct market segments. The Market Sector Reports can be downloaded from the IABM website, www.theiabm.org/segments.

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technical STANDARDS IMPALA welcomes CI Plus Test Tool IMPALA, the International MHEG Promotion Alliance, has welcomed the new, advanced CI Plus (CI+) test tool for ensuring compatible receivers conform to the latest specification. Testing of the MHEG-based CI Plus Browser is now a mandatory part of the CI Plus conformance regime, therefore helping to ensure interoperability of interactive MHEG applications across all conformant receivers. The standard allows operators and broadcasters to secure video content via a small CI Plus Conditional Access Module (CAM) inserted into the Common Interface (CI) slot included in all iDTVs above 30cm sold in Europe, plus a growing number of CI Plus-ready set-top boxes. The MHEG-based CI Plus Browser allows a range of interactive services to be delivered direct to the TV, including video on demand (VoD) and universal electronic programme guides (EPGs). The test tool, available from the CI Plus LLPapproved official CI Plus test centre â&#x20AC;&#x201C; enables end-to-end testing of CI Plus CAM interfaces, video and data paths and critical security features. The Browser test includes testing specific to the implementation of MHEG, as well as core tests derived from the industry-standard UK Digital Television Group (DTG) MHEG 1.06 profile. Visit www.impala.org.

Industry Effort Profiles Multi-screen TV delivery Alcatel Lucent, KPN, Nokia, Nokia Siemens Networks and Sofia Digital are working together in the bmcoforum to allow consumers to seamlessly access TV and video either from mobile devices, TVs or computers. Member companies are identifying necessary standard enablers and profiling them for common industry recommendation. Agreeing common standard enablers between service and equipment providers is increasingly important to ensure the consumer gets the best experience possible. At IBC showcased operations included: â&#x20AC;˘ Consume live, on-demand and stored content directly on Connected TVâ&#x20AC;&#x2122;s, PCÂ´s or mobile devices. â&#x20AC;˘ Search, select and control consumption with the mobile device â&#x20AC;˘ Browse Electronic Program Guide (EPG) on mobile and switch channels on TV â&#x20AC;˘ Consume video on demand content, set and view recordings with Network Personal Video Recorders. â&#x20AC;˘ Push content to device storage as a background download to improve mobile user experience. The bmcoforum strives to solve technical issues in the media delivery chain independent of business models in close relation with standards bodies and other industry fora. Visit www.bmcoforum.org

16 Standards

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cover all system and management requirements (service management, awareness and communication, content and time awareness, security, framework extension). The framework will be built upon IBM (SOA based Media Services Framework) and Sony (Media SOA Framework) proposals with the valued experience of service developers and users from Amberfin, BBC and Cinegy. The project will also address container issues seeking maximum compatibility with AAF and MXF. Phase 2 will investigate the possibility of defining common services using the framework developed in phase 1. The work will continue publicly via the FIMS wiki (http://wiki.amwa.tv/ebu) and open meetings that will allow third parties to also actively contribute to this important work. Visit www.amwa.tv and http://www.ebu.ch

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Pleora, a world leader in networked video connectivity solutions, recently hosted a highly successful series of technical meetings on the European Machine Vision Association GenICam standard and the Automated Imaging Association GigE Vision standard. As a key player in standards development, Pleora co-founded the GigE Vision standard and is an active member of both the GenICam and GigE Vision standardsâ&#x20AC;&#x2122; technical committees. With todayâ&#x20AC;&#x2122;s industrial digital cameras offering an ever-growing set of functionalities, the programming has become more complex. The goal of the GenICam standard, and the work of the GenICam committee, is to provide a generic programming interface for vision system products-regardless of the type of interfacing technology. Two days of meetings were dedicated to the development of the GigE Vision 2.0 standard, which is planned for release in 2011. Visit www.genicam.org www.machinevisiononline. org and www.pleora.com

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MWA, EBU and FIMS Report First Results & Roadmap During IBC, EBU and AMWA organised a round table session around SOA and the Framework for Interoperable Media Services (FIMS) project jointly coordinated by the two organisations. Users were invited to highlight the market needs for a FIMS solution. Respondents to the FIMS request for technology were present to reinforce their motivations and expectations on the specification and standardisation work that will follow. During the round table, which comes after a successful meeting with respondents Amberfin, BBC, Cinegy, IBM, and Sony to its request for technology, FIMS announced a roadmap for developing specifications. Phase 1 will consist of a common service definition format, after the high level architecture and framework described in the request for technology is first refined. This framework will

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The Third Dimension

- Stereoscopic Production & Exhibition

technology MAGAZINE

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Owling Success for Animated 3D Legend

of the Guardians: The Owls of Ga’Hoole from Australian animation and visual effects studio Animal Logic has set a benchmark for both local and international 3D production. Directed by American filmmaker Zack Snyder (Watchmen, 300) and produced by Zareh Nalbandian of Animal Logic, the feature is based on the Guardians of Ga’Hoole books by Kathryn Lasky. The story centres on Soren, a young barn owl fascinated by his father’s epic stories of the Guardians of Ga’Hoole, a mythic band of winged warriors who fought a great battle to save all of owlkind from the evil Pure Ones. The film features the vocal talents of Geoffrey Rush, Helen Mirren, Hugo Weaving, Sam Neill, Abbie Cornish and David Wenham. According to Nalbandian, “Being Australian, I reckon we sometimes take on challenges others might shy away from. When we’re faced with an opportunity that excites us but at the same time is full of risk, complexity and uncharted territory, technically, creatively, logistically we can be prone to saying ‘yes we can’, and then figure it out later. “And, that’s what the Animal Logic team did with Zack Snyder on Legend of the Guardians, developing a unique world, drawing its inspiration from our Australian landscapes with a truly Australia look and feel, an amazing array of highly engaging characters and seriously complex 3D rendering and visual effects. The Animal Logic team under the creative leadership of Production Designer Simon Whitely,

18 The Third Dimension

Art Director Grant Freckelton, Editor David Burrows, Lensing Director David Scott and Animation Director Eric Leighton have delivered a ground-breaking animated movie that I hope will surprise audiences around the world and have universal appeal.” Nalbandian says Legend of the Guardians is not only technically more accomplished than animated movies before it, but it is also a highly original and imaginative movie. “A lot of it was hand done,” says Nalbandian. “We went through a process of animating the characters and then rendering in the feathers and then handing over to the character effects team, which just did amazing work in terms of the crafting – working at 500 frames a second, 1500 frames a second. Things that you don’t do in an animated movie, that

Watch the birdie! Legend of the Guardians: The Owls of Ga’Hoole Director Zack Snyder [left] with Animal Logic’s Zareh Nalbandian.

3D-DAY

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The Third Dimension Continued from Page 18

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are difficult to do in any movie, and those guys took over and actually delivered some amazing stuff. “Obviously water is simmed. There are some other sim effects in there, but there’s a lot of handcrafting, a lot of love, a lot of use of R&D as well, and 100 person-years of effort going into creating technology to make the movie work. “It provides a 3D experience in a wonderfully integrated way and defines a whole new vocabulary in the language of animated movies,” he says. “Of course, film making, even in this complex world of 3D digital animated film making, is a highly collaborative art and relies on teamwork, trust, mutual respect and great personal chemistry. And I really felt all these great forces were at work in the making of Guardians. “We’ve been so fortunate to be working with such a talented and amazing director. Zack Snyder is a truly great director who brings incredible energy and drive, a collaborative spirit, a singular vision and allows the team around him to do their best work ever.” Zack Snyder’s first encounter with the Owls of Ga’Hoole was via Animal Logic’s original concept art sitting in the offices of Warner Bros. “What I saw were these incredible images of birds flying through fire with embers and battle claws and

>> >> It provides a 3D experience in a wonderfully integrated way and defines a whole new vocabulary in the language of animated movies.

helmets and I was like ‘okay, well that could be fun for a family I guess, and for me’.” However, Snyder says that, from the beginning, the team took a serious approach to making the film and that despite it being animated, they treated it like an adventure movie. “I hadn’t been in animated film,” says Snyder. “I had made films with a lot of visual effects in them but I hadn’t made animated film. In the early stages, when we were lensing the movie and talking about Continued on Page 22

Feathers Fly with Nucoda

Digital Vision’s Nucoda Film Master system was used to grade and master Legend of the Guardians: The Owls of Ga’Hoole. The entire 3D grading and mastering was completed on Nucoda Film Master by Animal Logic’s Head Colourist Eric Whipp. “For this style of animated film we use compositing mattes to isolate all the characters and parts of the image to create specific looks in detail,” said Whipp. “In a similar way you might grade a live action film, we do the same except we have the luxury of perfectly cut out mattes for characters. “We initially graded the film in 2D to get the look right. Once we got to a point where we were happy, we applied all the settings to the right eye and then switched into stereo mode for final tweaks. All windows and shapes had to be re-aligned for the right eye, and then we did other alterations such as light level adjustments. Once in stereo mode, layer by layer colour adjustments can easily be made using the Nucoda Film Master. Another useful feature is the system’s Open EXR functionality. All the shots were composited in EXR format, which was great as it was like working with a film negative in the sense that there was range in the highlights that could be pulled back if required. “The Nucoda Film Master really enhanced the creative process of this production. We literally added hundreds of lens flares in the grade using the system’s Sapphire plug-in tools to enhance the story and the look of the film, which really put the icing on the cake.” Visit www.digitalvision.tv

20 The Third Dimension

Artists at Animal Logic with HP DreamColor Professional Displays.

Production of Legend of the Guardians: The Owls of Ga’Hoole saw HP technology put through its paces, including HP BladeSystems, HP Workstations and HP DreamColor Professional Displays. “Animal Logic is at the forefront of digital production and our focus is to bring the creative vision of the director to life,” said Alex Timbs, Head of IT, Animal Logic. “To produce the spectacular imagery for the movie, we required a technology platform that provided creative and operational flexibility, enabling us to produce huge volumes of digital content in a fast and cost-effective way.” The core technology used in the making of the movie included 44 HP BladeSystem c7000 enclosures running 1152 G5 HP BL2×220c blade servers, 256 G6 HP BL2×220c blade servers, two HP DL385 servers and one HP ProLiant BL685 server blade. This provided Animal Logic with 1,411 physical server nodes. Animal Logic also used approximately 600 HP Z Series Workstations and 250 HP LP2480zx DreamColor Professional Displays running Global Colour Consistency for colour accuracy. Speed of execution was supported by the inclusion of HP Virtual Connect 1/10Gb-F Ethernet modules, enabling Animal Logic’s IT team to wire the servers once and dynamically manage connections without touching the network. HP Insight Control Environment software provided automation of management, allowing the IT team to focus on the needs of the animators. HP Dynamic Power Capping helped to drive more productivity with less power. All three models of the HP Z Series Workstations were deployed at Animal Logic. The HP Z400 Workstations were used for core administrative tasks and the HP Z600 Workstations were used by the design artists as the default 3-D Workstation. The HP Z800 Workstations were used for playback and grading requirements. Visit www.hp.com.au

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The Third Dimension

Continued from Page 20 like how do we shoot it and where the camera would go and how we would actually photograph, virtually photograph these owls, and certain scales that we would use and all that stuff, that was a fantastically interesting process for me. Also, just in developing sort of a visual style that became a language that then became the film look. “The talent pool that I had at Animal Logic are pure geniuses and were awesome all the time, every day, surprising me with amazing ideas and just amazing craftsmanship and work. I can’t thank them enough. This movie they gave us is mind bogglingly beautiful and every day when we looked at it, I felt privileged to get the chance to work with them, because they are amazing.” “You don’t get anything for free in animated movie,” adds Snyder. “There’s zero to start with. So, it’s fun to actually take a look at the film and actually

Thinklogical Cuts Flight Time Drawing on the lessons learned during the production of Happy Feet, Animal Logic turned to Thinklogical fibre optic routers and switches to reduce labour costs and boost production efficiency and reliability for Legend of the Guardians. During the production of Happy Feet and the early stages of Legend of the Guardians, many hours of labour were spent constantly repatching Animal Logic’s three theatres to allow teams to work on different parts of the film simultaneously. “We had to deal with many KVM patching headaches during the production of Happy Feet, and we didn’t want the same issues when producing Legend of the Guardians,” said Animal Logic Head of IT, Alex Timbs. “The theatres have different users all the time, and constant repatching was inevitably going to compromise the fibre optic cable. The Thinklogical solution has allowed us to stop repatching. “The new hardware allows us to deliver any playback service from any source with just the click of a button as well as the flexibility to constantly modify.” Timbs explained that security of the film footage was also crucial to prevent leaks and data loss resulting from any computer hardware failure. “We needed seamless real time data transmission between the theatres and the playback host to keep the data safe and secure up to 300 metres away.” Together with system integrator Storm FX, Thinklogical’s Australian distributor, VR Solutions designed a solution to communicate the large amount of high resolution data required for the 3D stereo film – quickly and securely. Within a tight four-week specification-to-delivery timeframe, Thinklogical DCS digital cross-point switches and Velocity KVM Extensions were installed at Fox Studios Australia. VR Solutions Director Michael Bosworth said, “It’s this kind of technology which now makes collaboration possible between broadcast personnel and studio teams without any major redeployment of equipment or infrastructure redesign.” Visit www.vrs.com.au, www.thinklogical.com and www.stormfx.com.au

22 The Third Dimension

watch the level of detail and the insane artistry that it takes to make it look like that.” “I think it’s fair to say that we don’t work in the old paradigm of a visual effects company with a director,” says Nalbandian. “We’re in partnership and together we get the most we can out of our crew, out of our resources, out of our budget, the opportunity of creative material. If we were working the old paradigm, I think you’d have a lesser film. It’s a creative partnership, it’s a true partnership. And, I think it shows the maturing of animation and visual effects industry around the world that we’re now part of production, that we are production. When it came to the 3D aspect of the production, Snyder says he and Animal Logic were led by the nature of the story, at times observing established 3D conventions and, at others, flouting them. “When we first talked about making a movie, one of the early conversations we had was ‘it’s going to be a ‘short’ film, this movie, because owls are nocturnal so their cameras would have skinny depth of field because there’d be no light to shoot with’. “As we started to work on the movie, and the movie does have a pretty skinny depth of field considering

it’s a 3D movie, everyone said, ‘if the movie’s in 3D, everything has to be in focus ‘cause that’s how 3D movies are’ - it’s like looking into a diorama. “We bow to those rules occasionally, when you have to, because otherwise it looks crazy. But, I think that overall, we try to use a philosophy of just what is the expressive cinematic language we want to use? And then we have the 3D support that, rather than make the movie in reverse where it’s a 3D movie, so change your language to suit it. “Now, of course, those things crash into each other often, but I think that what the guys have done to the movie is amazing, as far as the 3D, in the sense that it’s preserved the cinematic quality of the film without feeling like it’s kowtowing totally to the 3D. The 3D is helping to tell the story which to me is sort of the best world to be in with 3D. “If you look at Avatar, I think you sort of see that and I think when you look at movies that are either post-converted or ill-conceived in 3D, a lot of times that’s the thing you miss. Because this is a philosophically 3D movie, it tends to not bump into those same problems. Not to say that we didn’t have them, but you work them out.”

Owls Roost on Fujifilm Animal Logic, the animation studio behind Legend of the Guardians: The Owls of Ga’Hoole (LOTG), extensively used Fujifilm LTO media to back up and archive the innovative movie. Alex Timbs, Head of IT at Animal Logic, and the Animal Logic Data Operations Team of Jeffrey Tan, Daniel Powter, Mark Boorer and Chris Kerr were instrumental in developing backup and archive strategies for LOTG. According to Timbs, “LOTG had over 475Tb of unique assets that were ‘checked in’ to our digital asset management system by our team. From that point there was an automated process, which led the assets to be transferred to Fujifilm LTO tape. We also used Fujifilm LTO tape for transferring data and had a library with over 200 slots working 24/7.” The process at Animal Logic involved an asset being locked until it was moved to LTO and then flagged once the procedure was complete. “This all happened within two days of the asset being locked,” added Timbs. “The movie’s assets were backed up every day and we keep them for life – in other words ‘incremental forever’. We also utilised our VTLs to the capacity of the LTO tapes, which was fast and efficient.” Animal Logic also used Fujifilm LTO media to archive LOTG. Having had a good deal of experience with this type of moviemaking the process was already in place and seamless. According to Alex Timbs, “The archive was created throughout the production of the movie and we defined the structure so that we could keep the archive forever. This way the archived assets can be easily used to recreate the original

<< <<

The Animal Logic Data Operations Team. (L-R) Jeffrey Tan (Data Services Technician), Daniel Powter (Data Services Technician), Mark Boorer (Data Services Technician), Alex Timbs (Head of IT) and Chris Kerr (Data Services Lead).

movie or as parts of any sequels. We also archived proprietary information and custom tools created throughout the production.” Timbs says that on a production the size and scope of LOTG reliable media is critical. “For media like Fujifilm LTO tapes it’s all about efficiency, speed and reliability.” he says. “LTO media, due to its high performance and lower cost, is a far superior platform especially when dealing with large data sets. We also have a mirrored copy of our primary disk storage that ends up on LTO tape. The fact that Fujifilm LTO media is so easy to use, portable, widely accepted and much cheaper than active storage also seals the deal for us. “Fujifilm are flexible and cope well in our deadline driven environment where last minute changes are a regular occurrence. We’ve even had them deliver 100 LTO tapes with less than 24 hours notice and not bat an eyelid.” Visit www.fujifilm.com.au

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Park Road Post Takes Mistika for 3D Post production solutions provider SGO announced at IBC 2010 that New Zealand-based facility Park Road Post Production has invested in two Mistika 4K systems for stereo 3D production. Head of Technology at Park Road Post Production, Phil Oatley said “There’s no disputing that Mistika has the best stereo 3D toolset on the planet bar none, but this is complimented by equally capable conform and grading tools, all of which run faster than we ever thought possible on a stock workstation. SGO’s open approach to storage and the sheer script-ability of Mistika means that we are able to integrate the system seamlessly into our operations. To be honest, what’s impressed us most is SGO themselves, their commitment to their customers and the future of Mistika is like nothing we’ve ever experienced before.

To say they are committed is an understatement.” David Illingworth, Head of DI and Colourist at Park Road Post Production, added “Mistika is one of the first genuinely exciting developments in DI platforms in a long time. What SGO have created is a truly exciting, powerful and creative tool that has taken Park Road’s capabilities to new levels, and has allowed us to complete some incredibly complex jobs in impossible time frames.” In addition to stereoscopic 3D, Mistika also features 2D post production capabilities which include colour grading, image restoration, conforming, finishing and editing functionalities. Geoff Mills, Director of Sales and Operations, SGO UK said “We are delighted Park Road Post has put its trust in SGO and Mistika and is the

Hybrid TV Leads 3D VOD Charge 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 signed DDD Group plc (DDD) as its first video on-demand (VoD) content partner to deliver full length 3D content to the Caspa platform, for TiVo customers with 3D TV’s to enjoy. This content agreement marks the first 3D VoD arrangement of its kind in the Southern Hemisphere. The Caspa offering now includes DDD’s Yabazam 3D animations and short films. In coming months, the Caspa 3D Fun category will grow to include a diverse range of 3D content from DDD’s Yabazam catalogue, featuring everything from animation and extreme sports, to documentaries, indie shorts, comedy and music videos. The introduction of DDD’s Yabazam content to the ever-growing Caspa portfolio further reinforces Hybrid TV’s commitment to becoming the leading provider of high quality 3D content delivered direct to the TV. In June, Hybrid TV announced that TiVo could timeshift 3D broadcasts and launched the first 3D on-demand content on Caspa to Australian TiVo customers, featuring a range of Disney 3D movie trailers for upcoming cinematic

release films. Now Hybrid TV is delivering on its promise with Yabazam content providing TiVo customers with a growing assortment of payper-view 3D short films and animations, ranging between four minutes to one hour in length. “Since November of last year, owners of the latest 3D notebook computers have been able to enjoy DDD’s library of high definition 3D content offered at Yabazam.com, and thanks to Hybrid TV a whole new audience of 3D television owners will be able to experience that same quality 3D programming through the Caspa platform,” explained Jay Wiskerchen, General Manager of DDD’s Content Group. “Compelling 3D content is an important component of a successful consumer 3D market and we’re very proud to be working with Hybrid TV to deliver this to TiVo subscribers.” DDD’s Yabazam content will be available for download via Caspa through TiVo on a pay-per view basis with free trailers. Prices range between $2.95 and $6.95 and can be viewed as many times as the viewer wishes for 48 hours after the download commences. Visit the following web sites www.mytivo.com.au

result of an extensive and successful evaluation along with the building of a unique relationship to provide the very best available tools and work-flows, both now and for the future. Once again SGO has demonstrated that it is a clear world leader in stereo 3D and importantly, proves Mistika as a solid investment for both 2D and stereo 3D production.” The Mistika post production system is a flexible highend post production and live on set system capable of SD, HD, 2K, 4K, and stereoscopic 3D with real-time RED camera and other native data work-flows including ARRI. It seamlessly integrates home-based editing, conforming, infinite-layer compositing, colour grading and image restoration all in one complete system with various tool-sets working together in the timeline. Visit www.parkroadpost.co.nz and www.sgo.es

Sensio Granted 3DTV Patent In India Sensio Technologies Inc. has announced that the Indian Patent Office has granted patent no. 242873 covering the Sensio S2D Switch. Sensio already holds a patent covering this product in the United States. The Sensio S2D Switch enables consumers to view 3D material in 2D, extending their accessibility to content and ensuring they get the most out of their investment in their 3D-enabled TV. For example, a movie purchased in 3D via video-on-demand and recorded on a DVR can be viewed in 2D with the entire extended family, regardless of the number of pairs of 3D glasses owned. Later it can be viewed in its fully immersive 3D version. “This patent grant adds a vast and fast-growing market for the Sensio S2D Switch,” said Nicholas Routhier, Sensio president and CEO. “The ability to view 3D in 2D is essential technology for TV manufacturers, and we anticipate that demand for our patent license will be positively impacted.” It is also the second step toward Sensio’s goal of a worldwide patent presence. The company has patents pending with the European Patent Office as well as Japan and China. Visit www.sensio.tv

EBS Korea Takes Quantel for 3D Colour Correction Educational Broadcasting System (EBS), the Korean public educational broadcaster based in Seoul, has purchased a Quantel Pablo 2K colour correction and finishing system for its brand new high-end colour correction suite. The Pablo is equipped with the highly ergonomic Neo control panel and also the Quantel Stereo3D toolset. The Pablo was chosen by EBS after an extensive review of all the colour correction systems on the market. Pablo was found to

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offer not only the best colour correction interface and tools, but also its built-in editing, effects, compositing, paint and versioning toolset offered EBS a comprehensive finishing capability without having to move jobs between different systems. “We were very impressed by Pablo Neo’s intuitive interface and very fast colour grading capabilities,” said Youngdae Shin, EBS Technical Manager. “The Neo panel offers comprehensive colour control and its realtime interactivity

speeds up grading sessions enormously.” The Pablo is equipped with Quantel’s new V5 software, which includes many productivityenhancing features including multilayer colour correction, soft mount technology, realtime colour correction, a Stereo3D timeline and a host of new stereo tools. Visit http://www.ebs.co.kr and http://www.quantel.com

The Third Dimension 23

The Third Dimension

Big Bridge Shows Extra Dimension to Climate Change Brisbane-based communications and digital content convergence specialist, Big Bridge, is one of Australia’s leading production facilities specialising in the development of innovative and effective marketing and communications resources. Recently Big Bridge was approached by the CSIRO to work on an innovative 3D environmental programme as part of the organisation’s Climate Change Project (CCP). Big Bridge Post Production and 3D Supervisor on the programme Brett Daly explained, “Previously we produced the video programme for CSIRO’s ‘OptIPortal’ - a multi-screen HD video system that can be configured to display different images and information for presentation and teleconferencing. The long history we have with the CSIRO and their 3D content production led us to be briefed on the CCP.” The CSIRO’s Climate Change Project includes a seven-minute educational programme designed to introduce school children to the issues, problems and potential solutions concerning climate change. The seven-minute programme involves two school children on a beach discovering a ‘virtual disc’ from the future which shows them the world thirty years from now. The disc also details the problems climate change has caused and how children can affect and help create every day solutions to these problems. Daly continued, “We shot the live action on a local beach over two days using twin proprietary 3D HDV cameras linked on a rig. As is common with 3D shoots, we had to be careful monitoring 3D parameters and when we reviewed the footage in post, some of the shots required just didn’t look right in 3D. That’s where the JVC kit came in. To solve the problems we Dimension took onlyThe theThird left camera image and ran it through the JVC IF-2D3D1E Stereoscopic Image Processor.”

>> >>

JVC IF-2D3D1E Stereoscopic Image Processor

JVC’s IF-2D3D1E Stereoscopic Image Processor, which works as a 2D-to-3D converter and as a 3D L/R mixer for video content producers is designed to help 3D content producers improve their workflow, whether they are converting archived 2D material or shooting original content in 3D. Daly added, “Once the left camera image had been converted by the IF-2D3D1E, we inserted the footage into the programme and it looked great. As we didn’t want the existing 2D footage stock to look ‘flat’ in comparison, we also ran that through the IF-2D3D1E converter and the results were stunning, showing real depth.” The Big Bridge team then used After Effects for creating 3D graphics using twin camera rendering to enhance the 3D look further. Big Bridge Senior Developer Peter Young explained, “At Big Bridge, in part thanks to JVC, we now have an internal stereoscopic 3D workflow that involves using After Effects to output directly to a JVC GD463D10E 3D LCD panel for creating a range of 3D graphics and effects. We also use After Effects for compositing. We process 2D footage into 3D using the JVC IF-2D3D1E Stereoscopic Image Processor and as we then have converted 3D footage plates, we can composite directly in 3D which is a big advantage as it can all be viewed in realtime.” Big Bridge now has two JVC GD-463D10E 3D LCD

panels which, according to Daly makes the process even more seamless and accurate. He said, “Using the JVC GD-463D10E 3D LCD panels we can constantly monitor and work on all parts of the production and post production process natively in 3D. This helps with issues such as matching live action with After Effects generated 3D depth and camera offset, or with how to best integrate graphics for the maximum 3D effect. Put simply we can now produce and post produce any 3D project very easily and effectively due to the JVC IF-2D3D1E Stereoscopic Image Processor and JVC GD-463D10E 3D LCD panels.” JVC Professional National Sales and Marketing Manager Australia/NZ Noel Oakes said, “The CSIRO Climate Change Programme is a great example of a complete end-to-end 3D project produced and delivered by Big Bridge and their excellent in-house team. By making 3D content creation so easy and efficient, Big Bridge are setting the standard and opening the door for this type of 3D programme to become the norm for companies across Australia and New Zealand.” The Climate Change Project is currently touring Australia with the seven-minute 3D programme shown exclusively on a JVC GD-463D10E 3D LCD panel purchased by the CSIRO specifically for the roadshow. Visit http://www.bigbridge.com.au and http:// www.jvcpro.com.au

New Sony 3D/2D LCD Production Monitors

See things differently with Harris multiviewers.

Sony has announced new additions to its professional LCD monitor range broadening its end-to-end production workflow for 3D as well as 2D. The latest in 3D professional monitors from Sony is the LMD4251TD (42-inch) and the LMD- 2451TD (24-inch). Sony also continues its reputation for producing high definition (HD) 2D quality LCD monitors with the launch of the LMD 41W series high-grade professional range, consisting of two models; the LMD-2341W and LMD-1541W, and the LMD-2110W that offers professional functionality in an economic package.

Award-winning multi-image processors from Harris deliver pristine pictures that will change the

3D Professional Monitors The 3D professional monitors incorporate a micropolariser filter attached to the LCD panel and they are supplied with polarised 3D glasses. The hallmark of these monitors is their highly acclaimed Sony-unique ChromaTRU colour matching technology and a full-HD resolution professional LCD panel. These two professional monitors accept a variety of 3D signal formats including 3G-SDI, Dual Stream HD-SDI, HD-SDI Side-by Side, HD-SDI Line Interleave (line-by line), HD-SDI Field and

24 The Third Dimension

Frame sequential as well as DVI-D Interleave (line-byline) modes. Following extensive use during the summer World Cup, and incorporating end user feedback, a complete set of 3D functions is available to help users managing the 3D effects with enhanced flexibility. “The latest 3D professional monitors further enhance Sony’s burgeoning portfolio of market leading 3D products and solutions. By using the same reliable technology such as ChromaTRU and 10-bit signal processing as standard in Sony’s monitors, the latest 3D range build on Sony’s experience and expertise while expanding our 3D offering,” said Chris Grey, Head of Broadcast & Content Creation, Business & Professional Products Asia Pacific, Sony Electronics Asia Pacific. “3D production demands for meticulous camera matching with vigilant analysis and the new 3D professional monitors provide a smooth and accurate view of the production,” Grey adds. 2D Professional Monitors From the new 2D range is the LMD 41W series consisting of two models LMD-2341W (23-inch) and

LMD-1541W (15-inch), which features a slim bezel and aluminium body, ideal for installation in studio monitoring wall, Outside Broadcast (OB) Van and field productions. Dynamic control of source names or Under Monitor Display (UMD), Vertical Interval Time Code (VITC) and Tally are some of the latest features introduced amid the standard Wave Form Meter and Audio Level Meters. Both monitors are also equipped with the ChromaTRU technology and 10-bit signal processing providing accurate colours, precise gamma, stable white balance and image precision. Both monitors are equipped as standard with 3G HD-SDI, HDMI and analogue composite input. The LMD-2110W professional monitor comes as a wide screen 21.5” LCD full HD screen equipped with a professional studio feature set, chassis and a 10bit processing power for image precision. It contains versatile analogue video inputs, a HDMI connector and an optional SD SDI input. The LMD-2110W ensures cost effective video monitoring solution for broadcast, prosumer and industry applications. Visit www.sony.com.au/production

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way you view your world. From a studio. In a master control suite. Or on a truck. Choose from the industry’s widest range of solutions — all easily deployed into your workflow. Harris multiviewers ... Look no further.

Learn more at www.broadcast.harris.com/multiviewers. Hong Kong +852 2776 0628

China +86 10 5172 2920

Singapore +65 6595 4600

Japan +813 3526 8500

Sydney +612 9975 9700

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ONE Company. ONE Direction. The Future.

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rentals

sales

knowledge

workflow design

system integration

Acquisition

One system, 2 great cameras

ACQUISITION

Videocraft Floats Navy’s Boat with XDCAM-HD The Australian Navy Video Unit, part of the RAN Training Force, has been using Sony broadcast kit for over fifteen years. According to the unit’s Senior Producer Peter Ryan, when they recently looked for a Digi Beta alternative, they turned to Videocraft for the solution. Ryan explained, “The Navy Video Unit is responsible for all video-based training. Digi Beta has served us well but it’s widely appreciated that the industry is evolving towards disc based acquisition and storage, thus we started talking with Andy Liell and Videocraft about what equipment and which workflow we should be looking at as our logical progression.” With the Navy Video Unit already using four Sony Vegas workstations plus an SDI online suite for its professional audio and video production, ease of integration with existing hardware and software was a key factor. Ryan continued, “The Sony XDCAMHD workflow makes it extremely easy to simply transfer MXF files directly into Vegas. For cameras, we already had a Sony DVW709WSP that has been great, so our next choice of camera had to be as good. After discussions with Andy we decided on a combination of the Sony PDW700 XDCAM HD camcorder and PDWHD1500 deck.” The Sony PDW700 and PDWF800 XDCAM HD camcorders have been very successful in the Australian market by producing some of the highest quality HD images and also offering a variety of SD and HD recording formats to satisfy diverse requirements.

>> >> The Australian Navy Video Unit on location in East Berlin.

The PDWHD1500 XDCAM HD Deck records and plays back in full HD 1920x1080i and 720p, MPEG HD 4:2:2 at 50Mbps as well as SD (MPEG IMX and DVCAM) with up to 8 channels of audio recording. It has all the features of a traditional VTR with the added ability to work as a file transfer device via Gigabit Ethernet, allowing XDCAM files to be transferred much faster than real time into edit suites. Videocraft State Manager Andy Liell said, “The professional optical disc recording media can work and cost the same as BETACAM tape, or can allow a file based workflow which saves users time and money. The XDCAM media is also more reliable than BETACAM tape as both an acquisition and archival media and more versatile because it accepts several

different video formats on the one media, as well as additional user data. These features appeal to broadcast and non broadcast customers alike.” Ryan continued, “The functionality of working with discs as opposed to tapes is great. The PDWHD1500 is a very useful hybrid deck that is just so flexible. It’s part computer, part VCR, connecting by traditional video interfaces, or by Firewire or Gigabit Ethernet for extremely fast file transfers. You can even use it to up and down convert too.” In addition to producing training material the Navy Video Unit is also responsible for major Navy documentaries, one of which Peter Ryan and his team decided to use their new XDCAM kit and workflow on. Ryan added, “We are in the middle of producing a major documentary on the history of the Navy. As you can imagine our source material is coming from all parts of the world and in many different formats. In particular we have hundreds of hours of Digi Beta and DVD footage that needs to be edited and this is where the PDWHD1500 really comes into its own. For example, we take the component out from a DVD player to the component in on our Digi Beta DVW500 deck, then connect the SDI output from the 500 into the SDI in of the PDWHD1500. The HDSDI out of the 1500 then gets fed into a DeckLink HD Extreme capture card from Blackmagic. The material is then transferred in real-time into Sony Vegas as an HD .MXF file. It’s not the conventional way to use a PDWHD1500 but it certainly works for us on this kind of job.” Visit www.videocraft.com.au

TV Drama

Sony PDWF800

Sony PDW700

ENG

Live Sport

Nine in BOXX Seat for Footy Show

26 Acquisition

>> Steadicam operator Matt Kearney.

tournament, and was also used on Australia’s Got Talent during the summer. “That was the first Channel Nine gig for BOXX,” says Steadicam operator Matt Kearney who supplied the kit. “They were a bit nervous, but it worked perfectly. There was not one Splat.” Matt was also the steadi-cam operator on Australia’s Got Talent. BOXX founder Scott Walker says “The system has enough power to work in just about any stadium, but it’s less than half the price of some of the established systems out there. “This opens up HD wireless technology for a whole host of productions that previously could not afford it, even in 3D.” Visit www.boxx.tv

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Endless possiblities.

VC10501/C&T

Australia’s Nine Network recently used the BOXX “Meridian” wireless camera system the first time on The Footy Show. Filmed live in the 15,000 seat Melbourne Tennis Centre, the Meridian microwave system was fitted to the Steadicam rig, which offered zero transmission delay. BOXX’s system does not use traditional MPEG2 or H.264 compression. It transmits an uncompressed image, which allows it to achieve surprisingly lower latency. BOXX was started by Scott Walker, a former cameraman who spent eight years with Channel Seven in Sydney. The company is now manufacturing the microwave system in the UK. The BOXX system was first trialled at the 2010 Vancouver Winter Olympics, where it covered the ice hockey

Documentary

Sony’s XDCAM HD system – The most flexible ever. Supporting 4 different codecs in SD or HD, PAL or NTSC operation, overcranking* and undercranking, all on the one cost effective, file based Professional Disc media.

Videocraft – Deal with the XDCAM experts. Only Videocraft can show you how to get the most out of the XDCAM HD system, offering everything from camera training to Avid and FCP workflow consultation.

The XDCAM HD workflow – The most adaptable ever. Work like you’re used to with tape or use the file based system to allow faster logging, digitising and editing, all in full quality HD or SD.

XDCAM HD really is the system for all applications. To buy or rent XDCAM, call or visit Videocraft today. *PDWF800

melbourne 03 9885 9666 sydney 02 9436 3050 canberra 02 6241 2122 Visit our website at www.videocraft.com.au

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Acquisition

Cameras Connect at IBC 2010

The Professional HD Video Camera with DSLR Depth of Field

At IBC 2010,

Grass Valley added the LDK Connect Gateway, a bridge to external control systems, to its LDK camera control portfolio, which already benefits from the C2IP control system. The LDK Connect Gateway provides open interactions from external devices to the camera, from automating set-up changes in camera functionality to reporting diagnostics. C2IP provides full camera control functionality over industry standard Ethernet. The conventional, single camera operational control panel (OCP) incorporates features normally found in master control panels. Now, the LDK Connect Gateway, powered by Fusion – which allows users to connect their Grass Valley products together, forming a tighter, highly integrated solution – adds a portal to external Ethernet networks and internet. The LDK Connect Gateway is an independent platform that can simultaneously access the C2IP camera control network and a public network. LDK Connect Gateway is an XML-based platform, allowing any systems integrator to write user-specific camera control applications. Routine interaction is through a remotely accessible intuitive GUI, which will make multiple camera set-ups faster and easier. Meanwhile, Grass Valley’s new LCD colour viewfinder LDK 5307 7-inch viewfinder gives operators a bright, sharp high-resolution image with additional functionality to help with focus and set-up. The new LDK 5307 can be used with all current Grass Valley high-definition system cameras: the LDK 3000, LDK 4000 Elite, the LDK 8000 Series, and the LDK 8300 Super SloMo camera. The LDK 5307 image is high contrast with easily adjustable brightness and colour temperature to allow the operator to set the screen to suit individual tastes and requirements. It also boasts a one-touch zoom with 1:1 pixel matching for precision focusing. The viewfinder setup is through an intuitive menu structure, which also gives access to camera functionality. Visit www.grassvalley.com Panasonic launched its AG-HMC81 camcorder at the IBC. Touted as a DSLR killer, the camera’s versatility includes recording in standard definition to solid-state DV Codec as well as recording in HD. It delivers the full benefits of AVCCAM for users who prefer to work with a shoulder-mount camcorder but who also need flexible connectivity options. The HMC-81 allows professionals to maintain direct control over the content that they have generated, through a range of interface options for editing or playback. This includes the facility to transfer content directly to Mac or PC via the camera’s SD card or via a USB 2.0 interface. Visit www.panasonic-broadcast.com.au The new additions to Sony Professional’s XDCAM HD422 line-up at this year’s IBC included a new XDCAM HD422 memory camcorder – the PMW500. The PMW-500 combines the picture quality of the PDW-700 with the flexibility of recording onto solid state SxS memory card. The PMW-500

28 Acquisition

AG-AF102EN AVAILABLE IN AUSTRALIA FROM DECEMBER 2010 CONTACT YOUR LOCAL AUTHORISED DEALER

>> >> is equipped with three 2/3” Power HAD FX CCD image sensors and can record both 1080 and 720 HD pictures at 50 Mb/s. The PMW-500 has two slots for recording onto SxS Memory Card. The SxS memory card provides a high level of reliability and fast access to recorded data. Sony is also adding a new higher capacity 64GB (SBS-64G1A) card that can record two hours of material at HD422 50Mbps MXF mode, or more than four hours of material and has an increased transfer speed of 1.2Gbps. Other key features of the PMW-500 camcorder include XDCAM HD422 codec for exceptional picture quality at low data rate; switchable between MXF and MP4 for recording in XDCAM HD422, XDCAM HD and XDCAM EX modes; option to record MPEG IMX and DVCAM material allowing users to migrate to HD; interoperability with major NLE systems; and four channels of uncompressed 48 kHz digital audio. Another Sony introduction at IBC was the XDCAM Station, a family of professional media recorders that bridge the worlds of SxS memory card and professional disc. There will be three models in the line-up: XDS-1000 - featuring an SxS memory card slot and internal HDD storage; XDS-PD1000 featuring an SxS memory card slot, a professional disc drive and internal HDD storage and XDSPD2000 - featuring an SxS memory card slot, a professional disc drive and internal SSD storage. The Sony professional camcorder line-up also has a new addition: the HXR-MC2000E adds to Sony’s AVCHD file-based memory camcorders and features like Sony’s G-Lens and Exmor R CMOS sensor (up to 4 million pixels). The extreme wide angle optical G-lens provides a wide angle of up to 29.8mm with a 12x Optical Zoom. Sony’s Exmor R CMOS sensors produce high quality content in low light conditions. The new camcorder adopts a back-illuminated technology that enables the image sensor to utilise incident light more efficiently, reducing the amount of noise by approximately half. The HXR-MC2000E comes with optical steady shot image stabilisation (Active Mode)

Sony’s SRW-9000PL comes with 35mm imager.

with a 3-way shake cancelling feature to reduce the effects of hand shake. The HXR-MC2000E includes a built-in 64 GB hard disk drive (HDD), supporting recording of up to 360 minutes in FX mode. Utilising the AVCHD format allows for highly efficient video compression that offers long recording time of HD content on a multitude of affordable consumer media including memory stick Pro Duo and SD/SDHC cards. Also available is the Direct Copy feature, which lets users transfer footage to external hard disk drives (USB2.0; under 2TB, FAT32) via a USB cable, when connected to AC power, for PC-free back-up and archiving. With the new optional accessories, the HVLLBPB LED video light and ECM-CG50BP entry-level shotgun microphone, the HXR-MC2000E can be configured into a full-size video acquisition package. Sony Professional’s 35mm acquisition F35 camera also has new features and Sony showcased an R&D prototype of an affordable 35mm professional camcorder. The upgrade to the F35 camera includes an ISO 800 Hyper Gamma and S-Log 800EI setting to offer outstanding performance in low light conditions, and the ability to output a 12-bit signal in the near future. The SRW-5800/2 will also be able to record this 12-bit signal. The SRW-9000PL is an upgraded version of Sony’s groundbreaking SRW-9000 camcorder with a 35mm imager and PL mount to increase its flexibility and offer increased control over the captured image. The camcorder has the same sensor and recording capabilities as the F35 / SRW-1 combination, but is half the weight, and size and consumes only half the power. It offers full RGB image capturing without colour sub-sampling, ultra-wide dynamic range, S-Log and HyperGamma capability as well as ISO800 Hyper Gamma and S-Log 800EI setting. Existing SRW-9000 customers are also able to experience 35mm too with the HKSR-90PL upgrade package. In the future the camcorder will also offer 12-bit recording, and the ability to migrate to SR Memory. Visit www.sony.com.au/production

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Large Digital Stills Camera Type Sensor in a Professional HD Video Camcorder Optimised for video the AG-AF102EN micro 4/3 AVCCAM camcorder will let you capture a wealth of film-like images like never before. The camera elegantly combines the best of DLSR and HD Video camera technologies so that for many professional video creators this camera will be the first time that they are able to combine ease-of-use, high quality AVCHD PH mode recording and interchangeable lenses with their creative film techniques. • • • • • •

4/3 Image Sensor with Digital Still Camera Technology Micro 4/3 Lens Mount Built-in ND Filters (1/4, 1/6, 1/64) XLR Audio Inputs Variable Frame Rate (VFR) Video Records to SD/SDHC/SDXC Memory Cards

AG-AF102EN users qualify for a 3 year warranty. 3 year Warranty Repair Program

BACK TO CONTENTS PAGE Phone: (02) 9986 7400 Email: broadcastsales@panasonic.com.au www.panasonic-broadcast.com.au

Visit the website for details: http://panasonic.biz/sav/pass_e

Acquisition

Autocue Adds Servers, Tripods, Lights Autocue has introduced new product ranges that forms part of a new strategy to extend its reach within the broadcast sector. At IBC the company showed its first four standalone, Linux-based video servers. The servers feature up to four bi-directional HD/ SD channels for simultaneous record and playout, and up to 12TB of storage. Autocue also unveiled its redesigned top-end broadcast teleprompter range, the Master Series, using LED backlit technology to create the first ever

slimline, high-bright teleprompter monitors. The monitors are significantly lighter, and together with more substantial bracketry, deliver a sturdy and balanced prompter system, especially useful for pan and tilt camerawork and robotic pedestals. IBC also 2010 saw Autocue showcasing its first ever tripod and lighting solutions. The entry-level tripods are part of Autocue’s new camera support range, which will initially include two aluminium tripods: Heavyweight with floor spreader and a 18kg payload capacity; Medium-weight with mid-

level spreader and a 6kg payload capacity. Autocue’s range of LED and softbox lighting kits includes the dimmable 1000 and 500 LED lights and stands that can be used in any combination. A 3-head softbox lighting kit including case and 12 fluorescent bulbs offers softer lighting while an oncamera, 120 LED light suits mobile shoots. The Glide is a professional, handheld camera flyer for all DSLR and DV cameras up to 2.7kgs. Visit www.autocue.com

Carl Zeiss 50 /100 mm Compact Primes Carl Zeiss has expanded its popular Compact Prime CP.2 lens series with two new focal lengths - the 50 mm with macro and 100 mm with close focus function. These lenses have been specially developed for filming with HDSLR cameras and debuted at IBC. Product delivery is scheduled for the 4th quarter of 2010. The CP.2 100 mm/T2.1 CF is based on the Planar design and is the longest focal length in

the Compact Prime CP.2 lens series so far. It extends the series by adding a very fast telephoto lens with a close-up focusing range of 0.7 meters. The CP.2 50mm/T2.1 Makro is based on the Makro-Planar design and allows close-up shots to be taken with the object at a distance of just 24 centimetres. This responds to the wishes of many filmmakers. All Compact Prime CP.2 lenses come with interchangeable mounts, guaranteeing maximum

flexibility now and in the future, in every situation, and for various camera platforms. Thanks to the lenses’ aperture of T2.1, they are perfectly suited to filming in low-light situations. Both lenses reduce reflections, thus contributing to the creation of contrast-rich, expressive shots. The Compact Prime CP.2 lenses are already available in seven focal lengths ranging from 18 to 85 mm. Visit www.zeiss.de

JVC Bows ProHD Studio/ENG Camera JVC launched the new GY-HM790 camera as the flagship of its ProHD product line, offering new features for studio and ENG applications. Its modular design cleanly integrates with multicore or fibre-based studio production while its three 1/3-inch CCDs allow a lighter, more compact form factor for field work. It produces 1920×1080 images and can record in 1080i, 720p, and SD (576i). The camera records to solid-state memory at 35 Mbps (HQ mode/variable bit rate) or 19 Mbps/25 Mbps (SP mode/constant bit rate). All three cameras in the ProHD range (the hand-held GY-HM100, the shoulder-mounted GY-HM700 and the new GY-HM790 studio/ ENG camera) use industry standard long-GOP compression with a low bit rate, and record to SDHC solid-state media cards. JVC also unveiled a new 24” 2D and 3D professional-grade production monitor, the DT3D24G1, which can also be battery operated. The 3D monitor accepts and processes signals from dual camera systems, stereo-rigs and coded Side-by-Side and Line-by-Line 3D signals. Uniquely, the monitor has a built-in 3D scale function that allows measurement of the amount of binocular disparity by pixels or percentage in

30 Acquisition

real time. The 3D production monitor. IBC also saw the IF-2D3D1 3D Image Processor, which serves as a 3D L/R mixer for real-time monitoring of 3D content on location and works as a real-time 2D-to-3D converter in post.

>> >>

JVC’s GY-HM790 camera in studio mode.

The new DT-V G Series of professional LCD monitors feature 3G and dual-link HD/SD-SDI (1080p/50 4:4:4) inputs. The 10-bit 1080p processing G Series monitors feature a builtin waveform monitor with over-level function, vectorscope with selectable size and position, advanced audio level meter, and LTC/VITC time code support. A new, non-glossy LCD panel provides improved picture quality. In addition, JVC introduced the DT-R Series with two cost-effective, multi-format broadcast studio monitors. The 17”and 24” monitors feature IPS (In-Plane-Switching) LCD panels and 10-bit signal processing. Finally, JVC expanded its line of professional combo recording decks with the new SRHD1500 and SR-HD1250 Blu-ray disc and HDD recorders. These standalone Blu-ray recorders feature a built-in hard disk drive for easy duplication and disc authoring without a PC. Advanced MPEG-2 and MPEG-4 (H.264) encoding provides support for HD and SD sources, and a built-in format converter can downconvert HD content for recording to a standard DVD. The units support BD-R or BD-RE (erasable) Blu-ray discs. Visit www.jvcpro.com

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Vaddio’s Latest PTZ Camera Control Vaddio, a leader in robotic PTZ cameras and camera control systems showcased the latest robotic PTZ camera technology, including new cameras, SDI options and switchers at IBC. Vaddio debuted the new SDI Slot Card for the ClearVIEW HD-18 single CCD high definition PTZ camera. The SDI Slot Card is capable of HD-SDI or SDI video outputs, which transmits 3Gb/s single link HD-SDI digital video resolutions up to 1080p over a single coax cable. The optional Quick-Connect CCU enables adjustment of colour, gain, pedestal, gamma, chroma, knee, and iris functions on the camera with the turn of a knob.

The Reveal IN-Wall Camera features Vaddio’s Quick-Connect Short Range, CCU or DVI/HDMI technology. The camera’s back box fits into the stud cavity of a wall and there are two options for the camera - either standard glass, or with electrochromatic glass. The electro-chromatic glass turns opaque when the camera is powered off, or through RS-232 command. ControlVIEW XHD is an automated robotic PTZ camera controller with HD, RGBHV and SD video switching, video transitions and camera preset trigger functionality. ControlVIEW XHD is designed to control up to six PTZ cameras (or other video sources) and

assign up to 72 total preset positions. The 6 x 1 switcher accepts analogue SD, HD and RGBHV on all inputs and up/downscales these signals to dual program outputs at either an SD, HD or RGBHV resolution. In addition, the UXHD CrossPoint, a universal analogue video/HD-SDI and SD-SDI video scaler and converter, can convert or scale an analogue video signal to HD/SD-SDI, while also allowing the HD/SD-SDI signal to be converted and/or scaled to an analogue signal. Visit www.vaddio.com

Drylab’s Keyframe Camera Report Norway’s Drylab returned to Amsterdam this year with the focus on Keyframe Camera Report – an iPhone/iPod Touch application for advanced on-set metadata input. Using an extensive preset database for lenses and standard camera report settings, Keyframe Camera Report simplifies the written report notes traditionally associated with paper scripts and fully integrates the resulting data with a digital production workflow. The application is a free download from the Apple Store and can be used as a stand-alone product or users may sign up for a web interface account which will enable them to generate printed reports for different production needs. The account fee varies from US$9.90 (students) to

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US$69.99 (feature film). John Christian Rosenlund, experienced DP and Drylab founding partner, explains: “Only our iPhone app offers full integration with features that are built into the phone as standard, such as GPS, Compass, and Gyro. By making use of the data generated by these features and integrating it into its reporting, Keyframe Camera Report automatically gives you information such as the vertical level of the camera, global position, and the universal time.” All data is transmitted to the iPhone using secure, SSL-encrypted connections, and Keyframe Camera Report syncs seamlessly to other Keyframe products such as Rushes Control, as well as to its own web interface. Visit www.drylab.no

<< << The Drylab Keyframe Camera Report iPhone App.

Acquistion 31

News Operations

news OPERATIONS

Viocorp on the Case with liveBox 3G Streaming Online video

specialist Viocorp has combined its Webcasting expertise with super fast 3G mobile technology to launch liveBOX, a mobile broadcasting service designed to extend the reach of live events by transmitting from even the most remote locations over the internet. According to Viocorp CEO Ian Gardiner, liveBox is the logical extension of the company’s webcasting business, including the company’s Viostream content management system. “What we’ve been doing for the last eight years as a business is a lot of live webcasting, and we do it pretty well,” says Gardiner. “We know all the challenges that are associated with it so you’ve got people, equipment, venue and just the challenges of the Australian internet. “So, this is an extension to it. And it’s kind of an architectural change at the back end as well as just messaging change in terms of how easy it is.” Based in the Sydney harbour-side suburb of Pyrmont, Viocorp recently expanded its staff numbers to around 75 staff following a large Malaysian contract to deliver “catch-up TV”. “That’s certainly helped us,” said Gardiner. “As one of the senior guys there said to us, ‘you’ve now got a formula one race team that’s going to help your Holden factory’. Now, whether or not that’s accurate, I think it was a nice analogy because we do have core R&D being paid for by customers. And that’s actually allowed us the money and the resources to be able to invest in products like LiveBox.” The liveBox service uses technology from Canadian company Dejero. Transmitting video from the field, the Dejero LIVE Mobile Transmitter is equipped with a number of 3G SIM cards. It scans available connections with a target bit rate for its MPEG-4 H.264 encoder based, on available bandwidth. In a news-gathering environment, the unit typically uses 2Mb/s to deliver live SD with less than one second of talk-back latency for live interview capability. The Dejero technology automatically offloads to meet the carrier bandwidth requirement of video output from a single channel. It splits the data stream across multiple carriers - any one of which can dynamically adjust based on the carrier bandwidth. The Dejero Server receives input from up to four Mobile Units and reconstructs the incoming wireless data to deliver genlocked video output. According to Dave Elsmore, MD of Techtel, Dejero’s Australian distributor, companies like Viocorp will productise the technology for the local market while Techtel will provide support. “In this case, Dejero will work closely with Viocorp

32 News Operations

<< << << Viocorp

CEO Ian Gardiner – “liveBox is a satellite truck in a pelican case”.

because they have special software for events, but we are the Australian distributor for Dejero and our team of guys there just will support products as it moves out into that blanket environment. “Just as in the old broadcast world, manufacturers of cameras and switchers would have product going out to rental houses, and the rental house was productise them and ship them out to the market as their product.”

For Ian Gardiner, enlisting the Dejero platform has not only reduced the complexity of on-location webcasting and the risks associated with transporting racks of expensive encoders, it bypasses the limitations of inconsistent connections. “What we had in the past was expensive and challenging encoding infrastructure. We’ve been using $30,000 Spinnaker servers and shipping them around the country. You need a coal-fired talented

The Mary MacKillop Canonisation - A “Live Cross” for liveBOX Viocorp’s liveBOX system enjoyed a “heavenly” debut during the recent elevation of Australia’s Mother Mary MacKillop to Sainthood by Pope Benedict XVI. Viocorp’s involvement came as a result of its webcasting of the Catholic Church’s World Youth Day event in Sydney during 2008. According to Nick Bolton, General Manager of Viocorp’s Melbourne operations, “Often you think niche means small. Well, there are a billion Catholic people in the Church around the world, and churches these days are very well set up with PAs and internet access. One of the things we learned with the World Youth Day is that they stream live into these churches around the world, so people can congregate and watch together. It’s a nice balance of physical and online audiences. “With the Mary MacKillop Canonisation, we were covering what was happening in the main square with the Pope doing the blessing and everything, but what the Church also wanted to do was to put its studio on top of the Vatican, in the open air, with a priest interviewing some key people and also doing a running commentary as to what was happening. Now as you can

The Dejero LIVE Mobile Transmitter.

technician to be with them. But, the key challenge that has always been there has been the venue’s internet connection. “That’s fine when the only thing that you’ve been running over is a 300 kilobit flash stream because that’s the only thing that you’re pushing. What we’re getting to, or the customer’s wanting, is adaptive high definition streaming from multiple devices. All venues internet connections are kind of average, variable. You don’t know who else is on the connection. And, that really was the challenge for us.” At Viocorp’s launch of liveBox, a live stream was “broadcast” from Sydney’s Royal Botanic Gardens to a function room in the neighbouring Sydney Opera House. According to Gardiner, the system will “steamroll” the audio through the connection and if the video signal is stuttering, it will adjust it. “The other problem we’ve always had with the single stream and modern dynamic is if the network at the venue reduces, you will get buffering. Now buffering, you know, when it stalls and it’s frozen is not a good outcome. What you want is that steamroller effect where you will always get something through.

And the audio’s the last thing to drop out. “liveBox is a satellite truck in a pelican case. It’s got four 3G modems inside it. It takes the HD signal from the venue and it could be any signal, so it can be from a mixing desk or a single camera. It codes it and it will take all available IP connectivity to get a single image onto the web. That is the public internet but it’s not necessarily running through the venue’s connection. That single stream comes back. Because all the packets arrive at different times, we have to reassemble the various signals. “We then hand off that to our transcoding infrastructure. This will be in a data centre. Right now it’s running out Viocorp head office but we’ve got 20 megabit synchronous link in the roof so we can run multiple bit rates to multiple different devices from the office from any location. “We don’t really care what the device is, connected TVs, iPads, phones, computers, I mean they’re all outputs for us. We sit in the middle.” The liveBox service has already found traction with Viocorp’s existing clients, including Media Monitors and Staging Connections. Media Monitors is a content aggregation service that covers print and electronic media in the interests of a variety of clients. According to John Croll, CEO, Media Monitors, “We go to many, many media conferences. We don’t ask questions, we’re just there to capture it. But we get about an hour’s notice on a lot of those conferences to go, so we need something mobile. So LiveBox ticks the box for us from that point of view that we can send one person out from our office with the LiveBox and be able to get there. “Second problem that we had at media conferences, we have no idea about the bandwidth that we’re going to get, so something that aggregates

the bandwidth and uses all the available bandwidth for us takes out a lot of that stress for our people when they go to a media conference. “The third part of it is often we’re in that media cycle to get it back to the media or get it back to a Minister’s office or a client’s office to see that they’re on message, that the communication strategy is happening. “So, for us, that time that we can get it back to our client and let them see that information as it goes to air, the way that LiveBox can do that for us and take a lot of stress and strain out of how we can aggregate the content, get it relevant and accessible to people is a really good case. So, we’re very interested in it.” Meanwhile, event company Staging Connections has a presence in around 85 up-market hotels across Australia. According to General Manager, Peter Absom, “A big problem that we have is that with a lot of the hotels that we go into, the Internet connectivity is not ideal, depending upon the room that we’re operating the event from. What this brings for us is that mobility. It allows us to hold events external to those venues but connected with those venues. And, for us as an events business, it enables us to really start to offer different solutions to our customers that are not just barred by Internet connectivity within a hard line through an actual venue. “For the first time, we can easily create a broadcast audience for an event that may have previously been restricted to a small or niche audience,” said “This opens up a whole new base of customers who may traditionally not be attracted to conducting live events because they won’t attract a significant enough audience – liveBOX allows for a similar brand experience for those that can’t be at the event in person.” liveBOX will be made available on a license and on demand fee basis from late 2010. Visit www.viocorp.com

Masstech, Avid Make News in Manila imagine, the Vatican has a few guidelines as to wiring and things like that. And the live streaming was always done with a dedicated, fixed connection. So, we used the LiveBox at the Vatican, on top of the Vatican. “It was fantastic because the stream went to an interface that we designed for the Catholic Church that was beamed into churches around the world, but also individuals could log on. “I really enjoyed looking at the social aspect. We had the video with the chat and the Twitter comments next to it, and it’s lovely seeing these comments from all around the world talking about what this event meant.”

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Masstech, the provider of media asset management solutions has joined forces with Avid to embark on a project with Philippines’ TV5 to build a newsroom facility that will significantly enhance digital workflows for the Filipino broadcaster. “We see massive growth potential in scalable content management solutions for newsrooms, as broadcasters continue to invest in infrastructure to automate their production processes. Masstech has established a strong reputation for providing cost-effective digital archiving to broadcasters such as TV3 in New Zealand and more recently, ABS-CBN in Manila,” said Brad Redwood, Vice President International, Masstech Group. “Winning this contract with TV5 reinforces our unique capabilities in media asset management and we are pleased to collaborate with Avid to provide TV5 with a fully integrated solution that will support their transition to a state of the art digital newsroom.” The comprehensive broadcast solution incorporates Masstech’s Topaz for media asset management (MAM), Avid iNews and Interplay Production asset management solution, Spectra T950 library and LTO5 library. At the core of the new facility is Topaz which will interface with both Avid’s Interplay Production system and iNews Newsroom Computer Systems (NRCS) via Media Object Server Communications (MOS) protocol, enabling newsroom staff to search, browse, identify, and quickly access news content for production purposes. Masstech’s archiving systems are the industry’s first and only solution on the market that will support MOS protocol by fully integrating Avid’s cutting edge iNews system and NewsCutter editing systems with MAM and workflow automation. After ingest, media clips are archived from within Avid NewsCutter and Interplay Assist module so journalists can search and then preview stories by browsing a low-resolution proxy. Once the appropriate media files are located, users select the desired clip or just sections of them using the Topaz XT-Edit partial restore, hence calling back only footage that is required rather than the whole file. Visit www.masstech.com and www.avid.com

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News Operations 33

News Operations

Sportscasting

Oz to Re-plan 2.5GHz Spectrum The Australian Communications and Media Authority has decided to re-plan part of the 2.5 GHz band to facilitate new uses such as wireless access services (WAS), while retaining parts of the band used by current licensees for electronic news gathering (ENG). A range of other bands will be made available to maintain ENG service delivery equivalence to that currently provided. “This decision provides long-term certainty for the current incumbent licensees in the 2.5 GHz band, while nonetheless opening up the band for wireless access services and aligning Australia with international standards,” said ACMA Chairman, Chris Chapman. “The retention of the mid-band gap for ENG-use is a world-first initiative— and, in combination with access to alternate bands, should ensure the continued provision of important news services to all Australians.” The outcome is consistent with the preferred approach put forward in the ACMA’s discussion paper Review of the 2.5 GHz (2500-2690 MHz) band and long-term arrangements for ENG, released on 12 January 2010. The ACMA received 42 submissions to the discussion paper. In its Response to Submissions paper, the

ACMA says it recognises that implementing new arrangements in the 2.5 GHz band and providing long-term certainty for ENG services will affect a range of very important sectors in the Australian economy. Those sectors include television broadcasters – free-to-air and subscription – and the telecommunications and space industries, as well as the Department of Defence. “The ACMA’s decision is the culmination of a number of consultation processes conducted over the last five years. The ACMA considers its decision represents a balanced approach which attempts to meaningfully address the competing concerns of affected parties,” Mr Chapman said. Mr Chapman said there were still a number of important issues to be resolved, ranging from developing sharing arrangements in the other bands through to the timing of a pricebased allocation for parts of the 2.5 GHz band. ENG operators would not be able to relocate from the 2.5 GHz band until suitable arrangements had been made in the other bands. “We are very appreciative of and informed by the contributions provided to us to date and we hope that stakeholders will continue to engage constructively with us throughout the

implementation phase,” Mr Chapman said, adding that the complexity of the issues to be resolved, particularly in the development of appropriate arrangements in bands other than 2.5 GHz, meant the implementation phase is expected to continue over several years. The ACMA says it will use a variety of forums to consult with interested stakeholders in developing these arrangements. The ACMA will establish industry working groups for the development of technical frameworks for new licences in the 2.5 GHz band, schedule spectrum tune-ups and continue discussions with stakeholders on 2.5 GHz processes. A number of stakeholders who are likely to be affected by the changing arrangements have already indicated in their submissions to the discussion paper that they are willing to participate in these processes. “The ACMA is committed to engaging openly and consultatively with its stakeholders,” Mr Chapman said. “If affected parties work constructively with us, then we will more readily be able to develop appropriate arrangements that balance competing needs.” Visit www.acma.gov.au

TV3 Ignites NZ News with Grass Valley Looking to reduce costs and streamline its operations, Mediaworks’ TV3, based in New Zealand, has become the first television network in the country to migrate its studios and future news broadcasts to a Grass Valley Ignite HD scalable automated production system. This brings the number of Ignite systems to 22 in 16 locations within the Australia/New Zealand region. The comprehensive file-based system is tightly integrated with TV3’s ENPS newsroom system and successfully went on air in mid September. The system provides the TV3 staff a high degree of production control and efficiency while significantly improving the news and current affairs channel’s on-air look. The terrestrial TV network operates a busy news department, which will make daily use of the Ignite HD system, to produce more than nine hours of original news programming per week. The Ignite system is designed for live production automation applications, where a single operator can run an entire multi-camera production. More than 100 systems have been sold worldwide to date. TV3 staff currently use several Grass Valley Edius workstations and numerous Grass Valley K2 media servers to handle all SD and HD program playout, in addition to Avid

34 News Operations

>> >> Grass Valley Ignite production system AirSpeed servers running under Ignite control. “As we have seen in North America and elsewhere, the Grass Valley Ignite HD system is helping more broadcasters around the world make their operations more efficient and get more value out of their existing resources,” said Jeff Rosica, Senior Vice President of Grass Valley. Mediaworks’ TV3 is just the latest in an ever growing list of broadcasters who have incorporated the Ignite system into their facility to take advantage of the workflow and financial benefits it brings.” The Grass Valley Ignite HD system can be ordered

with one to four M/Es, up to 32 control ports, and is completely scalable from 24 to 96 video inputs and 24 to 96 audio inputs. The control room system offers an integrated Grass Valley Kayak HD video switcher, audio mixer, that simplifies production and allows a single operator to run an entire newscast. An optional video panel is available for those broadcasters who want to employ a manually operated system. As well, customers with an existing Kalypso or Kayenne Video Production Centre can also add production automation with Ignite Konnect. Visit www.grassvalley.com

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SPORTSCASTING

Gearhouse Broadcast Acquires OSB Australia Gearhouse Broadcast, the international provider of live outside broadcast services, has acquired the trade and assets of On Site Broadcasting Pty Limited (OSB) and Broadcast Rentals Pty Limited, both part of the Prime Media Group Ltd group of companies. According to a Gearhouse statement, “The combined entity will serve some of the largest broadcasters and leading production companies in Australia – all of whom will benefit from GHB bringing three new High Definition OB trucks into the fleet alongside substantial investment in the latest supporting technology including 3D and tapeless workflow. “Such investment will enable the enlarged company to offer one of the largest and most modern fleets in the country with individual facilities to suit everything from the largest production requirements to

<< <<

Graham Elliot, CEO of the expanded Gearhouse Broadcast group.

smaller scale economy focused solutions.” Graham Elliot, newly appointed CEO of the enlarged group, said, “The combination of the two highly regarded teams at GHB and OSB together

with a substantial investment program will enable the enlarged business to offer unrivalled expertise and technology solutions to our customers.” GHB is owned by Gravity Media Group, a global provider of facilities to the outside broadcast industry, headquartered in the UK. GHB provides facilities and crew for a diverse range of Australian productions including the Australian Open Tennis, the Melbourne Cup, AFL, Drag Racing, Music concerts, Red Bull Air Racing, Top Gear, and a host of reality programs. OSB, formerly a wholly owned business of Prime, provides outside broadcast services primarily to Fox Sports for the A League and the Super 15 competitions as well as studio facilities. Highly respected Companies such as Broadcast Rentals and Zero 1 Zero were acquired by OSB throughout their growth period. Visit http://www.gearhousebroadcast.com.au

London Olympic Spectrum Update UK regulator Ofcom has published an updated spectrum plan for wireless communications at the London 2012 Games. Ofcom says the spectrum plan will evolve over time as new information emerges on demand and supply. A final version of the plan will be published early in 2012. Later this year there will be a statement summarising the responses to its consultation on reserving the 2500-2690 MHz band (the 2.6 GHz band) for the London Games. Most of the spectrum bands identified in the Statement continue to be available; and access to some additional bands has been secured or will be secured soon. In the 2.6 GHz band, Ofcom originally expected this band to be awarded and brought into use for new purposes within the timescale of the London 2012 Games, and so the opportunity cost of reserving it for the Games would have been high. Since then, the timing of the award changed and Ofcom consulted on the proposal to reserve the band for wireless camera use at the Games. Most responses favoured the proposal, but significant points were raised and Ofcom did not have enough information to decide to reserve the 2.6 GHz band for Games. Ofcom is also looking at the impact of wireless camera use for the Games (including airborne camera use) of the 2.6 GHz band on radars operating in the 2700-2900 MHz band. Meanwhile, the 1980-2010/2170-2200 MHz bands are allocated to the mobile satellite service for Earth-to-space and space-to-Earth service links; they

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are not used for programme making. However, they are located within a frequency range well suited for applications such as wireless cameras, and Ofcom is of the view that spectrum from within them could provide useful additional capacity for wireless cameras and other technologies. Ofcom is seeking agreements with commercial organisations for access to spectrum within these bands during the Games. Since the publication of Ofcom’s 2009 Statement, the most significant change has taken place around the spectrum bands that will or may be available for wireless cameras. In particular, the Ministry of Defence (MOD), the Civil Aviation Authority (CAA) and the Maritime and Coastguard Agency (MCA) have been able to agree arrangements for access to spectrum in the range 2700-3100 MHz and

3400-3600 MHz. Ofcom has also consulted on reservation of the 2.6 GHz band. In the area of Private Mobile Radio, Talkback and Telemetry, Ofcom says most of the demand for private mobile radio (PMR) will be met by the network being built for the London Organising Committee of the Olympic Games and Paralympic Games Ltd (LOCOG) or the Emergency and Public Safety Services (E&PSS) network operated by Airwave Solutions Ltd. Demand outside these networks will be met from spectrum in the normal bands for PMR, talkback and Telemetry. For wireless microphones and in-ear monitors, Ofcom says that most wireless microphones will only operate in UHF Bands IV and V (470-862 MHz, channels 21 to 69). The cleared spectrum available as a result of Digital Switch Over (DSO) to Digital Terrestrial Television (DTT), including the 800 MHz band, lies in this range and will be available for the London 2012 Games. For Satellite News Gathering, Ofcom has also set out proposals to make additional spectrum available for Transportable Earth Station (TES) satellite uplinks. Ofcom has also identified locations like Weymouth, Portland and the Thames and Thames Estuary as complex, because the radio environments at these locations are a complex mix of land, air and sea. A venue-specific plan for Eton Dorney is also being considered as it is the second largest transport hub within the London area. The complete update can be downloaded from http://stakeholders.ofcom.org.uk/consultations/ london2012/london2012-spectrum-plan-update/

Sportscasting 35

Sportscasting

SIS – Going Live in Delhi

EVS Tapeless Hub at Delhi Games

By Phil Sandberg

The 2010 Commonwealth Games saw EVS technology involved at all stages of the live coverage and multilateral/unilateral production procedures, which included more than 120 HD XT[2] servers representing 720 HD channels. EVS XT[2] servers equipped with the LSM remote controllers handled all of the venues’ live replay and highlight operations. EVS also provided a centralized media server at the International Broadcast Center for full HD multiple feed ingest and media exchange. The online media storage and exchange solution was based on an XT[2] network infrastructure and content management software such as IPDirector. The system was optimized for the recording of 25 live feeds from the venues, which added up to 1300 hours of online content at the end of the competition. The host broadcaster’s production and post-production teams were offered instant access to the content in both high and low resolution. The EVS IPDirector’s advanced logging system allowed all content ingested to be immediately indexed and referenced in a central

While the 2010 Delhi Commonwealth Games experienced more than its fair share of logistical problems, the same could not be said of the broadcast coverage with Australia’s Global TV supplying the infrastructure for the International Broadcast Centre (see last issue) and the UK’s SIS Live providing venue infrastructure and production expertise. A provider of host broadcast and outside broadcast facilities, 3D outside broadcast, satellite uplinks and satellite internet services, SIS Live operates one of the largest fleet of outside broadcast and satellite uplink trucks in Europe. According to Commercial Director Phil Aspden, the company had around 1300 Games time crew onsite and 350 cameras to cover the 17 different sports and athletes from the 71 Commonwealth countries participating. SIS Live personnel, including the company’s head of production, deputy head of production, heads of engineering and project directors, spent 12 months preparation time in Delhi working with local company Zoom Communications to manage the production aspects of the program and secure the huge volumes of equipment needed. As well as having to set up in venues that were still being constructed, SIS had to contend with Delhi’s steamy climate. “It’s not the easiest place to work for lots of reasons,” says Aspden. “Very high temperatures, 45 degrees are fairly usual so that’s a quite challenging environment to work in physically.”

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Phil Aspden, Commercial Director, SIS Live.

The company employed a wide variety of cameras from Sony, Ikegami and Grass Valley, depending on sport and venue. In addition, specialist cameras, some of which were built in-house, such as aquatics cameras with Plunge-cam underwater technology were used with some being hired in from third parties. As well as the 350 cameras, the company had to source around 120 EVS units and establish 17 flyaway operations – one for each sport. “Some sports have multiple fields of play so there’s more equipment. We had to source equipment not only from our own stores in the UK but from pretty much all the major suppliers of broadcast equipment in Singapore and Delhi and Europe.” Central control areas were built in most of the venues, depending on how complex the venues were. SIS provided broadcast venue managers for each of the venues, and technical managers for each venue to oversee the technical integrity of the services. Coverage was sent from the various venues back to the International Broadcast Centre via a local telco facilitator.

Delhi 2010 marked the first time the Commonwealth Games had been covered in high definition, something local host broadcaster Doodarshan was keen to capitalise on. According to Aspden, the Indian state broadcaster was “very keen” to make sure that all the equipment deployed at the venues and elsewhere throughout the Games was state of the art HD equipment. It was also important to demonstrate that India was able and willing to compete in terms of quality of coverage with the rest of the world, particularly after such a successful Olympics in China. To aid in this quest, SIS Live brought in production and engineering teams from around the world who were considered top of their field to enable a transfer of knowledge to their local counterparts. These teams included Australian aquatics specialist Greg Clark, as well as teams from Canada, Sky New Zealand, and the BBC. “We tried to make sure there’s some legacy in terms of transfer of skills,” says Aspden. “So, we have over the last year again been running courses for the local guys. “It was the biggest project which we’ve taken on, for sure. It’s actually the largest multisport event that India has ever undertaken and either second or third in the world I would guess in terms of the general size of complexity. So, the planning and logistics aspects to it have been major challenges.” Visit http://www.sislive.tv/

Scala, ITM Deliver Delhi Games to Outdoor Screens

Barix Audio Over IP Supports Delhi Games

Tourists and residents enjoyed a visual treat during the Commonwealth Games 2010 in Delhi, India. In partnership with Doordarshan, India’s public television broadcaster, and with technological support of Scala India, International Technomedia (ITM) presented live broadcasts of the Games on large format outdoor video screens installed in key commercial spots in Delhi. This marked the first time that live telecasting of the Games was outside of the sports stadiums, enabling the general to view the event. ITM’s outdoor Delhi network is the largest one-city-network in the Asia-Pacific region. The content on the ITM LED screens was powered by Scala. In an effort to enhance the viewing experience, Scala India was asked to set up a live broadcast of the opening ceremony of the event on several of ITM’s outdoor screens that are normally used for advertising. In a short time frame, Scala India was able to get the live feed running on the screens. In a joint effort, ITM and Scala India drove content to the screens using the services of a data centre that was located hundreds of kilometres away. The content consisted of a continuous live broadcast of the Games combined with various advertisement spots that were shown in a 10-minute sequence alongside the broadcast. Visit http://www.scala.com.

Barix AG, a developer of IP-based audio, intercom, control, and monitoring, says that more than 1000 of its Barix Audio over IP devices were used for contribution, distribution and monitoring of live broadcast audio for the 2010 Commonwealth Games in Delhi, India. Public broadcaster Prasat Bharathi (which operates Doodarshan TV and All India Radio) produced the official “International Signal” live from 12 competition venues. Prasat Bharathi contracted Mahanahar Telephone Nigam Limited (MTNL), a telecom service provider and the largest provider of broadband services in Delhi, to install and operate a redundant fibre network from all 12 venues to the International Broadcast Centre (IBC), transporting IP audio over MPLS. The IBC managed and delivered more than 40 contribution and 250 coordination feeds to and from the venues, and served as the origination point for broadcast signals delivered globally to rights holders. Barix Exstreamer 1000 professional IP encoding/decoding devices were the core audio transport solutions, with special firmware from Barix to deliver low-latency audio (between 20-30 milliseconds of delay). Redundant pairs of Exstreamer 1000 devices contributed live sports commentary and broadcast-quality event audio from each venue to the IBC. MTNL, using Barix IP audio and CISCO network components, established an IP network that exceeded the performance levels of traditional telephone links, and met the signal quality requirements of all broadcast partners. Barix IP devices additionally provided SNMP traps that allowed personnel to monitor the links from the MTNL network center at the company’s operational headquarters. Visit http://www.barix.com

36 Sportscasting

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database, for quick and easy browsing and search. Once the production and post-production operators had identified the required sequence, all they had to do was to transfer the file to their Edit Suite to prepare the daily highlights. Three EVS Xedio CleanEdit editing software suites were also integrated into the host broadcaster’s setup, enabling the generation of 2 times 52 minutes

highlight packages per day and Game News updates. The EVS editing system’s flexibility and ease-of-use and its ability to run in a nearlive environment made it the most efficient solution for the host broadcaster’s production teams. All programs and best sequences (highlight packages) were backed up on XF[2] digital hard drive disks optimized for easy reload, with access to content facilitated by logs linked to the media. Combined with EVS tape library management system (TLMS), the solution allowed the host broadcaster to maintain a daily recording database as well as to handle archiving and disk or tape status backup via a centralized management system. The system was also used to manage disk and tape barcodes and labels. In addition, EVS provided all the main rights holder broadcasters, among them BBC, Foxtel, Channel TEN and Sky New Zealand, with equipment for their unilateral production operations including live replay, browsing, highlight editing and playout. Visit www.evs.tv

Fox Sports Kicks Off Live Captioning Australia’s Fox Sports channels have confirmed that from October 1, 2010, a live captioning service will be available to all subscribers across a selection of live Australian sport telecasts. For the first time on Australian subscription television, Fox Sports 1HD/1, Fox Sports 2HD/2 and Fox Sports 3HD/3 will offer captioning for a range of live locally produced broadcasts of Australian sporting competitions including

NRL, AFL, Hyundai A-League, Super Rugby, the National One-Day Cup and KFC Twenty20 Big Bash, as well as its most popular magazine shows such as NRL on Fox and The Rugby Club. Fox Sports chief executive, Mr David Malone, said “I am pleased to announce that from October 1, Fox Sports will provide live captioning across a wide-encompassing range of our most popular live local sports telecasts and magazine shows.

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Sportscasting 37

RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September

Sportscasting

GlobeCast on Track at Bathurst Car Races GlobeCast Australia has delivered a record breaking coverage of the prestigious motor racing weekend at Bathurst. It deployed DSNG vehicles, satellite and fibre connectivity, and its miniature camera unit, GlobeCam, to deliver the Bathurst V8 Supercars TV coverage worldwide. GlobeCam rigged and operated a record 119 miniature cameras for the various races over the weekend, with a record 72 cameras actually on board with the drivers for the big race alone, the Super Cheap Auto 1000. GlobeCam also provided links around the track and in the pits including miniature cameras for a Two Way Speed Cam and a Poke Cam to see under the cars in pit lane; along with links to deliver for Outside Broadcast cameras including a Crowd Cam and a Roving Cam. GlobeCam Manager Gerry Justus said the team was thrilled with the success of the coverage in 2010. “The innovations included pans and tilts and a rail cam developed by our guys for a tracking shot in

the car. We aimed to once again exceed audience expectations and deliver a flawless bird’s eye view coverage for our Client V8 Supercars Television. It was the biggest and easily the most successful Bathurst in all the years that I have been involved.” This year, a record thirteen cars were fitted with GlobeCam technology for the six hour main race

which was won by Team Vodafone’s Craig Lowndes and Mark Skaife; and a further 12 cars featured the miniature coverage across the weekend. One of the GlobeCam rigs was in Fabian Coulthard’s car, which crashed spectacularly during the first lap of the 1000 kilometre event. Coulthard was unhurt. “We lost one of our tail light cameras only. Everything else in the car is fine, as evidenced by the ability to take a shot of the camera panning around the cabin in the minutes after the crash,” Mr Justus said. Global takers of the Seven Network coverage via GlobeCast Australia’s leases on Optus D2 and AsiaSat 5, included TV3 New Zealand, and IMG for global distribution to Europe and the USA. The GlobeCast Australia crews followed Bathurst with V8 Suprecars in Surfers Paradise. The GlobeCam team is also once again contracted to Macau for the Formula 3 and World Touring Car Championships and Super Bikes racing in November. Visit www.globecast.com.au

Premier Media Group Delivers with Signiant Signiant, Inc. has supplied and installed a content supply chain management solution for Australian sports producer and broadcaster, Premier Media Group (PMG). The Signiant solution is designed to replace existing tape-based workflows, streamlining the acquisition and management of file-based content across all of PMG’s channels. The solution will have tight integration with PMG’s existing non-linear production workflow. PMG, part-owned by News Limited in Australia, compiles and produces Fox Sports News and the Fox Sports channels, broadcasting an average of 20 hours of live sport per day. PMG also produces Fuel TV and the How To Channel in addition to creating content for mobile and web. While the majority of PMG’s content is live, or replay of live, it receives roughly 4000 hours per year on magnetic media from providers around the world. In addition, PMG is often required to provide content to rights holders or sporting bodies, so it also sought a solution for its own content delivery that would eliminate a number of unsustainable FTP-style solutions. The technology team began investigating a cost-

effective, simple and scalable solution that would greatly reduce the amount of magnetic media, provide a peer-to-peer delivery solution, and preferably work on one platform to simplify management and future development. After considering various providers – both optimised broadcast media solutions and more generic file or content delivery solutions – PMG selected Signiant as its preferred provider. Tony Scanlan, Chief Technology Officer, PMG, said, “The benefits that Signiant offered made the choice pretty easy. Firstly the solution will vastly reduce the amount of content delivered via tape, thus saving us significant time and money by reducing manual processing, and streamlining the entire process. It will also provide a homogenous platform for all inbound and outbound electronic content transactions.” Fox is already a Signiant customer worldwide and, while this was not the deciding factor in PMG’s choice, it was certainly a consideration. “We receive a diverse amount of content from various sources across the globe so we had to think of the bigger picture, but with the Signiant solution

we will be able to deploy peer-to-peer content networking within the Fox, Sky and the wider News family in addition to easily exchanging content with other key Signiant partners,” said Scanlan. PMG will deploy Media Agents at larger content providers to allow agent-based collection and automated workflow processing – integrating content collection with smart workflows to include automated QC. Smaller content providers will be serviced using the Media Exchange web-based application. The Signiant solution will be deployed across both PMG’s sport and general programming, and will also be used as a wider business solution covering not only production but also promos and marketing. Nick Hardcastle, Managing Director, Asia Pacific, Signiant, said, “We have worked hard to create a workflow that fits PMG’s vision for a new tapeless environment, and are delighted with the results. For an organization of PMG’s stature to choose Signiant to streamline its content processes further underlines our status as industry leaders in this field.” Visit www.signiant.com

Talking Technical Presented and attended by the most influential professionals in the electronic media, broadcasting and entertainment industry, the IBC Conference is the place to unveil the latest in engineering innovation and technological thinking. The Technical Papers Sessions at IBC are world-renowned for their up-to-the-minute reports and presentations and allow industry experts to explore and debate the latest developments and cutting-edge thinking in technologies and their applications. The IBC Technical Papers are an excellent opportunity to put your technology, strategic thoughts and company on the global technology map – and help contribute to a successful 2011 Conference.

To find out more information about the IBC Technical Papers and how to submit your synopsis by February 2011, visit:

www.ibc.org/callforpapers

ABU Forms Sports Rights Committee The unbundling of broadcast rights by leading sports federations and the complexity of negotiations has led the Asia-Pacific Broadcasting Union to form a committee which will specialise in examining future deals. ABU Director of Sport, John Barton, said it would also allow the ABU to ensure that they were getting the best possible outcomes; price and media assets. The Sports Rights Committee would comprise the ABU Secretary-General,

38 Sportscasting

ABU Sports Group Chairman, and three nominated members with experience in assessing broadcast media assets. “Property owners now offer a variety of rights to their events covering, free-to-air, pay/cable, terrestrial and satellite, new media, internet and mobile exhibition to name the most important,” Mr Barton said. He said the committee would ensure that the price which was finally agreed by the ABU would have the full support of those members who would

ultimately form the pools, and those who do not will have involvement in the decision making process.“As you know from previous years getting members to make iron clad commitments and guarantees is a tortuous process. We have that by putting in place an oversight body for rights negotiations we will be able to move more quickly to concluding deals,” he concluded. Visit www.abu.org.my

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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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www.ibc.org

C A S E S T U D Y - A D V E R T I S I N G F E AT U R E

NBC Streamlines Vancouver Olympics New Media Operations With Omneon Media Storage, Processing, and Distribution Platform NBC Background Seeking to maximize U.S. viewership of the 2010 Vancouver Games, NBC complemented its traditional broadcasts on five networks with a vast array of media delivered to a bouquet of secondary outlets including the NBCOlympics.com Web site, IPTV, video-ondemand services, and Web streaming portals, among others. In order to monetize these secondary markets more efficiently — and to help offset the cost of broadcasting the Winter Games — NBC sought to implement a simpler, more streamlined “capture once, publish many” approach to creating content for new media outlets.

The Challenge To monetize secondary markets effectively, NBC took on the fundamental challenge of expanding its production operations to provide content to multiple new media outlets without incurring a corresponding per-outlet increase in both production processes and costs. This approach required that NBC eliminate the replication and operation of new media production in parallel to the traditional broadcast workflow. Rather, the network required a proven solution for tapeless capture and live and near-live production that could integrate with a high-capacity media storage and processing platform to support the straightforward republication of the network’s primary content for secondary markets with the least amount of work.

S O L U T I O N S AT A G L A N C E An integrated storage, processing, and high-speed content distribution platform from Omneon joined up with EVS production servers and Avid® edit systems to form the foundation for a single filebased workflow that supported NBC’s HD broadcast of the 2010 Vancouver Games. In doing so, the platform also enabled a highly efficient “capture once, publish many” model that streamlined the repurposing and delivery of content to various new media outlets.

Find More Online www.omneon.com

40 Case Study

Key considerations for this system were the quality of the production solution, the capacity and interoperability of the media storage and processing platform, file-format compatibility across the workflow, the efficiency of media processing and transfers across NBC sites in Vancouver and New York City, and ease of media accessibility for those producers and editors working with stored content.

The Solution NBC’s proprietary OTTO workflow management engine oversaw operation of the Vancouver Highlights Factory from end to end — across NBC sites in both Vancouver and New York City. On the front end of the workflow, OTTO connected into the EVS IPDirector database supporting EVS XT[2] production servers and the EVS IPDirector suite, including the IPEdit on-the-fly editing solution, comprising the Vancouver edit pool. Live HD feeds were recorded natively as Avid DNxHD files to the six-channel EVS XT[2] production servers used for HD live and near-live ingest, production and playout. Also linked via the IPDirector database, a ScheduALL system managing competition schedules fed data to a Cyradis real-time device control system triggering clip creation on the EVS systems. The EVS XT[2] servers combined with EVS’ XTAccess gateway software and watch folder solution to enable file exchanges with a 144-TB Omneon MediaGrid active storage system, which in turn made stored HD media available both to the EVS edit pool and to an Avid edit environment via an Interplay workgroup. The Omneon MediaGrid leveraged Omneon ProXchange to transcode edited content for rapid delivery via the Omneon ProCast CDN content distribution system to NBC’s “30 Rock” facility in New York, where a second Omneon MediaGrid system provided 36 TB of storage for a smaller but very similarly configured EVS and Avid production environment used for encore clipping. The OTTO workflow engine connected with the Omneon MediaGrid, EVS IPDirector database, and MICAH transcode and publishing system in New York to manage the tail end of the workflow and ensure delivery of finished segments from Vancouver and New York to NBC Olympics’ new media outlets.

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The Workflow

EVS & Omneon MediaGrid Integration

During the Winter Games, 33 incoming live feeds from the host broadcaster and from NBC networks (NBC, MSNBC, CNBC, and USA) were recorded with 18 EVS XT[2] production servers using the Avid DNxHD codec at 100 Mbps. This content was immediately and automatically copied to the Omneon MediaGrid as self-contained MXF OP1a files via XTAccess gigabit Ethernet gateways. While each EVS XT[2] server stored a day’s worth of competition video, all HD content accumulated over the Winter Games was stored on the Omneon MediaGrid and, in turn, made instantly available both to the EVS edit pool and to the Avid Interplay and Unity systems used to produce highlights packages for broadcast coverage. Because the IPDirector made stored content on the Omneon MediaGrid and EVS systems available through a single view, as if it were all stored on the EVS system, live production staff had the option of pulling content or prepackaged pieces from earlier days and integrating them into the on-air broadcast. As live content was recorded to EVS servers, one Highlights Factory production team used IPDirector systems to screen video, tag notable clips with rich metadata, and build simple cuts-only packages from high-resolution content while another edit team created more complex packages using IPEdit systems. Once these packages were approved by a producer, the clips within the edit list were automatically flattened by the XTAccess system, wrapped as individual MXF OP1a files, and moved onto the Omneon MediaGrid. Newly edited pieces created on Avid systems likewise were stored to the Omneon MediaGrid, where they became available to the EVS edit pool.

1 EVS ingest clip selected on IP Director 2 EVS XT Access transfer to MediaGrid

Omneon ProXchange leveraged the grid-based architecture of the Omneon MediaGrid system to transcode finished clips and packages from DNxHD OP1awrapped files into Sony XDCAM HD422-compatible 50-Mbit long GOP files — the house format used by NBC’s New York facility — at faster-than-real-time speeds. This transcode in Vancouver enabled NBC to reduce file sizes by more than half, in turn halving the bandwidth required for the Omneon ProCast CDN to transport the resulting media nearly 3,000 miles over a dedicated AT&T™ OC-12 circuit to 30 Rock’s 36-TB Omneon MediaGrid system.

3 Edit on Avid MediaComposer 4 Browse and edit-in-place on IP Director 5 Optional transcode via ProXchange to XDCAM-HD 6 Remote production

Once stored on the Omneon MediaGrid in New York, files became available to EVS IPDirector edit systems for creation of encore packages, all stored back onto the Omneon MediaGrid system along with files from Vancouver. The OTTO workflow management engine was connected to the New York Omneon MediaGrid to track the progress of clip creation, and also to NBC’s proprietary publishing system, MICAH, which completed the workflow by pulling content off of Omneon MediaGrid and passing it through Rhozet servers for transcoding and delivery to NBCOlympics.com, mobile providers, EST outlets, and the network’s SD and HD VOD services.

The Result The production model deployed by NBC to deliver both its broadcast product and content for new media outlets achieved a high level of efficiency by capitalizing on interoperability among server, edit, and storage systems working with commonly supported file formats. A single file-based infrastructure thus was able to meet a variety of production requirements — the speed and versatility required for live production, as well as the easy media access across the workflow and rapid transfers required for fast production and distribution of highlights and encore packages to secondary markets. In implementing this model, NBC was able to eliminate parallel production chains and duplicate processes, instead using a common environment to complete all of its production activities faster and more cost-effectively. The success of this model, the result of significant collaboration and engineering by NBC, Omneon, EVS, and Avid, demonstrates that any company involved in the production of large complex events — even those that are geographically distributed — now has access to a highperformance file-based workflow that minimizes the resources, on-site personnel, and time required for delivery of media to virtually every outlet.

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Case Study 41

Post Production

post PRODUCTION

Engine Branded ‘Monsters’ Me and My Monsters, a 26 x 30 minute live action children’s entertainment series from Sticky Pictures Pty Ltd, Tiger Aspect Productions Ltd, and The Jim Henson Company Ltd (UK) has been in post-production in Sydney. The series has been commissioned by BBC CBBC in the UK, ZDF (Germany), Network TEN and Nickelodeon Australia. Me and My Monsters tells the story of the Carlson family who have recently relocated from Australia to the UK to discover there are three out of control comedy monsters living in their basement. Engine’s EP Adam Wells said, “Me and My Monsters is very cleverly written with a child adult duality, a bit like the Simpsons. It’s a huge production and when we were invited to pitch on the titles and branding by Justine Flynn, Head of Live Action at Sticky Pictures and Producer of “Me & My Monsters”, you could tell by the size, depth and scope of the project that this one was destined for real success.” Engine’s Senior Designer, Phil Robson, described what led them to win the pitch. Robson said, “We placed a strategic focus on personalities. As The Jim Henson Company (UK) designed the monsters there had clearly been a big investment in the characters and they had real traits for us to work with. There was the interaction with the family, the dramas, the comedy and the pure fun of clever, comic puppets. It was a very interesting pitch to say the least.” According to Sticky Pictures’ Justine Flynn, Engine’s winning pitch was more than just about the creative. She added, “Some of Australia’s best designers and production crew are working on Me and My

Monsters. It has very high production values so we were looking for great creative and also a company who fitted in with the quality and ethos of the show.” Robson and his team chose to illustrate the different personalities of each monster in frozen moments combined with colourful slow motion footage to accentuate the effects. Robson added, “It was a really challenging brief and the fact that there’s such a stellar human cast added to the pressure of making sure the look we created lived up to the producers’ expectations. We concentrated on introducing not only the characters but also the geography and layout of the house. The titles and branding were created to educate the viewers

about the show with a sense of chaos and fun – all in 60 seconds.” Sticky Pictures Executive Producer Donna Andrews said, “We loved Engine’s pitch and how cleverly they represented the show and the monsters’ characters. Phil Robson and his team really showed their creative talent uniquely incorporating the monsters’ fur in their 3D designs. With the show being a co-production there was a comprehensive approvals process and many priorities and requirements that had to be fulfilled on behalf of all the parties involved. I’m delighted to say Engine handled all of this with the upmost professionalism and it really was a case of a job very well done.” For the final titles and graphics the Engine team shot the live action elements and inanimate personality elements on set at Fox Studios. The 2D elements and 3D elements – created by Engine Head of 3D Nick Kaloterakis and his team - were then prepared for integration in Flame by Lead Compositor Kent Smith and editing was done by David Duncumbe in Final Cut Pro. Adam Wells concluded, “The Me and My Monsters titles and branding were some of the most challenging and fun Engine have ever worked on. I’m delighted to say they were so well received and we’re now all looking forward to the finished series going to air.” Me and My Monsters went to air on Monday 18 October in the UK and will screen early 2011 on Network TEN across Australia. Visit http://www.engine.net.au and http://www.stickypictures.tv

Grass Valley Hits 6 with EDIUS Grass Valley has introduced EDIUS 6, a multi-format editing platform with expanded capabilities to help broadcasters, independent professional video editors, and prosumers continue to streamline their workflows with increased speed, wider format support, and improved system efficiency. EDIUS 6 gives users the ability to work with any video standard up to 1080p50/60 or 4K digital cinema resolution. Also, all major codecs in use in the industry are supported natively, with no transcoding required even when different compression formats are mixed on the timeline. In addition users are able to preview effects in real time. Leveraging a variety of automated features, EDIUS 6 allows editors to focus on being creative without having to wait for effects and transitions to be rendered. The EDIUS system’s renowned, mixed format and file wrapper/codec agnostic timeline has been enhanced

42 Post Production

in EDIUS 6 to include 1080p50/60, 10-bit support, with up to 4K resolution, and features the fastest native AVCHD editing in the industry. This includes the ability to edit video content captured with digital SLR cameras such as the Canon EOS. The recently introduced Canon XF (MPEG2 4:2:2) format is also supported. With EDIUS 6, Grass Valley has taken its proxy handling to new levels to deliver an even a more efficient, end-to-end digital workflow. Now users have the ability to use proxy clips from baseband-ingested video footage acquired via SDI. Editors can mix and match any camcorder proxy with any EDIUS proxy at any time during the edit, which gives the user the most flexible and unique way of working with proxy files and high-resolution pictures. For prosumers, EDIUS 6 includes a proprietary AVCHD editing engine enabling real time, multi-stream editing of AVCHD compressed video without the need

for any additional hardware. Full screen, VGA preview, including multicam selection, is also provided. EDIUS 6 also extends its editing functionality towards post-production applications. Multicam editing is now expanded to16 iso camera streams, with a choice of several multi-viewer screen layouts. EDIUS 6 also boasts – video masking, and combined with the new track matte keyer can enable easy “key & fill” operation on the timeline. Add to this free shape, vector-based masking, and improved After Effects plug-in support. For multi-system installation, EDIUS 6 can make most editing workgroup workflows more efficient as it supports a file-based environment with no transcoding and the timesaving ability to work with proxy files on a shared network. Visit www.grassvalley.com and www.corsairsolutions.com.au

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Post Production

projectiondesign Releases Post Projectors Norway’s projectiondesign has unveiled the cineo35 2.5k – the world’s first compact projector showing images at up to 2560 x 1600 native resolution. With uncompressed and unaltered display of 2K data and beyond, the cineo35 2.5k gives the fine detail view that 1080p projectors are unable to provide without cropping or scaling the image. Additionally, because of the extra resolution available, the projector can display full 2K in a window and still offer space for editing tools on the same screen. The cineo35 2.5k can be calibrated to display any colour space, comes with a wide range of IO options and high quality lenses and will be available in both a traditional lamp based, and an LED based version. The projector manufacturer also announces a new stereoscopic 3D projector made specifically for post-production, the cineo35 3D. The cineo35 3D features full HD resolution, 3G SDI and HDMI/Dual Link DVI inputs, and displays full

Lasergraphics has enhanced its Director 35mm/16mm film scanner with an Optical pin registration option, Sprocketless film transport option and HD Apple QuickTime ProRes Dailies at up to 15 frames/second. At IBC Lasergraphics demonstrated a fullyfunctioning file-based Digital Intermediate and restoration workflow with superior quality and speed at a small fraction of the cost of competing systems.

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projectiondesign cineo35 2.5K compact projector

active stereoscopic content at up to 330 MHz pixel rates. The cineo35 3D provides a full bandwidth, uncompressed HD image in any colour space,

and with its range of options and affordable price, is an enabler for users that would otherwise not be able to show large screen 3D. Visit projectiondesign.com

purposes). It also has conforming capabilities for more versatility (EDL or Final Cut Pro XML). Being part of a complete range of finishing solutions, Ocean is expandable with comprehensive advanced grading and restoration tools. Customers have the choice of adding controller panels from Tangent Devices. With the Altra HD V1 35mm Telecine, Sondor enables flexible and cost-effective 35mm projection in print mastering and other applications where image or soundtrack playback from print is required in the dubbing studio. The Altra offers full HD

1920x1080p resolution in a real-time transfer process provided as HD-SDI signal. The output from the SR and Dolby Digital reader connects directly to the Cinema Processor. Installed in a central machine room, the Altra can serve multiple dubbing or screening rooms for virtual 35mm projection and traditional filmto-tape or film-to-disk transfers. Visit www.sondor.ch and www.marquise-tech.com

Foundry Launches Mari, Updates Visual effects software company The Foundry has used unique technology agreements with Sony Pictures Imageworks, Weta Digital and Walt Disney Animation Studios to bring their home grown technologies to a wider user base. The first product to emerge from these negotiations is Mari, a new creative, 3D texture painting application. The company has also released new versions of Nuke, Nuke and Ocula as well as developing a new product Storm, and After Effects plug-ins. Mari is a new creative 3D texture painting product, originally developed at Weta Digital to handle the exceedingly detailed look development and texture work demanded by Avatar. Mari copes easily with an obsessive level of detail - literally tens

44 Post Production

The demonstration included: - Lasergraphics Director film scanner: 2K/4K, fast shuttling, optical pin registration, stereo optical soundtrack reader, and Kodak Digital ICE dirt/ scratch removal technology - direct scanning over network to DaVinci Revival film restoration workstation - direct scanning over network to Mac workstation in QuickTime ProRes format

- Lasergraphics Producer 4 film recorder for 35mm film-out Lasergraphics has teamed with leading finishing system providers DaVinci Black Magic, Assimilate, Apple, Quantel, Digital Vision, and others to eliminate the risk and complexity of integrating multivendor components and the need for scanning/ recording technical gurus. Visit www.lasergraphics.com

Symmetry Demoed On Extreme-DI

Sondor Updates Altra SD/HD Telecine Sondor has updated its Altra 16/35mm SD/HD real-time film transfer machine with a new RGB light-source and new image sensors. Ocean, a flexible controller designed by Marquise Technologies, directly controls the Altra film transport and image sensor, providing one light, best light and scene-by-scene transfers with automatic or manual scene detection. Ocean provides various file formats such as DPX, TARGA or TIFF as well as SDI output (single HD stream and a secondary SD down converted for off line

Lasergraphics Enhances Director Film Scanner

of thousands of textures - quickly and elegantly. Ocula is The Foundry’s collection of plug-in tools that address common problems experienced with stereoscopic imagery in post. Ocula 2.1 is the result of a number of collaborations with artists on high end stereo projects including Avatar which has enabled significant improvements to workflow. Storm is a brand new product developed by The Foundry bringing assistance to Red Digital Cinema camera production workflows. Storm generates and carries metadata along with the native footage connecting various production stages such as review, look development, editing, and final grading to the overall production context. The Foundry has created a new accelerated retimer and motion blur plug-in.

Kronos 5.0 produces superior results by creating brand new frames using optical flow information. It uses clever maths to look at every pixel on each frame, and see where it moves on to the next. By comparing the two it can make a very good guess at what would come in-between allowing the creation of additional frames and a super smooth slow motion result. The Foundry’s new Cameratracker analyses source sequences to extract the original camera’s lens and motion parameters, allowing artists to composite 2D or 3D correctly with reference to the camera used to film the shot. Operators can now match camera moves within After Effects’ 2.5D environment. Visit www.thefoundry.co.uk

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Globalstor Data Corporation’s ExtremeStor-DI video storage and playback system powered Bluefish444’s new Symmetry 3.9.2 softwarebased 3D playback demonstration at this year’s IBC. The demonstration featured multi-stream stereoscopic 3D workflow using Bluefish444’s upgraded Symmetry software, which now features 3D stereoscopic capture and preview

capabilities, coupled with its Epoch/2K Ultra video card, Adobe Creative Suite 5 and Globalstor’s ExtremeStor-DI 10 drive tower with dual Xeon 5580 multicore processors. As Bluefish444’s proprietary integrated DI acquisition, review and playback software for Windows, Symmetry takes advantage of the multi channel I/O functionality within Epoch and Create to capture, store and preview independent 422/444

SDI streams as left eye and right eye, specifically designed for stereoscopic 3D workflow. Bluefish444 deployed the latest generation of Globalstor’s 10-drive ExtremeStor-DI tower for data capture, processing and real-time playback of high-resolution video content processed by the Epoch/2K Ultra dual link and multichannel video card. Visit www.globalstor.com and www.bluefish444.com

SpycerBox Flex Storage from DVS DVS latest generation of its SpycerBox has double its previous capacity and focused on the latest SAS technology. The debut of the SpycerBox Flex central media hub offers the possibilities of a complete SAN system and proves a quick and cost-effective storage solution. The NAS variant allows users to integrate the SpycerBox Flex into their existing storage infrastructure using a variety of supported high-speed interfaces. The distinctive feature of the SpycerBox is

that it avails itself as a combination of both variants. This means customers receive a highly integrated complete package so infrastructure expenditure is reduced to a minimum. The SpycerBox Flex is equipped with over 28.8 TB. With its new 2.5 inch SAS technology and 48 hard drives, the DVS storage solution sets new standards for rack density and performance per rack unit. When configured as SAN, SpycerBox Flex combines image data as well as metadata storage in a five HU chassis. Improved performance

includes simultaneously increasing throughput, the latest 6 gigabit SAS technology (Serial Attached SCSI) is integrated into all hardware levels of the SpycerBox Flex -i the hard drives, in the backplane as well as in the controllers. Apart from using the SpycerBox Flex in the SAS and NAS variants, they can be combined to form a cluster solution. In doing so, the capacity and bandwidth of the storage solution are increased once again. Visit www.dvs.de

Metaglue Simplifies MXF File Viewing Pioneering MXF and metadata company Metaglue Corporation has announced the introduction of two MXF viewers - masterView for broadcast and postView for post. masterView is an MXF player Metaglue has developed with significant input from its broadcast customer base. masterView is Windows based, has real time display of MXF files, MPEG2, H.264, AS- 03 and RDD9 and provides an “at a glance” check of video, audio, timecode, waveform and subtitles on a single screen and has standard transport controls.

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It also displays the slate information that is wrapped in the MXF file. To accompany the broadcast player Metaglue has introduced an MXF player for the Linux platform aimed at its post-production clients. postView will allow the user to easily check Avid DNxHD content plus MXF files and provides a direct link to Avid media bays in Unity. postView will be available in Q4 2010. Metaglue CEO Oliver Morgan comments “Our clients want to perform quick spot checks on captions and other vertical interval metadata and

they told us they wanted a simple and low cost way of doing it. masterView and postView solve this problem and many others at a price point of US$500 each. masterView for displays HD 608 and 708 captions, along with the control codes and captions service descriptors, AFD and Vchip information. This information is displayed alongside the picture on a single screen and the operator has random access into the MXF files and sync playback of picture, sound and metadata.” (i.e. playback.) Visit www.metaglue.com

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Post Production

Assimilate on New Globalstor Servers Globalstor Data Corporation has announced that Assimilate chose the company’s new ExtremeStor Transport, its ExtremeStor-4K SSD and its ExtremeStorDI workstations to showcase its Scratch Digital Finishing Solution in four major demonstrations on the show floor at IBC 2010. The on-site demonstration included a complete Finishing and Digital Intermediate workflow using the full version of Scratch software running on an ExtremeStor 4K SSD system. The high performance, optimised graphics capability, and reliability of this workstation make it ideal for Scratch real-time data workflows in 3D, Red MX and beyond, Red MX-3D, Alexa Arriraw, HD/SD, film, DPX, AVID MXF, or any mix of formats. Assimilate also showcased the Scratch stereo 3D finishing workflow on an ExtremeStor 4K SSD system. This was be connected to a stereo display to show a live, interactive stereo workflow with real-time conform, colour grading, finishing, and playback directly to a 3D monitor. The Globalstor ExtremeStor-4K SSD workstation, incorporating the Nvidia Quadro FX 5800 SDI by PNY graphics card and Scratch, handled the real-time playback

of uncompressed 2K stereoscopic content, with live stereoscopic viewing directly out of the system. This level of performance in a small-form factor is made possible in part due to Globalstor’s use of new SSD drive technology, which can process extremely large, uncompressed file sizes in real time and requires fewer individual drives. In another demonstration, Globalstor delivered the real-time performance for Scratch-based material in an on-set set capacity, using Globalstor’s ExtremeStor Transport, a new complete storage solution featuring display, keyboard and touch pad functions for on-site file management. This system was also connected to a stereo display showing the ability to review and evaluate digital stereo media while on-set. Additionally, the system was connected to a Telairity H.264 encoding system to demonstrate the ability to do remote 3D review and approval over standard Internet connections. The company also demonstrated the Scratch advanced finishing and compositing workflow using a 10-drive ExtremeStor tower - a complete storage and viewing package for on-site file management and playback. With single or dual multi-core Intel

EditShare XStream Heads to Cloud

processors and up to seven PCI-E x16 slots, the ExtremeStor Transport can scale to accommodate a wide range of cards including PNY Quadro professional SDI graphics, Multiple Red Digital Cinema Red Rocket cards, as well as internal Solid State disk arrays. It can be configured to handle realtime, uncompressed 2K as well as Stereoscopic Red R3D playback. Globalstor’s ExtremeStor-4K SSD is the next generation of the company’s ExtremeStor-DI video storage workstation as it is the first to offer native, uncompressed 4K, stereoscopic 2K and R3D (Red) real-time playback in a single portable system. The latest version of ExtremeStor-DI offers native, uncompressed 4K, stereoscopic 2K and R3D (Red 3D) resolution playback in a single solution (rackmount or tower configuration) and is also the first system to provide 10 PCI Express (PCI-E) card slots, enabling support for Nvidia Quadro FX by PNY series, Red Rocket and Bluefish444 boards among others. Visit www.globalstor.com and www.assimilateinc.com

S3D Technologies Launches Maya Plugin S3D Technologies LLC, a US-based research and development technology company that creates solutions for stereoscopic 3D production, launched the S3D CGI Maya Plug-In at IBC 2010. The S3D CGI Maya Plug-In provides easy creation, management and control of a virtual stereoscopic 3D camera rig within Maya. The S3D CGI Maya Plug-In is completely integrated into the Maya user interface and allows animators to simply pick the point of convergence, as well as the positive and negative parallax points in the scene and the S3D CGI Maya Plug-In will automatically set the correct inter-axial distance and toe-in, if required. These parameters will be automatically updated over the course of the animation shot. Where a project includes both CGI and live action, the S3D CGI Maya Plug-In can import and export parameters to a real stereo camera rig to ensure accurate stereoscopic matching between CGI and live action. In addition, the S3D CGI Maya Plug-In is also fully compatible with S3D Technologies S3D Calculator, taking also into account all the usual lens and camera variables as well as screen size and proposed viewer distance. The S3D CGI Maya Plug-In is available for Maya and will shortly be available for 3d Studio Max. Visit www.s3dtechnologies.com

46 Post Production

Bridging For Avid/FCP Collaboration Marquis Broadcast has launched its Bridging software to facilitate efficient use of mixed Apple Final Cut Pro and Avid edit environments by providing a simple method for Apple Final Cut Pro and Avid editors to exchange timelines (known as sequences in Avid) between systems. Editors are able to exchange timelines in the background between editing systems in an easy drag and drop operation. Bridging moves the required media and edit decisions from one system to the other so that

the edit can be continued once the media arrives at its new destination. “Increasingly, Apple Final Cut Pro is being used in the field or by non-craft editors as a rough cut or shot selection tool while craft editing continues to be performed on Avid editors. Bridging streamlines the movement of media between these different editing systems without incurring tedious problems due to file format incompatibilities,” said Granby Patrick, Partner Director, Technology, Marquis Broadcast.

Bridging also gives facility managers more freedom when organising projects and allocating resources by providing further opportunity for improved collaboration when a mixture of editing systems is in use. Different best of breed editing systems can be easily integrated into a single cohesive and efficient workflow to better accommodate different stages of the production. Visit www.marquisbroadcast.com

Cinegy Launches Capture Family >> >>

S3D Technologies Maya Plug-In

SSL DV Shows Gravity FCP Plug-in V2 SSL DV, Inc., a Solid State Logic Company and the makers of Gravity Media Asset Management systems, presented its Gravity Final Cut Pro (FCP) Plug-In Version 2.0 at IBC. The new Gravity FCP Plug-In Version 2.0 allows all browser-based and import stories in Gravity to import into FCP using the new import plug-in feature.

EditShare, a technology leader in cross‐platform collaborative editing and shared media storage systems, demonstrated cloud-based production and storage workflow through its partnership with Forbidden Technologies at IBC 2010. Forbidden Technologies’ FORscene is one of the world’s most advanced browser-based production applications operating in The Cloud. The EditShare and FORscene integrated solution provides users with a collaborative editing workflow that can be accessed through any web browser. Material captured and stored on the EditShare shared storage solutions can be made available on The Cloud via FORscene Server technology. Predefined watch folders scan for new media, automatically creating proxy files and uploading them to a specified FORscene account. Once compressed by FORscene Server, users can log, add searchable metadata, create rough-cut edits and sync pulls and review material for sign off. Sequences created in FORscene can be sent back to EditShare for local editors to continue the editing process in Avid or Final Cut Pro. Visit www.editshare.com

When a story is imported into FCP, a new bin is created which contains all clips and subclips within the story. This powerful import function greatly streamlines the production flow between the two platforms, while reducing potential operator error by automating the storage location of complete story clip files.

With Version 2.0, FCP can now display Gravity information on audio envelopes, motion effects, dissolves, images and slates for stories. Display for bookmarks and subclips is also supported. The integration of .MOV files delivers faster import/export operations for HD production. Visit www.solidstatelogic.com/gravity

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Cinegy launched its new product family Cinegy Capture at IBC, with Cinegy Capture Express being the first family member to be released. Capture Web and the full Cinegy Capture version will be released after IBC. The idea behind Cinegy Capture is as simple as it is revolutionary. One or multiple instances can be installed on a server or standard PC with the respective number of SDI cards. Once started Cinegy Capture announces itself to the network as an appliance that can be controlled remotely via a Silverlight based web client which runs on Windows and Mac OS X alike. Cinegy Capture Express is aimed at the Avid production community allowing, among the many formats supported, the creation of Avid DNxHD media that is immediately usable in MediaComposer. This frees up Avid systems that would otherwise be used just for ingest purposes.

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Capture Web is intended for web streaming purposes, by providing real-time H.264 SD and HD encoding for Flash, QT and Smoothstreaming. The full version of Cinegy Capture will have, among other features, multi-proxy support meaning that multiple encoding streams can be created at the same time e.g. high-res, med-res and low-res, which is required for media asset management (MAM) or archive workflows. Cinegy Capture comes with an open API that allows the creation of custom controls and user interfaces. The API is public and has been submitted to the AMWA-EBU FIMS committee as a media services standards proposal. Cinegy’s new character generation module Cinegy Type, is a new add-on for Cinegy’s Air product family. From simple ticker tapes and lower thirds to multi-layer character animations Cinegy Type includes a range of advanced effects and features. The new module addresses simple

requirements such as logo insertion right through to complex branding with picture in picture and background squeeze. The latest remote version of Cinegy’s MAM and production workflow solution Cinegy Archive uses Microsoft’s latest browser-based cross platform Silverlight technologies. This offers drag & drop, tabbed windows and frame-accurate media playback. The Cinegy Workspace app is modular in nature, can be extended in functionality and empowers media production teams with real-time collaboration. Cinegy Archive as the underlying central MAM solution supports multi-proxy quality workflows, which allows members of the same team to work on the same project using different quality video with the changes being transparently reflected immediately regardless which quality is being used by who to look at the project. Visit www.cinegy.com

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Storage & Asset Management

storage &

ASSET MANAGEMENT DAMsmart Digitises Australian Parliament Video Archive Canberra-based media migration business, DAMsmart, has been tasked with digitising and preserving the entire recorded video history of the Australian Parliament. The project will be completed using DAMsmart’s advanced automated videotape handling systems and analysis and encoding systems. DAMsmart’s Media Migration Manager, Joe Kelly says, “We have been developing our key technology partnerships and testing new workflows over the past few years. The unique DAMsmart process developed by us makes very large videotape migration projects such as the Australian Parliament project efficient and cost effective for the very first time.” For this project DAMsmart has partnered with Fujitsu Australia and Dalet Australia to deliver an open media asset management solution, and the digitisation and preservation of 55,000 hours of broadcast videotape generated by 22 years of recordings. When completed by mid 2011, this will be one of the largest outsourced video digitisation projects ever undertaken. The Australian Parliament project has been commissioned by the Department of Parliamentary Services (DPS), who provide broadcasting services to the Australian Parliament. Ever since the House of Representatives and the Senate first sat in new Parliament House in 1988, parliamentary proceedings have been recorded on various videotape formats, including D2, Betacam SX and S-VHS. The collection is at risk due to its age, format obsolescence and videotape deterioration. DPS required an organisation to provide a rapid, cost effective solution for the digitisation of the archive. According to Joe Kelly, “When DPS were looking

for a solution to meet their requirements, we saw a great opportunity to utilise our expertise in automated media migration. Our services provide a safe and fast method of preserving valuable videotape and film archives and making them accessible now and into the future.” For the DPS project, DAMsmart is providing video mass digitisation services using SAMMA (System for Automated Migration of Media Archives) automated technology from Frontporch Digital and unique DAMsmart workflows. The digitisation process will use two different forms of SAMMA technology – a fully automated robotic solution to process Betacam SX tapes, and multiple streams of semi-automated SAMMA Solo systems to process the D2 and S-VHS. In order to complete the project within 12 months, DAMsmart will digitise approximately 40,000 hours of Betacam SX using a seven stream Betacam robot run on 24/7 basis. The D2 and S-VHS collections are being migrated in a semi-automated process using four migration streams controlled by SAMMA Solo migration systems. Each VTR is configured to its own SAMMA migration channel, which provides all the VTR control, video analysis and correction,

quality control, metadata extraction and file encoding functions for that stream. As much as 900 hours of Betacam SX and 350 hours of D2/S-VHS will need to be migrated each week until project completion. Each of the video streams being processed by SAMMA is monitored by specialised software that analyses every frame of video and audio. Key parameters including video input level, audio levels, black level, VTR servo lock and RF level are analysed 25 times per second, and logged into continuous metadata reports. If any single tape exhibits a condition that triggers a quality control threshold, SAMMA will report a failure for the migration of that particular tape and flag it for further inspection. For each videotape in the DPS project, two files will be created – a DV25 MXF file and an XML file containing data generated during the digitisation process that can be used for quality assurance and collection control. All files created as part of the digitisation process will be archived to LTO4 data tapes under Xendata video archive management software. Once LTO tapes are finalised in open TAR format at DAMsmart, they are sent to DPS for ingest into the Dalet Enterprise media asset management system. Dalet Enterprise will underpin all forms of future access to the digitised video archive. Access to parliamentary proceedings is required by a wide range of organisations and individuals in the community including federal, state and local government, universities, public and private companies, professional bodies, schools, libraries, not -for-profit groups and the media. Visit www.damsmart.com.au

CMY

Dubsat Makes Mark in Print with Vio Worldwide Dubsat, Omnilab Media’s Australian-based cross media asset management and distributed advertising and entertainment content company, has completed the acquisition of London headquartered Vio Worldwide. The acquisition unites two successful companies to provide integrated global cross media services for corporations, advertising agencies, production companies, broadcasters, and online/print publishers. Dubsat is part of the $A100+ million turnover Omnilab Media group that specialises in managing and delivering rich media content for the advertising and entertainment industries. Dubsat develops and provides Websend, the core technology driving Vio’s successful online AdSEND service. Top agencies and brand owners in the USA

48 Storage & Asset Management

and Europe use AdSEND to manage and deliver display advertising across 6500 newspapers and magazines, and TrackSend to deliver millions of digital assets every month throughout the advertising, publishing and commercial printing supply chain. “Vio Worldwide is the advertising service of choice for many of the world’s blue chip advertisers and publishers and has an excellent reputation with longstanding market relationships,” said Grant Schuetrumpf, CEO of Dubsat. “The acquisition is a natural evolution of our successful two year partnership. It allows us to provide a total global cross media management and delivery solution incorporating an extensive suite of applications and services. The aim is to provide ad agencies with full campaign management, booking, accessibility, repurposing, and managed delivery of content,

and give publishers and broadcasters visibility and accessibility across all media types and formats.” “This is a tremendous boost for AdSEND, our customers and the US media market as a whole,” said Al Edwards, President of Vio USA. “Our customers want the ability to manage and distribute multimedia as well as PDF content and we are now in the best and strongest position to support them into the future.” Omnilab Media has its sights set on growing its international presence across the entertainment and advertising content and media services sectors. The Vio Worldwide acquisition follows a recent partnership with IMD in the UK for radio ads, TV commercials and music video distribution. Visit www.vio.com, www.adsend.com and www.dubsat.com.au

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Storage & Asset Management

EVS Unveils Media Archive Director

Cache-A Automates Archiving

EVS has launched MediArchiveDirector, its new solution for archive browsing and content delivery designed to meet the growing need of rights holders, broadcasters and production companies to maximise the exploitation of archived A/V content and television programs. MediArchiveDirector offers an architecture that integrates content digitisation, logging and online media storage, browsing, repurposing as well as delivery in any kind of format and on any type of support. The audio and video content acquisition is based on EVS’ XT loop recording technology where

Cache-A took its new Pro-Cache5 archive and ProCache Library24 automation appliances to IBC. Pro-Cache5 is 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 takes advantage of this next generation technology to offer nearly double the storage 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 memory card or disk-based cameras. It also provides long-term archival storage with easy access to content assets at every stage of production. Leveraging the technical innovations of LTO-5, ProCache5 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 offers read/write compatibility with LTO-4.

content recorded in mobile units are enriched with descriptive metadata for quick and easy browsing. All recorded material, along with its associated logs, is immediately centralised in XStoreSAN, an online and scalable storage platform. All of the archived content can be instantly accessed and easily identified through the new web client interface, which uses the advanced log-sheet for easy search. In addition to the online search, the interface allows users to choose and to create subclips. The videos selected can then be imported on any media and in any format. MediArchiveDirector runs all media transfers

and delivery orders through the web-client. It automatically manages media conforming processes (e.g. rewrapping, transcoding, downgrading) according to specific customer requirements. The system automates multiple robots for content duplication and delivery on various platforms, including Blue-Ray, FTP, tapes, post-production transfers via GiGE network and satellite. It also guarantees a centralised monitoring of ongoing media delivery operations, allowing GC conformity checks, statistics and invoicing. Visit www.evs.tv

VSN Shows vsnIPTransfe, vsnfreemove and Spider Project Video Stream Networks, S.L.(VSN) has unveiled Version 6.1 of vsn IPTransfer which includes advanced file transfer technologies. Highlights include the ability to make Live transfers and register video files in the central server; the possibility for uncompressed transferring, i.e. DVCPro25 MXF; a complete new delivery-reception chain in .mov formats; considerable speed increase and, optionally, the possibility to work with the new UMP protocol. This technology, entirely designed by VSN, provides considerable increases in transfer speed, especially between long distance nodes. The affordable virtual set vsnfreemove 1.5 will be presented for the first time in Europe this year. vsnfreemove does not need tracking systems to

create camera movements and perfect embeddings. It features 4 video inputs (cameras and/or line), 10 scene memory, integrated mixer and a digital quality level unique in its segment. More than a year ago, VSN started an important R&D project, called Spider, in search for a higher level of integration among the media asset management (MAM), automation, traffic and TV workflows (BMP) areas. The first results of this effort were seen at IBC. The new VSN solutions architecture includes three different levels or ‘layers’: a) the system’s static layer, namely, databases, MAM, playlists, contracts, rights, event registration, device control, etc; b) the dynamic layer: basically management of programming, ingest, validation, post-production, archive and broadcast playout workflows; c) communication/

Pharos Content Delivery Module, OpenFARM rich-media analysis Pharos has released a Content Delivery Module for its Mediator content management platform. The new module manages content preparation, metadata production and approvals workflow. It deals with all necessary file transfers and file transcoding for platform-specific content, including stills and metadata for electronic programme guides and Web sites. Pharos Mediator 4 is a complete content management and workflow platform for video and audio content preparation. A Web-browser user interface provides users and operators with the tools they need to access and view all material at the desktop in a manner which is easy to understand, including content browsing, task prioritising and automatic alerts. Incorporating industry-leading technology Oracle, Java and Adobe Flash as well as utilising MXF and BXF

50 Storage & Asset Management

standard files, Mediator manages content efficiently from ingest and quality assessment through to publishing and playout. Pharos has also announced its co-development of the OpenFARM rich-media analysis framework. Initiated by the Computer Vision laboratory of Kingston University, OpenFARM is a bridge between data-based driven asset management systems and independently developed software. OpenFARM offers broadcasters the freedom to add third-party software modules to their content management systems in essentially the same way that they select hardware for their central apparatus room. It unites the worlds of signalprocessing and media asset management to form essentially a single market-place. Visit www.ktponline.org.uk. www.openfarm.tv and www.pharos.tv

integration services among the different VSN and third-party modules. The advantages of the new architecture are an unbounded scalability, the ability to customise workflows, a total level of integration among the channel’s all working units (management, scheduling, archive, traffic, news, etc.) and, finally, the adoption of open protocols (web services, REST, SOAP, etc.) with an aim to integrate any third-party manufacturer’s solution in the VSN ecosystem. The Spider project will be established in the next months with the new versions of all the traditional modules (MAMarchive, traffic, news, etc.) of the Spanish manufacturer. Visit www.vsn-tv.com

>> >> The Cache-A Pro-Cache5 appliance

Pro-Cache’s Library24 Automation Appliance for the digital film, broadcast and professional video industries is an easy-to-deploy 24-slot automated library option for the Pro-Cache5 and Pro-Cache4 archive appliances. The Pro-Cache Library24 automates cartridge loading for archiving, restoring and cartridge spanning when archiving large projects.

Available in both LTO-5 and LTO-4 configurations, the Pro-Cache Library24 works with any Pro-Cache model to automate archival workflows. The Pro-Cache Library24 provides 36 Terabytes (TB) of storage for Pro-Cache5 users (Model CA-L5024) and 19 TB for Pro-Cache4 users (Model CA-L4024). At the same time, the LTO drive in the Pro-Cache remains available for simultaneously reading or archiving shelf-stored cartridges while archiving or restoring with the Pro-Cache Library24 drive. The Pro-Cache Library24 features 24 cartridge slots in two 12-slot magazines with automatic cartridge loading for archiving, tape spanning and content retrieval. It automatically identifies tapes by bar code or each tape’s internal table of contents. The rack-mountable two rack unit (RU) ProCache Library24 marries to the Pro-Cache5 or Pro-Cache4 three RU half-rack chassis and rack mount kit. Visit www.Cache-A.com

SGT Highlights New Generation MAM Solution SGT is presenting a series of new products and features of its Veda suite of professional software solutions. A new generation Media Asset Management (MAM) and the Automation solution with the new i-Eeda 3G e-application enables users to remotely and in real time check playlists, playouts or incidents by iPhone. Based on revamped architecture the new MAM solution integrates three layers: Editorial, Technical

and Transverse. Modules include browsing and cataloguing, quality checking, content checking, identification, and marking and validation, as well as Research, Search and Retrieve and Speech-toText. Non-technical users can now rapidly access the information they need through the new browsing or search functions. SGTs new MAM solution follows the same logic as its Automation solution providing a better continuity of operations.

With the new SOA-based i-Veda 3G application, a new e-application within the Automation solution, managers within broadcast and media companies are now able to remotely access a consultation portal over their iPhone to follow the programs in real-time. They can view in real-time all the playlists, playouts, playlist feedbacks or alerts of possible incidents. Visit www.sgt.eu

Civolution Upgrades Teletrax Monitoring Service Civolution has announced Teletrax 4.0, a comprehensive network upgrade for its Teletrax global broadcast monitoring service which updates all Teletrax detection stations around the world and is part of an ongoing development effort to optimise and future-proof the Civolution broadcast monitoring platform. Teletrax 4.0 has improved HD and SD tracking capabilities, provides better watermarking survivability, enhanced network manageability and integrates watermarking and fingerprinting into the product line. Civolution’s Teletrax will now be able to track the broadcast of media assets using video fingerprinting and watermarking. This creates unique capabilities, providing clients with alternative technologies that compliment their production and distribution workflows as well as their broadcast intelligence requirements. Broadcast monitoring fingerprints can also be repurposed for online tracking and monetisation. Visit www.civolution.com

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Masstech Provides Afterlife for Avalon Users Masstech is offering instant migration to EMC Avalon users affected by that product’s End-Of-Life. Masstech says “Broadcasters affected by EMC AVALON storage software End of Life (EOL) risk losing valuable digital assets as technical support for AVALON products ceases at the end of October 2010. The challenge lies in quickly migrating digital assets to a supported platform while making sure stored assets are still available for use.” Masstech, provider of media asset management solutions (MAM), is offering AVALON users an instant migration pathway that will transfer and archive all content from legacy data tapes to its TOPAZ MAM system in a day. AVALON users are guaranteed a swift and smooth transition with minimal impact on existing broadcast operations.

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Masstech says reasons to migrate to TOPAZ include: • Content is immediately available for restore or recall – TOPAZ reads the existing AVALON written tapes and efficiently drives content in the existing library without requiring time-consuming or complex operations. The migration is transparent, preserving 100 per cent of the existing workflow. • Enables instant migration to protect your valuable assets – Migrating content to TOPAZ only takes a day. Other migration solutions take months or even years. • Avoid dual system hassle – Eliminate the need to keep two systems running while doing a laborious migration. Companies can shut down the AVALON system as soon the migration

procedure is completed. • Increase performance with faster transcoding – TOPAZ has a smart, Hi-Q inbuilt transcoding engine, delivering the ultimate performance in content transformation from the archive to any new media format. Companies do not require third party solutions to accomplish content format migration. • Migrate multiple formats at no extra cost – In some instances, customers may need to replace playout video servers in order to migrate content from AVALON to different formats. TOPAZ reduces capital and operational expenses by offering this option within its migration plan at no additional cost and free storage (no license fees). Visit www.masstech.com

Storage & Asset Management 51

Storage & Asset Management

Omneon Updates ProXchange, Adds Apps Omneon Inc. has announced a new version of the Omneon ProXchange grid-based transcode application that adds support for the Apple ProRes 422 media format. Leveraging the combined storage and processing architecture of the Omneon MediaGrid active storage system, Omneon ProXchange 1.6 is the only system on the market capable of faster-than-real-time transcoding of content between ProRes and popular mezzanine production formats such as DNxHD. This capability enables more efficient collaborative editing in facilities that use both Avid and Apple edit systems. The software also converts media in the ProRes format to broadcast transmission formats such as MPEG-2, as well as to low bit rate distribution formats, such as Flash, WM9, and H.264, with faster-than-real-time processing that speeds delivery of edited content to PC and mobile platforms. Omneon has also announced a range of powerful new application services, provided

by third-party partners including Starfish and Softel (captioning), Interra Systems (QC), and XenData (archive). Operating as specific media processing engines within the Omneon MAS, these application services enable automation of critical tasks associated with content production, verification, and archiving. Omneon MAS users can set rules that automatically trigger actions by these new application services and use Omneon ProXplore to view the status of these processing tasks. As these third-party services complete their actions, they pass metadata and job reports to the MAS server, which then can automatically move media through the next step in the workflow. Starfish and Softel captioning services automatically extract caption data and associate it with the appropriate clip, create sub-clips on timecode boundaries of the text from the captions and automatically show time-specific metadata from captions with the storyboard of the content.

Baton QC service from Interra Systems automatically checks content after each type of conversion and routes content to the next automated step based on preset rules and the outcome of the QC report. The service updates clip metadata to show current QC status, groups clips according to QC status, and flags issues that require attention. The QC report is linked to the original asset to enable rapid review. XenData archive service allows users to archive files, clips, assets, and groups of clips with a single click and includes tiered storage and offline storage. The archive queue is managed by the Omneon MAS but executed by the archive service, which updates the metadata of each clip or asset to specify its current archive location. In addition to controlling the movement of content to and from archives directly from ProXplore, the archive service. Visit www.omneon.com

online storage system designed for customers requiring more than 10,000 Mb/s bandwidth and 58 TB storage capacity. Its scale-out architecture allows bandwidth and capacity to be accommodated independently without compromising on performance, channel count, file-based I/O or choice of compression technology. Nexio Farad is compatible with Nexio AMP and Volt servers, Velocity editors, Apple Final Cut Pro and a range of media appliances. The system is equipped with inherent RAID-601 storage protection and provides unattended, fully automatic drive rebuilds and a system monitoring and notifications system. Harris also introduced ingest and playout support for two new codecs in its Nexio platform: for playout, the H.264 video compression standard; and for production, the popular Avid DNxHD “mastering” format for post-editing. Native playout support in Nexio AMP and Volt servers means that

no transcoder is required to handle H.264 or DNxHD; in many competing products, customers would have to buy additional hardware to support these codecs. Unique to Nexio, all supported codecs can be played back-to-back in any order with all other supported codecs. As the new codecs are implemented in software, they are turned on via a simple software license key. Also making its European debut was the Harris Production Playout Center (PPC), an ingest, preparation and playout system designed to control Nexio server channels in fast-turnaround production environments. The single 1RU platform controls up to 16 Nexio channels, and up to eight routers. With onboard media preparation tools and built-in Fast-Cue technology PPC benefits include a small form factor; access to true shared storage and on-SAN edit-in-place; and software-only modules for system scaling. Visit www.harris.com

TMD opens up Mediaflex TransMedia Dynamics (TMD) has introducing a new range of enhancements for its Mediaflex asset management and workflow product that allow users to create tailored solutions with minimal bespoke engineering. Using open interconnect protocols like XML, the TMD solution provides a standardised schema for rapid implementation and easy compatibility with

52 Storage & Asset Management

other data sources and users, and the ability to add on elements to meet specific user requirements. For example, the core product now has the ability to interrogate new data files, including audio and video, to locate metadata and populate its own database. A business sharing production and post across a number of facilities could embed its own metadata schema into file-based content, secure that

EditShare has announced the availability of its new Ark 2.0 high-speed disk and LTO-4/LTO5 tape-based backup and archiving solutions. Ark 2.0 boasts a full array of media protection and workflow enhancements and complete integration with EditShare Flow. When combined with EditShare’s ingest, playout, storage, and asset-management products, Ark 2.0 provides the backup and archiving component of a set of workflow tools that can meet the needs of virtually any broadcast, entertainment, or post-production environment. Ark 2.0 highlights: • integration with Flow for Complete Backup • integration between Ark and Flow ensures that all archived clips now have a record in the Flow database prior to being copied to Ark. Flow scans all clips to ensure that proxy files have been created. Ark updates the Flow

>> >> Editshare’s Ark

2.0 tape-based backup and archiving system

database to keep a record the locations of each archived clip. Flow users then can search and browse all clips stored on Ark. • Integration with Flow for Complete Restoration of Files - it is now possible to search or browse for clips even though high-resolution versions are “offline” and stored only on Ark. Through Flow Browse, users can play low-resolution proxy versions, incorporate them into sequences, and then restore the desired

Wowza Licenses Dalet, Partners With Exterity

Harris Enhances Nexio Server Portfolio Harris is expanding its Nexio video server portfolio, designed to help broadcasters accelerate time-to-air, reduce costs and streamline workflows in both playout and production environments. IBC marked the European debut of Nexio Volt, a small form-factor, high-performance baseband video server equipped with 2 TB of RAID 3-protected integrated media storage. Its supports up to four mixed SD/HD or SD-only baseband channels in a 1RU package and is suitable for disaster recovery, edge server, on-air cache, production playout and ingest-toarchive. Software-enabled license keying allows customers to pay for only the channels and resolutions they need, and upgrade at anytime. A simple software reconfiguration enables Nexio Volt to attach to Nexio shared storage as system requirements increase. Nexio Farad is Harris’ new high-performance

EditShare Launches Ark 2

Mediaflex would identify and track it throughout its life cycle. The screen layout can be set to meet specific user requirements whether users use a web or a Windowsbased client. This allows the relevant metadata for each user to be put in prominent locations, and only shows the fields which that user needs to access or modify. Visit www.tmd.tv

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Wowza Media Server 2, the unified media server software that simultaneously delivers content to any media platform and any screen, is now integrated into Dalet Enterprise Edition Media Asset Management (MAM) under a licensing agreement announced by Wowza Media Systems. The integration of Wowza Media Server 2 adds market-proven streaming capabilities to the Dalet MAM platform’s functionality, which includes shot selection, rough-cut editing, quick timeline preview, asset logging, and metadata definition. With integrated Wowza Media Server 2, DaletPlus Webspace Flash client users will enjoy

new capabilities including easy preview of H.264encoded assets using trick play features like frameaccurate fast forward and rewind. Wowza Media Server is a high-performance video engine that simultaneously delivers content from a single set of live or on-demand H.264 assets to multiple online clients and devices, including Flash, Silverlight, iPhone/iPad, Android and other mobile platforms, as well as IPTV set-top boxes. Wowza Media Systems also announced a partnership agreement with IPTV specialist Exterity Limited to extend the reach of Exterity’s LAN-based live IP video networks.

Enterprise Drives For Hitachi G-Speed RAID Hitachi has announced that its G-Technology brand, which serves content creators and the professional audio/video community, is transitioning its entire G-Speed RAID external storage family to highgrade, enterprise-class hard drives. All G-Tech G-Speed products will feature Hitachi Ultrastar drives that are specifically designed, manufactured and tested to meet demanding environments and the move aims to better balance the system requirements with hard drive features that match the rigours of post-production workloads. Enterprise-class SATA hard drives are specifically designed to withstand multi-user, 24×7 storage applications in systems such as network attached storage, RAID storage arrays and media servers. For enhanced reliability, enterprise-class drives are rated at 1.2 million hours mean time between failure

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(MTBF) and receive additional manufacturing testing at extended temperature ranges to ensure a target of less than one non-recoverable bit error per 10 bits read. They also utilise enterprise-specific firmware to minimise the performance impact of rotational vibration interference (RVI) found in rackmounted servers and multi-drive storage arrays. In addition, enterprise-class drives are designed for a low dollar per GB ratio with higher reliability, while minimising power consumption. G-Tech claims to be the only external storage vendor in the world with a complete line of enterprise-class 7200 RPM drive-based, RAID external storage solutions specifically designed for the A/V market. Visit www.g-technology.com

The two companies confirmed interoperability between Wowza Media Server 2 and Exterity’s range of AvediaStream H.264 encoders to create these extended solutions. Exterity products, including AvediaStream encoders, enable distribution of broadcast-quality TV and video to an almost unlimited number of users over building or campus IP networks (LANs), with centralised management, configuration, and control. Visit www.dalet.com www.exterity.com www.TV1.EU www.wowzamedia.com

SMARTJOG Goes Mobile SmartJog has launched its free SmartJog2Go! mobile application designed for iPhone and Android devices to give clients quick access to important information on content being sent, received, and stored using SmartJog’s digital delivery system. It aims to give clients peace of mind knowing that the file is stored in their catalogue, in their inbox or delivered to the end recipients as they are dealing with very time-sensitive material. SmartJog2Go! features the ability to view tracking information of incoming and outgoing files as well as files being transferred to cloud storage. Clients can also use the application to find a directory of SmartJog’s networked locations for a quick response if files need to get to a certain territory quickly. Visit www.smartjog.com

Storage & Asset Management 53

Digital Signage

digital SIGNAGE NEC Puts D-Signage “in the Limelight” Limelight Cinema, located in the Tuggeranong Hyperdome in Canberra, has entered the digital cinema age entirely – it’s one of the first cinema complexes in Australia to have all of its movies shown by digital technology. The visual experience even extends outside the complex’s eight cinemas’ walls to its entry foyer and candy bar, making a real impact on its patrons. Limelight Cinema has taken the digital cinema experience to another level with NEC’s advanced digital solutions. Following on from Hoyts’ exit from the site in early 2009, Limelight Cinema filled the void and sought to totally digitalise and renovate the traditional eight cinema complex. With the three-dimensional Avatar blockbuster hitting Australian cinemas on Boxing Day (2009), Limelight Cinema needed vendors who could transform the complex within nine weeks, a third of the time it would normally take. Limelight Cinema chose NEC Australia along with Australian Theatre Supplies and Digital Cinema Networks to create the new Limelight Cinema. Limelight Cinema chose to install two of NEC’s 3D digital-cinema projectors (NC200S) for their premiere of Avatar. NEC’s NC2500S is DLP (Digital Light Projecting) cinema projector and is the World’s first DLP projector for screens up to 30m wide. Including stateof-the-art technology, it boasts precise 2K resolution and delivers high contrast images. For the remaining six cinemas, NEC installed six of NEC’s NC1600C projectors, delivering high quality output and ease of operation. Managers can set lens position and lamp output using memory functions, and perform lamp changes easily from the back of the projector. Other features include optional touch screen control, auto lamp brightness control and compatibility with most standard film projector lamps. Both of the NEC DLP cinema projectors enable Limelight to deliver stunning digital images regardless of screen size, while simplifying theatre management. NEC Australia was also able to extend its digital offering to Limelight Cinema’s foyer and candy bar areas. “As soon as our customers walk into the Limelight Cinema complex we want them to be entertained and captured by sounds and visual images,” Limelight Cinema’s Manager Ross Entwistle said. A video wall made up of 12 of NEC’s 40” LCD Displays (LCD4020) was installed in the foyer area for movie promotions. Another six of these LCD Displays were installed above the candy bar and eight were installed facing the food court. These displays stand out allowing Limelight Cinemas to advertise its movies, food and other promotions with impact. An NEC NP4100W widescreen projector was also installed

54 Digital Signage

sign the content+technology of digital signage

Limelight Cinemas, Canberra, Australia.

in the foyer area. Featuring brightness up to 5500 lumens, it was the ideal projector to roll movie trailers. Entwistle said it was critical for the cinema to be able to resolve product issues quickly and keep projectors rolling. “NEC’s digital projectors and LCD displays are of superior quality, are cost effective and are backed by a local NEC support team. They tick all the boxes,” he said. Entwistle says the digital cinema technology has reduced the labour and the time it takes to show movies.

“NEC’s cinema digital solutions have proven to be extremely easy to operate and manage. It has assisted the business from a programming point of view, providing more flexibility for our movie session times. An advantage is that we can program movies to play in multiple cinemas at the same time,” said Entwistle. Non-feature film content can also be shown through the digital theatre management system allowing Limelight Cinemas to utilise their cinemas in off-peak times for events such as seminars and conferences. Visit http://www.nec.com.au

Massive Multitouch Table for Canberra Museum MultiTouch, Ltd., the developer of modular multitouch LCD screen for large-scale displays, has collaborated with Sydney-based interactive design firm Lightwell for the installation of a massive multitouch table at the National Museum of Australia in Canberra. The “One Road” interactive multimedia installation is an integral part of the exhibition “Yiwarra Kuju: The Canning Stock Route”. Ten 46-inch MultiTouch Cell units are arrayed in what is the first asymmetric multitouch installation for a museum exhibition. The combined units are more than 7 metres long, and enable visitors to stand around corners and collaborate with the cells as a single, connected display. The display uses the MultiTouch asymmetric design, and is developed for use by more than 20 people simultaneously. The exhibit reclaims the Aboriginal history of the world’s longest stock route, which runs for 1,800 kilometers through the deserts of Western Australia. The innovative experience of the MultiTouch Cell

enables visitors to trace the Canning Stock Route with multitouch access to both historical and contemporary detail, including paintings, film and other cultural works, as well as a rich oral and visual record. The exhibit features more than two hours of video, more than 70 paintings, and roughly 100 separate stories by artists from the countryside surrounding the Stock Route. MultiTouch’s patented computer vision system, which reads up to 120 frames per second in bright daylight or dark environments, is complemented by software that elegantly translates touch into the programming experience, creating multitouch displays that can read unlimited touch points, including hands, fingers, fingertips and 2D Markers. The products are suitable for broadcast, retail, advertising, exhibitions, museums, education and design. Visit www.lightwell.com.au & www.multitouch.fi. See the Multitouch YouTube channel at www. youtube.com/multitouchfi

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D-sign.tv is the online destination covering the Content+Technology of Digital Signage. With regular email newsletter, website and E-magazine, D-sign.tv provides you with timely and relevant information on all aspects of the D-Signage market. Publisher Phil Sandberg - papers@broadcastpapers.com • Sales & Marketing Manager Daniela Huelsen - dh@broadcastpapers.com

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Digital Signage

Industry Effort Profiles Multi-screen TV delivery Scala and IAdea, two leading companies in digital signage software and hardware, have introduced a low-cost, high-definition digital signage media appliance with upgraded Scala-supported software. The combined offering enables the advanced functionality of a sophisticated digital signage network at an entry-level price point. The new IAdea XMP-320/330 full-HD media appliance is a small, palm-sized unit that is 100-percent solid-state, fanless and low power. It is capable of playing back 1080p content using a dedicated hardware-based video decoder for picture-perfect, full-HD H.264 graphics. The XMP-330 unit also features WiFi connectivity, which reduces installation costs. In addition to the new hardware, Version 2.0 of the IAdea Bridge Server software is now

available. The major new features of Version 2.0 are: - Multi-zone support (requires HD appliance); - Simple RSS crawls (requires HD appliance); - Playback of Scala Designer content as a sequence of still images; - Support Scala templates (as snapshot) for simplified template messages; - Scala Ad Manager support (requires HD appliance or digital signboard/photo frame); - Portrait mode layout for images and crawls - Automatic time synchronization. These features enrich all IAdea media appliances, including the HD media appliance (1080p video playback), SD appliance (480p), digital signboard (10-inch, all-in-one countertop unit) and the audio-only appliance. “The video performance of the new IAdea HD player

is stunning and now includes support for multizone layouts and simple RSS crawls,” said Jeff Porter, Executive Vice President, Scala. “For about the same price as an ultra low-cost PC, you can now get drop-dead gorgeous 1080p playback.” “IAdea is determined to deliver the most dependable hardware technology for digital signage,” said Rex Chen, Executive Vice President, IAdea. “The new XMP-320 full-HD media appliance lets the system integrator with limited budget do more than ever before.” Customers with a valid Scala Advantage subscription can download the new Bridge Server software at http://www.scala.com/updates. For more information on the IAdea XMP-320 full-HD media appliance, visit http://www.IAdea.com.

Wearable Digital Signage

Fanless Embedded PC System

Advantech Digital Signage Media Player

Digital TAG is a wearable digital signage player, the size of a name tag, that delivers messaging through images or professional video content. The Digital TAG‘s content can be set to display individual store specific messaging like specials, company wide marketing or any combination of the two using video or JPEG content. New content can be easily uploaded via USB to the Digital TAG. Features include: - Display Screen Size: 6 cm (2.4 inch) - Formats: AVI and JPEG (video converter included) - Platforms: Standalone - Resolution: 320 x 240 - Storage Capacity: 256 MB standard - Optional storage: up to 4 GB microSD card - Size: 65 x 49 x 12 mm - Weight: 59 g - Power playback time: 12 -15 hrs (video or images) - Battery: Lithium-ion rechargeable - AC to USB Charger included - Magnetic clip and Lanyard included Digital TAG is supported by http://www. MyTAG.tv, a web portal allowing users to produce TAG content. Users can create images or videos for their Digital Name TAG from any web browser and download to their Digital TAG. Elements include text, logos, images, videos, flash and video loops. Visit http://www.disentix.com/

Ibase Technology, a professional manufacturer of industrial computers, has launched a new Intel Atom N450 processor-based CSB100891 fanless embedded system. Featuring low power-consumption, CSB100-891 offers superb graphics performance and is suited for multimedia applications such as POS/ kiosk, digital signage, automation and other low-noise, fanless embedded applications. Measuring 113.6mm(W) x 52.4mm(H) x 172.4mm(D), the black-colour CSB100891 is populated with 2GB of DDR2 system memory and 160GB of 2.5” SATA HDD storage. With an aluminium and steel construction, the chassis can work as a desktop or wall mounted. It comes with a 100~240VAC 60W power adaptor with a 12VDC power output. Expansion is provided by a CF-II socket and a Mini-PCIe slot to accommodate an optional WiFi module. The front panel has LED for power and HDD, buttons for Reset and Power, two audio jacks and two USB ports. Rear panel I/O comes with two USB ports, two RJ-45, three serial ports, VGA connector, DC jack and a reserved hole for optional WiFi antenna connection. CSB100-891 features include: - Black chassis with IB891 single board computer - Supports Intel Atom Processor N450 - 1x DDR2 SO-DIMM memory, up to 2GB - Comes with 160GB 2.5” SATA HDD - Front audio jacks and dual USB - Rear two dual USB, dual RJ45, VGA, COM, DC jack - CF II socket and Mini-PCIe expansion slot Visit http://www.ibase.com.tw

Advantech has announced the release of a new digital signage player. The ARK-DS350 (AM3) is a high-end model powered by the AMD 780E and SB710 platform. It provides optimal graphic performance with advanced ATI Radeon 3200 graphics and DirectX 10 compliant hardware decoding. The on-board 128 MB of the dedicated DDR3 video memory can further optimize power saving and video decoding. It delivers superior 1080p performance and can comfortably support dual channel video. Advantech aims to target this new product with great cost/performance appeal at public transportation, retail, interactive display and digital out-of-home advertising networks. A discrete graphic chipset offers video acceleration via the unified hardware video decoder for H.264, VC-1, and MPEG 2, thus offering smooth full HD video playback and crisp image transitions. The ARK-DS350 (AM3) is available in two computing performance levels: embedded AMD Athlon II XL dual-core processor version, or the low power AMD Sempron single-core processor version. This solution enables a single product design be able to support a wide range of performance and power points. ARKDS350(AM3) delivers superior performance for 1080p HD output and can support dual channel video via HDMI and VGA. Furthermore, ARKDS350 (AM3) is a relatively compact design, low profile and light weight, able to be easily installed behind any large size LCD display. Though this is a fan-based model, it leverages smart fan technology so that the fan runs quiet. Visit http://www.advantech.com/appliedcomputing-systems/digital_signage/

56 Digital Signage

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cinematechnology.info is the online destination covering the hardware and software behind modern cinema operations. With regular email newsletter, website and E-magazine, cinematechnology.info gives you the latest on advancements in film, 2D/3D digital, scheduling, point of sale, signage & more. Publisher Phil Sandberg - papers@broadcastpapers.com • Sales & Marketing Manager Daniela Huelsen - dh@broadcastpapers.com

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Green Screen

GREEN SCREEN –

sustainability & the environment Broadcast Transmission Goes Green Communications

specialist Broadcast Australia has commissioned its first broadcast transmission site to be majority-powered by renewable energy. The Mount Owen site near Queenstown in Tasmania has been recently upgraded to use sitegenerated wind and solar power, which are together expected to reliably meet the site’s 8kW power needs for 80 to 90 per cent of the time. The Mount Owen site broadcasts a range of national and commercial analogue/digital radio and television services to the Queenstown and Zeehan area, and further supports critical radio communications for local emergency services. According to Broadcast Australia Energy Systems Engineer, Gary Cafe, the power demands of new services—such as digital television—were starting to exceed the capacity of the existing mains feed. “As this is a remote facility, providing onsite renewable energy generation was a commercially viable option to enable the broadcast of digital television to the local area, compared with the cost of upgrading the mains feed,” Cafe said. “At 980m above sea level, Mount Owen benefits from a strong prevailing south-westerly wind, making it ideal for wind turbine power generation.” A down-wind, constant-output horizontal-axis wind turbine (HAWT) has been erected on a 15m-high mast. This is positioned at the rear of the site’s directional broadcast array to ensure there is no signal obstruction from the turbine. The HAWT features automatic yaw control, enabling the turbine to rotate to optimise changing wind directions, and is rated for maximum power generation of 15kW at a windspeed of 12m/s (43km/h). The wind turbine is supplemented by a total of 36 square metres of mono-crystalline solar photovoltaic panels. Made up from 24 individual panels, each 1.5m by 1m in size, the entire assembly is rated at 5kW peak generating capacity. The site is designed to operate primarily from wind and solar power. In an effort to ensure high levels of reliability are maintained at this site, extraordinary levels of redundancy have been built into the system. In normal operation, the controlling inverters sense how much energy the wind and solar systems are producing, and make real-time decisions to control the power flow from the four sources. For instance, if the wind/solar systems are creating more than the energy required to meet the total site load, the excess generated electricity is used to charge two strings of batteries. “When the batteries are fully charged, the excess generated power is expended by means of a dump

58 Green Screen

>> >> The combination of wind

and solar power is expected to reliably meet the site’s 8kW power needs for 80 to 90 per cent of the time.

UK Film Industry Goes Green As a practical step towards helping UK film companies and freelancers working in film gear up for the introduction of the new British Standard developed by BSI on environmental sustainability in film, the UK Film Council, BAFTA and the BFI’s London Film Festival recently held a “Greening the Screen” trade fair. Alongside the discussion and debate, a trade fair offered industry professionals the opportunity to talk to and gain expert advice from a range of services and consultants, including: 10:10 – an innovative movement of people, schools, businesses and organisations cutting their carbon by 10% in a year. Visit www.1010uk.org AEA Technologies – an energy, environment and information management consultancy advising on managing resources and waste and sustainable working practices. Visit www.aeat.co.uk AECOM and Davis Langdon - working with international and national organisations to deliver low-carbon services ranging from strategy and

project management to engineering and workspace planning. Visit www.davislangdon.com and www. aecom.com BSI British Standards – the UK’s national standards organisation which has developed the new British Standard that will set out the requirements for improving the sustainability of the UK film industry. Visit www.bsigroup.com Carbon Aware Productions – help make productions carbon aware through collaboration with the Woodland Trust. With a background in location management and production of commercials, television, features and drama, our goal is to make as many of these as possible carbon aware. Visit www.carbonawareproductions.com Cinema Exhibitors’ Association (CEA) – represents UK cinema operators and has produced guidance on energy efficiency and environmental management for cinemas. Visit www.cinemauk.org.uk Dogwoof Films – the leading UK distributor for documentary and social issue films integrating carbon

reducing strategies for releasing and promoting films such as a solar-powered film premiere to cinemas simultaneously across London. Visit www.Dogwoof. com Greenshoot - provides environmental management for film and television productions, including innovative ways to recycle and save money on production budgets. Visit www.greenshoot.com Julie’s Bicycle - a coalition of senior creative industry executives, scientists and technologists that has come together to understand the sector’s environmental impacts. Visit www.juliesbicycle.com South East Media Network – based at Pinewood Studios, SEMN supports company innovation, project development and market access whilst being actively engaged in the green agenda. Visit www. semn.org.uk Wedlake Bell – a leading law firm which advises businesses on energy efficiency. Visit www. wedlakebell.com For more information, go to www.greenfilm.info

Energy Management for Data Centres load,” Cafe explained. “In essence, this is a simple electric heater, designed to deplete surplus generated electricity as heat, which is simply discharged to the air. It also has the bonus of reducing condensation in the inverter container.” During normal operation, if the amount of power generated from wind/solar drops below the total site demand of 8kW, the inverters draw the balance from the two strings of sealed gel lead-acid batteries— each rated at 2900Ah. The batteries alone can provide power autonomy for up to two days. To ensure site power demands are met for those infrequent periods where neither solar nor wind power can be generated, Broadcast Australia has engineered in a number of contingencies. If the wind/solar generation capacity supplies less than the total site demand for a prolonged period, and the batteries are unable to balance the load, then they will reach a certain ‘trigger’ level of discharge. At this point, mains power is called upon to meet the balance of the site load and charge the batteries if surplus remains. However, due to the limit of the mains-feed cable capacity, it is not possible to meet total site demand and charge the batteries from the mains feed alone. In this instance, the batteries may fall below a second threshold state of charge. When this occurs, the inverter turns off the mains charge and instigates the Emergency Power Plant (EPP). “The EPP comprises an onsite 31kVA diesel

generator, which has enough capacity to both charge the batteries and meet the full site load,” said Cafe. “With a 1000-litre fuel reserve, this is capable of providing total site power continuously for ten days if required.” The EPP is set up to start automatically through the inverter system. If the inverter system itself fails, an alarm is sent to Broadcast Australia’s Network Operations Centre (NOC), which has the ability to remotely bypass the inverter system and start the EPP. Should this be unsuccessful, a first-in maintainer will be notified by the NOC to go to the site to manually by-pass all controls and switch the site directly onto EPP supply. In the extremely remote off-chance that all these systems—including the EPP itself—fail, a mobile EPP can be brought to site to provide total site power. The site has been designed to enable 100 per cent of operating power requirements to be wholly met by renewable energy in the future. “Currently, we have the ability at Mount Owen to meet the total power needs from wind and solar sources an estimated 80 to 90 per cent of the time. This will potentially save up to 60MWh of conventional power each year from this site alone,” said Cafe. “The experience gained here will have far-reaching implications for Broadcast Australia’s carbon footprint for the future, as renewable power options are considered for a multitude of additional sites.” Visit www.broadcastaustralia.com.au

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Raritan has introduced a new release of its Power IQ Energy Management software that helps data centre managers better understand environmental conditions at the rack in order to use power and cooling resources optimally without compromising performance. Power IQ 2.0 provides Thermal Analytics for monitoring rack temperatures based on industry guidelines, including ASHRAE’s (American Society of Heating Refrigerating and Air-Conditioning Engineers) guidelines that recommend the upper temperature limit in a data centre be increased by 3.6 degrees Fahrenheit to 80.6 degrees (27 degrees Celsius). Power IQ provides a comprehensive solution to: inform users if a data centre or lab is within these recommendations and how much

energy could be saved by increasing temperature to meet these new recommendations; alert users if temperature exceeds threshold conditions; and, provide long-term trend charts. The solution also enables “graceful” shut down of underutilised Windows and Linux servers. Power IQ 2.0’s unique agent-less approach enables graceful shut downs and start ups of servers connected to any rack power distribution units (PDUs). It does not require additional software to be loaded on the target server and leverages standard operation system scripts and commands. Energy can be saved by scheduling automatic power cycling of an “IT device group” when not needed. For example, a Lab manager could save about 25 percent on energy consumption by turning off systems at 7 pm on Friday and turning them on

at 5 am on Monday. Other vendor-agnostic v2.0 features include: * Power and Environmental Health Monitoring - Power IQ collects SNMP traps from all supported rack PDUs and environmental sensors, provides an event browser for sorting and filtering the event list and sends email notifications for specified events. * Vendor-Agnostic Naming - Easily set or edit rack PDU outlet name, system name, contact name. * Enhanced Search - Enables the use of a partial IT Device Name or IP to find PDUs or IT devices. To download a free full-featured version of Power IQ, visit http://www.raritan.com.au/ energy-savings

Smart Grids Need Smarter Computing Computer, communication and control sciences are vital to the success of smart grid technology says the University of Sydney’s incoming Energy Australia Chair in The School of Electrical and Information Engineering. Professor David Hill says smart grids are poised to become big business internationally. Australia’s small size and coordinated pilot projects like the Smart Grid Smart City initiative, recently awarded to Energy Australia, in Newcastle-Sydney position it well to capitalise on the technology. Smart grids coordinate electricity demand and

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supply in order to allow more flexibility and efficiency in the supply of electricity. In particular it allows generation sources to be more diverse. “As a relatively small nation, Australia is in an excellent position to pilot and refine smart grids so they underpin future electricity generation and supply around the world,” Professor Hill says. “But there are a number of problems to solve before this happens. While many people understand smart meters in the home, the technology behind them, the so-called grid-side, needs a lot of work. “For instance, we need guarantees information

on voltages, frequencies and phases can be reliably transmitted from one point to another, in order to help avoid instabilities and blackouts. The Internet’s current ‘best effort’ can’t give us this assurance. “One of my first priorities will be to draw on computer, communication and control scientists’ expertise to develop data handling techniques and algorithms, enabling the necessary handling of huge amounts information to implement ‘smart’ capabilities.” Professor Hill joined the University on 1 November. Visit www.sydney.edu.au

Green Screen 59

Radio

THE ORIGINAL BROADCAST MEDIA

RADIO

Radio Data Solution Picks up ACRA for ARN October’s Australian Commercial Radio Awards (ACRAs) saw Bill Cacalis and Trevor Friswell of the Australian Radio Network pick up the gong for Engineering Excellence for the Digital Data Server used by Gold 104.3 FM and Mix 101.1. According to Bill Cacalis, “The Digital Data Server is a central repository for our internal and external content which is then redistributed as custom multimedia and text feeds that are associated with our DAB & FM audio services. “In particular, the Now Playing/Up Next song details, Spot associated data, Live news feeds and Weather information that is transmitted via our DAB DLS(text)/SLIDESHOW (jpegs), RDS, RSS and Online live stream players. “We have been able to build applications that parse XML, HTML and other text feeds, generate JPEGs, RSS, and automatically FTP out to the web and talk to our DAB equipment via telnet. And, just as important as the functionality, we’ve built a very comprehensive GUI for adding or modifying elements associated to our audio services.” Cacalis says the project has demonstrated that existing content can be re-packaged for DAB and Online without increasing workload or resources for any content providers (News/Programming). “I believe it has also set pace of multimedia content on DAB services across the country,” he says. “We have built something that directly integrates with our DAB multiplexers and gives us the flexibility to tailor our text feed and JPEGs for unique applications, more than just DAB, and it doesn’t require any additional resources. The Digital Data Server or DDS is a combination of the following applications: • RSS Manager • Digital Radio Slideshow Manager or DRSM • DLS Sender • MOT Sender

>> >> Bill Cacalis [left] and Trevor Friswell at the 2010 ACRAs with the Max Wilson Award for Engineering Excellence.

• JPEG AutoFTP • Weather.exe

is associated to a specific audio service.” The DRSM is very similar to the RSS manager as it handles the same source files but instead of generating text/xml files it generates JPEGs. This is done by way of superimposing text and other JPEGs over default station/service templates. DLS Sender is the link to DAB for DLS (text). It looks for changes to the output directory of RSS Manager and sends XML commands via telnet to the Factum DBS100 (DMB/DAB data server). Mot Sender is also a link to DAB for MOT (JPEGs) but instead of looking for changes to the output directory, it is triggered by DRSM and again sends commands to the Factum DBS100 via telnet. JPEG AutoFTP is responsible for the delivery of the JPEGs that DRSM has created to the Web for use with the Online live stream players. Weather.exe, meanwhile, is a download manager for collecting the latest HTML information from the bureau of meteorology.

“All these applications manage different aspects of the DDS,” says Cacalis, “but the two apps that are at the core of the server would have to be RSS Manager and DRSM.” The RSS Manager is responsible for parsing the locally generated news feeds from the Newsboss news presentation system, weather info from bureau of meteorology (including current temperature and forecasts), live export information from the station’s audio play-out system (music & spot info) and manually inserted positioning statements. “It generates both RSS and Text feeds which are used by the DLS Dynamic Label System in our DAB encoders, standard RSS feeds for the Web, RDS for FM and Metadata for our >> >> Architecture of ARN’s Digital Data Server. online streaming encoders,” says Cacalis. “Each entry in the system XML Export From NewsBoss Via FTP to DDS

DAB DLS & MOT

Digital Data Server

NEWSBOSS News Prensentation System

DRSM.exe

DLS_sender.exe

RSSM.exe

Mot.exe

Weather.exe Downloads latest html pages from BOM

Http hosting XMLfeed for web & Jpeg AutoFTP

XML Export From Nexgen. Via windows share

NEXGEN Audio Presentation/ Playout System

HTML Source from BOM. Via download Weather.exe

ONLINE LIVE STREAM

FM RDS

BOM Bureau Of Meteoroligy

First US Commercial Station Turns 90 The first commercial radio station in the USA (and probably the world) celebrated its 90th birthday on November 2, 2010. KDKA/Pittsburgh went to air with coverage of the U.S. presidential election on November 2, 1920. Just four men were behind the broadcast from a shack atop the Westinghouse Electric Building in Pittsburgh. Now a CBS Radio News/Talk station, KDKA was founded by Frank Conrad, who operated predecessor 8XK, an amateur home station that played mostly music. Conrad was an engineer for Westinghouse. KDKA is considered the first station to target the general public (as opposed to radio hobbyists) with a regular broadcast schedule. It carried the first live church service, was the first station to broadcast baseball scores, and was the first to cover an address from a national political figure, when a speech by then-Secretary of Commerce Herbert Hoover was heard in January of 1921. Visit http://kdka.cbslocal.com/

60 Radio

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Distributed by AVC Group Tel.: 1-800-631-728 Email: sales@avc-group.com.au Web: www.avc-group.nz

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Radio

MECHANICAL & WIND NOISE REDUCTION ENGINEERS

Reducing mechanical and wind noise in audio recordings without compromising frequency response is not a simple task. It requires a solid engineering background coupled with knowledge of the natural sciences.

Radio

Lawo’s Sapphire is a Real Gem

UNIVERSAL

CAMERA

Kit

The Rycote Universal Camera Kit is the essential accessory for achieving good, clean, audio recordings to professional standards, for outside fi lming using a shotgun or rifl e camera mounted microphone. Miniscreen provides wind-noise attenuation of up to 18dB along with a shock mount to provide ultimate protection against all vibrations (up to 30 dB with Windjammer).

SOFTIE

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The Softie kit combines both the Softie Windshield and the Softie Lyre Mount. To provide both wind protection and a shock sh mounting for your microphone. i

S-SERIES Kit

The Th he SS-series serr ie ies is a zeppelin/blimp style of microphone suspension and windshield. The patented “Lyre” suspension web, a revolutionary non-elastic suspension, gives ideal isolation for all axial microphones.

FULL

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The Modular Full Windshield System is the complete zeppelin style windshield & suspension package to isolate microphones from wind & handling noise. The system is available in 7 sizes designed to fi t all leading microphone products.

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Australia: Free Call 1800 648 628 | email sales@syntec.com.au New Zealand: Free Call 0800 100 755 | email sales@syntec.co.nz

62 Radio

THE SAPPHIRE, Lawo’s latest addition to its radio console family, is a solution to the changing and varied needs of contemporary on-air and production studios where technicians and engineers focus on a mixing console’s flexibility as well as its technical and tonal capabilities, while editors and self-op presenters look for intuitive operation and a design creating an inviting atmosphere for their studio guests. The sapphire provides an intuitive control surface, high performance and maximum flexibility giving users the ability to tailor their on-air or production studio to meet their personal needs and requirements. The sapphire is based on the successful crystal console, including the extremely flat construction. Specifically, this allows customers to place the console easily in the studio wherever it fits best. At the same time, the high quality, solid aluminium surface will prevail even in the most strenuous situations during day-to-day radio operations. The sapphire’s up to 40 faders can either be placed arbitrarily on individual studio islands or integrated into the desk, allowing moderators to work from different positions while the studio is on-air. And this flexibility extends even further: using layers, up to 80 mono sources can be connected simultaneously. In addition to mono, stereo and 5.1 sources are possible as well, each of which can be assigned to a single fader. In addition, the configuration of individual buttons is highly flexible if desired. Being thus entirely subordinated to the individual requirements of sound engineers and presenters, the control of even tonally sophisticated programs becomes simple and self-explanatory. In essence, this allows the focus to shift entirely to the issue at hand: the production of the broadcast. Arranging controls more efficiently and allowing quicker access to additional channel parameters, different modules with longer channel strips called “Extensions” can be chosen. They feature high-quality OLED displays, rotary controls, and buttons. With the sapphire, an optional Overbridge with high quality surface and modern design can be added to allow displaying channels directly via the channel strips. The heart of the sapphire is based on the proven DALLIS system. Given this extremely powerful and flexible DSP infrastructure, users can tailor the console’s functionality to their personal preferences. Various other tools, such as an integrated router, signal processing with dynamics units, EQ, silence detects, or the integrated talkback function, contribute to this end. Finally, users have access to a wide spectrum of interfaces that covers all standard formats and is constantly updated. Customers can rest assured of the sapphire’s sustainability, and its ability to grow with their requirements. Allowing access to respective IP-based audio networks and the efficient connection to other studios, the sapphire will feature a RAVENNA Audioover-IP interface in the near future. Visit www.lawo.de BACK TO CONTENTS PAGE

Digital Radio Forum says ‘Let’s Just Get On With It!’ There was tough talk and heated discussion when the international DAB digital radio community met recently in Belfast for the annual WorldDMB General Assembly. Broadcasters and manufacturers from around the world were united in a call for action as digital radio switchover moves from debate to reality, with several countries already legislating a timeframe for migration. Hossein Yassaie, Chief Executive of Imagination Technologies, the parent company of leading DAB family of standards manufacturer PURE, gave the keynote speech. Yassaie said that with an agreed standard for DAB, DAB+ and DMB, the time for debate is over. Europe needs clear leadership and a united strategy for the proliferation of digital radio across the continent to advance quickly. In particular, he said, it is vital to the overall health of the sector that DAB launches in the German, French and Italian markets. He went on to highlight the point that broadcast radio remains the most efficient and greenest method of reaching a large population and is the only viable solution for delivering radio to listeners in cars and on the move.

On the same topic, Simon Mason of Arqiva presented detailed analysis underlining the fact that other mobile communication solutions such as 3G/4G are neither economically, nor >> Hossein Yassaie, technically realistic Chief Executive of alternatives for Imagination Technologies delivering radio on - “the time for debate is the move. Mason over.” said it was time to stop debating the merits of such solutions and get on with the job at hand. Yassaie’s words were echoed by BBC Director of Audio & Music, Tim Davie. Davie told the audience that migration from analogue to digital radio is a topic on everyone’s agenda. He spoke of the burden to broadcasters of dual transmission costs and said this “bump in the road” needs to be tackled quickly. Davie called for a clear roadmap to signal the industry when and how this would be achieved, so

that broadcasters across Europe could plan ahead with confidence. Some speakers were frustrated by the continued discussion of “other technologies”. It is clear that radio is a vital component in the consumer’s media day, and some delegates felt that, at this stage in developments, the focus should be firmly fixed on content and programming, multimedia and usability rather than on which technology is best. Many broadcasters believe the ultimate solution regarding technology is that of a hybrid device delivering DAB for broadcast, IP for back channels and FM for the interim period while switchover is achieved. Overall, there was a general feeling from the conference of “let’s just get on with it”. WorldDMB President Jørn Jensen said, “There was real energy and commitment from delegates at the General Assembly this year. Constructive debate has revealed a genuine desire from Europe’s broadcasters to move forward with the united goal of seeing digital radio succeed across the continent. We now need to take this positive energy back to our various countries and work diligently with governments and regulators to achieve the path forward.” Visit www.worlddab.org

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 BACK TO CONTENTS PAGE

Phone +61 2 8882 7766

Email sales@onair.com.au

www.onair.com.au

Radio

Ecreso Launches New FM Transmitters Ecreso has announced the launch of a new series of FM Transmitters incorporating an allnew digital modulator. The new range incorporates a state-of-the-art digital modulator, a new, modular and highly efficient 2.5kW amplifier and the ability to create sophisticated 1+1 and N+1 redundancy solutions. The Helios digital FM exciter incorporates digital signal processing techniques to ensure a high degree of accuracy, low noise, low distortion and even better performance. With a built-in stereo encoder and the option of a built-in RDS encoder, this digital exciter generates an FM signal with either 20W or 100W output. The new Helios is also incorporated into Ecreso’s “Radio All in One” unit, the Next FM. This integrated product is a single 3U high rack-mounted unit that combines the benefits of the new digital exciter with core broadcast functionality such as stereo encoding, RDS encoding, HQSound audio processing, audio

backup and remote facility control. The revamped Goliath amplifier module offers individual power supplies for each internal 750W MOSFET and full monitoring and control for improved reliability as well as reduced power consumption. The Goliath is available in 750W, 1.5kW and the all-new 2.5kW format; a modular approach enabling the creation of high power FM systems of up to 10kW. Ecreso’s new FM transmitter range can enable a

range of redundancy applications including 1+1 and N+1 scenarios. 1+1 redundancy can be implemented on Ecreso’s FM range using Audemat’s Scripteasy control software with no need for an external control unit. For full flexibility and expert N+1 redundancy, Ecreso’s central management unit, Nephtys V2 offers a professional substitution controller with full remote management capabilities. Visit www.worldcastsystems.com

Lumina Broadcast Systems are proud to represent these world leaders in broadcast equipment.

WILL- BURT

New iPhone version of Luci Livetwo

APT IP Audio Silver For Cost-Effective STLs APT launched the IP Audio Silver for cost-effective audio to IP conversion at IBC. The IP Audio Silver has been designed as an inexpensive unit for the delivery of broadcast-grade audio over IP networks and is ideally suited for Studio Transmitter Links in smaller radio stations or for large scale audio distribution requiring multiple units. Offering AES/EBU or analogue audio and the option of linear or compressed audio on professional XLR connectors, the IP Audio Silver maintains optimum audio quality. The unit is designed around a DSP-based architecture, avoiding the many problems associated with generic PC-based hardware. Optional redundant power supplies and the ability to playout audio from an integrated SD card slot in case of audio failure all work to ensure that a radio station can stay on air. Controlled via a web-browser or SNMP, the unit also offers optocoupled inputs and relay outputs for control or signalling alarms. Visit www.worldcastsystems.com

Technica Del Arte, creator of the innovative Luci, debuted its newly launched version of Luci Livetwo mobile broadcast software for iPhone at IBC 2010. Luci Livetwo has revolutionised radio reporting by offering two-way live, broadcast quality audio streaming to any professional IP codec. Already released on other mobile platforms and well established as a broadcasting tool, the software is currently used by a number of international corporations including the BBC, ABC (Australia), CBC and Wereldomroep. Luci Livetwo allows both recording and playback of prerecorded wav files during a live broadcast and supports a number of output codecs including MP2 (48 kHz sample-rate, 32 to 384 kbps, mono or stereo), AAC-HE (48 kHz samplerate, 24 to 64 kbps, mono or stereo) and 24-bit ULCC audio codec (44.1 to 48 kHz sample-rate). Luci Livetwo provides excellent broadcast quality, with the software constantly updated to the latest IP technology and standards. Luci Livetwo for iPhone is available from the AppStore. The MCA3 cables required for connecting a professional microphone and headset can be ordered via its website. Visit www.luci.eu

WTS

Omnia.11 FM Broadcast Audio Processor Omnia has launched the new Omnia.11 FM Broadcast Audio Processor at IBC 2010. Five years in the making, the goal was to restore the quality and cleanliness to a station’s sound that’s often lost with heavy processing, without a sacrifice in loudness. The signature winning Omnia sound is still there, but every stage of processing and the hardware platform itself has been completely re-created from scratch to address the latest competitive challenges. The entire Omnia development team rose to the challenge and created a new hardware platform, new front-end processing, and a new user interface, all with the common goal of re-inventing FM processing. Visit www.omniaaudio.com

64 Radio

Lumina Broadcast Systems Australia Pty Ltd, P.O. Box 1693, Lane Cove NSW 1595 Phone: +61 2 9113 0720 Fax: +61 2 8572 5285 Email: sales @luminabsa.com BACK TO CONTENTS PAGE

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Audio

AUDIO

University of Otago Upgrades with SSL The University of Otago’s campus in Dunedin, New Zealand, has installed a 64-fader Solid State Logic C200 HD Digital Production Console with two remote Stage Boxes in the historic The Albany Street Studio complex. Built in 1968 by the New Zealand Broadcasting Corporation, The Albany Street Studio was a classic BBC No. 2 studio acoustic design intended for recording a full orchestra. The introduction of the C200 brings advanced recording capabilities to the acoustically perfected room, giving University of Otago students a real-world educational opportunity. The C200 HD is used with Alpha Link, Delta Link and an X-Rack with two G Series and two VHD mic preamps. “After extensive research into available consoles, the C200 was selected because of its high level features, SSL’s excellent reputation for building quality products and the level of support SSL provides – a must for an installation in New Zealand,” says Stephen Stedman, music technician, Department of Music, University of Otago. “The C200 is used in our Music Performance programs covering undergraduate recorded performance assessments, postgraduate diploma recorded performance (album production) projects, Masters and Doctorate composition/

IMAX Audio Calibrator IMAX Corporation has launched the nXos Calibrator, a patent-pending technology designed to tune and automatically monitor IMAX audio systems. The new technology applies the equivalent of thousands of bands of equalisation to perform a highly detailed tuning of the IMAX audio system. The IMAX nXos Calibrator is designed to significantly exceed the capability of manual equalisation processes. IMAX’s audio systems feature proprietary loudspeaker technology and uncompressed digital sound, with much greater dynamic range than conventional systems. The system is designed to provide a more immersive audio environment. The IMAX nXos Calibrator works to ensure that the audience is provided an optimum audio experience in the IMAX theatre. The IMAX nXos Calibrator was developed in cooperation with Audyssey, a developer of audio equalisation technology. Based on a proprietary implementation of Audyssey’s MultEQ XT technology, the IMAX nXos Calibrator applies Digital Signal Processing technology to tune and monitor IMAX audio systems. The new technology provides remote monitoring to allow IMAX

66 Audio

>> >>

Otago University Technician Stephen Stedman and student at the helm of the SSL C200.

recorded performance projects (album production) and academic staff projects for performance based research and commercial use.” The C200 services records in the 110 square meter (1,100 sq. ft.) main studio. Capture is through both Pro Tools and Logic Pro DAW systems. Eight and 16-track tape is also used for transcribing important recordings for remix/re-release. “The C200 provides us with a traditional analoguelike work surface,” explains Stedman. “It moves us

technicians to know on a day-to-day basis the status of nXos equipped audio systems. The system can automatically apply corrections if changes in audio calibration are detected. Using a proprietary version of MultEQ XT technology, IMAX technicians measure audio performance at over 20 locations in the theatre. The MultEQ algorithms calculate an optimal equalisation based on loudspeaker and room acoustics to provide a consistently high level of audio performance in each auditorium. However, system tuning is not the last step in maintaining IMAX audio quality. On a regular basis, IMAX’s nXos technology applies test signals to each audio channel, and by means of permanently installed microphones, measures the performance of the IMAX audio system. If significant variation in performance is detected, correction is applied to return the system performance to its pre-determined value. Results are reported to the IMAX Network Operations Centre at IMAX’s headquarters. Technicians have the capability to remotely access the IMAX nXos Calibration system to observe results, modify tuning parameters and perform diagnostic tests. Visit www.imax.com

away from clicking inside the box to working on a control surface that is familiar and provides excellent productivity. Students recording on the C200 are getting a high-end studio experience which prepares them for a future in the music industry.” The main studio is augmented by two smaller studio suites, Studios One and Two, which allows projects to be completed using any combination of studio spaces. SSL Stage Boxes can be located in a variety of rooms where, for example, drums could be set up in a smaller room instead of the Main Studio. Otago is establishing remote fibre links to the main concert hall (Marama Hall) and the performance theatre (Allen Hall) for remote recording of western art music and plays. “The C200 offers opportunities for us to research and experiment with remote recording using the fibre links,” continues Stedman. “The console provides a huge array of inputs, outputs and routing options. In May, New Zealand Music Month, we produced five broadcasts of local bands. We have also hosted live concerts in the studio which were recorded and videotaped for broadcast/podcast/DVD. Having the C200 puts us on the map for educational and commercial uses. Visit www.solidstatelogic.com

Dolby Debuts Audio Description for HDTV At IBC 2010, Dolby Laboratories gave the first demonstration of full HDTV-compatible audio description services enabled via Dolby Digital Plus. The Dolby solution allows visually-impaired viewers to enjoy HDTV surround sound programming complete with optional audio descriptive tracks, an improvement on the current solutions that are limited to stereo-only provision. Utilising STMicroelectronics’s STi7108 single chip set-top box solution, the demonstration showed how Dolby Digital Plus can enable both the main surround soundtrack plus an additional commentary track to be carried together as a single, bandwidthefficient bitstream. In receivers where audio description is required, these tracks can be mixed to create an uncompromised surround soundtrack for visuallyimpaired viewers. The demonstration showcased the capabilities of the latest generation Dolby Multistream Decoder implementation for broadcast receivers and other media devices. The latest Dolby Multistream Decoder includes Dolby Volume—ensuring delivery of consistent volume levels across all content and input sources in the home playback environment—along with a full suite of post-processing features to maximise the quality of audio reproduction from any playback device. Visit www.dolby.com

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If money is no object, this console is for you.

Audio

Sound Devices USBpre 2 Interface Sound Devices introduced the USBPre 2, an all-new version of its popular USBPre computer audio interface at IBC 2010. The two-channel USBPre 2 offers professionals a portable interface to interconnect audio sources to Mac OS and Windows computers over USB. Featuring an entirely new electronic design, USBPre 2 uses the same extended-bandwidth, low-noise microphone preamplifiers and digital converters as Sound Devices award-winning 7-Series Digital Recorders. The USBPre 2 is ideal for voiceover recording, reference playback and monitoring, and test and measurement. The class-compliant, plug-and-play device accepts mic level, line level, consumer line level and SPDIF digital (coaxial or TOSLINK) inputs. Its

microphone preamplifiers have selectable analogue limiters, high-pass filters, 48 V phantom power, and high-resolution LED meters. Because the USBPre 2 draws its power solely from the computer’s USB port, no additional power source is required. Sound Devices designed the USBPre 2 for both reference quality input and output. Its balanced XLR

SSL MADI-X8 Routing System

Solid State Logic has released its MADI-X8, a versatile and cost-effective 8-port MADI audio router/splitter/ aggregator system. In addition to offering simple point to point bulk routing, MADI-X8 offers Source Distribution (one source to several destinations), Device Splitting (any combination of individual channels to any destination) and Source Aggregation (a single 64 Ch. output consisting of any combination of channels from various inputs). MADI-X8 is therefore a unique solution to audio distribution and aggregation challenges in a wide range of applications. The MADI-X8 is a 1U unit with six MADI fibre and two coax I/O. It provides a 512 x 512 point routing

matrix controlled by cross-platform SSL Logictivity Browser software. The MADI-X8 hardware can store up to 128 presets and continues to function when the Logictivity Browser is disconnected. MADI-X8 can act as a Master Clock source or as a clock distribution system via its MADI and/or Word Clock connections. It has Intelligent Clock Sensing with Auto Failover, which can monitor both a Primary Master Clock and a Secondary Clock source, and can switch automatically should the Master Clock source fail. Up to four MADI-X8 units can be controlled by a single browser and multiple browsers can control a single MADI-X8 over a wired or wireless network. Visit www.solid-state-logic.com

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

outputs offer superior rejection to interference and are switch-selectable between mic or line level. Additionally, a consumer RCAtype output is available for connection to unbalanced inputs. Its headphone amplifier easily drives full-sized headphones with extensive, clean gain. With its unique stand-alone mode, the USBPre 2 functions as a two-channel microphone preamplifier with analogue, digital and headphone outputs. It is the perfect portable audio interface for Avid, Apple Final Cut Pro, and Adobe Premiere Pro editing systems and system engineers will also appreciate its ability to output full line level signals on XLR connectors. Visit www.sounddevices.com

Sound Devices Updates 788T Recorder & Wave Agent Sound Devices has unveiled the 2.10 firmware update for its 788T and 788T-SSD multitrack digital audio recorders, along with the 1.15 upgrade to its Wave Agent software. The 788T update, available to all 788T users on the company’s website, allows for the linking of multiple 788T recorders, as well as other Sound Devices 7-Series recorders. Wave Agent 1.15, meanwhile, features a new Control Mode. Thanks to a new linking capability, multiple 788T digital recorders are easily interconnected for applications requiring higher track counts or synchronised backups. The 788T’s latest firmware update enables, via its C. Link connection, multi-unit linking, locking all connected 7-Series recorders to one 788T world clock, time code and transport. The new 788T update also supports editing metadata from Wave Agent software. Sound mixers can directly edit 788T file metadata from a Mac OS or Windows computer running Wave Agent 1.15 or greater. The newly released upgrade for Wave Agent, 1.15, features this new Control Mode (formerly known as Meter Mode). Metadata available for edit includes scene, take and notes values. Visit www.sounddewvices.com

Introducing

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

RTW Debuts TouchMonitor Series Pro Audio Metering A TELOS COMPANY

TouchMonitor is a new range of professional audio metering products that RTW developed, from the ground up. The two TouchMonitor versions, scheduled to ship by the end of 2010, include the TM7 and TM9 with 7 and 9 inch touch screens. The operating concept, based on 16:9 touch-sensitive screens, offers a builtin online help function and also allows for

monitoring separate signal groups using multiple instruments at the same time. For example, a TouchMonitor featuring 8 digital and 8 analogue inputs can display a digital 5.1 surround signal on the Surround Sound Analyser, the Loudness Radar Meter by TC Electronic, AES status data, a PPM/loudness combo bargraph and a numerical loudness meter. At the same time, the unit could

monitor four analogue stereo signals on PPM/ SPL bar graphs simultaneously. This way, up to 16 analogue and/or digital signals can all be displayed. In addition, the TM9 with the 3G-SDI option installed (available during the second quarter of 2011) will be able to display all 32 signals of a 3G-SDI stream in parallel. Visit www.rtw.de

AxiaAudio.com/iQ/

68 Audio

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Audio

SONIFEX SeeS Red at IBC At IBC 2010 Sonifex announced Dolby Digital versions of the 3G/HD/SD-SDI Embedder & Deembedder for use with Dolby E and Dolby Digital audio in all digital video signals up to 3G. The RB-VHEDD8 3G/HD/SD-SDI Dolby E Encoder & embedder encodes 8 channels of audio into two channels of an AES/EBU digital audio stream which is then embedded onto any of the available groups within each of the two video output paths. It is also transmitted on a BNC or D-type on the rear panel. The audio inputs to the encoder can be selected from the external audio inputs via the BNC or D-type connections or from the audio in the incoming SDI input. Similarly, the metadata input for the encoder can be selected to come via the external 9-pin D-type on the rear panel, or from metadata embedded into the vertical blanking area of the video input. The unit is controlled locally through the front panel display but can be remote controlled via an ethernet connection using the Sonifex SCi software. The RB-VHDDD8 3G/HD/SD-SDI Dolby E & Dolby Digital decoder & de-embedder de-embeds up to 10 channels of audio within any audio group

Sennheiser Handheld Transmitter Its characteristic antenna is a familiar sight on stage and in the TV studio - the SKM 5200 is the top-ofthe-range microphone in audio specialist Sennheiser’s wireless range. The handheld transmitter is now available in the new mark II version, which provides sound engineers with a switching bandwidth of up to 184 MHz while still offering the same excellent transmission reliability – ensuring that they can flexibly select frequencies and avoid interference. A further highlight is the “Low Intermodulation” mode, which extends the number of usable channels within a given frequency range. The SKM 5200-II rounds off Sennheiser’s II models. The beginning of the year saw the launch of the SK 5212-II bodypack transmitter and the EM 3732-II receiver family. With their wide switching bandwidth, these models are ideal for international productions and multi-channel applications. The microphone offers optimum sound quality and

of an SDI video signal and a further 2 which are sent to the Dolby Decoder. The outputs from the decoder or the de-embedder can then be re-embedded onto either of the two SDI outputs and also transmitted on a BNC or D-type situated on the rear panel. It has a triple rate SDI receiver with automatic input rate detection and equalisation along with two re-clocked and individually buffered SDI outputs. It supports the full range of 3G, HD and SD standards from NTSC and PAL up to 1080p 60Hz and has other features similar to the RBVHEDD8. The RB-DSD8 8 channel silence switcher accepts

analogue and digital inputs and acts as a single 8 channel silence detector, or as multiple smaller stereo silence detectors, allowing silence switchover for 5.1 & 7.1 signals. Designed to switch from one input (or set of inputs) to another in the event of loss of audio, the unit is ideal at transmitter sites, or after the master output of a studio, to switch in another audio source, or simultaneous broadcast, should a master source fail. The unit can switch on loss of level of the main input, on loss of level on one channel of the main input or on loss of synchronisation lock. Visit www.sonifex.co.uk

On the recent occasion of his birthday, Sydney’s Trackdown Studios has honoured its late founder Simon Leadley by renaming the Trackdown Scoring Stage to ‘The Simon Leadley Scoring Stage’. Simon founded Trackdown with Geoff Watson in 1984. Geoff remarked, “His dedication and passion towards his work has seen Simon recognised as one of Australia’s and the world’s leading craftsmen in the audio and film music industry. He was the key that unlocked Trackdown as the first class audio facility it is today.” Simon passed away February 2010 Visit www.trackdown.com.au

Audio/Video Monitor

maximum flexibility for every type of production, from concerts to TV reporting. On the RF side, the handheld transmitter features transmission reliability with its new switching bandwidth – extended from 36 MHz to up to more than 180 MHz – , its switchable output power and its “Low Intermodulation” mode. Like the SK 5212-II bodypack transmitter, the SKM 5200-II is equipped with a “Low Intermodulation” mode, which ensures even more reliable transmission in multi-channel applications. This mode reduces what is known as transmitter intermodulation, which limits the number of usable channels and occurs whenever several transmitters are used in close proximity. The “Low Intermodulation” mode enables the sound engineer to pack around 30 percent more channels than before into a given frequency band with an RF output power of 10 mW. As a result, the available spectrum can be used more efficiently – or the sound engineer can simply benefit from the increased reliablity that this mode offers. What is more, the wireless handheld transmitter can

be operated in standard mode at 10 mW, thus extending the operating time, or can transmit at 50 mW to increase the range. The SKM 5200-II hand¬held transmitter is available in the colours black, nickel and steel blue and can be fitted with the familiar Sennheiser and Neumann capsules. The frequency ranges of the wireless microphone are 470 to 638 MHz (L-band), 614 to 798 MHz (N-band) and 776 to 866 MHz (P-band). Visit www.sennheiser.com.au

CT_nov10_TAP_4c_awards_215_65_5bleed.pdf 15.10.2010 17:56:54

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Television Audio Processor www.jungeraudioasia.com

The BM-AV1-16SHD is a 1U high-quality video/audio monitor, capable of monitoring 3G/HD/SD video and multi-channel audio sources. This class leading product builds on Bel’s reputation for providing very high quality and reliable broadcast solutions. The BM-AV1-16SHD provides a pair of auto-detecting 3G/HD/SD SDI inputs and accepts 8 analogue audio inputs and 8 AES-3id pairs. Integral to the BM-AV1-16SHD is a high-quality OLED video display providing exceptional clarity and image definition. (The display comes with programmable features to ensure extended display lifetime.) The selected audio inputs are displayed on high-resolution multi-coloured LED bargraphs providing long-term reliability. Selected audio channels are also provided as AES-3id and analogue outputs on the rear panel. Output levels can be fixed or controlled by the front panel volume control. An integral audio mix system enables any demuxed audio channel to be mixed on either, or both speakers, while maintaining a constant output level. In addition to metering audio level, the BM-AV1-16SHD also functions as a Loudness meter, complying to ITU-R BS1770. An SDI reclocked loop-through connector is provided enabling connection to downstream equipment. Two high quality and magnetically shielded speakers are mounted on the front panel, providing, together with a ducted bass system, high-SPL audio reproduction. A limiter circuit is included to prevent speaker damage. Either speaker can monitor the sum of any combination of inputs. A headphone socket is provided on the front panel. The BM-AV1-16SHD is suited to operation within Master Control Rooms, Outside Broadcast Vehicles, or indeed anywhere where audio monitoring of SD, HD and 3G SDI sources is required, especially in a space conscious environment. Visit www.proaudiotechnology.com.au

OUR SMALLEST SOUND PRO The new MKE1 Whether for musicians and live shows, or for broadcasting applications, the MKE 1 – Sennheiser’s smallest clip-on microphone performs at its best in all situations where a microphone needs to be virtually invisible and still offer outstanding sound quality.

Reliability Sweat protected by a newly developed protective membrane, the MKE 1 stands up better than other clip-on microphones to harsh live conditions. It’s special gauze and multi-purpose cap offer additional protection from moisture so that it only picks us what it is meant to pick up - perfect sound. The MKE 1 is robust in every respect. The Kevlar™ reinforced cable with moulded antikink sleeve minimises handling noise and makes this a microphone you can rely upon completely.

Sparks Fly with Blue Mics

• Level Magic Loudness Control • 5.1 Surround Upmix • Spectral Signature by Junger Audio • SDI Embedded Audio • Dolby® Processing incl. Metadata Management

www.junger-audio.com 70 Audio

Trackdown Honours Simon Leadley

Audio

T*AP

Blue Microphones has announced Spark, a cardioid, solid-state condenser microphone, with high-quality, fully discrete components and a Focus control offering two sonic signatures. Along with striking design and the ability to capture a wide range of recording situations, Spark also comes with a custom shock mount and pop filter in a professional wooden case. Spark features Blue’s premium condenser capsule, delivering low noise, high efficiency, and rapid response in any recording situation. Out of the box, the sonic signature of Spark is crisp and powerful with an enhanced low end. To achieve a more present sound, Blue introduces the Focus control, which when selected results in a tighter, more direct and focused sound. Spark utilises custom-matched circuitry with the same professional-quality, Class-A discrete components found in Blue’s extensive line of professional microphones. The circuit design also pairs Spark’s condenser capsule with a phantom-powered outboard amplifier to drive the capsule with linear control and accuracy. The microphone also comes with a detailed recording guide showing complete set-up and recording tips for a variety of instruments and vocal sounds. Visit www.ambertech.com.au and www.bluemic.com

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For more information contact; Australia: Free Call: 1800 648 628 New Zealand: Free Call: 0800 100 755 www.sennheiser.com.au/ct Follow us: twitter.com/SennheiserAU_NZ

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Civolution Upgrades Teletrax Monitoring Service

SIGNAL DISTRIBUTION, TEST & MEASUREMENT

Nine Picks Grass Valley for HD Studio Relocation Nine Network has contracted with Grass Valley for relocation of the network’s GTV-9 studios from its current location to new high-definition studio facilities in the Docklands district of Melbourne. Grass Valley is providing its system design and integration expertise to install a full complement of legacy and new third-party HD production equipment, as well as two 2.5 M/E Kayenne Video Production Centre switcher systems inside two new HD control rooms. Grass Valley will provide system integration services in the new state-of-the-art HD facility, to be completed in early 2011. This relocation is within a new multi-story office tower housing other business divisions of Nine’s parent company PBL Media. The new studios for GTV-9 will include two video control rooms and attached audio control that will produce daily live news and current affairs

programming as well as panel-style talk shows to spotlight its sports and magazine TV-style reporting.  “Grass Valley was short-listed after the first round of tender responses was reviewed on the basis of the total project cost and the quality of the submission,” said Charles Sevior, Network Manager Broadcast Technology at Nine Network.   Video sources within the two new HD studios will be managed by a 3 M/E Kayenne production switcher panel in the larger studio, allowing for a future ME upgrade as required, while a 2 M/E Kayenne panel will control the second, smaller studio. Both switchers were purchased with the optional 2-channel ClipStore clip storage system, which includes a fully integrated Grass Valley K2 Solo media server with ChannelFlex for double the video capacity per channel. Once installed,

ClipStore will allow GTV-9 s operators to store and recall video clips from within the Kayenne’s ImageStore menu panel and E-MEM/cue systems. ChannelFlex allows two video fill and key streams to be played back simultaneously from a single K2 Solo channel and works in tandem with the Kayenne’s current internal ImageStore system.  The 2 RU ClipStore integrated server system allows Kayenne users to access a huge library of SD or HD video for animations, replays, or any other type of video. The existing six optional ImageStore Channels (for stills) are not tied up when using the new K2-based ClipStore system for video. The ability to create folders and clip names has also been incorporated within the ImageStore menu to make it easier to manage the large amount of content now available.  Visit http://www.grassvalley.com/

CSIRO Brings Broadband to the Bush via TV Channels A major breakthrough in wireless technology designed to bring broadband to people living beyond the optical fibre network, has been unveiled by Australian Government agency, the CSIRO. The first half of CSIRO’s Ngara technolgy will enable multiple users to upload information at the same time, without reducing their individual systems’ data transfer rate of 12 Mbps.  “Someone who doesn’t live near the fibre network could get to it using our new wireless system,” CSIRO ICT Centre Director Dr Ian Oppermann said. “They’d be able to upload a clip to YouTube in real-time and their data rate wouldn’t change even if five of their neighbours also started uploading videos.  “But the really impressive part is the spectral efficiency our team has achieved.

” The radio spectrum is a finite and highly valuable, natural resource. CSIRO’s spectral efficiency is three times that of the closest comparable technology and the data rate is more than 10 times the industry’s recently declared minimum standard. Spectral efficiency is about packing as many bits of information as possible into the channel (frequency range) allocated for its transmission. CSIRO’s 12 Mbps, six-user system works in the space of one television channel, which is seven megahertz (MHz) wide. CSIRO is achieving spectral efficiency of 20 bits per second per Hertz (20 b/s/Hz).  “Even with just half of our system completed, CSIRO is already helping define the future of wireless technology,” Dr Oppermann said.  Wireless Research Director for Gartner, Robin

Simpson, said the most promising aspect of CSIRO’s Ngara technology is that it aims to re-use old analogue TV channels.  “This means any rural property or business that can currently receive TV signals could in future connect to high-speed internet just by using a new set-top box,” Mr Simpson said.  CSIRO is currently completing the research and testing of the downlink part of the system, which will also run at 12 Mbps per user. Ngara is a word of the Darug people meaning to listen, hear and think.The Darug people are the traditional owners of the land on which the ICT Centre’s Sydney lab sits. This project is supported by the Science and Industry Endowment Fund.  Visit http://www.csiro.au

Deluxe Australia’s Satellite Plans Deluxe Australia, a subsidiary of Deluxe Entertainment Services Group Inc., has announced the appointment of Adrian McCarten to the newly created role of Digital Content Distribution Executive. Based in Sydney, Adrian will spearhead the deployment of Deluxe’s satellite initiatives throughout the region as an extension of Deluxe Australia’s leading Digital Cinema operations, which already provides reversioning, mastering, replication, Digital

Cinema Packaging (DCP), hard-drive distribution and key management services for its Hollywood studio customers into Australia, New Zealand and the Asia Pacific. Deluxe’s planned network will deliver traditional 2D and 3D feature films, live events, special content, and other programming designed for digitally equipped theatres.  “Adrian comes to us with in-depth knowledge around signal transmission methodologies and is very well networked globally,” says Alaric

Civolution has announced that it has deployed a radical and comprehensive network upgrade for its Teletrax global broadcast monitoring service. The upgrade - Teletrax 4.0 - includes tracking of SD and HD video material as well as capabilities for combined watermarking and fingerprinting broadcast monitoring applications. This major network upgrade updates all Teletrax detection stations around the world and is part of an ongoing development effort to optimise and future-proof the Civolution broadcast monitoring platform in keeping up with ongoing changes in broadcast distribution. With this upgrade, the broadcast network has improved HD and SD tracking capabilities, provides better watermarking survivability, enhanced network manageability and integrates watermarking and fingerprinting into the product line. Civolution’s Teletrax will now be able to track the broadcast of media assets using video fingerprinting and watermarking. This creates unique capabilities, providing clients with alternative technologies that compliment their production and distribution workflows as well as their broadcast intelligence requirements. Broadcast monitoring fingerprints can also be repurposed for online tracking and monetisation. Visit www.civolution.com

Versatile Advent NewsLite IP-enabled Uplink Vislink News and Entertainment have announced that it will unveil the new Advent NewsLite at IBC 2010. NewsLite is a portable, IP-enabled SatCom terminal designed for use with current and new lightweight antenna systems. This modular solution combines the performance of high bandwidth broadcast contribution feeds with the flexibility of BGAN type newsgathering and creates new remote connectivity applications. “NewsLite is highly configurable and more versatile than traditional suitcase and manpack solutions, and will significantly reduce operating costs,” said Vislink Director of Product Marketing Ashley Dove. “NewsLite includes the latest enhancements to our Advanced Mobile Gateway functionality to enable high speed internet access and two-way office network extension into the field; while IP-over-ASI means more bandwidth efficient file transfer over satellite.” NewsLite’s ergonomic design is IATA weight compliant for airport baggage handling and its modular electronics support a broad range of satellite antennas. The system on display at IBC will introduce a cost effective “two box” sub 23 kg solution when combined with the 1m Advent Mantis antenna. Vist www.vislink.com

T-VIPS has launched the market’s first mathematically lossless JPEG2000 video gateway for the most demanding contribution applications. T-VIPS’ enhanced TVG450 video gateway delivers exceptional performance at optimal operating cost. The main advantage of the T-VIPS video gateway’s utilisation of JPEG2000 compression is the significant bandwidth savings compared to uncompressed video transport. The highly efficient compression of the TVG product line makes possible the backhaul of HD and 3D video over cost-effective and widely available one gigabit ethernet connections, all without a loss of visual quality. The advantages of lossless video compression follow naturally from the wavelet nature of JPEG2000 and are enabled through the following alternatives: - mathematically lossless: which uses reversible integer wavelet filtering to ensure that the compressed data has all the information of uncompressed SDI video and therefore provides video transport of equal quality, but with a typical bandwidth saving of at least 60 percent - visually lossless: which employs floating point filtering and quantisation techniques to provide greater compression with no perceived loss of video quality. Typically, visually lossless JPEG2000 uses from 120 150 Mb/s, while the backhaul of uncompressed SDI needs a 1.5 Gb/s pipe. Visit www.t-vips.com

A division of Dingbat Technology

FREEGE2 MP

Hybrid is a leading manufacturer of broadcast production technologies. McAusland, Deluxe Australia’s Managing Director. “Deluxe Australia is already the leading local provider of services in film and digital media to the entertainment industry. Adrian’s appointment marks the next evolution in our theatrical distribution services for the region, which will ultimately give distributors and exhibitors confidence in partnering with a proven operator,” adds McAusland. Visit http://www.bydeluxe.com

First Mathematically Lossless JPEG2000 Contribution Solution

Solutions include: • Virtual Studio solutions and Broadcast Robotic camera supports Feature Product: NEON TRACKLESS 3D • Extremely user friendly interface for • Simple yet powerful 3D Virtual virtual set edition Set solution • Complete database of 3D objects, • Only a PC and Software is required textures allowing creation of multiple • A real affordable virtual set solution design sets for news, sports, weather. • Allows virtual camera movements in With simple drag and drop operation. real time from fixed cameras on set

FREE MPEG2 Contribution Encoding 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 72 Transmission

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Phone +61 2 8882 7766

Email sales@onair.com.au

www.onair.com.au

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Anevia Raises OTT Video Performance

Vector 3 For Thai Live TV - Adds FCP Support Vector 3, a leading developer of IT-based graphics and playout solutions, has announced that Live TV, a Thai-based cable television operator, has placed an order for nine Vector MultiPlay systems to facilitate playout automation of their new tapeless facility. The Vector MultiPlay workflow features ingest, master control room, effects creation, channel branding, and playout automation integrated into one IT-based solution. Backed by a dynamic, failsafe playout architecture, Vector MultiPlay eliminates the costly mirroring of servers without sacrificing channel protection. Vuthichai Wiwattanaseri, the Technical Director of Live TV remarked “Vector MultiPlay was right in line with our vision and will serve us well as we adapt our content distribution to meet new business and revenue models.” Overseeing Live TV’s digital transformation is Kit Digital, Vector 3 business partner and the leading global provider of Video Asset Management (VAM) solutions and broadcast systems integration. Vincent Kow, Sales Manager at Kit digital, said “For the Live TV installation, we put the Vector MultiPlay system through an extensive test period. The system outperformed the competition, delivering end-to-end workflow capabilities built on highly scalable hardware that will serve Live TV well as they expand their programming options.” In a separate announcement Vector 3 has added support for the Apple Final Cut ProRes codec to Vector MultiPlay. The newly supported codec offers full format compatibility to Vector MultiPlay customers who use Final Cut Pro in production. Visit www.kitd.com and www.vector3.tv

BTI WideCast for Content Aware Networking

Broadpeak Unveils Video Delivery Solutions Broadpeak made its international debut at IBC2010, unveiling its suite of video delivery solutions for network service providers. Focused on content delivery network (CDN) and video-on-demand (VoD) servers, Broadpeak is a spinoff from Technicolor comprising a team of experts who previously worked at Technicolor and spent years working with large-scale deployments by leading IPTV, cable, and hybrid pay-TV operators worldwide. Technicolor has granted an exclusive license to Broadpeak for the software integrated in its Smartvision CDN and VoD server and will continue to propose Broadpeak’s video delivery solutions to its existing and new customers while Broadpeak will support the maintenance of these products. At IBC, the company showcased its line of CDN components that enable operators to deliver and scale video services such as VoD over managed networks and the open Internet with a

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differentiating quality of experience for viewers. Broadpeak demonstrated its BkS100 Streamer series video streaming appliances, powered by advanced caching technology. The Streamers, which power any VoD application and other valueadded applications like network-based personal video recording and time-shifting services, can be outfitted with a lightning-fast dual 10Gb Ethernet interface. The BkM100 Mediator series appliances, which provide intelligent popularity management and load balancing, was also demonstrated. This unified CDN management solution enables network service providers to efficiently deliver content to multiple screens over any type of network. The BkE100 Experience series appliances were also shown demonstrating the delivery of quality of user experience, combining fast channel change and packet loss recovery capabilities. Broadpeak also demonstrated its adaptive streaming technology that fits into existing networks to maximise user-experience under varying network conditions. Visit www.broadpeak.tv

BTI Systems has introduced WideCast, a new portfolio of applications and networking solutions that changes how bandwidth hungry video content is delivered to the subscriber. WideCast, the first product of its kind to embrace ‘Content Aware Networking’, gives network operators the opportunity to turn the problem of Over-The-Top (OTT) video delivery into a new business opportunity. WideCast offers a plug-and-go upgrade for the network edge, with the intelligence to automatically cache and locally serve large unmanaged content files including OTT Video. The WideCast portfolio is built on BTI Systems history of developing leading edge products and technology for service providers around the world. Designed to provide an open application delivery platform, WideCast permits BTI Systems partner and customer applications to be deployed efficiently and closer to the subscriber. By moving content close to the user, to the last mile, WideCast will save operators the cost of planned bandwidth investments, improve the user experience and enable the operator to optimise “over the top” content delivery and monetise their infrastructure investments. The WideCast portfolio contains the following key components: - WideCast Transparent Cache—Release 1.0 is a Self Learning Cache with full P2P, HTTP, Flash support for bandwidth hungry downloads that transparently deliver traffic at the edge without operators having to manage content; - WideCast 200 and 300 server modules support applications at the edge of the network that includes a performance optimised, lights out, Linux OS that is integrated with the BTI 7000 series products - WideCast Application Routing Software upgrades to BTI 7000 packet optical networking solutions to maximise video caching benefits without impacting throughput for non-cacheable traffic. Visit www.btisystems.com

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Anevia has announced that it has developed an OTT streaming solution that consistently adjusts services to bandwidth availability, enabling over-the-top (OTT) service providers to deliver higher quality video content. OTT services use open networks, such as the Internet, to reach subscribers. These networks can give service providers access to a potentially massive and worldwide audience. However, bandwidths often fluctuate according to network traffic, geographic location and user equipment. This limits the success of certain services, such as IPTV and video on demand, because of the inability to deliver content of consistent quality. Additional services, such as IPTV streaming (TS) and mobile streaming (RTP), can be integrated with the OTT services on the same carrier grade platform, for a fully converged, redundant and highly cost effective solution. The Anevia solution is composed of a central server, which manages the VOD and live streams, connected to a cloud network of caching servers. Services can be delivered to both fixed and mobile devices using monitoring and management applications to ensure service quality and reliability. The OTT solution uses the http live streaming protocol, developed by Apple, as well as other commonly used protocols such as Microsoft Silverlight, Google WebM and HTML5. Visit www.anevia.com

LCD Monitor Series Righton Technology Co.

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HD 9170 17.1 inch Rackmount Multi-Format LCD Monitor 1080i 1080p 720p Autoselect HDSDI SDI, HDMI, VGA Component, 2 Composite Inputs. 16:9 TFT Panel. 12V DC or 240V AC Tally and Stereo Audio inputs.

HD 9284 Dual Rackmount 8.4 inch Multi-Format LCD Monitors. TFT Active Matrix Panels. Autoselect HDSDI SDI, VGA Component, Composite. Tally 16:9 TFT Active Matrix Panels.

HD 5070 Stand alone “Viewfinder” LCD monitor.

Video Switchers & Amplifiers ProCom Broadcast has recently increased its product offering with the inclusion of several new digital video switchers & distribution amplifiers, most now supporting 3G as well as HD, SD and ASI. The wideband RF relay switchers are very useful in protection switching applications and for switching 3G, HD, SD & ASI digital video signals as well as unbalanced AES, baseband video or RF signals. ProCom Broadcast’s main product range consists of features that ‘co-exist’ in both a 3RU ‘ProCom’ branded format, and a fully portable ‘ProLinx’ branded compact box type design. A range of new 1RU distribution amplifiers, switchers and wideband RF relay switchers are also available. The ‘ProLinx’ optical links have been upgraded to 3G as well as the economical DVDA-300 1x7 ProLinx DA and the DVSW-300 4x1 switch. Contact ProCom Broadcast on +61 2 9144-1800 or visit www.procombroadcast.com

7 inch 16:9 TFT Active Matrix Panel. Autoselect HDSDI SDI, Component, Composite, VGA, S-Video. Tally. 1080i, 1080p, 720p, 525i, 625i. 12 volt DC operation. Optional battery Ideal as HDSDI portable test monitor

HD 400-500-600 CONVERTER SERIES HD-400 Reclocking SDI, HDSDI, ASI 1 input 4 output Amplifier 270 Mbs 1.5 Gb/s 3Gb/s Auto select

Gefen Extends 3G SDI to 20Kms The new GefenPro 3G SDI Fibre Optic Extender offers a long-range method of extending any 3G SDI source up to 20 kilometres in distance, far exceeding previous distance limitations. Rugged dongle-type sender and receiver units are connected to the 3G SDI source and the distant destination. A singlemode fibre optic cable terminated in an ST connection connects the source to any remote location, making this a streamlined and effective solution that will protect against EMI (electromagnetic interference). All standard and high definition SDI formats are supported all the way to the newest 3G SDI format. Resolutions are supported up to 1080p, 1920×1200 and 2k. Latch locking power connectors on both sender and receiver eliminates potential disconnects in the field. Visit www.gefen.com

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HD-500 HDMI to HDSDI converter With audio embedding HD-600 HDSDI to HDMI converter With audio de-embedding

OMNICAST PTY LIMITED Sydney Office P: 0412 804 732 Gold Coast Office P: 07 5528 2070 M: 0412 413993 www.omnicast.com.au

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Snell’s Sirius 830 Router & Morpheus “station-in-a-box” Snell has announced the release of the Sirius 830, the newest member of the company’s Sirius 800 series of large-scale, multi-format expandable routers. At 16RU, the Sirius 830 offers a more compact 288 x 288 frame size for mid- to large-scale studio or OB productions, with the ability >> to add an additional 144 independently controllable outputs for connection to Snell’s MVSeries or any third-party multiviewer solution. Like all routers in the Sirius 800 family, the Sirius 830 features high-performance crosspoint modules for flexible routing of SD, HD, ASI, 3Gbps, and embedded audio signals. Optional redundant crosspoints use intelligent path monitoring, which in the event of a failure can automatically switch to the redundant path and issue a user alarm through Snell’s system-wide Centra control and monitoring application. The intuitive touch-screen interface on the Sirius 830’s front panel allows quick and easy access to a comprehensive range of status and diagnostic information. All this information can be linked to Snell’s Centra system, allowing remote access to the same information, or through the Centra rules engine for automatic re-routing of signals — making

24/7:Live HD Delivers Fully Automated Channels Weather Central has introduced 24/7:Live HD, a complete solution for building and delivering fully automated presentation channels for delivery via cable, satellite, terrestrial broadcast, IPTV or mobile services. 24/7:Live is a fully customisable, SD or HD, turnkey solution for creating automated weather and information presentation channels. The systems enables service providers to effortlessly deliver highquality, localised weather information around the clock, creating new opportunities to build sponsorship revenue and display print ads or commercials. Traffic webcams, weather, sports, news headlines, and audio from a local radio station are all easily integrated for a dynamic on air presentation. “Our 24/7:Live weather solution attracts viewers and at the same time creates the opportunity for high volume classified-style advertising and sponsorships,” said Bill Baker, president at Weather Central. “24/7:Live HD makes it easy to create dynamic channels that update continuously, run completely automatically, and can be delivered in any resolution up to stunning full HD.” Weather Central 24/7:Live HD system is a complete broadcast presentation system designed for rapid deployment and requires minimal integration to bring the system online. It directly ingests a wide range of data sources, including Weather Central’s industry-leading weather information, indices and maps. The system automatically populates a fully customisable rotation of slides, graphics, video and audio, dynamically content in response to changes in the data stream. Visit www.wxc.com

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>> Snell Sirius 830 router the routing system truly self-healing. Snell’s unique Catsii technology provides immediate indication of router input and output status, and four independent monitoring outputs enable users to monitor signal health at both the input and output stages of the Sirius 830. Snell is also launching a range of turnkey solutions based on Morpheus Integrated Content Engine (ICE), the company’s cost-effective “station-in-a-box” delivery platform. The new solutions are targeted to smaller, regional stations as well as larger broadcasters that need a cost-effective, more efficient path to HD broadcasting. Powered by Morpheus automation, the ICE solutions give broadcasters everything they need to ingest, manage, and playout live feeds, supporting SD and HD content in both single- and multi-channel operations.

Morpheus ICE brings together a video server, graphics, switchers, channel branding, captioning, and subtitling in a convenient 3RU package, all managed by Morpheus automation. ICE offers a low-cost solution for start-up channels as well as a cost-effective building block for distributed operations supporting activities such as regional program management and remote disaster recovery. The system works seamlessly with either SD or HD source material, managing all of the processes required to prepare pictures, sound, and ancillary data for the highest-quality HD playout. For instance, ICE provides integral, real-time upscaling of SD source material on-the-fly, which can be easily combined with HD material on the same timeline. When higher-quality, real-time up-conversion is required, ICE provides an HD/SDI insertion point for each output to enable access by an external upconversion system such as Snell’s Quasar Ph.C. Each ICE system offers up to 500 hours of storage with the ability to manage SD and HD assets with both QuickTime and MXF wrappers side-by-side in the same system. Visit www.snellgroup.com

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featuring the latest in digital broadcast & production featuring the latest in digital broadcast & productiontechnology technology

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Agama DTV Monitoring 3.6 QA for Cable Ops Agama Technologies is now servicing cable operators through the introduction of its Analyzer eQAM product, a key part of the launch of version 3.6 of the Agama DTV Monitoring Solution. The Agama Analyzer eQAM is a tailored monitoring probe for real-time quality assurance of cable TV architectures with edge QAM locations deployments and mixed cable/ IP environments. It monitors up to 200 channels on one 1G IP interface and two RF interfaces, with full QoS and QoE analysis and comprehensive real-time TR 290 P1, P2 and P3 evaluation. The solution analyses a large set of technical Quality of Service parameters and persistently classifies their impact on the viewers’ Quality of Experience. This enables the tracking of quality for individual services through edge QAM locations and correlation with monitoring throughout the entire delivery chain. Johan Görsjö, Strategic Product Manager at Agama Technologies, explained “By having metrics such as full ETSI TR290 P1, P2 and P3 parameters monitored in real-time, for all muxes on a fully loaded gigabit interface, the operator can be confident that even short intermittent problems and deviations are detected. This is not possible with the traditional roundrobin approach commonly used for Transport Stream monitoring. Correlated views in the Analyzer eQAM provide direct comparison between the IP input and the RF outputs of the

edge QAM. Together with the extensive alarm capabilities and the flexible triggered recording possibilities, the Agama Analyzer eQAM is an ideal component for hybrid cable network operators,” concludes Görsjö. The Agama DTV Monitoring Solution is a complete solution for automated, 24/7 realtime end-to-end monitoring of live TV and VoD service quality. The Agama solution customised for cable operators includes: - Agama Analyzer Flex – enables real-time monitoring of DTV service quality throughout the delivery chain. This advanced monitoring solution has been specifically tailored to meet the monitoring and quality assurance requirements of advanced digital cable networks, including detailed analysis within the cable head-end - Agama Embedded Monitoring – provides operators with the final link in monitoring service quality for the DTV chain by providing real-time monitoring of quality of experience, quality of service, service usage and system parameters on each and every set-top box - Agama Enterprise Server – the central hub of the Agama DTV Monitoring solution, it centrally correlates and presents monitoring information to provide users and business support systems throughout an operators organisation with customised views of the information that they need. Visit www.agama.tv

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ADVERTISER INDEX Co./Last Name.........................Page no Amber Technology.......................... 15 ARRI Australia.................................IBC AVC Australia......................61 and 69 Avid Technology.............................IFC Blackmagic Design............................5 Corsair Solutions............................. 43 Eureka Pacific................................ 49 Fuji Film................................... 78, 79 Gencom Technology ...................... 17 JVC Professional.............................. 21 Harris Communications Limited.......... 25 IBC.............................................. 39 Junger Audio - Studiotechnik ............ 70 Lateral Linking Broadcast Linear Acoustic............................... 67 Logitek Australia...................63 and 73

Co./Last Name.........................Page no Lumina Broadcast Systems................ 65 Magna Systems & Engineering......... 31 Magna Systems & Engineering......... 11 Mediaware International .............. OBC OB group...................................... 77 Omneon Asia Pacific ........................3 Omneon Asia Pacific .................40-41 Omnicast...................................... 75 Panasonic...................................... 29 Procom Broadcast Pty Ltd....................6 Quinto Communications Pty. Ltd...........9 Riedel Communications.................... 37 Ross Video Asia.................................7 Syntec International Pty Ltd ....62 and 71 Techtel Pty Ltd................................ 13 Videocraft...................................... 27

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BABBLING Brooks – The Last Word from Gerry Brooks

Whatever Happened to POTS? THIS AUGUST’S ABE

Conference and Show in Manly, ably organised by Roger Bunch, Eric Hitchen and Dennis Stokes, was well attended with an increase in numbers. I only went on the Wednesday afternoon and Thursday, but the Show was still busy on the Thursday. Needless to say, all the displays this year were based around 3D Stereoscopic imagery and there were some spectacular images, all coming to a TV set near you. I am planning to do some more articles on 3D in the near future, so stay tuned. It is always a great chance to catch up with old friends and the latest gossip in the industry. Although ABE is a contained Show, it is difficult to get around as you are continually bumping into old friends and colleagues you haven’t seen for a while. It seems to be the >> >> Dial ‘M’ for Motor! same at all Shows I’ve attended here and overseas. My second was to realize what an amazing array There was one KEY topic - IPTV and of services the new technologies do mean for home delivery across the Internet. Will this diversification of phone and Internet. delivery finally kill off traditional broadcasting? It’s on Then came the KEY question- how do they get open-ended question - talked about for a long time, presented? When you come down to it the choice yet Broadcasting is still with us. is bewildering and for many people beyond All the broadcasters have adopted an on-line incomprehensible presence and provide opportunities to watch a Take my in-laws as example. Here’s a couple in show you’ve missed or to experience an extended their eighties living in country NSW. Currently they interview or more detailed information on a topic. have a home phone and computer, with dial up This is still a far cry from putting everything on the connection to the Internet which they use a little – Internet and having your TV set 100% connected to but often. For sundry reasons they’ve been unhappy the Internet. We first talked about a SMPTE Paper on with current ISP. In fact, were considering a change. TIVO for example well over 10 years ago and I still Telstra’s timing was spot-on. don’t know anyone with a TIVO at home. On offer was a “bundle” of telephone services, One presentation from Ericsson was on the cheap STD calls, cheap mobile phone calls ( to National Broadband Network (NBN), providing another Telstra mobile), a free wireless modem, Gigs an overview of the NBN and its network, and of Internet capacity, all for one low monthly payment, service capabilities to enable IPTV delivery to 90% providing you sign up for two years. But they don’t of Australian homes. It was an eye-opener indeed, have mobiles or laptops or need wireless hotspots though with very few questions afterwards. around the house - I had to explain about Wi-Fi One that should have been asked didn’t occur to wireless and a satellite wireless feed to the modem. me until a phone call that same evening. Seems that All they need is a simple, reliable plain old telephone Telstra had telemarketed mother-in-law at Mollymook service (POTS) with some Internet availability, mostly (on NSW South Coast) offering a you-beaut new for email contact with grandchildren and family deal on their latest “bundle” and she wanted to know scattered around Australia. However STD calls are what it all meant. My first instinct was to say ‘spiel’.

a big concern, not only for far-flung rellies, but because they ARE in the country. Since the “local” phone zone is less than 80 Kms, and nearest big towns at Nowra or Batemans Bay (each approx 90+ Kms) calls to “town” are charged as STD. If either has to go to hospital, that’s in Nowra along with most Govt services. Dozens of routine calls automatically become big-$$s. It’s a real worry. So a Telstra deal with spend cap on STD calls makes sense. But to get that means signing up for the whole “bundle”, and for two years. What happens if one of them dies in that time? What happens if the surviving partner becomes ill and needs to change the contract? Don’t forget that if the “bundle” requires a new modem or other hardware, the customer is left to install it themselves. Uh-uhh…! We know the feeling well. Not so long ago our home signed up for an upgrade “bundle” with Telstra, costed to save about $20/mth overall - and including new modem. This duly arrived in the mail and I installed with the aid of the accompanying CD-ROM. Thought I had it all sweet, when right at the very end a dialogue box pops up to say we’re going to Big Pond to “complete the installation”. An error message promptly appeared to advise that the Big Pond site was unavailable and try again later. Flummoxed, no option but to call the help line. After going through all steps again, it turned out the problem was the Big Pond page itself. I’d installed everything AOK, and was fully connected to the Internet. Directions about going to Big Pond were nonsense. If this can happen to a techie like me - imagine the frustration for other folk just trying to follow installation instructions. This is not to denigrate Telstra, I’m sure this applies to other providers as well. But it takes us back to the NBN and its ability to slice and dice bandwidth to provide an amazing array of extra services. What happens to people who only want POTS? When offered such a galaxy of choices, many hightech and even fantastical, will there be a tick-box for “none of the above”? I call it the Mollymook option. Gerry Brooks is an Independent Consultant. You can reach him via email at gerry.brooks@gmail.com

ARRIFLEX D-21

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JOIN US FOR THE JOURNEY The secret behind the growing success of ARRI’s ﬁlm style digital camera, the ARRIFLEX D-21, goes beyond the unique, organic quality of the images it creates. ARRI continue to expand the performance limits of the D-21 and provide enhanced integration into postproduction workﬂows protecting our customers’ investments and keeping the D-21 at the forefront of digital image capture. That’s why over 350 international productions have chosen to shoot with the D-21, from major motion pictures like Killers and The Bank Job to commercials, promos, documentaries and TV dramas. And now, with ARRI’s groundbreaking new digital camera system, the journey continues...

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“By working in the native MPEG domain, it allowed us to soft-edit and index the content without any loss to the original broadcast quality and do the final conversion step to online and mobile distribution formats as the last step of the export process as required. This also allowed us to maintain the full video archive in the master quality.” Paul McClean CEO, Visionbytes

Mediaware’s latest multi-stream concurrent continuous data recording system enables extraction of live recorded video, audio, data and closed captioning from the past and in the future. The Visionbytes system comprises Mediaware’s Flux, a server based bit stream recording tool in combination with Mediaware’s proven server based live file editing tools and an API transport stream live file player. The Mediaware combination provides Visionbytes with a streamlined, multiple seat, record and fast editing workflow that does not require conversion to an intermediate format for editing. Mediaware enables Visionbytes to provide content to their clients without degradation, with minimal latency from air time all whilst content is being recorded. Contact +61 2 6163 8700 info@mediaware.com.au

mediaware.com.au