Content + Technology magazine September October 2010 issue

cT

content

technology VOLUME 7 ISSUE 5 > SEPTEMBER/OCTOBER 2010 PP: 255003/06831

MAGAZINE

Media Production Management Delivery

COMMONWEALTH GAMES

DELHI 2O1O GOES

ISSN 1448-9554

www.content-technology.com

“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

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

Design & Layout: Crunch Design Tel: +61-2-9310 5393 Email: greenroom@ crunchdesign.com.au Printing: Pegasus Print Group Copyright Notice All material in Broadcastpapers’ Content+Technology Magazine is protected under Australian Commonwealth Copyright Laws. No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.

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

Production Manager: Lucy Salmon Tel: +61-(0)2-9332 2221 production@broadcastpapers.com

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

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NEWS Magna Unfolds Spinnaker For ABC News Streams, CASBAA Fights Filipino Child Poverty, ABC News 24 – “Months Of Hard Work” TAKING STOCK Buyer Found For Grass Valley B&P, Project Factory Invests In Panoramic Video, Ross Video To Acquire Codan Broadcast

16 TECHNICAL STANDARDS MPEG Works To Bridge Platforms, European News Exchange Approves Sencore For SNG 22 3D – THE THIRD DIMENSION Wedding Videos Go 3D!, OnAir Solutions Links SBS For 3D Soccer.

30 ACQUISITION Arri Alexa Cameras Hit Australia, IBC gear wrap.

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

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36 NEWS OPERATIONS Graphic Results For ABC Election Coverage, CCTV News On Austar 42 SPORTSCASTING Lateral Linking Hits Ground Running with City2Surf 44 POST-PRODUCTION Oktobor Launches NZ’s Largest PurposeBuilt CG Studio, Nuke Fires Into Rising Sun, New Cintel ImageMill2, diTTo & Ocean Controller, Matrox Adobe CS5 Support for OSX, Latest EVS-OpenCube MXF Solutions

48

STORAGE & ASSET MANAGEMENT Dubsat, IMD to Offer Global Media Delivery & Management

52

DIGITAL SIGNAGE Marina Bay Sands Makes Sure Bet on Harris

56 CLOUD COMPUTING & OUTSOURCED SERVICES MUPPITS Shows Power of Outsourced Workflow 58 RADIO Digital Radio Trial On Air in Darwin, Nautel, ABU, DRM Consortium to Host Digital Radio Webinars, New Community Radio for New Zealand 64 AUDIO TVNZ to Launch ‘Audio Description’ Trial, Syntec Addresses Installed Sound Market, Unified Speech and Audio Coding, NTP Debuts Latest AD/DA Audio Converter 70

TRANSMISSION, SIGNAL DISTRIBUTION, T&M Videocraft Builds Studio with Ambience, Austar Takes Triveni for Test Lab, Seven Network Builds Playout Facility with Harris, Seven’s New Digital Channel, SysMedia IBC Preview

77 CLASSIFIEDS 78 OFF-AIR What Happens on Tour … gets Printed Right Here.

80 TIME SHIFTER Gerry Brooks is on Leave.

Editor’s Welcome

Vision Switcher Wanted!

+video

By Phil Sandberg By the time this issue of C+T hits your desks, the Australian Federal Election will have been held and the news bulletins will be referring to the New Prime Minister or the New, New Prime Minister.

Elections, of course, are good for our industry as the competing parties unlock their war chests to commission the production and broadcast of radio, TV and newspaper advertising designed to showcase their breadth of vision, leadership credentials and future-proof plan for the country.

While there was a modicum of “our vision” style advertising, the bulk of what was presented was cheap in production values, negative in tone and short on policy. And, wasn’t the ‘Morphing’ plug-in given a pounding? Hardly ground breaking VFX in the post suite that morning.

However, where the lack of vision was most evident in the two major parties was the area of policy. The rival campaign platforms could be broken down into a few common points: 1. Be afraid of asylum seekers.

2. The other guys can’t manage the economy.

3. The other guys will introduce new taxes and cut spending on services.

4. Um, look over there! Is that a boatload of asylum seekers?

Where the major parties were differentiated was over the implementation of the National Broadband Network. The Labor Party, who of course launched the NBN programme, were pushing their AUD$43 Billion vision which included: Connection of 90 percent of all Australian homes, schools and workplaces with broadband services with speeds up to 100 megabits per second 100 times faster than those currently used by many households and businesses; Connection of all other premises in Australia with next generation wireless and satellite technologies

that will deliver broadband speeds of 12 megabits per second; and Directly support up to 25,000 local jobs every year, on average, over the 8 year life of the project.

The Liberal/National Party Coalition, meanwhile, pledged $2.75 billion (with an expected leveraging of at least $750 million in additional private sector funding) to create a nation-wide competitive fibre optic ‘backbone’ by 2017.

The Coalition has pledged that by 2016 Australia will achieve a national broadband baseline, under which 97 percent of premises are able to be served by high-speed networks capable of delivering from 100 Mbps down to a minimum of 12 Mbps peak speed, using a combination of technologies including HFC, DSL, and fixed wireless.

The major problems with the coalition approach are a lack of future proofing for more bandwidth intense applications and a reliance on private funding from an investment pool which has proved itself incapable of investing for the national interest.

In a previous issue of C+T I detailed how, due to a combination of incompetence, over-outsourcing and an absence of taking of responsibility, it took Telstra six weeks to move our phone-line and ADSL service to the office next door. We need a National Broadband Network to increase efficiencies and enable new business possibilities, and it needs to be driven by a central body. Sell it off later if your ideology demands, but get it built in the first place.

Our industry will benefit, the country will benefit.

Thanks for Reading Phil Sandberg Editor/Publisher papers@broadcastpapers.com T: +61-(0)2-9332 2221

VALE ERIC WALTERS

Australian TV recently lost one of its pioneering lights with the passing of newsreader Eric Walters.

Starting his career in the 1950s on radio in regional NSW, Walters later went to Perth where he worked in radio and television, including a stint as newsreader at TVW7. Walters was newsreader of TEN10 Sydney’s Eyewitness News in the 1970s and was again at Network Ten as newsreader of its 10.30pm newscast when it launched in 1991. In 1977, Walters was co-host of the 0-10 Network special The National Survival Test. He also served as a newsreader at the Nine Network, presenting morning news bulletins as well as reading the news on Today during the 1980s. During the ‘90s he worked at the Seven Network on current affairs show Real Life.

Unusually for those in front of the camera, Eric also held SMPTE membership and was to be seen at many society events. He is survived by wife Carol, a daughter and two sons.

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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www.content-technology.info

2010 Deadlines

• Recruiting/Staff Management • Recruiting/Staff Management

November/December 2010 Vol 7 Issue 6 Editorial/Advertising Bookings – October 15th Ad Material – October 22th 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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Magna Unfolds Spinnaker for ABC News Streams For its live streaming requirements, Magna Systems and Engineering supplied an Inlet Technologies solution to ABC News 24.

Magna Systems Technical Sales Engineer Dave Alderton explained, “The ABC News 24 solution we supplied is based around the Spinnaker SD/5000 multi-format encoder that provides full support of adaptive streaming and Video On Demand (VOD).”

Spinnaker is Inlet Technologies’ family of streaming appliances for live video and audio delivery applications. Using a state-of-the-art encoding engine and an advanced toolset, Spinnaker delivers high bandwidth performance and a unique feature set on the web.

Alderton said, “ABC News 24’s initial requirement was to be able to deliver content using the web and H.264 with an effective user interface to its customer base via iPods, iPhones and IPads.”

Alderton continued, “The Spinnaker SD / 5000 was ideal for ABC News 24 as it includes iPhone streaming (including iPhone 4) and can simultaneously stream in multiple formats including 3GP, H.264, Silver Light, VBR and CBR within the same system all from one compact box.

The Spinnaker SD / 5000 is also very easy to set up and use through simple built-in presets only needing power, a network connection and a video source to be set up and streaming live video within ten minutes.”

With the solution identified, Magna Systems did a full demo to the ABC News 24 team before handing over the Spinnaker SD / 5000 for a full month’s evaluation.

Alderton added, “The ABC News 24 team had the Spinnaker SD 5000 for just over a month during which time they really put the box through its paces and discovered the full extent of its capabilities. They were particularly impressed by its future proofed functionality, high density capacity and ability to cope with powerful and simultaneous multiple streams. They also identified its customised scheduling which allows them to set up one-time or recurring events in a calendar-based schedule and found its award-winning web-based user interface intuitive and very easy to work with. As a result ABC News 24 placed an order for six Spinnaker SD / 5000 multi-format encoders which were delivered, installed and online within two weeks.”

Visit http://www.magnasys.tv

CASBAA Fights Filipino Child Poverty The Cable and Satellite Broadcasting Association of Asia (CASBAA) has announced its partnership with the global children’s charity Plan International to give 5,657 needy children a chance at a better life in Masbate, one of the top 10 poorest provinces in the Philippines.

CASBAA is committed to unlock the poverty traps of 5,657 children in Masbate by raising over US$75,000 through auctions, donations and raffle sales at the annual CASBAA Charity Ball, at the Grand Hyatt Hotel in Hong Kong, on October 28th, sponsored by Turner (Presenting Sponsor) and MGM Channel (Bar Sponsor).

CASBAA is inviting members and the community to donate cash and highvalue prizes for auction at the annual Charity Ball.

For more details, visit www.casbaa.com or contact the CASBAA Executive Office at +852 2854 9913.

4 News

ABC News 24 - “Months of Hard Work”

The Australian Broadcasting Corporation’s new television channel, ABC News 24 launched on July 22, 2010, and was the result of months of hard work that included building a television studio complete with a window that allows people in the Ultimo atrium to watch presenters in action. Gaven Morris, Head of Continuous News, said the plan to create a public viewing space presented a challenge to make the new studio look as good as it worked. Up until the last minute the team were tinkering with the tinting on the glass so people watching from the outside are not too much of a distraction on screen.

The three double glass sheets encasing the studio were imported from Germany and, weighing hundreds of kilos, required 16 men to manoeuvre into place in a militarystyle operation.

Custom building a studio from scratch means considering every angle - from lighting to chairs, desk shape and graphics.

The automated studio is one of the most advanced in the country. While traditional studios are operated by dozens of crew, including camera operators, vision mixers, audio operators and lighting people, much of the process in an automated studio is operated by a director in the control room.

Morris said it meant a big change in the way ABC News 24 would be able to respond to breaking news.

“In the old world, to cover something like Black Saturday bushfires which

happened late at night, we would have to ring dozens of people, get them in and fire up the studio,” he said. “It meant we were limited in how quickly we could react and get the broadcast to air.

“Now we could get in one director and then start handling the work that the editorial team filed through.”

To prepare for launch, the ABC News 24 team had been ‘white networking’ - preparing and performing all programs as if already live. Reporters reported, presenters presented, directors directed and make-up artists … made up.

The ABC has hired dozens of journalists to join the ABC News 24 team - from university graduates to experienced reporters from other networks. The channel will source news from the ABC’s bureaux around Australia and the world and rebroadcast premium news and current affairs programs. But, ABC News 24 will also launch new programs like interview series One Plus One with Jane Hutcheon, and The Drum, a spin-off of the ABC Online site of the same name. Each day starts with ABC News Breakfast with Virginia Trioli and Michael Rowland, followed by live rolling news coverage of the day’s events.

ABC News 24 is available on digital Channel 24 and is an HD service. The ABC’s HD digital Channel 20 has already been moved to HD digital Channel 24. TV viewers will need an HD-compatible settop box or an HD-compatible digital television in order to access the service.

HD Foxtel viewers will find ABC News 24 on Channel 202; Austar viewers on Channel 24. It is also streamed live at http://abc.net.au/ news, on iView at http://abc.net. au/iview as well as on the ABC iPhone application (the free download will be available from iTunes).

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Broadcast Videohub uses software control panels that run on Windows™ and Mac OS X™ for “routing control” right from your editing system desktop! Broadcast Videohub connects to any computer via USB and is then shared over your local network.

Router labels can be changed from any computer and are fully unicode compatible for foreign language support.

With exciting new 3 Gb/s SDI connections built in, Broadcast Videohub allows twice the SDI data rate than normal HD-SDI. Use 3 Gb/s SDI for high resolution real time 2048 x 1556 feature film editing. 3 Gb/s SDI has full compatibility with SD, HD and 2K in 4:4:4 or 4:2:2 all with a single BNC cable.

Simultaneous SD, HD or 3 Gb/s Video Broadcast Videohub handles mixed SD, HD and 3 Gb/s SDI connections all on the same router at the same time. Broadcast Videohub detects when an input changes, and automatically sets all the outputs connected, to match the changed input. SDI re-clocking and output SDI slew rates will also change automatically.

Broadcast Videohub

$20,379 Learn more today at www.blackmagic-design.com

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Lab Colourist Taylor Moves to Digital Pictures

The Lab Sydney and Digital Pictures have announced that respected senior colourist, Vincent Taylor, will relocate to Melbourne. Taylor will now be available to clients across both facilities delivering continuity in colour grading services at The Lab Sydney and Digital Pictures in Melbourne. Vincent is no stranger to the Melbourne film, television and commercial industry where he started his career over fifteen years ago as a cinematographer, winning twelve awards from the Australian Cinematographers’ Society and is a AFI nominated cinematographer.

With a solid foundation in traditional film grading, Vincent has experience across all mediums ranging from traditional telecine chains to the non-linear digital grading systems.

“Vincent is a well-respected, high-end colourist and will bring great experience working on film, television and commercial projects with the Digital Pictures team. Vincent has a unique offering, because of his DOP background and having written and directed nine short films throughout his career,” said John Fleming, General Manager, Digital Pictures. Taylor’s recent projects include the Tourism Australia spot There’s Nothing Like Australia with Director Michael Gracey; Skins Cheat Legal spot with Director Noah Marshall; Telstra BigPond Tbox and BigPond Kombi campaign with Director John Polson; and he is currently working on Hyundai’s i20 launch with director Dael Oates.

Visit http://www.digitalpictures. com.au and http://www. thelabsydney.com.au

Staff Moves at Iloura Australian VFX company Iloura has appointed a new Business Operations Manager in the form of Jamy Kim. Jamy worked at Film Victoria’s Melbourne Film Office for three and a half years, managing international inbounds and redeveloping their Industry Directory, a comprehensive online crew database.

Working with Jamy is Vicki Mifsud, new Facilities Coordinator. Vicki joins the Iloura team after working for Digital Pictures for three years and brings with her a great understanding of the business, clients and staff.

By her side is Caithlin Ferrier, Iloura’s new Accounts Coordinator. In addition to her skill with numbers, Caithlin has a degree in Film and Television.

Working with Jamy, Vicki and Caithlin is Lewis Taylor, Iloura’s new Central Operator. “Lewie” comes to Iloura after completing studies in animation.

TVC Producer, Mags Bisogni has left on maternity leave and Pip Wright has moved into a producing role. Pip has over three years experience working with the team at Iloura and prior to Iloura worked as a JWT agency producer for

6 News

Letch to Lead Community Broadcasting Peak body for community broadcasting, the Community Broadcasting Association of Australia, has chosen its next General Manager. When incumbent, Michele Bawden, decided not to renew her contract after two years at the helm, the CBAA sought someone with the industry experience to steer Australia’s largest broadcast sector through the complexities of new media technologies and services.

Kath Letch has decided to relocate from Melbourne to Sydney to take on the challenge. Kath has most recently been in the role of Digital Radio Project Manager working with 37 mainland capital city metro-wide stations to establish the first wave of community digital radio services.

Kath Letch has a long list of accomplishments in community broadcasting. Under fourteen years of Kath’s management, Melbourne’s 3RRR was transformed from a fragile station with a dedicated audience into a robust multimedia beacon for independent and alternative views and music. Kath commences at the CBAA on September 20.

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

Andrew Timlin GM for Gearhouse Graham Elliot, CEO of Gearhouse Broadcast Pty Ltd has announced the appointment of Andrew Timlin as General Manager. Andrew will be responsible for managing the ongoing operations of GHB and work closely with the CEO to develop the company’s future growth and viability.

“The role specifically focuses on opportunity procurement, the strategic implementation of planning to execute the opportunities and management of the teams involved,” said Elliot. “Andrew is moving to Gearhouse from his four year tenure as Business Development Manager of Panavision Asia Pacific Pty Ltd, and previous to this was Chief Executive Officer of Broadcam Australia Pty Ltd. Andrew brings a high level of industry knowledge, technical and commercial experience to the business.”

Visit http://www. gearhousebroadcast.com.au

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Oktobor Recruits ‘The Hoff’ Oktobor has announced that former Asylum Visual Effects LA EP David Hofflich has joined its Auckland-based team as Executive Producer and Head of TVCs. Hofflich’s appointment is seen as a major coup for Oktobor as he is a true industry veteran with a wealth of knowledge and expertise having been involved in the advertising industry for over 15 years working at companies and advertising agencies including Rock Honey Design, Mrs. K Design, High Ground Media, Kommitted Films and Asylum Visual Effects. Hofflich’s reel and client list boast a veritable who’s who of industry figures including such notable directors as Herb Ritts, Michael Bay, Ridley and Tony Scott, Lance Kelleher, Joe Carnahan and Eric Saarinen. Visit http://www.oktobor.com

Collins New CEO for Video-8 Video-8 Media has announced Gareth Collins as its new Managing Director and Chief Executive Officer.

Collins brings over 25 years experience in senior sales and management roles and in the development of new markets in the digital media space including 12 Years at Cisco Systems studying business models in the emerging broadband connected world. Most recently he was a senior executive at IBM Australia developing and growing new markets for the company.

Gareth Collins said, “We will also be expanding our investment in digital workflow and asset management solutions for digital media.

Visit http://www.video-8.com

Award Winning Director Joins Engine seven years. In other TVC staff appointments Josh Simmonds, senior animator and director of award winning spot Drumstick Summer Parade has accepted the position of Head of TVC Animation.

Steven Kerswell also joins the TVC producing team. Steven has recently moved to Melbourne from the UK where he was the co-founder of animation studio RealtimeUK. Iloura producer, Kate Guest is changing roles and will soon be working directly with Stephen Van Elst, Head of Design, as his department’s dedicated design producer. Joining Stephen and Kate in the design team, is Simon Bronson and Rob Wilby. Simon recently returned from a three-year stint in London where he worked for Imagination, Venturethree and Superfad. Rob, who hails from Sydney, has a background in web and motion graphics design. And last but not least, Georgia Smith has also taken a new role in the company, moving from Facilities Management to VFX Coordinator, assisting Ineke Majoor, Head of VFX Film.

Visit http://www.iloura.com.au

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After a comprehensive international search, Engine has announced that BAFTA nominee and multi-award winning director and creative director Simon Robson will be joining their team. Robson’s successes include directing and animating the short film What Barry Says, a response to the US invasion of Iraq that combined 2D and 3D animation with a motiontypographic aesthetic. The film won best animation at The Brooklyn International Film Festival and The London Portobello Film Festival as well as receiving the London CEN award for best animation.

Amongst others Robson has also worked as an animation director for the world-renowned production company, Nexus Productions.

Visit http://www.engine.net.au

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Mason TAKES Paul Marlan Award

Michelle Marlan with recipients of the Paul Marlan Award. [Back] Eric Hitchen (1986), Colin Wright (2005), Andrew King (2008), Roger Barrett (2002). [Front] Ian Wyles (1989), Tim Mason (2101), Michelle Marlan, Spencer Lieng (2007).

Imparja Television’s Tim Mason has received the 2010 Paul Marlan Award for his contribution to television broadcasting in regional and remote areas of Australia.

Tim migrated from the UK for a four-year stint in the Pacific islands before he joined “Optus” Satellite in 1991. Tim’s passion for the remote areas saw him move to Imparja Television in 1997 as Chief Engineer until retirement in 2008.

Tim’s contribution to providing television (and radio) services to the remote areas was truly above that expected as part of his employment. This included assistance in setting up a large number of self-help retransmission sites in remote communities which at the time required much work working not only in the communities but with the government departments involved. Tim pioneered the concept and engineered the solution to bring community based programming to the remote areas in the form of Indigenous Community Television, ICTV. This became the basis from which the National Indigenous Television emerged. There are currently over 200 “selfhelps” in remote Australia which are a major part of not only bringing television entertainment to these communities but information in many areas such as health, banking and education.

In its current evolution the Aurora platform is still that main method of delivery for direct to home and both commercial and self help retransmission sites in the remote areas as well as analogue black spots.

Imparja TV is now a modern commercial television station based on leading edge automated file based workflows. Tim was the driving force in engineering not only the technical system and operational workflows but the design and construction of a new building.

During his time as Chief Engineer at Imparja Tim was an active member of the FACTS (now Free TV) Engineering Committee. Tim’s involvement continues today on a number of the Free TV project groups as well as the VAST platform.

The Award commemorates the outstanding contribution made by Paul Marlan up to his unfortunate death while representing FACTS at an ITU meeting in Geneva in 1981. Visit http://www.freetv.com.au/

3 HK Launches AdS ON Mobile TV

Telecommunications company 3 Hong Kong has partnered with UK-based mobile video content distributor Swanbay to offer free mobile video content to customers who do not mind watching advertisements. Swanbay will provide free International and Regional video content such as the highlights of World Cup and Premier Leagues, Basketball NBA, music videos and movies on Planet TV, which is exclusively available on 3 Hong Kong’s mobile platform. Raymond Ho, head of content management of 3 Hong Kong, said Swanbay’s service will attract more viewers to 3’s mobile platform, which has been only offering paid video content until now.

“Some users prefer to pay for premium content, and some prefer watching an ad instead,” Ho said. “Now we’re serving both types and Swanbay’s Planet TV service will further encourage our customers to enjoy infotainment service anytime anywhere.”

Visit http://www.swanbaygroup.com

8 News

Technology Leading you into the future…

Affordable Prompting

First HD Pay-TV Service for Indonesia

Advanced Digital Broadcast has announced that Indonesia-based First Media Tbk, will use ADB’s products and solutions to deploy the country’s first high-definition pay-TV service.

First Media Tbk operates pay-TV services in Jakarta, Surabaya and Bali.

The company is also the country’s first WiMAX operator, with a service launched in June 2010. First Media says it is now working to integrate broadcasting, broadband and WiMAX into its repertoire of service offerings. All set-top devices delivered to First Media are pre-integrated with Carbo, ADB’s high-definition user interface, which offers intuitive and rapid navigation. With Carbo, viewers can enjoy super-fast channel change, enabled by clear and simple menus that are easy to read from the sofa. On top of that, ADB has replaced the traditional multi-layer menus with a simple carrousel of icons, for an enhanced user experience. The set-top boxes are also packaged with multimedia home platform (MHP) middleware.

Visit http://www.adbglobal.com

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

• • • • • •

Kahuna SD/HD Vision Mixer

TV3 Malaysia Takes Quantel

Commercial broadcaster TV3, part of Media Prima, Malaysia’s leading media group, has purchased a Quantel Enterprise sQ server-based production system to handle all of its compliance editing requirements. The system, which will also provide production playout back-up facilities, is being supplied through Quantel’s Malaysian partner, Dagang Teknik.

The new system, scheduled to go on-air towards the end of 2010, will be handling the compliance editing of around 70 hours a day of programming.

Once the compliance team completes the editing, finished media will be archived onto DIVArchive under the control of Snell Morpheus. The same interface also enables finished programmes to be restored onto the Quantel system to provide back-up playout in the event of problems with TV3’s front-line playout technology.

At the heart of the Quantel system for TV3 are two sQ servers with 1400 hours of storage, supporting 24 sQ View and sQ Cut desktop media review stations and editors. The system also supports four Final Cut Pro editors, fully integrated into the Quantel workflow.

According to Mr Tan Kwong Meng, Media Prima’s Group General Manager of Engineering, “TV3’s news already runs on Quantel Enterprise sQ technology. We therefore had no hesitation in once again selecting Quantel for this challenging new application.” Visit www.tv3.com.my and www.quantel.com

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8, 16 or 32 inputs with audio embedding SD/HD/3G autosensing inputs Two independent outputs (1920 x 1080p) Inpependent layouts on each display Clocks, UMD, Timecode etc Automatic fault monitoring with on-screen fault display

Performance Measurement OmniTek’s new OTM1000 packs all your monitoring requirements into one portable package:

• • • • •

Available from 1M/E to 4M/E Seamless real-time mixing of SD and HD inputs Fully loaded DVE options for 3D effects Unrestricted placement of graphics Cliptrax™ 20 min audio accompaniment/ME

• High resolution waveform, vector and gamut displays • Picture and Audio monitor • 4 separate colour monitoring and analysis displays • Eye and Jitter Measurments • Dolby measurement and display • 3G/HG/SD Test Generator • Comprehensive error detection and logging • Simultaneously monitoring of two independent SDI inputs.

Quality LCD Studio Monitors

LED Camera Lights The acclaimed PAGLight is Halogen, HMI and now LED

HD Online from Media Prima

Malaysia’s Media Prima Berhad (Media Prima) has launched TonTon, an online HD-ready viewing experience which offers the individualisation of customised content and interactivity of social networking.

Offering content from Hollywood movies and drama series to Asian dramas and a library of local content, TonTon is a project of Alt Media, Media Prima’s digital communications and broadcasting subsidiary. It will initially deliver content to PCs followed by connected devices such as mobile phones, Gaming and Media set-top boxes and Internet TVs. TonTon will host all content locally while the use of Adaptive Streaming allows the best bit-rate to be delivered according to a user’s available bandwidth.

Bringing everything together is an Intelligent Media Platform, which incorporates demographic, behavioural, contextual, location and device information which recommends content and advertising that matches the user’s profile and behaviour.

TonTon is an Alt Media project, developed with Accenture as well as VioCorp, a Sydney-based company that provided technology and design. TonTon also received bandwidth support from Akamai.

Visit http://www.tonton.com.my

Dual Channel Multi-image Display

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Designed for critical image evaluation True native pixel-to-pixel 1080p image display 9” to 24” Broadcast Monitors Additional screen area for status indications Digital HD-SDI and DVI-D interfaces Built-in waveform and audio monitoring

• One camera body – multiple lights • High brightness – 700lux at 2m • Patented coolrunning design • Low power consumption • On-board dimmer

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Taking Stock

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- MOVES IN THE BUSINESS OF CONTENT+TECHNOLOGY

Your global partner in media technology solutions, providing you with product, design and full integration services.

Buyer Found for Grass Valley B&P Itâ&#x20AC;&#x2122;s been a long time coming. Francisco Partners, a San Francisco, California-based private equity firm focused on investments in technologybased companies, has made a binding offer to Technicolor (Euronext Paris: 18453; NYSE: TCH) for the acquisition of the Grass Valley Broadcast & Professional business activities.

With nearly US$5 billion of capital under management, Francisco Partners is one of the worldâ&#x20AC;&#x2122;s largest technology-focused private equity funds. The firm was founded to pursue structured investments in technology and technologybased companies with a strong foundation and secure market position. Francisco Partner targets investments in private companies, with transaction values ranging from $30 million to $2 billion. Since its inception, Francisco Partners has invested in excess of $4 billion of equity capital in over 50 technology companies.

â&#x20AC;&#x153;Grass Valleyâ&#x20AC;&#x2122;s market leadership is clearly evident,â&#x20AC;? said David Golob, Partner at Francisco Partners. â&#x20AC;&#x153;The business has an unrivalled brand identity and company heritage, a long history of innovation, team members that are dedicated to their customersâ&#x20AC;&#x2122; success, and an impressive product portfolio. We are looking forward to the opportunity to work closely with Grass Valleyâ&#x20AC;&#x2122;s management to create a company that leverages the strong entrepreneurial spirit within Grass Valley, allowing them to achieve even greater success.â&#x20AC;?

The binding offer from Francisco Partners is for 100 percent ownership of the current Grass Valley Broadcast & Professional business, which would operate as â&#x20AC;&#x153;Grass Valleyâ&#x20AC;? going forward.

This includes the camera, content repurposing, editing, master control, modular, news production, production automation, routing, servers, storage, and switching product lines including their entire product portfolios, the R&D centers and factories around the world, the Sales & Systems activities and Customer Support organization worldwide, as well as the management and administrative support functions dedicated to the business. This business

Project Factory Invests in Panoramic Video Australian interactive company The Project Factory has announced a move into online video production with the acquisition of a stake in the 360 video company, Panoramic Video.

The Project Factory is a digital entertainment company specialising in multiplatform productions for movie, television and digital media companies. The deal sees The Project Factory taking a Board position and 25% ownership of the company based on future targets.

Panoramic Video has developed a technology that allows online video viewers to view a complete 360 view of streamed video, showing all angles of the action, in front and behind the camera. The technology has been deployed for music videos, festivals, real estate companies, news websites and tourism.

Guy Gadney, Director of The Project Factory says â&#x20AC;&#x153;Panoramic Video is a radical technology that changes the way we view online video completely. It creates a fully immersive video experience that is currently lacking online. â&#x20AC;&#x153;It will revolutionise behind-the-scenes video for movies and television shows, adding a totally new

10 Taking Stock

dimension to exclusive online content and DVD extras.

The advertising opportunities are game changers with the ability to embed clickable interactive ads in the video itself.â&#x20AC;?

Visit http://theprojectfactory.com

perimeter and associated product lines for which the offer was made by Francisco Partners represent the core of what the market historically knows as Grass Valley products. It is expected that the transaction can be completed before the end of 2010.

According to Jeff Rosica, Senior Vice President and head of the Grass Valley Broadcast & Professional business, â&#x20AC;&#x153;Our customers worldwide will continue to receive the high quality and service that they have come to expect from Grass Valley, with continued focus on raising the bar in our industry.â&#x20AC;?

The Transmission and Head-end businesses, which are in the process of being separated from the Grass Valley Broadcast & Professional business, are not included in the offer received. Technicolor will continue the planned divestiture of these businesses separately. These businesses plan to individually operate going forward.

Visit www.grassvalley.com

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Ross Video to Acquire Codan Broadcast

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Canadaâ&#x20AC;&#x2122;s Ross Video Limited and Australianbased Codan Limited have jointly announced that Ross is to buy 100% of the shares of Codanâ&#x20AC;&#x2122;s wholly-owned Melbourne-based subsidiary, Codan Broadcast Products Pty Ltd. Ross plans to continue operations from Codan Broadcastâ&#x20AC;&#x2122;s current premises in Melbourne, Australia with the name of the business and product branding changing to Ross Video.

Codan Broadcast products will become part of the Ross product portfolio.

Key new products that Ross will acquire include a flagship line of routing systems that will complement and enhance the already extensive Ross product portfolio. Ross says that Codan Broadcastâ&#x20AC;&#x2122;s significant presence in the Australian market will provide it with even greater access to and better support for Australian customers. â&#x20AC;&#x153;We are excited about the addition of Codan Broadcast,â&#x20AC;? said David Ross, CEO Ross Video. â&#x20AC;&#x153;And have long admired the superior design and engineering of their products. We are delighted that they will become part of Ross and that customers globally will benefit from the dramatically expanded market access that Ross brings to the table.â&#x20AC;?

Visit http://www.rossvideo.com

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Broadcast Product Solutions Company Culture HyperX with Lyric PRO 8 3

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®

• Native stereoscopic 3D - available on a 2-channel HyperX3 • Touch GraphX touch screen support

In any business today, there are multiple avenues upon which will assist businesses will grow.

Whether it’s manufacturing, Sales, Marketing or the Product Development of new or innovative products or services there will always be people behind those departments creating the success.

So too are the support staff in Administration roles, including the first point of introduction to the business, the receptionist. Whether it’s a visiting client or simply phone calling into an organisation, the presentation and demeaner of the receptionist does influence opinion.

This article is not about the receptionist, however, it highlights the importance of matching individuals to a company’s culture regardless of where you sit in the organisation. Perceived value of the position is not in any way a comparison to the performance of the individual.

In order to manage the throughput of company culture, there needs to be a checkpoint to monitor the matching corporate culture to individuals who may be under consideration for employment or simply being indoctrinated. Whether it’s a HR department or a Recruitment Consultant employed to ‘Search’ (Headhunt) someone into the organisation, their HR focus is sharpened, because this is what they do for a living.

It’s interesting to note that in some organisations, HR (Human Resources) personnel are sometimes perceived as not adding value to the business because they are not making or selling things.

This represents a very narrow approach to the way in which organisations work, which completely overlooks the fact that an organisation’s most important asset is its staff.

In order to appreciate some areas that could be explored, the following behavioural competencies have been provided as one self test.

Behavioural competencies

The following is a simple quick test to see if you are perceived as you would like to be perceived.

How do you rate yourself, and if you are willing to have others rate you, what similarity if any at all would be seen?

Each category is rated out of 5, providing a total of 100, which is therefore given as a percentage.

After comparing results, it may be evident that your own rating is higher than the perceived values of others in some areas.

• Inherit State Technology • Conditional Transition Manager for complex scene-to-scene transitions • Persistent objects and scenes

<<

Marching to a different drummer?

This is not an area to be concerned. It provides however the opportunity to highlight or improve upon that characteristic.

Before starting the test, suggest you insert two personal choices into 19 and 20 positions.

How do you rate the following?

1. Expertise: Includes the motivation to expand and use technical knowledge.

2. Flexibility: is the ability and willingness to adapt to and work effectively within a variety of diverse situations.

3. Information Seeking: It implies going beyond the questions that are routine or required in the job.

4. Integrity: refers to actions that are consistent with what one says are important.(Walk the talk) 5. Listening, Understanding and responding: is the desire and ability to understand and respond effectively to other people from diverse backgrounds.

6. Organisational Commitment: is the ability and willingness to align one’s own behaviour with the needs, priorities and goals of the organisation.

7. Reflecting on difficulties: is the willingness to “work through” the persona; experience of having contributed to an unsuccessful outcome.

8. Self confidence: is the belief in one’s own capability to accomplish a task and select an effective approach to a problem.

9. Self Control: is the ability to keep one’s emotions under control and restrain negative actions when provoked, faced with opposition or hostility from others, or when working under stress.

10. Analytical Thinking: is the ability to comprehend a situation by breaking it down into its components and identifying key or underlying complex issues.

11. Concern for Image Impact: is an awareness of how one’s self, one’s role and the organisation are seen by others.

12. Decisive insight: combines the ability to draw on one’s own experience, knowledge and training and effectively problem-solve increasingly difficult and complex situations 13. Innovation: indicates an effort to improve performance by doing or promoting new things, such as introducing a previously unknown or untried solution or procedure to the specific area or organisation.

14. Partners with Stakeholders: is the desire to work co-operatively with all stakeholders to meet mutual goals.

15. Relationship Building: is working to build or maintain ethical relationships or networks or contacts with people who are, or may be, potentially helpful in achieving work-related goals and establishing advantages.

16. Results Orientation: is a concern for surpassing a standard or excellence.

17. Teamwork and co-operation: is the ability to work co-operatively within diverse teams, work groups and across the organisation to achieve group and organisational goals.

18. Self Development: involves proactively taking actions to improve personal capability.

19. Select one characteristic of your choice.

20. Select one characteristic of your choice.

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How did you rate yourself and how did others perceive you in their rating?

For any additional information contact Darren Judd on corporate@BroadcastJobz.tv at BroadcastJobz.tv, the Broadcast industry’s recruitment job board.

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

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Taking Stock

Australian telecommunications company Telstra has announced that free cash flow had increased

by AUD$1.9 billion to $6.2 billion, exceeding the company’s long-held target of $6 billion for 2009/10. Shareholders will receive a fullyfranked dividend of 28 cents per share for the full year. Releasing its full year results, the company also announced that it had met the guidance it issued in February for 2009/10 business performance and had experienced a stronger operating result for the second half of the year.

For the full year, the company reported: * Sales revenue declined 2.2% or $558 million to $24,813 million * EBITDA declined by 0.9% or $101 million to $10,847 million * EBIT declined by 0.9% or $57 million to $6,501 million * Net Profit After Tax declined by 4.7% to $3,883 million * A capex to sales ratio of 14%, with $3.5 billion invested in the year * Net Debt declined $1.7 billion to $13.9 billion taking our net debt gearing to 52% * Compared to guidance (excluding a $168 million impairment in CSL New World), EBITDA

grew by 0.6% to $11,015 million and EBIT grew by 1.7% to $6,669 million.

Adjusting for the sale of KAZ, currency movements and the CSL New World impairment that was announced on 30 July, to reflect the underlying performance of the business, sales revenue declined by 0.2% and EBITDA increased by 1.3%.

Highlights for the year included mobile services revenue growth of 5.9%, mobile data growth of 21.7%, wireless broadband revenue growth of 34% (with more than 1.6 million subscribers), and fixed broadband ARPU continuing to increase.

Fixed telephony, however, continued to present a significant challenge, with PSTN declining by 8% over the year, in line with global industry trends.

Telstra is addressing the fixed line challenge with innovative new fixed products like the T-Hub home phone, which now has more than 40,000 users, and the T-Box internet TV service which now has more than 15,000 users.

In the second half of 2009/10, Telstra recorded 7.1% growth in mobile services revenue, 11,000 new fixed broadband customers and 26% growth in IP Access revenues.

National Broadband Network (NBN) On 20 June 2010, Telstra signed a Non-binding

Foxtel Continues Earnings Momentum Australian pay-TV operator FOXTEL has announced a 17.5% growth in earnings (EBITDA) to AUD$477m for the year to 30 June 2010. This company says the result was supported by continued strong uptake of the FOXTEL iQ PVR and FOXTEL High Definition services. FOXTEL’s revenue for the year ended 30 June 2010 was up nearly 10% to just over $2b. This increase was driven by a significant lift in ARPU as more subscribers elected to take more of the services offered by FOXTEL. The FOXTEL iQ PVR continued its strong growth trajectory throughout the year with more than 60% of all subscribers now benefitting from the FOXTEL iQ or iQ2. Over a quarter of a million subscribers are now taking FOXTEL’s High Definition services while over 35% are taking Multi-Room.

FOXTEL’s earnings before interest, tax, depreciation and amortisation (EBITDA) grew by 17.5% to $477m

(from $406m last year) while Profit Before Tax grew at a similar rate to $160m. FOXTEL’s EBIT grew by 17% to $206m. FOXTEL’s financial position remains strong with leverage of 1.5x EBITDA, a well balanced debt maturity profile with no debt falling due until mid2012 and a strongly hedged position against any falls in the Australian dollar.

At 30 June 2010, FOXTEL had over 1.54m direct subscriber households (including the installation queue), up 3% on the same time last year. Churn, at 13.5% for the full year, was largely in line with the prior year. Churn improved by 0.4% in the second half to an annualised rate of 13.3%. Wholesale subscribers continued to decline. Total subscriber households, including wholesale, finished at 1.632m.

Visit http://www.foxtel.com.au

Australian Broadcasting Financials The Australian Communications and Media Authority has released its Broadcasting Financial Results 2008-09 report. The publication is available on the ACMA website.

The commercial television sector reported AUD$3,784.4 million in broadcasting services revenue in 2008-09, a nine per cent decrease from 2007-08. The commercial radio sector reported $1,039.4 million in revenue, a decrease of four per cent on 2007-08.

Total reported broadcasting service profit was $223.2 million for commercial television, a 29.8 per cent decrease over the previous financial year, and $122.5 million for commercial radio, a 53.9 per cent decrease. Reported overall expenditure on Australian commercial television programs was $950.6 million, a 2.4 per cent increase over the previous financial year. Reported overall expenditure on overseas programs was $430.3 million, a 7.9 per cent increase. Visit http://www.acma.gov.au

14 Taking Stock

Financial Heads of Agreement with NBN Co to participate in the rollout of the NBN. A final agreement would result in Telstra progressively migrating services that use its copper network and cable broadband product to the NBN, and allowing NBN Co to use Telstra’s infrastructure. The transaction, if completed, would deliver to Telstra post-tax net present value of approximately $11 billion, including the value of Telstra avoiding certain costs. Final agreement would require ACCC approval, the passage of enabling legislation, and the approval of Telstra shareholders – expected to be sought in the first half of 2011.

Telstra says it would continue to work constructively with the Government of the day irrespective of the outcome of the Federal election.

In 2011, Telstra expects an increase in the customer base and flattish revenues, but because of its investments and changing product mix the company expects a high single digit percentage decline in EBITDA, and free cashflow of between $4.5 and $5.0 billion.

Telstra also foresees capex/sales around 14 per cent for the medium-term, excluding possible spectrum acquisition costs.

Visit http://www.telstra.com

iiNet Acquires AAPT Consumer Business iiNet Limited (ASX: IIN) has announced that it has entered into a binding agreement, subject to iiNet shareholder approval, to acquire the AAPT Consumer Division from Telecom New Zealand (ASX: TEL). This has been accompanied by the completion of an underwritten block-trade to institutional and sophisticated investors of Telecom New Zealand’s (TNZ) 18.2% shareholding in iiNet. Acquisition highlights, include: * Acquisition of approximately 113,000 broadband subscribers and over 251,000 other active services to bring iiNet’s broadband subscribers to more than 652,000 and total active services to more than 1,326,000; * EPS accretive in FY11; * Expected post-synergies EBITDA of $20m in first full year after acquisition in addition to the $10m EBITDA expected contribution from Netspace in FY11; * $60m acquisition price represents 3x expected post?synergies EBITDA multiple; * Approximately 25,000 subscribers expected to be migrated to iiNet’s network; * Consistent with iiNet’s strategy to grow through consolidation; * Extension of the existing Wholesale Agreement with AAPT; and * Acquisition to be 100% cash and debt funded, avoiding shareholder dilution.

Visit http://www.iinet.net.au

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TEC016

Telstra Invests for Future

technical STANDARDS MPEG Works to Bridge Platforms At its recent 93rd meeting held in Geneva, the Motion Picture Experts Group (MPEG) reviewed responses to two calls for proposals on an Advanced IPTV Terminal (AIT) and produced the AIT Working Draft (WD), the first milestone in the standard’s development.

This draft standard is intended to become part of the MXM standard (ISO/IEC 23006) renamed as Multimedia Service Platform Technologies. AIT strives to extend current IPTV services toward open and innovative creation, distribution and consumption of digital media over the Internet.

AIT will also enable service aggregation for service providers to offer users a plethora of revolutionary services, such as shopping-commerce, social networks, and more.

Many available MPEG and ITU-T technologies for media processing and signalling have been included as basic components of this standard. Experts from both MPEG and ITU-T worked jointly during the meeting in Geneva as MPEG and ITU-T SG16 have decided to develop this standard as a joint project.

The new standard is expected to achieve Final Draft International Standard status in July 2011.

MULTIMEDIA DATA OVER HTTP

As HTTP became one of the most important protocols for the delivery of content over the Internet, MPEG initiated work to use this standard for the delivery of multimedia data in an optimal way. Receiving numerous submissions from companies, MPEG successfully launched the development of a new standard at its 93rd meeting giving it the name Dynamic Adaptive Streaming over HTTP (DASH) and starting from the industry standard developed by 3GPP. The first DASH working draft improves on the 3GPP-developed standard by addressing a

broader scope with better efficiency and flexibility, e.g. by enhancing support to include Scalable Video Coding (SVC) and Multi-view Video Coding (MVC).

The new standard is expected to achieve Final Draft International Standard status in July 2011.

MPEG MULTIMEDIA TRANSPORT

During the recent years, broadcasting services and mobile services have been gradually converging and it is expected that this trend will continue with other services. MPEG has issued a Call for Proposal on MPEG Media Transport (MMT) standardization in response to the urgent need expressed by industry for an international multimedia transport standard that is widely adopted. The MMT standard will enable the deployment of efficient solutions for the transport of MPEG media in an interoperable and universal fashion, especially given the recent increased demand in heterogeneous network environments.

Responses to the call are due at the 95th MPEG meeting in January 2011. The standard is expected to reach Final Draft International Standard status in October 2012.

The third part, “Sensory Information”, provides metadata to represent sensory effects such as temperature, wind, vibration, fog, and more. The fourth part, “Virtual World Object Characteristics”, provides metadata to commonly represent information about virtual objects, in particular, avatars, for their interactions between virtual worlds.

The fifth part “Data Formats for Interaction Device” specifies syntax and semantics of data formats for interaction devices, device commands, and sensed information.

Finally, the sixth part, “Common Types and Tools”, is a container of common elements used in other MPEG-V parts.

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Polling in Palestine MPEG-V VIRTUAL WORLDS

Also at its 93rd meeting, MPEG has advanced to the Final Draft International Standard stage six parts of MPEG-V (ISO/IEC 23005), the standard for interchange with virtual worlds.

The first part describes the architecture of the standard and introduces several use case scenarios.

The second part, “Control Information”, specifies the representation of metadata to describe device capabilities and user preferences to be used for the exchange of information between a controlling device and the real actuator or sensors.

MESHING WITH 3D GRAPHICS

MPEG also used its 93rd meeting to “enrich” the 3D graphics toolset of the MPEG-4 Part 16 (ISO/IEC 14496-16) standard by promoting an amendment supporting the efficient representation of 3D meshes with multiple attributes. This representation, based on wedges - a set of vertex-adjacent corners whose attributes are the same – enables graphic tools to handle in a compact manner, discontinuities for attributes describing the appearance of a graphic such as normals, texture coordinates, or colours.

Still on graphics, MPEG has also issued a call for proposals for a standard intended to create a new font technology, called composite font. This will make it possible to create more than 64K glyphs that can be linked from a single Open Font Format font (ISO/ IEC 14496-22). Responses to the CfP are due at the 94th MPEG meeting in October 2010. The project is expected to reach Final Draft International Standard status in January 2012.

Visit http://mpeg.chiariglione.org/hot_news.htm

High definition content including fast-moving sports, live events, drama, documentaries and entertainment programming can now be distributed around the globe in multiple high definition standards and formats without degradation of image quality.

European News Exchange Approves Sencore for SNG

Utilizing Emmy Award winning Ph.C motion estimation technology, Alchemist Ph.C - HD delivers converted images of unparalled quality and clarity.

Sencore, the provider of signal processing and video delivery solutions, has announced that the European News Exchange (ENEX) has chosen its MRD3187B receiver decoder for recommendation in satellite news gathering (SNG) applications.

ENEX will recommend the device for SNG use by some 35 member stations located throughout Europe, as well as in the U.S. and Japan.

According to Jean Lampach, chief technology and development officer for Broadcasting Center Europe, which performed the evaluations for ENEX, “We evaluated dozens of devices in multiple categories, selecting for recommendation only those few that stood up to the rigors of the tough environment, including Sencore’s MRD receiver decoder.”

Integrated Timecode and Dolby®E processing eases the production of multiple program versions, enabling efficient repurposing for your deliverables and ensuring you’re always ahead of the race.

16 Standards

To determine its recommendations, Lampach and other members of the BCE organization spent two weeks performing a battery of tests using 37 individually evaluated content clips. As much as possible, BCE used real-world SNG conditions that included actual satellite transmission and reception to determine the devices’ reliability, everyday ease of use, compatibility, functionality, and effectiveness.

“Our MRD3187B combines dual-channel processing capability with MPEG-2, MPEG-4, 4:2:0, 4:2:2, SD, and HD decoding, making it flexible enough to support even the toughest SNG applications,” said Thomas Stingley, executive vice president of sales and marketing at Sencore. “With its highly adaptable modular architecture and field

upgradable hardware and software, the device more than proves itself in intensive fast-changing broadcast, cable, and satellite news gathering situations.”

The Sencore MRD3187B receiver decoder features SCTE-35-104 message conversion for commercial insertion applications, DVB-Common Interface for conditional access decryption, and multiservice descrambling. In addition, the device supports DVB-S and DVB-S2 demodulation, as well as VCM support, 16-ASPK demodulation, and multiple transport stream selection via an Input Stream Identifier (ISI).

Visit www.sencore.com

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Amber Technology Sydney (Head Office) 02 9452 8600 Melbourne (03) 98152710 Brisbane (07) 3341 6487 professional@ambertech.com.au www.ambertech.com.au

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Ambertech_Alchemist.indd 1

11/06/2010 13:20

Conference Preview/IBC2008

conference

Conference 7 - 11 September Exhibition 8 - 12 September RAI Amsterdam

PREVIEW IBC 2010

Winning Line-Up at IBC

more added value RAI Amsterdam IBC2006at IBC2006 Conference 9-14 September : Exhibition 10-14 September the world of content creation management delivery

Even more to discover

Meet and network with more than 40,000 key players from more than 140 countries worldwide

See state-of-the-art technology from the 1000+ exhibitors Take part in the world's best opinion forming conference Free entry to the exhibition if you register before 21 August

Free entry to the IBC Mobile Zone, showcasing the latest developments in Mobile TV and 3G Services and the latest innovations in handheld devices Free access to the IBC Big Screen Experience, including cutting edge demonstrations and feature film presentations Free entry to the IBC Business Briefings, where more commercially minded companies have their say

IBC, 9-14 September, 2010, RAI Amsterdam.

Each September, the leading brands, finest minds and come to IBC – the premier annual event Free wisest entry to the IBCinvestors Added Value Sessions, where experts explore the best of IBC for professionals engaged in the creation, management Free entry to the prestigious IBC Awards Ceremony and delivery of entertainment and news content worldwide.

Free training and hands-on experience of the latest products in the IBC Training Zone

Introducing even more added value at IBC2006

IBC is one of the major events in the calendar for the world’s electronic entertainment industry.

Featuring over 1300 exhibitors, 45,000 + attendees and a world-leading conference program, every year over 1000 writers, editors and journalists journey to Amsterdam to cover the show. With this year’s show promising to provide a real insight into the state of the art of stereoscopic 3D, as well as new products and developments relating to IPTV and Mobile TV, make sure you’re one of them.

IBC Aldwych House 81 Aldwych

London WC2B 4EL United Kingdom Tel: +44 (0) 20 7611 7500

Fax: +44 (0) 20 7611 7530 Email: show@ibc.org

Jensen, chief executive, HBO Central Europe; and Gerhard Zeiler, chief executive officer, RTL, debate and examine the various funding models on offer for broadcasters and programme-makers looking to produce high-quality original content in the new economic landscape.

On Sunday 12 September at 14.00, IBC will stage a special conference session covering the purchasing options for new technology investments.

Three specialists will be on hand, each giving their arguments in favour of one of the acquisition options of outright purchase, lease hire, and outsourcing and

• FREE access to the IBC Big Screen Experience in the Auditorium – watch manufacturers demonstrations, special events, screenings and movies including the best in 3D

managed services. There are technical, operational and commercial benefits in each route, and there is probably no one perfect solution for any business.

• FREE production training in the Production To help you through this maze, Arrid Hellgren, Village in Hall 11 with exhibitor presentations Director of Resources at NRK in Norway, joins and professional training sessions plus a well-known consultants Neil Dormand and Chris whole host of camera technology on display Daubney to fire the debate. Then the audience will get a chance to challenge the panellists, to vote on • FREE post production training in Hall 7 specific questions, and to draw their own conclusions expert training staff exploring the latest Meet and network withwith more than 40,000 key players on which investment route is right for them. desktop techniques than 140 countries worldwide To see the full list of keynotes andfrom the rest more of the • FREE entry to the Connected World in Conference programme, visit www.ibc.org

Manolo Romero Sports Keynote at IBC With 2010 a big year for sport and sports broadcasting, the IBC2010 conference is dedicating a full day to the topic. Setting the agenda for the day will be a keynote presentation from Manolo Romero, the managing director of Olympic Broadcasting Services.

Romero, who has worked on the coverage of every Olympics since Mexico 1968, now runs host broadcast services on behalf of the International Olympic Committee. He appears at IBC in a session which looks at the past, present and future of Olympics coverage, which will also feature Dave Mazza of NBC, fresh from the challenges of the Vancouver games, and Roger Mosey, the BBC’s leader for the 2012 London Olympics.

Sports sessions run through the conference on Saturday 11 September, spanning both the content creation and business streams. Other sessions will look at interactive and online services, a sporting

18 Conference Preview/IBC2010

• network with 45,000+ attendees from over 140 countries • attend the Conference with over 300 key international speakers And benefit from...

Conference and Keynotes

The opening plenary session of the IBC2010 Conference on Thursday 9 September ‘Does public service broadcasting have a future?’, will feature an address by Sir Michael Lyons, the chairman of the BBC Trust. Where does public service broadcasting (PSB) fit in an increasingly online and on-demand environment? Is the national and cultural role of the PSB sufficient to protect its privileged position in today’s highly competitive and commercially cutthroat world? Lyons’ presentation will kick-start the debate.

Friday will see the Conference host a hard-hitting keynote session titled ‘New routes to funding original content’. Sure to be a big draw the session will see Mike Darcey, chief operating officer, BSkyB; Linda

• seenow overat1,300 exhibitors showcasing their latest capabilities register www.ibc.org

case study, and a look at how stereoscopic 3D could change the face of sport on television. The 3D session will be led by Peter Angell of HBS, the host broadcaster for Fifa World Cup. “Television and live sport were made for each other, and the need to engage audiences has driven many of the technical innovations in our industry,” said Michael Lumley, chair of the IBC2010 conference committee. “We must give sport the weight it deserves in the conference, and there is no-one better to start the debate than the most powerful man in sports broadcasting: Manolo Romero. His keynote will be a thought-provoking start to an absorbing day.”

Saturday 11 September is the sport day in the IBC2010 conference, but related topics are spread through the programme, including showcase presentations, stereoscopic 3D primers and discussions on working with the social media so popular with fans. Three of the finalists in the IBC

• FREE entry to the IBC Business Briefings – take part in live debates, business analysis and discuss case studies • FREE entry to the IBC “What Caught My Eye” sessions, where experts explore the best of IBC for you • FREE entry to the prestigious IBC Awards Ceremony in the Auditorium on Sunday 12 September • FREE access to the latest developments in broadcast technology showcased in the New Technology Campus

See state-of-the-art technology from thelatest 1000+ exhibitors Hall 9 - focusing on the developments and innovations in IPTV, Digital Signage

Take part in the world'sand best opinion forming conference Mobile TV

Innovation Awards, to be presented on Sunday night, are sports projects.

Manolo Romero, managing director of Olympic Free entry to the exhibition if you register before 21 Broadcasting Services, is also the 2010 recipient of the IBC International Honour for August Excellence, the highest award that IBC bestows.

Free entry to the IBC Mobile Zone, showcasing the latest “The Olympic Games occupy a very special place in the world of sport and the world ofdevelopments television, and in Mobile TV and 3G Services and the Manolo Romero’s first priority is always to ensure the in handheld devices safe coverage of every moment of latest every eventinnovations for every broadcaster,” said Peter Owen, chair of the Free access to the IBC Big Screen Experience, including IBC Council, the global grouping of broadcasters and media companies which guides cutting IBC and which edge demonstrations and feature film nominates the recipient of the IHFE. presentations Manolo Romero will be presented with the IBC International Honour for Excellence as part of the Free entry to the IBC Business Briefings, where more annual awards ceremony to be held on Sunday 12 commercially mindedIBCcompanies have their say September.

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

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Free training and hands-on experience of the latest TO CONTENTS PAGE products in the IBC BACK Training Zone

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ABC-SBS DAB+ Network Shortlisted for IBC Award In advance of its September conference and exhibition, the IBC has released the shortlist of entries for its Innovation Awards which include “Transcontinental DAB+ - ABC/SBS” in the category of Content Delivery.

According to the IBC, “the shortlisted projects in the content delivery category share a theme: the use of modern terrestrial techniques to bring real benefits to audiences.”

DAB+, the second generation digital audio broadcasting standard, offers better compression efficiency and quality with MPEG-4 encoding, and IP multicasting capabilities. It is a sound basis to migrate radio listeners from analogue, offering them a broader range of channels and enhancements such as text, slideshow graphics and an electronic

programme guide.

The challenge facing the Australian Broadcasting Corporation was to roll out DAB+ over such a massive geography. The network was created in 2009 and, as well as being the largest of its kind, it is the first to rely entirely on IP transmission end to end, giving it greater flexibility, reduced hardware costs, greater reliability and savings in distribution costs.

ABC partnered with fellow broadcaster SBS on the development of the network. Technology partners were Broadcast Australia, Radioscape, Telstra and United Group International.

The ABC-SBS entry is up against “DVB-T2 for terrestrial HD – BBC”. As part of the digital switchover in the UK, BBC wanted to introduce high definition television to the UK terrestrial platform. This would

not have been possible until the completion of the switchover programme in 2012, which would have lost commercial momentum to other platforms.

Instead, BBC R&D worked with the DVB Project to drive through the development of a second generation terrestrial broadcasting format, DVB-T2.

This represents a huge increase in transmission efficiency, and significant advances in ruggedness and flexibility. The result is that the UK terrestrial HD platform, Freeview HD, is now on air and available for BBC and other broadcasters.

The IBC Innovation Awards will be announced at the RAI Amsterdam on Sunday, September 12.

Content+Technology magazine Editor Phil Sandberg is a member of the Awards Judging Panel.

Visit http://www.ibc.org

Avatar Editor for Media Training Workshops Future Media Concepts (FMC), a digital media training organisation, has announced that Oscarnominated Avatar editor, Stephen Rivkin, will be the keynote speaker at their first-ever IBC Digital Media Training Workshop. Rivkin achieved success editing the Pirates of the Caribbean film franchise from 2003-2007, including two Eddie Award nominations and a win. His career culminated in 2009 with BAFTA and Oscar nominations alongside James Cameron and John Refoua for his revolutionary work on Avatar, the highest-grossing motion picture of all time. Rivkin will discuss the 2½-year challenge he faced while editing Avatar, and present various clips that touch on Performance Capture, Virtual Cameras, 3D, and the stages of shot development and finishing that brought this film to life.

“From start to finish, Avatar was the biggest creative challenge I’ve ever faced - but it opened my eyes to the limitless possibilities of filmmaking.

Its groundbreaking techniques continue to revolutionise the industry and the IBC Digital Media Training Workshops gives me a fantastic opportunity to share my experiences with industry peers. I look forward to demonstrating the evolution of Avatar with attendees, and am excited to be part of this worldclass international event,” says Rivkin.

Rivkin’s keynote address, titled: “Editing Avatar: The Creative Challenges,” will be delivered 10:3011.30 AM on Saturday 11 September 2010 at the RAI, Amsterdam in the Emerald Room.

Future Media Concepts’ Digital Media Training Workshops for content creators and post professionals will be held September 11th – 12th at the RAI, Amsterdam.

The 2-day training event will be lead by FMC’s industry certified instructors, power users, authors and thought-leaders offering advanced technical training for editors, producers and directors on today’s most popular applications from Apple, Avid

and Adobe technologies. Over 35 advanced training sessions are specifically designed to help attendees master the complexities of the industry’s latest workflow technologies. Highlighting hot trends such as HDSLR video and post-production, motion control 3D production, and the recently released CS5, the training event is designed for content creators and post-production professionals who wish to maximise their effectiveness and creativity on their chosen digital tools. From introducing multimedia journalists to the advantages of digital editing, to providing digital artists with eye-popping motion graphics and 3D production techniques, presenting videographers and photographers with key new techniques in HDSLR production, and offering invaluable certification opportunities, the Digital Media Training Symposium satiates a widerange of creative industry niches.

Visit www.ibc.org/training

IBC Conference Covers Business & MPEG-IF The latest sessions be added to the ever-expanding IBC conference programme are a MPEG-IF Master Class and a trio of sessions in The Business of Broadcasting stream that look at the various different aspects of project management within the industry.

The MPEG-IF Master Class being held 11:3013:00 on Monday 13 September, has been arranged by the MPEG Industry Forum and will look in detail at two areas involving the technology. The first is the promise of H.265 (aka HEVC or High Efficiency Video Coding), and this session will look at whether it is just around the corner or still over the horizon; a crucial question for service operators currently planning upgrades to MPEG-4. Then there’s the rise of OTT Television: will it be stifled by fair use

20 Conference Preview/IBC2010

limits and bandwidth tiering, or will service operators truly turn into media companies?

The session is presented by Sebastien Moeritz, president of the MPEG Industry Forum.

Sessions in The Business of Broadcasting stream on Monday 13 September look at the various aspects of project management within the industry.

- 14:00-15:00 ‘Managing change - it’s the people that matter’ looks at how changes in structure and operations can be successfully driven through a company. Chair: Lesley Marr, Fast Tortoise, former BSKYB Programme Director. Session Participants: Tim Connolly, director, Ignite, UK; John Linwood, chief technology officer, broadcast & enterprise technology group, BBC, UK; Bettina Vogel, broadcast

applications project executive, IBM, Germany - 15:30 - 16:30 ‘Successful Project Management: The good, bad and the downright ugly of establishing best practice’ turns its attention to providing practical solutions to stop major media technology projects spinning out of control into a haze of unfulfilled promise and broken budgets.

Chair: John Ive, consultant, IveTech UK. Session Participants: Ian Bowker, principal, Iron Broadcast, USA; Ferry Kesselaar, technology manager, NOS, Netherlands; Thomas Petru, president, integration services, Kit digital, Czech Rebublic; Clyde Smith, senior VP, global broadcast technology and standards, Turner, USA. Visit www.ibc.org

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Toy Story 3D on the IBC Big Screen Boasting the very latest in cinema technology, the IBC Big Screen is one of the highlights of the show.

Situated in the very heart of the RAI, the purpose-built auditorium is capable of seating more than 1700 people, who can watch movies and presentations screened using the very latest 2k, 4k or 3D projection, as well as 5.1 surround sound.

This makes it an ideal venue for exhibitors and film professionals alike, who can utilise its stateof-the-art facilities to demonstrate the very latest developments in cinema and broadcast technology from capture all the way through the production chain to projection. ARRI and Assimilate are amongst those that have confirmed demonstration slots for this year, with more to follow.

Monday’s 3D-themed Conference sessions, meanwhile, will be presented on the IBC Big Screen as well, allowing it to illuminate discussion of what is probably the hottest topic in the digital media world today.

Each year IBC arranges a complimentary screening that demonstrates the state of the art, and this year is no exception with a special screening on Saturday night (courtesy of Buena Vista International) of The Walt Disney Company’s Pixar Animation

Studios production of ‘Toy Story 3’. Released fifteen years after the first Toy Story film introduced digital animation to a large-scale audience, it is Pixar’s highest grossing film franchise to date, and as much a showcase for 3D and digital surround sound as

If you or your company is based in Australia, New Zealand or Southeast Asia and you have been involved in what you consider to be a technologically innovative product, production or infrastructure project, you may be eligible to win in Content+Technology magazine’s fourth annual C+T Innovation Awards.

Judged by a panel of experienced and impartial members of the content production and delivery industries, the C+T Awards will be announced on November 16, 2010, at the close of C+T 3D-Day conference and exhibition.

If you’ve produced a programme, rolled out a new facility or technology platform, or you’re a regionally based developer or manufacturer, and you’ve displayed innovation in what you do or how you do it, you should enter for your chance to win.

Winners will receive glory, a trophy, a profile in Content+Technology magazine and, if you attend the Awards Ceremony, free drinks and finger food. Did we mention glory?

And free publicity?

The judging process will take place in phases up until November.

Phase 1 is our “Elevator Pitch” phase where you provide us with a summary of your entry. Those entries deemed most compelling by our judging panel will then be asked to fill out a more detailed entry form and cough up the nitty gritty on why they believe their products, productions and projects are worthy

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the original one was for CGI. The special screening will be presented in the IBC Big Screen in 3D and Dolby Surround 7.1 and is scheduled to begin at 18:30. Seats will be allocated on a first-come firstserved basis.

of a C+T Innovation Award. Winners and runners up will then be selected and the results announced in November at 3D-Day. To enter the “Elevator Pitch” phase of our awards, simply download an entry form from www.content-technology. com and fax it to +61-(0)2-9332 2280.

Deadline is Monday October 11, 2010.

CATEGORIES INCLUDE: • • • • • • • • • • •

Production (TV) Production (Film) Production (Radio/Pro Audio) Production (Rich Media) Production (Mobile Media) Project/Facility Roll-Out (TV) Project/Facility Roll-Out (Film) Project/Facility Roll-Out (Radio/Pro Audio) Project/Facility Roll-Out (Rich Media) Project/Facility Roll-Out (Mobile Media) Technology Development – Recognising Innovation in a manufacturer or developer of Technology used in the creation, storage or delivery of content. Open only to companies based in Australia, New Zealand or Southeast Asia (ASEAN) countries • Hall of Fame (for an Individual in the content industries whose career has consistently displayed an innovative approach to technology) For details, visit www.content-technology.com

For details, visit www.content-technology.com Conference Preview/IBC2010

21

content

The TheThird ThirdDimension Dimension

- Stereoscopic Production & Exhibition

Wedding Videos Go 3D!

technology MAGAZINE

- New Dimension to Catching the Bouquet Sydney-based

cinematographer Abraham Joffe is an award winning cinematographer has built up one of Sydney’s most successful wedding and event filmmaking companies - Abraham Joffe Videographers. Recently Joffe and his team made their first 3D wedding video using the services of broadcast equipment sales and rental specialists Videocraft and 3D cameras from Panasonic Broadcast.

Joffe explained, “I approached Videocraft with the idea of shooting a wedding in 3D and asked how they would suggest I go about it. After some discussion they recommended using the AG-3DA1 3D camera and then called Panasonic to arrange this. The AG3DA1 cameras are to be released towards the end of the year and with only two prototype 3DA1 cameras currently in the country, they are incredible sought after so this was no easy task. Fortunately Panasonic were very accommodating and Videocraft were able to get the cameras.”

The Panasonic AG-3DA1 is a twin-lens professional 3D camcorder featuring two independent optical systems, automatic left-eye/right-eye image deviation correction within the camera, worldwide recording with 50hz/59.94hz switchable and records to two SDHC memory cards in PH mode AVCHD. Joffe continued, “I had been interested in 3D for some time and was excited about the prospect of

<< <<

Nice day for a 3D Wedding.

<< <<

Abraham Joffe, Edgard Neves and Alfio Stuto review 3D footage of the nuptials.

shooting a 3D wedding. 3D rigs to date have been cumbersome and challenging to configure and thus did not lend themselves to shooting weddings. A wedding videographer cannot wait to set up the next shot or get in the way at a wedding so we needed something quick, simple to use and flexible.

The Panasonic AG-3DA1’s compact size and easy operation suited the wedding shoot perfectly.”

Joffe along with team members Edgard Neves and Alfio Stuto had less than 24 hours to get up to speed with Panasonic’s professional camera division on how to produce desirable 3D imagery which included learning how to control the ‘conversion point’ - the point at which the 3D element of the picture pops from the screen.

The ceremony took place at the historic The Tea Rooms - Gunners Barracks venue in the Sydney habourside suburb of Mosman with the outdoor nuptials held in the early 19th century stone courtyard in the fading light of the day.

Joffe’s assistant Edgard Neves had one camera attached to his body on a Steadicam rig allowing him to move about and capture immersive moving shots throughout the day including one particularly impressive sweeping steadicam move as the bride approached the aisle and her waiting groom.

At the reception, a 3D TV was set up and various segments of the day were played back to the delight of the guests and the happy couple who put on 3D glasses and watched the footage.

Rob Myers from Panasonic Broadcast said, “We are delighted to have been able to help Videocraft and Abraham Joffe in making this 3D wedding shoot happen. Panasonic Australia is very excited about 3D and the release of the 3DA1 camcorder. Local interest has been very strong with pre orders taken across all areas of the industry from staging companies to networks. Videocraft has been a significant addition

<< <<

Panasonic’s AG-3DA1 3D camera.

to our Broadcast Dealer Network. Their commitment to the industry and customers is highly valued by Panasonic. Their commitment to Panasonic has also been significant recently placing orders for the soon to be released AG-3DA1 3D camcorder for demonstration to their customers.”

Abraham Joffe concluded, “Videocraft were great in helping us shoot the 3D wedding. They also assisted with the post production which was a real bonus. Panasonic’s AG-3DA1 cameras will put 3D technology well within reach of smaller video producers and as a result 3D video production will become more mainstream in the next few years. It is most definitely the future for weddings.”

Visit http://www.cinemaexperience.com.au

OnAir Solutions Links SBS for 3D Soccer

For SBS’ recent 3D transmissions of the FIFA Football World Cup, Ateme/LigoWave distributor OnAir Solutions lent the Australian multicultural broadcaster an Ateme MPEG4 4:2:2 10-bit encoder/decoder set, and a LigoWave 5.8GHz Wi-Fi IP link to supply signal from the SBS satellite hut on the broadcaster’s roof in the Sydney suburb of Artarmon across to commercial broadcaster the Nine Network at Willoughby, the site of the presentation suite for the recent Australian trials of 3D free-to-air television. According to Paul Dengate, Managing Director of OnAir Solutions, “The LigoWave IP link is an industrial wireless system operating in unlicensed spectrum, great for temporary links such as this. The Ateme encoder delivered a 50mbit stream, plus FEC to make a robust high-quality link path.”

Visit http://www.onair.com.au

22 The Third Dimension

presents

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3D-DAY

November 16, 2010, Sydney, Australia

Join C+T magazine and a range of experts for a day of technical and production insights into The Third Dimension!!!

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3D Glasses, 3D Classes ... for Content Creators & Technologists

To register, visit www.3d-day.tv

quantel.com

The Third Dimension

s3D MXF – Looking at Stereo3D TV in a file based world

By Mark Horton, VP Product Marketing, AmberFin In the last

12 months s3D TV has become the hottest topic in the trade press. At the same time, the move from video based workflow to file based workflow has been a parallel but mostly separate topic.

It’s a useful exercise to now consider the two topics together, specifically ‘how might file based s3D Broadcast work’. Having worked in s3D product development for four of the last three years and file based workflows in the last one, I hope the thoughts that follow are of interest and will help contribute to a debate.

How do good s3D TV?

you

create

The principle of s3D broadcasting is increasingly well understood. s3D broadcasting works by horizontal disparity. Stereo3D content is created by shooting and rendering (or ‘dimensionalising’) two eye views with a horizontal parallax offset, giving a left eye and a right eye view.

It is crucial that there is no disparity between images, other than the horizontal offset. Viewers exposed to colour differences, blocking artefacts, timing offsets, differences in sharpness, geometric differences etc. will experience physical discomfort.

The importance of getting things right is well understood by anyone working in s3D and recent developments in camera rigs, production hardware and post production systems are addressing this issue.

However most of these developments have been in video centric broadcast workflows, using hardware (or hybrid hardware + computer) systems – either live or ‘as live’. This is logical at this point, given that most broadcast s3D content is currently coming from live events.

However, if s3D Broadcast becomes pervasive, as we look a few years ahead, it seems unlikely that this will be the answer to ever thing.

The other big current trend in the industry is the move from video and towards file based working.

There’s a growing interest in future ways of architecting Broadcast and Post operations around file based working that are coming from outside the Broadcast industry. Two examples are Service Oriented Architectures (SOA) and Transactional Clouds. If you haven’t come across presentations on either of these yet, don’t worry you soon will, four years ago, s3D Broadcasting presentations were pretty rare too.

Very simply, SOA discussions in our industry often go like this: Broadcast and IT used to be different things but now they are converging fast. Broadcast vendors who

24 The Third Dimension

have adopted IT physical components to make their products, haven’t yet got the most out of IT because, for understandable reasons, IT has had to fit into traditional video centric workflows.

In other words, we collectively have taken computers and architected them into our workflows almost (but not entirely) as if they are not computers but rather as specialist video devices. We run single applications on them and they talk to other similar devices using industry specific, vendor specific or even product specific languages. In SOA this is called ‘tight coupling’ and is seen as a bad thing on many many different levels. SOA philosophy advocates standardisation and also abstracted interfaces (‘loose coupling’). This is a whole topic in itself and can be covered in a short article, but whether you agree with this view or not, SOA philosophy is in daily practical use in other industries, so can’t be simply dismissed out of hand.

We may soon reach a point in Broadcast that outside of ‘as live’ applications on ingesting legacy tape, all new content is file based, all operations performed on that content can be comfortably handled by generic IT technology, using Broadcast software products and all deliverables are file based. If that happens, we end up with very different ways of architecting a Broadcast facility.

Lean Manufacturing: Driving down costs

If we could build an ideal s3D Broadcast facility, what principles should we build it around?

Most s3D Broadcast facilities are likely to also be 2D Broadcast facilities (and the same is true for big

s3D Post houses).

That means it is possible that a Broadcaster will be producing a range of deliverables: • s3D for conventional broadcast • HD for conventional broadcast • HD for web • SD for conventional Broadcast • SD for Web • SD for mobile • Etc. There may also be language versions, regional versions and so on. A post house will probably have an even wider range of deliverables.

Creating each of these deliverables as a unique project is enormously expensive and time consuming, so more and more companies are trying to move towards a ‘lean media manufacturing’ model where content is created once and repurposed (Transcoded if you prefer) and versioned many times.

Lean media manufacturing is a simple idea.

If processes can be automated and workflows standardised, it become much easier and cheaper to produce multiple versions of content, Rather than having to ‘hand make’ each version. This both increase revenue on higher margin business and also makes lower margin business profitable.

If deliverables can be made more cost effectively through automation and standardisation, main market revenue and the number of addressable markets increases: There is an interesting discussion going on now about how far it may be possible to incorporate some of the work needed to produce s3D content into this ‘lean manufacturing’ model.

Delivering Innovation We’ve developed new technologies that lead the world: • • •

File-based workflow HD Broadcast Stereo3D

Out with the old. In with the new.

That’s why it’s a record year at Quantel.

Quantel – delivering success On-line Finishing and Color Correction: Pablo/iQ/eQ/Genetic Engineering News, Sports and Program Production: Enterprise sQ/Mission/Final Cut Pro

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Continued on Page 26

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The Third Dimension Continued from Page 24

If this can be done, this would help keep the cost of launching a 3D service down.

How does this affect broadcast workflows?

Yes, we could build s3D Broadcast facilities around video thinking: BNC cables, either as Dual Link, 3G etc. We could take computers (or hardware/computer hybrids) and run single applications on them. We could connect those products up to each other via SDI routers, backed up by network connections. Technically it would work and for some applications it may make sense.

However, if we propose to build all s3D content creation workflows in this traditional video centric way, there are potential problems. There are very fundamental problems like ‘can we ensure we don’t introduce any differences between the eyes, e.g. keeping the two eyes in sync’. Plus we have whole categories of problems managing the media. There are layers of cost and complexity and operational bottlenecks.

The alternative is file based s3D workflows, using a development of the MXF wrapper toolkit. MXF is a container technology that could carry many kinds of s3D content in many different situations. Using MXF wrapped s3D files has many potential advantages: • Collaborative file based s3D workflow is not limited to ‘point to point’ operations • It facilitates team working, especially using shared storage • Access can be from anywhere there is a suitably equipped computer • Unlimited in the amount of metadata can be carried

with the pictures and sound • Any descriptive metadata can be stored with links to the content to which it is related • The architecture can include low-priced, standard IT components for movement, processing and storage • Lean media manufacturing principles can be applied • To enable this type of workflow the industry will need a suitable file container format and the most likely candidate for that is a future development of MXF.

s3D - using MXF and a file-based workflow

While there is already a fluid debate around topics ranging from s3D acquisition, editing, compositing, delivery and display and without an image file format standard, this is causing some confusion in the industry.

The positive outlook is that some areas may prove to be easier to gain agreement on.

It is very important for any vendor offering s3D in file-based workflows, especially if there is Transcoding or Rewrapping involved, to work at the correct level of quality, at an acceptable data payload and to make sure that the images are correct. s3D in a file based workflow needs definition, industry agreement and guidance and the most likely way forward is MXF. MXF is both a toolkit and a range of existing container formats, for doing the ‘heavy lifting’ in filebased workflows. MXF is increasingly the wrapper format of choice for broadcasters moving away from baseband video and towards file-based workflows.

AmberFin, led by CTO Bruce Devlin (one of the original team behind MXF) is currently working in SMPTE to incorporate s3D good practice in MXF.

There are many potential advantages of using MXF as the container format for s3DS First, MXF is image agnostic – it does not specify which image format should be used. For example, it could just as easily carry a ‘side by side’ image as ‘over under’ or ‘full HD’. Secondly, it is also flexible in which compression scheme it carries; it could carry s3D images compressed as JPEG 2000, DNx, AVC-Intra or specific s3D compression schemes.

Finally, it is an open, non-proprietary standard made by the industry, for the industry and overseen by AMWA – a non-profit making body that includes end users and vendors. This means it can adapt to the future s3D needs of the industry.

AmberFin is working with the MXF standard as part of the broader SMPTE s3D TV initiative to help knit together file-based workflow and s3D in a way that can benefit everyone.

26 The Third Dimension

of transmission in 3D of the State of Origin series and the 2010 FIFA World Cup. When announcing the licensing arrangements in May, the ACMA indicated its support of broadcasters in the development and demonstration of new broadcasting technologies, but also noted that the trials would be using unutilised digital television channels that were only available on a temporary basis. Broadcasters were required to provide the ACMA with reports on the outcomes of those trials and the ACMA expects to publish the reports in the near future.

The ACMA is now considering applications

Integrated Twin-Lens FULL HD 3D Camera Recorder

When will we all be watching s3D broadcasts?

The future of s3D broadcasting is still very much up in the air. Consumer interest is certainly present, but for a broadcaster to bet that it’s the future could be a dangerous leap of faith. The necessary cash outlay for technology that could quickly become obsolete is a risk, especially if consumer interest does not turn into demand. Especially when there is a very real risk, as we saw with HD-DVD and Blu-Ray, that there are still potential format wars to come about how we choose to record, move and display s3D. No one can forecast the future but it seems likely that there will be more than one s3D standard.

There are many unknowns. Will consumers opt for the theoretically higher resolutions that the current Active Glasses based delivery systems can deliver, or if offered the choice, opt for lower resolutions but with cheap disposable Polarised glasses? Note that polarised glasses are winning the battle in the Cinema but that Active glasses seem to be taking the lead in TV. There are a number of issues that broadcasters must be wary of, in order to keep consumers on side.

Image quality is not something that can be bypassed when broadcasting in s3D, especially when boasting revolutionary viewing experiences. Both customers and vendors will need to collaborate to ensure the correct levels of image quality.

If s3D and file based workflow are both important parts of our future, we need to understand how they are going to live together.

Australia Wraps Up Terrestrial 3DTV Trial With the current tranche of 3D television trials having ended on July 19, the Australian Communications and Media Authority has said that it would be useful to remind consumers that the ACMA can only make a digital television channel available for free-to-air 3D TV trials on a limited basis.

In May, the Nine Network, SBS and WIN sought ACMA authorisation for temporary trials of 3D TV in Brisbane, Newcastle, Sydney, Wollongong, Melbourne, Adelaide and Perth. The ACMA authorised trials for only a limited, two-month period, from 19 May to 19 July. This allowed the authorisation

Make it Real

for a further tranche of short-term free-to-air trials and more generally expects to release a paper in the next few months on the future of 3D trials. This paper will address the likely demand for spectrum to further experiment with and test 3D technology. The paper will also address international developments in the standardisation of consumer equipment, as technical standards for 3D TV receivers have not yet been established. Information on broadcasting trials, including the licence conditions attached to the recent 3D trials, is available on the ACMA website. Visit http://www.acma.gov.au

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The world’s first*1 integrated twin-lens 3D camera recorder for professional use.

In the Panasonic new full-HD camera recorder, the lenses, camera head, and a memory card recorder are integrated into a single, lightweight body. This is much less expensive, smaller, more portable, and easier to maintain than the current professional 3D systems.

The twin-lens system adopted in the optical section allows the convergence point*2 to be adjusted. Functions for automatically correcting horizontal and vertical displacement are also provided. Conventional 3D camera systems require these adjustments to be made on a PC or an external video processor. This new camera recorder, however, will automatically recalibrate without any need for external equipment, allowing capturing 3D image immediately.

Right and left full-HD video streams can be recorded as files on memory cards, ensuring higher reliability than on other media.

Eliminating moving parts helps to significantly reduce maintenance costs. Users also enjoy a fast, highly productive file-based workflow. *1: As an integrated twin-lens 3D camera recorder capable of recording full-HD video to its memory card. As of January 2010 (based on our investigations). *2: The point at which the left and right-camera lenses’ optical axes converge. Specifications and functions are subject to change without notice.

pro-av.panasonic.net/en/3d BACK TO CONTENTS PAGE Panasonic Australia Phone: (02) 9986 7400 Email: broadcastsales@panasonic.com.au Web: www.panasonic-broadcast.com.au

rentals

sales

knowledge

workflow design

system integration

The Third Dimension

JVC, Big Bridge Form 3D Alliance JVC Professional Australia/NZ has entered into a strategic 3D alliance with Brisbane-based communications and digital content convergence specialists Big Bridge. Established in 1992 Big Bridge is one of Australia’s leading production facilities specialising in the development of innovative and effective marketing and communications resources.

The 3D alliance talks began after Big Bridge requested a demo of JVC’s IF-2D3D1E Stereoscopic Image Processor and GD-463D10E 3D LCD monitor.

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 housed in a rugged, 1RU metal cabinet and compatible with a wide range of HD formats. The IF-2D3D1E is designed to help 3D content producers improve their workflow, whether they are converting archived 2D

material or shooting original content in 3D. The GD-463D10E 3D LCD panel is fast becoming the professional standard in Australia and New Zealand and provides flicker-free 3D images by adopting the Xpol polarizing filter method and batteryfree passive-type circular polarizing filter glasses. Video input is compatible with industry standard line-by-line and side-by-side 3D formats. JVC’s unique 3D decoder circuit translates images into the optimal Xpol display format and demonstrates the ability to accommodate subtle gradations and shades of colour.

Both companies have committed to a strategic 3D alliance in 2D to 3D conversion and 3D content creation projects.

Oakes commented, “Big Bridge now have two GD-463D10E 3D LCD panels and an IF-2D3D1E Stereoscopic Image Processor in-house and have already had interest in projects that span the web, mobile, TVCs and promotional videos to name a few.

One system, 2 great cameras This is the real strength of our alliance. JVC has the technology that perfectly compliments Big Bridge’s considerable expertise to help create and deliver 3D content onto multiple platforms and devices across many industries – a truly unique proposition.”

Gus Taddeo added, “Our areas of expertise in content creation range from education and training right through to heavy engineering and major infrastructure construction. Many of our clients have been working with us for years.

That’s because we produce creative, innovative and effective resources, and we do it efficiently and professionally. Now with JVC’s help we are extending our creative, production and audio visual services into the 3D arena with startling results. We are currently working on projects including a 3D promotional video for the CSIRO which we believe will set the standard across Australia.”

Visit http://www.jvcpro.com.au

TV Drama

Documentary

Sony PDWF800

Singapore Goes 3D at Shanghai Expo A stereoscopic 3D racing game, mixed-reality learning applications and made-by-Singapore content in 3D and high-definition (HD) have enthralled visitors to the Singapore Pavilion at the Shanghai World Expo.

These next-generation media offerings were unveiled as part of the Singapore Media Showcase presented by the Media Development Authority of Singapore (MDA).

Dr Christopher Chia, Chief Executive Officer, MDA, said “The Shanghai World Expo is an excellent platform to further showcase Singapore media content and technologies to the world, thereby raising awareness and appreciation of these digital

commodities, which after years of research and development are now commercially available for everyone to enjoy.”

Headlining the showcase was 3D TQ Motor, Singapore’s very first stereoscopic 3D racing game, developed by TQ Global based on a new game technology called MMO-IBOE (Massive Multiplayer Online Internet Based On-Location Entertainment).

Visitors put on 3D glasses to enjoy live, on-location gaming, blazing through the streets of downtown Singapore.

Visitors also caught glimpses into the future of learning through MXR Corporation’s mixed-reality

applications. Merging real and virtual worlds, its applications wIzQubes, wIzCards, wIzOpedia and wIzDirector allow users to manipulate both physical objects and digital content in real time and experience a new, interactive way of storytelling and learning.

Audiences also got to sample made-by-Singapore film, music, TV and animation on several 3D and HD screens. The highlights included snippets from the popular drama series The Little Nyonya, and Dinosaur Train, the acclaimed animation series coproduced by Sparky Animation and The Jim Henson Company. Visit http://www.smf.sg

Sony PDW700

ENG

Live Sport

Quinto Opens Global Eyes to JVC 3D

28 The Third Dimension

‘active’ glasses, good when so many go missing on projects. We tested several models, the JVC won hands down.”

The JVC monitor uses JVC’s Xpol circular polarising technology where alternate display lines have opposite circular polarisations.

The display can therefore provide separate left eye and right eye images, for 3D, both simultaneously, to a viewer who is wearing low cost, completely passive, circular polarising 3D glasses.

Other displays use active switching glasses that sync to one individual display at a time, in order to show separate left eye and right eye images sequentially. These were impractical in Global’s OB truck environment as active glasses would have only allowed an operator to properly sync to and see a proper 3D image from one display at a time.

With the JVC passive system it is no problem for an operator to be able to view 3D images on multiple JVC 3D monitors simultaneously.

The passive continual display of both left-eye and right-eye images simultaneously to Global’s operators and OB crew, rather than using monitors that need active switching glasses and display left and right images separately and sequentially, also helped eliminate flicker and operator fatigue. It also made the JVC monitors especially suitable for monitoring fast moving 3D content, such as Global’s 3D State Of Origin coverage.

The JVC displays can take in 3D content in both side by side and line by line formats which made their integration into Global’s overall 3D system quite straightforward. Global can now physically integrate them quickly and cleanly into the trucks main monitor wall for coverage of events in 3D, that requires large 3D program and preview monitors to fully and effectively monitor in 3D. For further information, contact sales@quinto.com.au

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Endless possiblities.

VC10501/C&T

It wasn’t only the Queensland football team who won three matches out of three in this year’s State Of Origin Rugby League Series. Sydney based Global Television provided the outside broadcast facilities for all three games broadcast in Australia by the Nine Network, a world free-to-air first.

For this prestigious event, Global TV purchased JVC’s GD-463D10 46? 3D monitor product from leading Australian broadcast distributor, Quinto Communications, and used the JVC monitors for critical monitoring of the 3D content in their HD OB truck during their coverage of all three games.

As Marc Segar, NSW General Manager at Global Television, explained, “We were looking for a monitor that could operate alongside 2D monitors without compromising the 2D source monitoring, the JVC screen uses polarising technology that makes it more suitable in a multi monitor environment as well as the added benefit of very cheap glasses instead of expensive

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

ACQUISITION ARRI Alexa Cameras Hit Australia ARRI Australia has announced that the first of its long-awaited ALEXA digital cameras have arrived in Australia. The first three cameras have gone to Cameraquip, Red Apple Camera Rentals and Lemac, all of whom purchased the camera following ALEXA’s first unveiling to the market at IBC 2009.

ARRI’s ALEXA is a new compact, lightweight and affordable digital camera that utlises ultra-fast workflows and image quality akin to 35mm film.

ARRI Australia General Manager Stefan Sedlmeier said, “Such is the demand for the ALEXA that we had to devise a fair early adopter loyalty programme to answer delivery priorities. I’m pleased to say that we have already sold over 20 ALEXAs throughout Australia and New Zealand, many of which will be delivered by the end of the year. We also have significant orders for 2011.”

All the ALEXAs bound for Australia and New Zealand ARRI include its new DTE (Direct-To-Edit) capability which, through the use of Apple’s ProRes 422 (HQ) and ProRes 4444 codecs allows high fidelity footage to be recorded onto Sony SxS PRO removable media cards, providing immediate availability of material into

Malcolm Richards, MD of Cameraquip, with the ARRI ALEXA digital camera.

Final Cut Pro and AVID editing systems.

Malcolm Richards, managing director and owner of Cameraquip said, “Cameraquip has been almost totally equipped with ARRI cameras for nearly 30 years. We are absolutely delighted to have received our first ALEXA. It’s everything it claims to be and more.

We will receive our next ALEXA in Singapore on 18 August and look forward to two more cameras soon for our Melbourne and Brisbane offices. We are very glad we waited for the Right One!” Viv Scanu, owner of boutique camera rentals house

Red Apple Camera Rentals added, “We have waited a while to get the first of our two ALEXAs and I can honestly say it has been well worth the wait. We are so impressed by this camera that we have placed orders with ARRI Australia for an additional two. This camera is way ahead of its time and it rivals any other cine digital camera out there. We have a queue of customers waiting to use it. As ever with ARRI the quality is second to none. I have a feeling this camera will put my 35mm cameras into retirement.”

John Bowring, Managing Director of Lemac and well-known industry commentator said, “It’s no secret that the ARRI ALEXA is an excellent digital camera - just look at the pictures it produces and you’ll appreciate that. We’ve been at the digital pointy end from the beginning and ARRI has really fulfilled our digital camera wish list, on performance, size, integrated recording and modularity. We received the first of four we ordered this week and we have been very impressed. Apart from film, there really isn’t much that can touch this camera at the moment and quite honestly I can’t wait for us to get the other three.”

Visit www.arri.com.au

Introducing the next generation

The GY-HM790E, everything that a broadcast camera should be.

Developed to address the needs of modern broadcast and production facilities by offering the highest level of HD picture quality in both 1080i and 720p formats.

The GY-HM790E features full resolution, solid state recording, genlock, time code in/out and a modular design, offering complete studio configuration with versatile field operability.

FujiFilm Australia Incorporates Fujinon FUJIFILM Australia has announced that it has completely consolidated and incorporated the operations of its sister company Fujinon Australia into its main business operations.

Fujinon is now part of FUJIFILM’S Recording Media and Optical Devices Business Division and its team has relocated to FUJIFILM’S Brookvale, Sydney, headquarters.

David Marshall, Managing Director of FUJIFILM Australia said, “Fujinon is a recognised technology leader worldwide and a highly respected provider of

optics and lens assemblies to the broadcast, digital cinema and industrial markets. The company’s line of television zoom lenses are used in virtually every segment of the broadcast industry, including electronic newsgathering, studio and field production and high definition television. This consolidation will allow FUJIFILM to accelerate the integration of Fujinon’s optical technologies into our imaging, production and organic synthetic technologies to further expand the optical device business.”

FUJIFILM will continue to work to expand and

develop its optical device business as one of its priority business fields, delivering top-quality products and services worldwide.

David Marshall concluded, “FUJIFILM has identified the optical device business as one of the company’s main priorities. This consolidation will help us to reinforce those global objectives; align businesses to drive growth and take advantage of synergies and shared services that will allow the company to serve our customers more effectively.”

Visit http://www.FUJIFILM.com.au

Swinburne Student Wins Kodak Award Swinburne University of Technology’s film student, Edward Goldner has won the Australian national first prize of the 2010 Kodak Film School Competition for his cinematography on Morning Star.

The short film, directed by fellow student Jessica Lawton and produced by Lani Kingston, is set in the early 1900s in an ominous, rural town, where a young widow finds her faith is restored through the presence of a mysterious man. Morning Star shows us that desperation can sometimes make us blind.

“Having the opportunity to shoot Morning Star with state of the art equipment and film stock was

30 Acquisition

an amazing experience. I am absolutely thrilled to have won this award, I certainly didn’t expect it,” says Goldner. Morning Star was shot Super16 on Kodak’s new Vision3 250D for daylight interiors and exteriors, and Vision3 500T for night scenes.

On choosing to shoot film, Goldner says, “Jess and myself were keen to shoot on film right from the start, given the film’s period setting, which we felt would have been difficult to construct on other formats.”

The national competition was judged by Director of Photography, Philip M. Cross ACS, whose credits include Under The Radar, Cubby House,

and Blurred.

“Morning Star instantly stood out in this years Kodak Film School Competition, showing maturity in both his handling of the technical aspects of being a cinematographer, as well as being creative and daring in the use of the camera to be more than just a recorder of events but as an active and vital part of the storytelling process,” comments Phil. “This film achieves its potential with the work of every department being supported by Ed’s creative and technically proficient work as the cinematographer.”

Visit www.kodak.com/go/filmschoolcompetition

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ENG

EFP

Featuring dual media hybrid recording, the GY-HM790E covers everything from Full HD to industry-standard SD recording, supporting a range of formats natively including MOV, MP4 and AVI, for broadcast quality performance in any news-gathering situation.

The capability of image capture using multi-camera operations is made possible.

In addition, with the Telecast Copper Head, it's possible to expand your production over an even greater distance.

Copyright 2010 JVC Model picture is the GY-HM790U with optional Accessories. All trademarks and brand names are the property of their respective proprietors. Playback compatibility not guaranteed on different types of products due to variation on supported recording modes *2 MP4 is the compliant format used on the XD CAM EX * SxS is a flash memory card designed for professional video cameras with a high speed PCI Express Interface.

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Studio Create a highly robust studio camera setup by attaching the dedicated sled to your studio pedestal, complemented by JVC's high resolution VF-HP790G HD Viewfinder and teleprompter. To lower integration costs, existing 26-pin control cables can be used to connect studio essentials, such as remote control units.

JVC Australia 1300 728 225 www.jvcpro.com.au

Acquisition

University of Technology Sydney Upgrades with JVC The University of Technology Sydney (UTS) recently released its new vision to be a world-leading university of technology by 2018.

According to Scott Backhouse, National Sales Manager, Sydney, for JVC Professional dealer Lemac, when UTS decided to upgrade the cameras used by its students the new vision was very much taken into account. Backhouse explained, “UTS had done a significant amount of research on the web and at SMPTE before contacting Lemac for a quotation. They wanted the latest affordable, easy to use solid-state camera that would natively record the file format used by Apple QuickTime for Final Cut Pro. The JVC GY-HM100E cameras exactly suited

their requirements and vision and this, combined with a competitive deal and the fact that we have a local service department, all helped close the sale.”

The GY-HM100E, the smallest professional format 3-CCD camcorder available, is about the size of a lens for a 2/3-inch imager camera. This makes it ideal for applications where a full-size camera would be impractical, such as in tight quarters and when operating in potentially unsafe situations. As the GY-HM100E allows Final Cut Pro editors to work with a camcorder that records video as native QuickTime files this eliminates the need to transcode or re-wrap prior to editing.

Commenting on the purchase of the 13 JVC

Sony Expands XDCAM EX Range The expanding family of Sony’s award-winning XDCAM EX series of products now includes the PMW-320 shoulder-mount camcorder that delivers solid-state digital production. Equipped with three 1/2-inch Exmor full HD 1920x1080 CMOS imagers, the PMW-320 delivers full HD picture resolution.

Weighing in at just 3.2kg, the PMW-320 is ergonomically designed providing a high level of flexibility in various shooting situations.

For seamless integration into existing SD systems and to allow users a smooth migration to HD in the near future, the PMW-320 also supports DVCAM format recordings as a standard feature. Supporting 25Mb/s DVCAM recording in either PAL or NTSC modes, it is easily integrated into existing DVCAM workflows and offers ultimate flexibility of use internationally with 50/60Hz switchability.

The PMW-320 will have a studio camera adaptor as an option. With the adaptor, HD or SD signals can be extended up to 100 metres, and remote control of the camera is possible for studio and multi-camera applications.

Users can choose between the lens-included model - PMW-320K - or a version supplied without lens - PMW-320L. To enhance editing interoperability with Sony XDCAM HD camcorders, both the PMW-350 and PMW-320 camcorders also offer 1440x1080 recording mode at 35Mbps and 25Mbps.

With the optional MEAD-MS01 adapter, operators are able to use Sony’s Memory Stick PROHG Duo HX Series media, which can be utilised as an “emergency” recording option.

The MEAD-SD01 adapter can also be used with standard SDHC media.

Visit www.sony.com.au/production.

GY-HM100E cameras for UTS Teigan Kollosche, Production Support Coordinator of their MediaLab said, “We chose the JVC GY-HM100E cameras for our under graduate and post graduate Media Arts Production and Journalism courses as they are a very good value option for our mid-range camera base.

Both teachers and students like them as they are full HD, light and easy to operate and enjoy seamless integration to Final Cut Pro. The students mainly use the cameras for interior and exterior documentary and experimental shoots that include green screen studio elements so the fact that you can also shoot progressive is another big plus.”

Visit http://www.jvcpro.com.au

Camera Negative and Intermediate Film from Kodak Kodak has added two new films to its VISION3 family of motion picture products. The stock additions include a mediumspeed, tungsten-balanced colour negative camera film, and a colour intermediate film optimized to work with digital postproduction technologies.

KODAK VISION3 5213/7213 is a 200-speed, tungstenbalanced film. According to Kodak, it features extended latitude, enabling cinematographers to record more details in highlights, and delivers finer grain for natural-looking images in the darkest areas. The emulsion is optimally designed for both controlled interiors and challenging high-contrast exteriors, and is available in all formats (65 mm, 35 mm, Super 16 and Super 8).

KODAK VISION3 Colour Digital Intermediate Film 5254/2254 is designed for use with contemporary film recorders - both laser recorders and numerous CRT recorders that are still widely used in the marketplace. Kodak says the imaging characteristics of this new intermediate film enhance the speed and efficiency of DI postproduction while rendering noticeably sharper images that more faithfully represent the intentions of filmmakers. Visit www.kodak.com/go/motion

K2 Dyno™ Replay System works seamlessly with the K2 Dyno Production Assistant, all LDK Series Cameras, MediaFUSE™ and EDIUS®.

All powered by Fusion

®™

Fast, Not Furious To capture the action, you have to move fast. With the K2 Dyno Replay System you can create stunning highlights faster - and easier - than ever before. Manage your library with Dyno Production Assistant – lightning-fast clip access across multiple servers, with comprehensive metadata management, makes playlist generation a piece of cake. All this while the K2 Summit server captures the action - in SD or HD – without missing a beat. Got a little less room? Consider the Solo. It offers K2 performance but takes up half the space. The K2 family of products is engineered to extract every last dollar in ROI from a file-based, live production workflow. And they’re fun to use too! Learn more at www.grassvalley.com/k2.

32 Acquisition

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K2 Dyno Replay System

Acquisition

Acquisition

Entire Cooke Range On Display at IBC 2010 IBC 2010 sees Cooke Optics (Stand 11.D10) demonstrating its full range of precision lenses for motion pictures, including the top-of-the-line 5/i Prime lens.

Visitors will also see the industry favourite S4 and the lightweight and affordable Panchro lens launched at IBC 2009.

The 5/i lenses have been an unparalleled success since their launch at IBC 2009, and are currently being used to shoot the latest films by Woody Allen and Martin Scorsese. A key feature of the 5/i Primes is a revolutionary, dimmable, illuminated focus ring, with two separately toggled scales (cinematographer and assistant), that allow the focus puller to read the scales in low lighting conditions.

Cook’s 5i 2 lenses

The reduced size, weight and true focal length markings of the Panchro lenses make them ideal for 3D stereoscopic productions, as well as documentaries, 2nd unit shoots and situations when a faster lens is not crucial, or when shooting in difficult situations.

All Cooke lenses are equipped with the /i Technology protocol, which has recently taken a

further step towards becoming a recognised industry standard with the confirmed support of Fujinon. Thales Angenieux also adopted /i Technology in April 2010, joining Aaton, Avid, ARRI, Avid, Cinematography Electronics, CMotion, Mark Roberts Motion Control, Preston Cinema Systems, RED, The Pixel Farm, Service Vision and The Foundry. /i Technology enables film and digital cameras to automatically record key lens and camera data for every film frame shot and provide it to post-production teams digitally. The technology streamlines production and post, saving significant time and costs and eliminating guesswork, while enabling greater creative freedom.

Visit www.cookeoptics.com

Orad Launches VR-One & WorldMapper Orad Hi-Tec Systems (Stand 7.B27) a leading provider of real-time 3D broadcast graphics solutions, is showcasing its product range at IBC. VR-One Robotic Head for Fully Controlled Camera Movement - Orad will be featuring its new VROne robotic head powered by FX-motion. VR-One is a robotic based camera head with integrated high resolution absolute encoders. VR-One takes advantage of Orad’s 3DPlay, allowing a single operator to manage both camera and graphics operations for both single and multiple camera operations.

WorldMapper is a new and intuitive maps visualisation tool with unlimited access to Microsoft’s ‘Bing’ worldwide high quality maps. The maps offer detailed resolution of up to 4.5 pixels per meter (0.2 m per pixel) and provide high image results.

The maps come with three different styles: aerial

maps, hybrid - aerial informational maps, and road maps and comes with editing and compositing capabilities. WorldMapper’s video encoding engine enables the user to choose the desired video format, the codec, clip size, bitrate, aspect ratio (4:3, 16:9) and even customise their codec configuration. HD format is also supported as a Matroska (mkv file) high quality video.

Interact for Interactive Broadcast Graphics enables television presenters to control the content and flow of the production from their touch screens.

Interact supports single, dual and multi touch displays from a variety of manufacturers.

Radar Touch for Interactivity with Regular Video Walls - a laser based device which allows multi touch interaction with the graphic scene. Radar Touch enables broadcasters to add interactivity to their existing video walls.

PowerWall for 4K Resolution Graphics on Video Displays - provides 4K resolution graphic content for video walls from a single box. Broadcasters can zoom in on the video wall without the graphic content becoming pixelated.

ProSet for Turnkey Virtual Studios - includes an extensive shader and particles package, and relies on Orad’s reliable and redundant HDVG video graphic platform. ProSet integrates with all types of tracking methods available on the market today, providing maximum photorealism.

RealSet for Augmented Reality with Virtual Objects - integrates 3D virtual objects and animations to any location, including conventional studios and outdoor productions. Regardless of the camera movement, the virtual object remains tied to its position as if it were a real object.

Visit www.orad.tv

S3D Partners With SGO S3D Technologies LLC (Stand 6.A11) has announced a strategic partnership with SGO to provide complete stereoscopic 3D solutions.

SGO is a leading European developer of high-end solutions for the post production and broadcast industries and has been distributing and providing system integration and developing solutions for the film and media industries since 1993.

“We have an excellent relationship with S3D Technologies and both our companies share a mutual incentive to deliver exceptional service to our customers, which is achievable by working together. This is a very positive step and we look forward to working in partnership with them at IBC this year and in the future,” Miguel Angel Doncel, CEO, SGO confirms.

34 Acquisition

“Our goal is to develop and provide 3D content creators with the most user-friendly tools available in the market. As a global organisation, we continuously strive to deliver the highest quality possible and are deeply committed in supporting SGO as well. With both of our companies leading in their specific areas of expertise, the partnership with SGO provides our respective customers with a complete stereoscopic 3D solution,” said Carolina Barco, Managing Director, S3D Technologies.

At IBC S3D Technologies will be showcasing the new S3D Beam Splitter Rig and S3D Calculator, which will demonstrate how the rig’s design and function significantly facilitate a fast, reliable and stable stereo 3D production process. The S3D Calculator is a software package developed by S3D to complement their rigs and connects from

PC, Mac or iPhone to calculate stereoscopic parameters during a shoot.

SGO is unveiling Mistika Version 5, Mistika Live and will showcase LightSpace CMS together with a plethora of new stereoscopic 3D tools, cutting-edge colour grading capabilities, 2D compositing functionality and other key developments. Mistika is a flexible high-end postproduction and live on-set system capable of SD, HD, 2K, 4K, stereoscopic 3D with real-time Red camera and other data workflows. It seamlessly integrates timeline-based editing, conforming, infinite-layer compositing, colour grading and image restoration all in one complete system with various toolsets working together in the timeline.

Visit www.sgo.es and www.s3dtechnologies.com

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Small and Wide Lenses From Polecam Polecam (Stand 10.C49) is introducing two new additions to its product range at IBC 2010. The HRO 69 (High Resolution Optics) is a high quality 3.5 mm lens designed specifically for use with latestgeneration 1/3 inch miniature 3-CCD HD cameras.

The second lens is the Theia MY125M ultra-wideangle effects unit.

Polecam founder and Managing Director Steffan Hewitt. said “Miniature split head cameras have become standard tools for HD video production in recent years but traditional lens manufacturers have not responded to demand for matching highquality optics. The Polecam HRO 69 is a C-mount lens designed specifically for 1/3 inch 3-CCD HD cameras. It produces far higher resolution images than any comparable model and represents a tremendous advance both for Polecam operators and other programme-makers wanting to benefit fully from the compactness of modern HD cameras and recorders.”

The HRO 69 is compatible with cameras such as the Toshiba IK-HD1, Iconix RH1, Panasonic GPUS932, Ikegami MKC300.

Polecam’s HRO 69 C-mount lens has 3.5 mm focal length, 69 degree horizontal angle of view and F2.2 to F16 aperture range. Features include back focus, a special bump cover to protect the lens front, and a 40.5mm filter thread adapter option. Stainless steel locking screws for aperture and focus adjustment are provided plus spare lens caps. Weight of the

>> >>

Polecam’s Theia MY125M ultra-wide-angle effects unit

lens is 159 grammes, length is 50 mm and diameter (without filter adapter) is 37 mm.

Ultra-wide-angle effects lens - Polecam has been appointed as the official broadcast industry distributor of the Theia MY125M ultra-wide-angle effects lens.

The lens was used by Camera Corps for integration into their Net-Cam system, capturing Frank Lampard’s now historic disallowed goal which looks set revolutionise the way in which major-league football matches are refereed.

Designed for use with 1/3 inch single-CCD or CMOS cameras of up to 5 megapixel resolution,

the C-mounting MY125M captures a massive 125 degree horizontal field of view with high geometric precision and 10 cm to infinity focal depth. Aperture is manually adjustable between F1.8 and fully closed.

Rated for operation across a temperature range of -20 to +60 Celsius, the MY125M weighs just 100 grammes, is 54 mm in length and 36 mm in diameter. Being a rectilinear lens, the image is topdown so the camera must be mounted upside-down or the output inverted electronically.

Visit www.polecam.com

Shotoku Robotic Options For IBC Shotoku Broadcast Systems will address a broad range of applications at IBC 2010 with its line of enhanced high-capacity camera control panels.

Phoenix DigiPort for ethernet control of legacy heads make use of the existing control networks, usually based on RS-422 communications, which limits the flexibility of network configurations when compared with TCP/IP networks used on today’s remote camera systems. The Phoenix DigiPort system brings the flexibility of Ethernet networking to these legacy systems, by providing protocol and physical connection conversion within a small, self-contained module conveniently located at each legacy pan and tilt head. Phoenix DigiPort is compatible with all Shotoku control systems, and can be configured for use with numerous legacy third-party heads.

- TR-T Touch Control System is now also available in 16:9 widescreen configuration making it ideal for use in HD studio environments as it integrates with most HD/SDI routers. Capable of controlling both Shotoku and third party robotic cameras systems, the high-resolution widescreen VGA touch screen uses the latest seamless glass Acoustic Pulse technology to provide exceptional accuracy and durability over many years of intensive use without ever needing recalibrating. Further enhancements to the system include a completely configurable screen layout

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supporting 16 cameras able to all be controlled by a single operator position, and displayed in any configuration to suit the particular requirements of the program.

The TR-T panel style uses multicoloured illuminated keys to communicate system status and control settings, with the same high precision joystick for ultrasmooth on-air control that has become the trademark of a Shotoku system.

The TR-T is compatible with all Shotoku heads as well as third party systems as part of the Phoenix control solution. Phoenix allows existing robotics users to choose their own upgrade pace by replacing obsolete control system hardware and software with up-to-date technology while leaving the core electromechanical subsystems.

- TR-HP Hot Panel, the new TR-HP control panel offers a uniquely small footprint while maintaining high-precision joystick control. The Hot Panel is ideal for highly cost effective single-operator productions where stored camera positions may be recalled automatically, and a multi-tasking operator can achieve final on-air framing.

The three-axis joystick and rotary control knob enables the operator to make perfect on-air movements of pan, tilt, zoom and focus. With up to 12 assignable, LED-illuminated keys, several switch

functions are also available. A selectable “Auto OnAir” function ensures the panel is always in control of the on-air camera, making operation even more straightforward.

Three Hot Panels may be mounted together in a 19” panel frame, providing the added system feature of dedicated, “always-on” joystick control of multiple cameras. Instant control of a camera is guaranteed as each joystick remains permanently selected to the camera.

One or more TR-HP Hot Panels may be combined with any of Shotoku’s control systems and integrates directly with the simple Ethernet control network.

- The TR-S High Capacity Flexible Control Panel expands to support up to 16 camera channels making it ideal for even the largest parliament, legislature, or TV studio systems. New setup facilities enable key features and performance characteristics to be modified from the control panel itself. The TR-S uses the same advanced features and intuitive interface as the Company’s standard TR-8S but includes stateof-the-art panel keys, clear, bright LED illumination displays, and a high contrast LCD that indicates the current status of all cameras in the system. The Type-S panel integrates with all Shotoku remote pan and tilt heads.

Visit www.Shotoku.tv

Acquistion 35

News Operations

News Operations

news OPERATIONS

Channel NewsAsia Goes Into Overdrive with Ross

Graphic Results for ABC Election Coverage Magna Systems and Engineering has again provided a graphics solution to the ABC for the 2010 Federal election.

The 2010 solution was used by the ABC team to create a new look for this year’s elections that also involved 3D graphics for the first time and expanded on the system created by Magna for the last election that moved the ABC away from the manual process it had used in the past to a newer, more automated one.

The turnkey system is based on the Chyron HyperX2 CG, the Lyric Pro motion graphics feature set and Magna’s GFX Commander software.

The HyperX2 graphics engine can simultaneously manipulate dozens of 3D layers of text, logos textures and movie objects, all in real-time. The mature, intuitive Lyric software platform provides precise control over every transition and effect with a broad array of adjustments already familiar to users of 3D creation tools and NLE’s. The HD/SD-switchable HyperX2 is scalable with up to two independent HD/SD channels, optional DVE, eFX Clips and Lyric PRO advanced creation and playout.

GFX Commander is the custom software system written exclusively for the ABC by Magna Systems’

ABC Executive Producer, Elections, Eric Napper.

>> >>

GFX Commander GUI.

software architects, where all the graphics (including 3D, text, pictures, manipulation and animation) are designed on the Chyron HyperX2 running the Lyric Pro graphics engine in real time at one million polygons per second.

GFX Commander allows the on-screen graphics to be updated automatically with all the producers and operators having simultaneous remote access to the same system. Presenters and journalists also have web access to the graphics which means they can see exactly what’s coming next. The system also allows the primary graphics operator a much more efficient and effective working environment.

ABC Executive Producer, Elections, Eric Napper commented, “Magna’s GFX Commander together with the Chyron Hyper X2 has been a major contributor to ABC’s dominant position on election night. In 2010, we’re extending our use to include, for the first time, results presented in virtual reality and GFX makes this proposition straightforward.

We can simply and easily keep track of all our graphic assets, build and manipulate playlists using multiple operators. It’s flexible, efficient and most importantly for us, delivers impressive on-air results.

Visit http://www.magnasys.tv

MediaCorp, Singapore’s leading media company has invested in Ross Video’s Automated Production Control System “OverDrive” for its regional network, Channel News-Asia.

Channel NewsAsia, established in March 1999, is an English language TV News Channel reporting on global developments with Asian perspectives. Based in Singapore, it has correspondents in major Asian cities as well as in key cities in Europe and North America.

The evolution of automated production control rooms is gaining huge momentum in North America and in Europe. MediaCorp is leading the charge for Asia as the first Asian broadcaster to acquire OverDrive. While the motives to automate may vary from region to region, OverDrive’s ability to control multiple live production devices from a centralized location provides numerous production benefits without compromising 3rd party equipment selection or operational flexibility.

“The objective for this project was to increase productivity, produce cleaner and

tighter shows, and do it consistently. The channel has news every hour and our facilities need to support this critical mission,” said Norraine Yusof, VP of Production Services, Channel News Asia.

Today, there are over 100 OverDrive sites on-air worldwide.

MediaCorp’s OverDrive system operates in conjunction with Ross Video’s “Vision” QMD/X series Production Switcher. Third-party devices connect directly to the switcher via open industry standard protocols and OverDrive communicates with the switcher to control the external devices.

This architecture provides operational flexibility by allowing the users to operate in traditional manual mode, semi automated, or fully automated.

Operators can break away from an automated operation at anytime on any given notice.

“By embracing and conforming to open protocols, including our unmatched support for MOS workflows, we offer interfaces to the widest range of third party devices in the industry allowing facilities to use their current legacy devices for automated productions or move to new technologies that suit their budgetary and operational requirements,” said Brad Rochon, OverDrive Product Manager.

Ross Video supports over 100 devices from Robotic Cameras, Audio Mixers, Video Servers, and Character Generators.

For news applications, OverDrive communicates with various NRCS (News Room Computer Systems) via industry standard MOS protocol.

In MediaCorp’s case, OverDrive interfaces with ENPS using OverDrive’s “LiveLink” MOS interface which provides a real-time communication between ENPS and the OverDrive rundown, as well as a drag-and-drop OverDrive plug-in right in the ENPS desktop.

Any changes made in the ENPS rundown will automatically and instantly update the rundown in OverDrive, providing continuity and the ability to bring last second changes to air cleanly.

Stories in the NRCS can be moved, floated, or edited and OverDrive will automatically reassign all resources associated with the shot and instantly update the production rundown.

MediaCorp currently produces 1 hour per day on OverDrive and aims to produce more than 10 hours in the future.

Visit http://www.rossvideo.com

CCTV News on Austar via GlobeCast Australia GlobeCast Australia has signed a carriage deal to deliver China’s CCTV News – in English – to Australian audiences, via the Austar television platform. The channel premiered in Australia on July 22 on Austar Channel 653.

CCTV describes the news and documentaries channel as “your link to Asia”. It is produced in Beijing and already broadcasting to about 100 million people in 124 countries.

GlobeCast Australia Direct to Home (DTH) Director Mr Mark Lobwein said he was pleased to conclude

the delivery deal.

“CCTV becomes one of more than 130 channels that GlobeCast Australia delivers. To have this special China service as part of our offering is something we are proud of. This is a culmination of ongoing discussions and future co-operation.”

AUSTAR’s Chief Executive Officer Mr John Porter said “We believe in giving regional Australians access to the best possible range of news and information services. AUSTAR’s news offering is second to none, with ten 24-hour news channels

from Australia and around the world representing a range of different viewpoints. We’re very pleased to be providing a window on China for our viewers, CCTV NEWS.” In April, Australian News Channel SKY NEWS announced a landmark reciprocal programming agreement with CCTV and secured an agreement for its programming to be broadcast into China, and English-language programming from CCTV to be broadcast in Australia on a regular basis for the first time. Visit http://www.globecast.com.au

iPad Smart Move for Sydney Morning Herald Fairfax Media has launched The Sydney Morning Herald smart edition app for the iPad. The company says it will bring “a new dimension to newspaper consumption for both readers and advertisers”.

The smart edition app, which includes a raft of reader-friendly features, allows readers to view The Sydney Morning Herald in full on the Apple iPad. The Sydney Morning Herald electronic edition app includes all editorial, sections and advertisements of the printed newspaper and replicates the printed newspaper experience – allowing readers to flip through pages just as they do with the print edition.

Readers can search for topics, people, keywords

36 News Operations

and back copies, as well as share articles with friends and colleagues, and comment on stories.

Fairfax Media Chief Executive and Managing Director, Brian McCarthy, said Fairfax Media is developing more than 40 apps.

Subscribers to the Herald’s annual seven-day print subscription can access the app free of charge.

Weekend print subscribers can access the app by upgrading to a new “Weekender” package, which costs AUD$205 per annum and includes three days of newspaper delivery each week. Subscribers simply register through the iPad app to access the electronic edition. New customers in New South Wales and

ACT can access the app by purchasing a Weekender subscription, which includes three days of newspaper home delivery over the weekend and seven days of Smart Edition access. The weekender subscription is priced at $205 upfront for one year, or $18 every four weeks through automated direct debit payments.

New customers in states other than New South Wales and ACT can purchase a subscription to the electronic edition for the same prices: $205 upfront for one year, or $18 every four weeks.

The international electronic edition can be purchased outside Australia for AUD$52 per annum.

Visit http://www.smh.com.au

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News Operations 37

Sportscasting

SPORTSCASTING Commonwealth Games Go Global Australian Company Builds IBC Infrastructure. By Phil Sandberg.

From October 3-14, athletes from the nations of the former British Empire will gather in New Delhi, India, for the 19th Commonwealth Games.

TV production duties at the 17 venues will be handled by UK-based SIS Live, while design, construction and operation of the games’ International Broadcasting Centre is being undertaken by Australia’s Global Television.

“We’re working with Doordarshan in India as the host broadcaster,” says Andrew Quinn, Global Television’s Chief Technical Officer and Project Director for the games’ IBC. “Back before July last year the RFP was released for the build, management and construction of the IBC for Commonwealth Games.

We replied to the RFP and formed a partnership with a company called Shaf Broadcast. They’re an SI company in India and they represent companies like Evertz, Quantel so all the top broadcasting brands.

“They’ve been quite handy for us because obviously they have previous relationships with government contracts and Doordarshan contracts, so it has been a very good partnership. Also, represent EVS over there as well. “The RFP process was whittled down to two companies and we did our technical presentation and we were given a letter of award probably late October. We signed contracts in January and started the build.

“Obviously, the planning was starting a lot before then but our build has started in January this year with probably staff of 15 including installers, engineering, AutoCAD designers, key managers, all our key managers were on board and we’ve been frequently travelling to India since October.

“We built the Melbourne Commonwealth Games IBC contracted to TWA at the time, so we’ve obviously had those runs on the board and with Channel 9 had been the host broadcaster for FINA Swimming. With IMG we were host broadcaster for World Youth Day. With the ABC, we did CHOGM, so there was a whole raft of events that we’ve done which helped us qualify for the RFP. C+T: It’s a long way to India from Sydney. What were the advantages to the organisers for Global TV to do the build?

AQ: “The main reason for us being awarded the RFP was being part of Melbourne. They were quite stringent on our HD experience because

the signals coming in and the rest of it are CDT supervisors and operators, commentary switching operators and maintenance people, manage­ ment. So, yeah, it will be quite a large crew.”

C+T: So, the IBC will receive material in what form?

AQ: “HD embedded.

We’ll just be monitoring those signals and then we’ll be on passing them to the rights holders and distributing them.” >> >> Finishing touches, part of the Global TV built C+T: What is the Commonwealth Games IBC. infrastructure made up of?

AQ: “We have Evertz as a technology obviously this is the first Commonwealth Games that partner, so Evertz are supplying a lot of distribution had ever been done in HD. India is treating this as a and frame synchronisation of the signals coming in, stepping stone for them to actually get into the world routing.

We have Riedel doing the comms switching, of HD. They will be commissioning one HD channel EVS doing the ingest and logging and archive. ahead of the Commonwealth Games and then on the “This is also probably one of the first and only back of that there is a whole schedule of upgrades games where we’ll be using HD-CAM as the archive for their studios, OB vans, play-out to go full HD so tape. Those tapes will be part of the ongoing they’ve used this event as a stepping stone for HD.” Commonwealth Games Federation archive, so we’ll C+T: Could you outline what it is you’re sending be delivering HD-CAM tapes and hard drives to form over? part of the ongoing archive for the Commonwealth AQ: “We’re sending over the traditional IBC Games.” infrastructure of CDT, central distribution and tech, C+T: How is coverage getting from the venues CFC, commentary switching system or control. to the IBC? We’re distributing all venue video and audio signals AQ: “It’s on a point to point dark fibre network.” to rights holders within the IBC space. We are putting C+T: And then the satellite farm is co-located together the logging and archive of all venue feeds with the IBC? as well using EVS logging system which is pretty well AQ: “It’s next door to the IBC, it’s just a cable standard for these large events. bridge going across a road which gets us to the SDF, “We’re putting in the infrastructure for highlight satellite distribution farm so we’ll have Foxtel and editing, so there is a morning and afternoon session 10 will be having uplink facilities there, TVNZ will of highlights being played out to rights holders. as well. The host broadcaster will have a standby We’re distributing feeds to the satellite farm as well. downlink there as well.

“We’re supplying the infrastructure for PQC for C+T: You’ve mentioned HD, but not all countries the production quality control. We’re also looking in the Commonwealth are broadcasting HD. after office spaces for the host broadcaster and the AQ: “We are distributing SD signals as well, coordination office and booking office.” but at the moment we’re sitting with everybody taking “We’ll have a staff of 105 when we get up to HD.” Games time. There’s probably 60, bit over 60 people C+T: How many rights holders will you be travelling from Australia. Lot of those are made up of dealing with? loggers which are people adding the metadata to AQ: “There’s probably about half a dozen

rights holders that we’re dealing with.”

C+T: They’re not all TV broadcasters, are they?

AQ: “We’re distributing signals for ABC radio, BBC radio and Air as well which is All Indian Radio.

“There is a stereo pair which is effectively called the radio international sound, so we’ll be distributing radio international sound as well.”

C+T: Are you having to provide anything for any web based media?

AQ: “There is a requirement for us to accommodate that, but there’s nothing in our scope at the moment, but watch this space because you know things come along at odd times on this project.

C+T: With the infrastructure assembled in Sydney, then packed up for reassembling in India, how are you managing the logistics?

AQ: “It’s all in equipment racks. Our freight was picked up in June for delivery to the IBC in July where we started in earnest putting all the blocks together.

“We laid out the spaces in our premises here with all cables cut to length, so it’s effectively just a plug and play when you get there.

C+T: Now the audio, is it Dolby Digital?

AQ: “No, we’re just dealing with stereo audio, four tracks of audio embedded.”

C+T: Will there be anything running down any IP networks?

AQ: “During the games, the local Telco is wanting to run both a dark fibre and an IP network in parallel. There are some ongoing discussions about what the IP network will be doing, but in the eyes of the rights holders they’re happy to see all their signals handled on the dark fibre and having this IP network sitting in parallel, not being part of the main distribution, but more as a test bed.

“The Telco provider is sitting there with the IP network understanding that it becomes a legacy for them after the games whereas the dark fibre doesn’t so that’s why they’ve got this dual commitment.”

>> >>

C+T: The IBC in Delhi, the Pregati Maidan, it’s an exhibition centre isn’t it?

AQ: “It’s an exhibition space, it’s a large, very large area. It’s government-owned and the building that we’re in is effectively the main halls - halls 8, 9, 10 and 11 - and the interior’s been having a full refurbishment, brand new air-conditioning, brandnew electrical system.”

C+T: With events of this nature, they do like to involve up and coming young people to get some experience. Is there any sort of knowledge exchange you guys are involved with?

AQ: “We will be running a four week training program in September for Doordarshan. We’re doing a 50 person training on HD fundamentals and then we’re running through a three-week program for 20 people to actually show them and train them on the operations of an IBC. “I think they would like to hope that if, A, another event came along, that coming out of this event they

!

CAL) 2L9550

0 +61 ( 537 4

Artist | Performer | Acrobat

INTERCOM SYSTEMS

Global Television CTO Andrew Quinn.

would be able to take on board and in their own right, put together another world event on their own.

SIS have done production training and venue-based training as well.

“They want a legacy to be left for their Doordarshan staff. We are providing observer seats as well in key areas.”

C+T: On the local side, will you have any involvement with the Australian rights holders 10 and Foxtel?

AQ: “Once our equipment leaves, we’ll start putting together the build for the mux, control racks and some infrastructure for the Channel 10 build.

We’re contracted to supply the IBC setup for 10 and Foxtel. That is a completely separate management, separate crew.

“That involves some venue cameras, commentary and their IBC distribution and editing and on air.

They’ve got a small on-air stand-up studio and things like that as well.

C+T: And, what of other rights holders, such as TVNZ? AQ: “We have TVNZ and we have Sky New Zealand who are co-sharing a space within the IBC, so you have that free to air component and you have that pay for view component as well.”

C+T: In terms of Delhi versus Melbourne, is it a more difficult project?

AQ: “It’s a bigger scale because in Melbourne we would have done design and construct and, in this project, we’re operating as well, so that’s why the crew is a lot larger for this project.

“It’s just a larger project of something we’ve done in the past. And, obviously, logistically it’s a good challenge.

“There’s a lot of patience involved but I think everyone who’s been to India has come back with positive remarks with regards to the country - and the people.”

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38 Sportscasting

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Sportscasting 39

Sportscasting

Sportscasting

<< PRODUCTION AREA

“This is production area, so 18 quad split monitors in the front and then they’re all individual quad splits so if one fails the most you would lose is just one monitor. With most multiviews, if one dies half your monitor wall’s gone totally.

“We’ve got the Sony MVS 8000G vision switcher up the front, director next to it and then a position, either DA system producer, director, whatever you want to put up there.

“We’ve got Riedel comms, we’ve got the Lawo doing the audio, Sony doing most of the monitors and the routing.

“At the back we’ve got the producer’s bench, it seats three people with comms panels, router panels, monitoring.”

EVS AREA

“The truck’s wired for eight EVSs so we can do six EVSs up the front and another two stations at the back.

That area also doubles up as your EVS producer or your tape producer. He can manage the entire EVS network from here so he can look after the file serving system and the ability to be able to distribute.

“We’ve got another little area where we’ve got a separate little switching panel so you can control the output of the vision desk, you can sit here so this becomes like a little production B area. That’s why there’s more monitors, we’ve obviously got the HD VTRs in here, also an SR machine there.”

High Def On Site!

CAMERA CONTROL

The truck is wired for 30 cameras at this stage so you obviously need a lot of space for them to control it so this is our main setup over here, your technical director will sit there which overlooks all of the colour matching that’s happening.

You’ve got four CCU positions here, all HD monitoring. Again own comms panel, own router panel, monitors.

Sony Business Solutions Division recently hosted the unveiling of the new On Site Broadcasting Australia OB Van (OSB H1) on behalf of Prime/OSB to key client Fox Sports.

Steve Barnes, OB Services Manager for Fox Sports, was the first OSB client to try out the new truck with coverage of the recent Tri-Nations Rugby in Brisbane.

“It’s been designed in consultation with people who actually man the broadcast,” says Barnes, “so it’s been designed in consultation with not only the OSB crew but with the Fox Sports crew so we know there are work spaces in there and technology in there that makes our job easier and gives a much better coverage no matter what the sport. We’re sure that it will enhance what we do.”

The truck is an evolution of system design from the last vehicle commissioned for OSB some two years ago.

According to OSB technical guru Andres Theron, “We’ve learned a lesson or two since then and found out how to do things even better so that’s basically implemented in this truck.”

Driving the truck’s system is a Sony MVS 8000G vision switcher which, via Pro-Bel and Lawo protocols, implements snapshots of operational settings throughout equipment in the truck. The truck is also able to act as a master to other OB vehicles.

The truck itself is furnished with jarrah wood throughout with a special scuff-resistant finishing for the benches. Padded seating is provided.

“The idea between this truck and our client,” says Theron, “is that in the future as a clip is created in the EVS, that will be accessible back at our client’s master control or network and, in the case of Fox Sports, over the fibre network they’ve installed around the country.”

<< AUDIO

“This is same model as we’ve put in other trucks so with Lawo and Riedel talking to each other. The only great changes is the amount of I/O that this truck has, it’s got over 4000 audio inputs and outputs. The difference with this truck is the Lawo audio router. Previous trucks, we had a dedicated audio router.

“This is a full 5.1 Dolby room that will be eventually certified by Dolby. Everything’s Genelec monitoring throughout the truck and here and they’re all tuned to the room.

Again we’ve gone for little impact on the noise environment so majority of fans and so forth have been removed from the room. It’s being cooled by the air-conditioning system. And it has a full redundancy system so if the Lawo or the comms system failed, you can still get your production to air with the backup utilities that the truck has.”

40 Sportscasting

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ENVIRONMENTAL CONTROL

“This is something quite spectacular that Tim from Technology Cooling has created for us, all touch screen. The main page shows you the temperatures throughout the truck, little bit of the UPS in the tech there that’s going on so you can just glance around, have a quick look to what’s going on. If you want to get into more detail go to Cooling, and it tells you exactly what’s going on, what the temperatures are.

“And you can control the plants if you select them individually on the touch screen or you go to your electrical unit, and it tells you that it’s three-phase power that’s coming in, if the phases are correct, your voltages.”

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“MACHINE ROOM”

This is our main tech racks over here. This is where basically all of the core equipment of the truck lives, in other words our mixers, our routers, the audio hardware console. Not the console itself but the brain sits in here and we’ve decided to put these glass doors in and they cut out the noise.

“The router is driven by Sony software, it’s a 512 by 512 router.

Currently we’re running at about 284 by about 385, somewhere there so it’s not fully populated yet but there’s room for expansion.”

Sportscasting 41

Sportscasting

Lateral Linking Hits Ground Running with City2Surf The Sun-Herald

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42 Sportscasting

GigE technology used by Lateral Linking is delivering a more consistent product D ASI Decoder ASI Decoder for sure. There was minimal ASI Decoder VOIP ASI MUX ASI Decoder ASI MUX PA PAT break up and the pics were DEMUX TH PA HA C &B TH SDI B sharp and clear. Lateral SDI SDI SDI PATH E Linking are proven in that area of radio technology C OB Van and if you mix it in with all the other production aspects MPEG Encoder SDI MLC VOIP and services you generally Telephone Conferrence Bridge Embeded get a good product on PATH F air. It was an outstanding B broadcast and our Fairfax Media clients were happy.

Elan Embeded Tower PATH G There were a lot of positive Block Diagram PathPath Block Diagram comments regarding the PATH H PATH I Moneghetti crosses - The A World Day 2010 2008 City toYouth Surf Finish OB Back Page program on Fox Embeded B Sports also showed it as an Embeded N/A 22JUL2010 1 OF 6 3 2 1 excerpt and discussed it so it got seen by a lot of people.”

IMG Media in Australia and executive producer of OB director Wayne Soutar made full use of the the City2Surf broadcast. “This added a lot because cameras available to him in the broadcast. it worked very, very well and we were delighted with “Having a third bike enables us to provide a it as it gave viewers an insight as to how fast the elite reverse view of the lead group which gives viewers a athletes actually ran and what they were feeling and different perspective of the race. From an operational thinking. Steve had no issues with it and we crossed to point of view it is also reassuring to have some him four times during the race including Heartbreak hill redundancy built in with the third bike able to fill in - a lot of viewers were shocked to see how steep it is. if there one of the others had a problem,” he said.

“It is a very complicated OB because while it is “Once we got aerial coverage the telecast was only 90 minutes live on air, there are probably 50 faultless, the links coverage was rock solid and items on the rundown, including tape elements, as everything worked as we had planned it. It was a well as five 2’30” commercial breaks as it is heavily spectacular day as Sydney turned on a blinder and advertised. In that time we are working with 2 OB Lateral Linking came through and again proved units separated by 14km, going up and down why they are the foremost supplier of link media hills, using a camera chopper, 2 link choppers, 3 technology in country,” said Soutar. motorbikes and 11 cameras in total.

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A highlight of this year’s coverage was the inclusion of live crosses to champion runner Steve Moneghetti using a custom built communications system designed

by Lateral Linking. Moneghetti was fitted with an auto activating connection and a radio mic that allowed him to freely chat with race commentators and the IMG Sports Media production team as he ran alongside a motorbike cameraman.

“This year we were able to dedicate a third motor bike to covering the leading men and then have it drop back to cover Steve Moneghetti,” said Michael O’Dwyer, head of programming and production for

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City2Surf road race was held in Sydney on August D 8 with Lateral Linking Broadcast providing the wireless camera links to bring the world’s biggest running event to its television C audience.

This year the event attracted a record 82,134 entrants to the 40th running Embeded B of the race, which was screened live on Network TEN and ONE , its free-toair 24-hour digital sports channel.

A Planning for the coverage began in May with global PO Box W116, Brookvale SYDNEY 2100 +61 2 9939 9911 sports, entertainment and www.lateral-linking.com.au 4 media company IMG, contracting Lateral Linking to design, supply and manage the wireless camera and communications systems for the project.

Working with the Cutting Edge Outside Broadcast team, Lateral Linking fed camera audio and video, and OB communication signals to its two transceiver systems mounted in separate helicopters. From there the signal was sent to GigbitE link receivers on the MLC tower block where they were converted to IP format and sent to the OB trucks - one at the start and another at the finish.

Lateral Linking also developed technology to best position its airborne transceivers above the course, without the pilots having to sight the wireless cameras to provide optimum signal reception. All moving cameras - motorbike/helicopter/roving and remote - were fitted with GPS devices with auto polling that enabled the pilots to activate the GPSs when they wanted to locate the cameras.

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“By comparison a lot of other running races start and finish at the same place so they can operate from one truck whereas this starts in the city and finishes 14kms away at Bondi Beach,” explained O’Dwyer. “We live on the edge with RF and with the City2Surf being a live event, there are a lot of factors involved that affect whether or not it is going to work.

It was reassuring to be able to cover a challenging 14km course, without any technical difficulties and continuously show shots of the leading men and women, including ‘Moneghetti Cam’, which made for a greatly enhanced coverage. The big advantage for us is that wireless cameras allow the production team to get right in there amongst the action.

“We were really well rehearsed but there is always an element of risk - it is the nature of this job. We were a bit nervous in case the RF did not work but the

A High Definition Future

Having proved the high speed capacity of its RF links during field tests for last year’s City2Surf, Lateral Linking is able to provide full High Definition coverage of future events.

“We can deliver High Definition images pretty much from any location so we are ready to roll when our clients want to move up to high resolution broadcasts,” said Lateral Linking managing director Greg Roberts.

“We have also reduced the physical size of our transceiver racks and we can very quickly and easily mount them in the smaller Robinson R22 and R44 choppers - it’s a very slick operation these days and saves the expense of bigger choppers.”

Visit www.lateral-linkinig.com.au

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Diarise these Dates Post Production

post PRODUCTION

Oktobor Launches NZ’s Largest Purpose-Built CG Studio Omnilab Media and Oktobor, its VFX, animation and digital creative convergence studio, have launched a new Auckland-based Computer Generated (CG) animation studio - Oktobor Animation, which it has created and launched in conjunction with Backyard Animated Pictures (USA).

Oktobor GM Bruce Everett said, “Oktobor Animation is a very significant CG animation business that will initially be servicing the world famous Nickelodeon Studios. We will be creating multiple CG animated television series for them and I’m delighted to say we have already secured a long-term contract which will see Oktobor Animation have the great fortune of working on several high profile and highly rated television series including “The Penguins of Madagascar” based on the hit DreamWorks animated feature.

“Production has already commenced and currently our staff number 30. By mid-next year we expect to have a crew of over 120 artists and technicians. In fact, we anticipate Oktobor Animation will provide up to 300 jobs over the first four years.”

Oktobor Animation will also provide openings to the growing number of regional CG artists offering up to fifteen 3-month paid internships up to four times per year to top graduates of local NZQA schools and between 120-140 contract jobs at their Auckland facility.

The significant new CG animation studio is a first for New Zealand and comes as a result of many months planning and negotiation with both Nickelodeon and Backyard.

Everett continued, “It has been a long and worthwhile process bringing Oktobor Animation to life. We began initial discussions with Backyard and presented our proposal for Oktobor Animation

<< <<

Up to 300 jobs in the first three years, Oktobor GM Bruce Everett.

to Nickelodeon early this year. I must say the Post, Digital and Visual Effects (PDV) rebate has been a key economic driver in helping us bring this business into the Auckland area. We have received invaluable assistance from the Ministry of Economic Development, as well as input from New Zealand Film Commission and Film New Zealand in order to make this business opportunity viable.”

Formed in California in 1997 as a CG studio, Backyard has provided narrative content and services for clients including 20th Century Fox, EMI, Classic Media, and CCI and interactive content for some of the largest publishers in the world such as Electronic Arts and Activision. The previous management of Backyard is now working at Oktobor Animation with Chris Waters, Rob DiFiglia, Jason Adams and Dan Wang bringing their high-end animation pipeline and production expertise to the new venture.

Bruce Everett added, “Over the next three years Oktobor Animation will become an international hub for Nickelodeon’s rising number of CG productions giving Auckland a major international presence in the growing longform CG animation industry. Oktobor Animation will develop our existing technologydriven artist-efficient CG pipeline and a passionate commitment to regional talent development to provide the highest quality productions possible for a

Nuke Fires Into Rising Sun Visual effects software company, The Foundry, has announced that Australia’s Rising Sun Pictures has invested heavily in its compositing tool, Nuke.

Rising Sun, the only Australian visual effects company exclusively dedicated to feature film VFX, invested in a Nuke site license via locally based partner, Intraware, as part of its overall growth strategy to build more efficient visual effects solutions and tap into the ever-growing pool of artists who are using Nuke around the world. Offering services including pre-visualisation, on-set supervision, visual effects design, character animation, digital compositing and matte painting, the 150 strong team at Rising Sun

44 Post Production

have been using Nuke on all their recent projects including Harry Potter & The Half-Blood Prince, Michael Jackson’s ‘This is It’, Terminator Salvation, X-Men Origins: Wolverine and The Chronicles of Narnia: Prince Caspian.

Michael Taylor, CEO at Rising Sun said “Nuke is proving to be a reliable and efficient addition to our toolset. Rising Sun’s investment in a Nuke site license represents a solid commitment to the growth of the company, by enabling our team through the acquisition of the fastest and most flexible compositing software on the market. Its adoption by facilities around the world will mean that we will

global audience. Oktobor Animation will also create a much-needed identity for the growing pool of CG artists in the Auckland region.”

Oktobor’s parent company Omnilab Media is the driving force behind such ventures as Dr. D - the digital film-making studio with Dr. George Miller and KMM, which is working on Happy Feet 2 and Mad Max 4. Omnilab Media have also produced and co-financed recent blockbuster movies including The Bank Job, W and the twice Oscar nominated The Messenger. Omnilab Media provided post production for John Marsden’s ‘Tomorrow When the War Began’ and production on The Killer Elite starring Jason Statham, Clive Owen and Robert De Niro.

Omnilab Media Managing Director Christopher Mapp said, “We are very proud of the launch of this exciting new CG animation studio in New Zealand.

Oktobor Animation is inspired by the success of WETA whose success is owed in part to the strong commitment made by the New Zealand government to incentivise international producers to bring their films to the region. We believe there is a substantial opportunity to extend this success to the television VFX and animation arena by establishing Auckland as the viable and competitive production hub for longform CG animation. Hence our significant financial commitment in Oktobor Animation. We also have a strong belief in the New Zealand market as a whole and will continue to invest in more and projects as this vibrant market continues to develop.”

Oktobor Animation was launched in June 2010.

Its official ‘red ribbon’ opening, which will include leading New Zealand industry figures and senior executives from Nickelodeon and Omnilab Media, is scheduled for early November 2010.

continue to attract the best talent to our company and can rely on solid support & feature development from The Foundry.”

Rising Sun Pictures joins a number of specialist VFX studios across Australia and New Zealand where Nuke licences are already in use including The Lab Finn Design + Effects, Animal Logic and Iloura.

These developments compliment The Foundry’s recently announced collaboration with Weta Digital in New Zealand to commercialise the highly regarded 3D texture painting technology, Mari, that was heavily used on Avatar.

Visit www.thefoundry.co.uk and www.rsp.com.au

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The broadcasting industry is facing radical change.

Digital adoption is accelerating, and the challenges of audience fragmentation, a tighter advertising climate and increased competition from new media are all contributing to a new broadcasting environment. Whilst there are many challenges, there are also opportunities. Innovative content, on-demand technology, IPTV, and new media platforms offer broadcasters the chance to continue the drive of the digital revolution and ensure a strong, secure future for the industry.

Want to sponsor or exhibit?

Contact Blandina McFarland on (02) 8908 8514 Sponsors to date

The Australian Broadcasting Summit 2011 is considered the annual meeting place for key influencers in Australia’s broadcasting industry and features a two day conference on television broadcasting media, and a one day conference on radio. Only this summit offers senior stakeholders a platform to discuss these pressing issues and explore strategies for successfully developing this key industry.

EVENT SOLD OUT 2009 & 2010

Media Partner

Organised by

Tel: (02) 8908 8555 www.acevents.com.au/broadcasting2011 BACK TO CONTENTS PAGE

Post Production

Post Production

New Cintel ImageMill2, diTTo & Ocean controller Cintel International (Stand 7.B35) will be exhibiting the new imageMill2 image processing workstation with HD and 2K data file grain correction and image stabilisation. Also on show will be the production version of the 2K/4K film scanner diTTo evolution.

Also on show is a new Ocean Telecine controller and colour correction solution from Marquise Technologies that will be distributed through Cintel and will fully support all Cintel telecines. imageMill2 is a new image processing workstation adding network capabilities and data file management to the existing imageMill capabilities. Grace, the noise and film grain management tool, and Steady, the faster-thanreal –time real time image stabilisation application will be on show at IBC, and a new dust/scratch concealment option called Origin is due later in 2010.

Simon Carter, Cintel Sales Director, commented, “imageMill2 will address the industries need for a powerful, fast, yet simple-to-use Noise and Grain management tool for Digital Intermediate applications. With speeds in excess of 30fps for 2K files and 45fps for HD files, the performance of imageMill2 is unequalled. We are currently processing 4K files at just under 10fps and can also deal with SD files at twice real time.”

Cintel will also be exhibiting the production version of the 2K/4K film scanner diTTo evolution that offers a modular and upgradeable solution to film scanning. Building on the successful elements of the diTTo scanner, diTTo evolution additionally provides a fast shuttle capability, a non-pin registration mode for archive scanning, imageMill2 processing tools and a 3.2D density range.

Visitors will also see demonstrations of a new MillenniumHD Telecine workflow utilising the

>> >>

Cintel diTTo evolution

46 Post Production

OpenCube (Hall 8, Stand A96) will present its latest tape ingest and workflow digitisation solutions for TV, studios, post-production and D-Cinema.

EVS-OpenCube will introduce its next generation of OpenCube servers for streamlining studio and D-cinema digitisation processes.

The new OpenCubeHD/SD v2.3 server features include full SD/HD tape to disk capabilities as well as a dual channel mode for MPEG2 Long GOP and native support of Sony XDCAM HD & Avid DNxHD codecs. The platform also offers a faster than real time JPEG2000 encoding process and MXF file generation for seamless integration into all types of production workflows.

The newly-released OpenCubeDCP v2.3 server presents the advantage of directly encoding uncompressed HD, 2K, 4K material, both speeding up and simplifying D-Cinema tapeless preview and content management operations. It also provides faster than real time DCP 2K encoding, 4K DCP encoding in close to real time and an enhanced DCP editing feature for DCP modification and repurposing.

EVS-OpenCube will also be presenting its latest MXF-based acquisition and content management solutions at IBC10: XFConverter v1.1 for digital workflow migration requiring file conversion without transcoding video content, and rewrapping for multi-format environment.

P2soft v2.3 includes a MXF P2 content manager for Panasonic P2 file review, ingest, logging and transfer, and a direct consolidation of the timeline into Avid Interplay permitting editing while ingest. The new gateway system also allows users to manage file ingest and transfer to different destinations at the same time.

The new MXFToolkit v2.3 can be integrated into all of the market’s standard cameras, camcorders, and NLEs as well as broadcast and D-cinema digital recorders, storage systems and playout servers.

MXFToolkit 2.3 will also introduce MXF MPEG2 Long GOP partial restore.

Visit www.opencubetech.com, www.evs.tv

Digital Vision Debuts Precision Panel Digital Vision (Stand 7.A28) will demonstrate new products and colour grading, finishing, mastering and restoration solutions for the broadcast, film and commercials industries. The powerful, ergonomic and slim Precision panel from Digital Vision includes new features such as four track balls, panel touch, screen tactile control surface and virtual keyboard.

The high res full colour screen with touch technology also includes intuitive operation, a clearer display and a higher level of detail on the status and settings of the project, timeline and effects. The panel sees a Ocean controller and colour correction system from Marquise Technologies.

The Ocean controller and colour corrector was developed in response to a growing market need for a new central system that could control telecines, VTRs Hard Disks, noise reducers etc. and also add sophisticated colour correction in a cost-effective package.

Following system testing at a MillenniumHD installation at the Swiss Army in Bern, Cintel and Marquise Technologies have forged a strong alliance where Cintel will distribute the Ocean system worldwide for use on Millennium, Ursa, C-Reality/DSX film scanners as well as the imageMill and imageMill2 image processing workstations. Visit www.cintel.co.uk

Matrox Adobe CS5 Support For OSX Matrox Video Products Group (Stand 7.B29) has announced support for Adobe Creative Suite 5 Production Premium software with Matrox MXO2 I/O devices for Mac OS X, and a new stand-alone capture application- Matrox Vetura Capture for Mac OS X. CS5 Support - the key features of this new release include professional audio and video input and output with 10-bit hardware up/down/cross conversion and HDMI video monitoring with the unique Matrox calibration controls including blue-only. WYSIWYG support for Adobe Photoshop and After Effects is also provided.

Featuring built-in colour calibration tools on the MXO2 devices that turn inexpensive HDMI displays into professional-grade HD monitors, the devices also claim to be unique in supporting Adobe Premiere Pro,

Latest EVS-OpenCube MXF Solutions at IBC

Apple Final Cut Pro, and Avid Media Composer.

Key features include: • Flexible support for leading codecs, file formats, cameras, and workflows • Matrox Vetura Capture application for fast capture to HD and SD codecs – highly-efficient Matrox MPEG-2 I-frame at up to 300 Mb/s and Apple Uncompressed • Matrox Vetura Playback application for H.264 and .mov file playback.

• Extensive application support • 10-bit HDMI input, output, and monitoring with calibration controls including blue-only • 10-bit realtime hardware up/down/cross conversion on capture and output Adobe CS5 support for the Matrox MXO2 devices for Mac (release 2.1) will be available to

registered users as a free download from the Matrox website in October 2010.

Vetura Capture for Mac OS X The company has also announced Matrox Vetura Capture for Mac OS X, a stand-alone capture software application compatible with the Matrox MXO2 family of I/O devices. Matrox Vetura Capture lets users capture QuickTime files using popular codecs installed on their editing systems. Matrox MPEG-2 I-frame codec and Apple Uncompressed formats are supported. With Final Cut Pro 7, ProRes, DVCPRO HD and other popular Final Cut Pro codecs are supported. With Avid Media Composer 5, the Avid DnX, DnXHD, and other popular Avid Media Composer codecs are supported.

Visit www.matrox.com/video

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reduced number of controls while maintaining optimal functionality. The company has introduced the Nucoda Fuse grading and finishing solution, for mid-range DI grading and dailies, and Nucoda Compose as a new entry-level solution. All grading solutions are equipped with a 3D toolset.

To address the restoration market Digital Vision will demonstrate three new products - the flagship Phoenix Finish, the mid-range Phoenix Refine and the entry-level Phoenix Touch.

Digital Vision’s 2010 software release will be

New Deltacast Cards

Deltacast (Stand 10.D10) a specialist developer and manufacturer of cards for compressed and uncompressed video systems is offering three new products at IBC. The Delta-hd-e 40 is a new four-channel addition to the Delta-hd range of video cards for OEM applications.

It doubles the per-slot capability of PCI Express cards to ingest SD or HD SDI channels to a PC server, allowing developers to design higher-performing and more economical solutions for a variety of professional video applications.

The Delta-3G-e 22, the first member of the all new Delta-3G family, features 2x 3G-SDI inputs, 2x 3G-SDI outputs, Genlock, and a four-lane PCI Express interface, and also works with the VideoMasterHD SDK. It provides all of the features of the Delta-hd-e 22 while adding the new 3G-SDI capability.

The Delta-dvi-e 10 is Deltacast’s new one-input DVI solution that supports ingest of a dual-link DVI, DVI-A, DVI-D, HDMI, and analogue component video source on one PCI Express video card.

Visit www.deltacast.tv

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>> >>

Deltacast Delta-hd-e 40

demonstrated with news features and functionality including: • DVO Clarity, the next-generation noise and grain management software featuring automatic profiling • Additional stereoscopic 3D tools and viewing modes • New Intelligent Isolation colour keyer (I-Keyer) • Updated file format enhancements including Arri Alexa support, MFX OP1a publishing and ALE file export.

SysMedia IBC Preview At IBC 2010 SysMedia (Stand 3.B67) will launch WinCAPS Quantum subtitling software, new HD/3G-SDI subtitle encoding products and updated analogue and digital Teletext systems WinCAPS Quantum is a totally new subtitle preparation suite focused on productivity. Quantum integrates powerful tools for automated media transcription, assisted translation and easy extraction of dialogue from scripts, with a brand new user interface. Subtitlers benefit from an enhanced workflow and the time-saving benefits of the latest technology, while retaining control of their craft. The result allows broadcasters and subtitling facilities to satisfy increasing output demands at a lower production cost.

SysMedia is also announcing a range of new HD/3G-SDI subtitle encoding products based on its brand new HD-VANC and SD-VBI data encoding/ decoding card. The range includes a WST-OP47 teletext subtitle transcoder, 3G-HD caption generator and OP47/EIA708 subtitle/caption encoder/ decoder units.

Updated products on show at IBC 2010 include digital-ready upgrades for analogue teletext systems and new developments in digital teletext including support for MHEG-IC and HbbTV. Visit www.sysmedia.com

Post Production 47

Storage & Asset Management

storage &

ASSET MANAGEMENT Dubsat, IMD to Offer Global Media Delivery & Management European media logistics specialist IMD and Australasian distributed advertising and media asset management company Dubsat have joined forces to offer fully integrated and global cross media delivery and management services.

This new long term strategic partnership enables both companies to benefit from each other’s internationally recognised ‘best in class’ cross media delivery and management services. The new global services include seamless distribution booking, uploading of assets, quality control and efficient delivery to local advertising specifications.

Simon Cox CEO of IMD says “IMD and Dubsat have worked together for a number of years on a variety of projects and there has always been a

strikingly similar commitment to innovation combined with the highest quality customer service on both sides. As a result both companies saw the opportunity to take the existing relationship to the next level and in the process enable our clients in whatever market to access the full range of IMD and Dubsat products and benefit from a truly global service.”

Grant Schuetrumpf General Manager of Dubsat said, “This strategic partnership with IMD furthers the reach of both companies’ Global Media Network and TVC Delivery Service and means clients and their agencies can now far more easily and efficiently manage the international distribution of their content and assets. Dubsat is delighted to be formalising our close and long standing working relationship with

IMD. By fully integrating our services with IMD it expands our services across Europe and reaffirms our commitment to developing innovation with innovative companies in the Northern Hemisphere.

IMD and Dubsat are both long established market leaders in the distribution of radio and TV commercials in their respective markets as well as providing many ancillary services such as subtitling and copy clearance. IMD operates domestic TVC delivery services in the UK, Ireland, Germany, Switzerland, Austria and France while Dubsat provides similar services in Australia, New Zealand and Singapore.

Their service is now able to digitally deliver TVCs to broadcasters in over 90 countries.

Visit www.imdplc.com and www.dubsat.com.au C

FujiFilm: How Green is My Archive?

Fujifilm Australia has announced the launch of Fujicolor ETERNA-RDS digital separation black and white recording film.

Fujifilm Australia General Manager Recording Media/Motion Picture Film Marc Van Agten said, “This new film will play an important role in the long-term preservation and archiving of motion pictures. Fujifilm has developed and released its specialised ETERNA-RDS film for recording original images as three Y-C-M separations on black and white (silver halide) films which are estimated to be able to preserve images for more than 500 years.”

ETERNA-RDS follows on from the recent ETERNA-RDI digital intermediate film. ETERNARDS optimises the characteristics of digital origination and provides exceptional photographic output via laser recorders, with gradation linearity, wide latitude, excellent sharpness and low granularity. The film possesses outstanding stability

for both black and white negative and positive process conditions. Digital files are run through a filmout laser and recorded onto ETERNA-RDS in three passes. The three separations can then be scanned, combined and conformed when required.

Fujifilm has also launched its LTO-5 data cartridge with a 3.0TB capacity (at 2:1 compression; 1.5TB native). The LTO-5 data cartridge utilises multichannel recording technology and achieves transfer rates of up to 280MB/second (at 2:1 compression; 140MB/sec. native).

LTO-5 Ultrium technology relies heavily on timingbased, high-precision servo control to achieve its high performance levels. LTO-5 Ultrium data cartridges use dual servo tracks that have been precisely written along the entire length of each of its four data bands, for extremely fine placement control and redundancy in the event of tape damages.

The LTO-5 tapes use Fujifilm’s Advanced Encryption Standard (AES) 256-bit encryption algorithms to keep

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data secure with the hardware-based AES 256bit encryption offering a higher level of security during storage and transporting of sensitive information. WORM (Write Once Read Many) functionality provides a cost-effective means for storing data in non-rewriteable format to help address compliance requirements.

In a first for LTO tapes, FUJIFILM now offers them in an LTO Eco Library Pack specifically designed to facilitate the use of Fujifilm data tape cartridges in automated library environments.

Fujifilm LTO tape customer and Showtime Director of Operations & Production, John Turner said, “Fujifilm LTO tapes are an efficient, versatile and cost effective cartridge. The new Eco Library Pack makes real commercial and environmental sense and the fact that the 20 cartridges per pack are available with custom EDP Tri-Optic barcode labels, practical and logistical sense too.”

Visit www.FUJIFILM.com.au

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Open Shared Storage from Avid The ISIS 5000 from Avid is built upon proven ISIS technology to store, share and manage large quantities of digital media assets. Users can improve allocation of creative resources and support changing project needs with an open shared storage platform that offers access to high-performance ISIS File System technology on lower cost hardware, support for 3rd party applications and streamlined administration to create more content more affordably.

Designed to address the specific needs of

48 Storage & Asset Management

workgroups requiring 40 or fewer client connections and looking for greater flexibility the ISIS 5000 shared storage solution is fully tested and qualified with Apple Final Cut Pro, as well as support for an end-to-end Avid workflow.

Major features include: • The ISIS file system: Enhances collaborative workflows by delivering centralised media access with guaranteed real-time performance—optimised for digital media file sharing.

• The ISIS 5000 engine: Offers the ability to costeffectively create compelling content by increasing the capacity to handle more projects and content in both SD and HD. • Support for Avid and Apple Final Cut Pro editing systems: Enables customers to work with a variety of project workflows and leverage existing investments as a result of an open architecture.

Visit www.avid.com.

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Storage & Asset Management

Storage & Asset Management

GV Ships Mac ADVCmini AV Converter Grass Valley has announced that its ADVCmini hardware and software conversion product for the Mac platform is now shipping. The ADVCmini video converter allows consumers and prosumers to easily and reliably transfer high-quality video images from VHS tapes, digital camcorders, and similar sources to their Mac computer for editing in

Final Cut Pro or iMovie.

High-quality video can be captured via composite, S-Video, or SCART cable (available for European users only), along with stereo audio.

PerfectPicture technology guarantees excellent quality conversion from composite video sources.

The intuitive unit is small, portable, and powered by

Cache-A Archive5 and Library24 for IBC Cache-A (Stand 7.J39) is bringing its new ProCache5 archive and Pro-Cache 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 capacity of existing LTO-4 cartridges – now 1.5 terabytes (TB)/LTO-5 cartridge, while also providing significantly faster archiving speeds.

Building on the Pro-Cache platform, the small form factor Pro-Cache5 enables creative professionals to create source masters in acquisition workflows when using the new memory card or disk-based cameras. At the same time, 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, Pro-Cache5 further extends data tape’s key role in ensuring long-term content retention, archiving and disaster recovery. Pro-Cache5 writes data on low-cost, secure, portable, interchangeable and IT industry-standard LTO-5 tape cartridges using the standard “tar” format, and the archive life is 30 years. LTO-5 offers read/write compatibility with LTO-4 to ensure a truly future-proof solution that protects investments, eases implementation and permits source master content to be accessed

over a long period of time.

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 ProCache 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 ProCache 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 perfectly to the ProCache5 or Pro-Cache4 three RU half-rack chassis and rack mount kit.

Visit www.Cache-A.com

Latens Bows ECO UI 5 Middleware Visitors to Latens (Stand 4.B60) can discuss digital switchover needs and view Latens software-only CAS for all networks, OTT products and enhanced Pay TV service solutions.

• ECO UI5 Middleware: Latens will showcase its new ECO UI 5 Middleware, with pre-integrated CAS on multiple devices including iPad. Key features include broadcast broadband video, DVR, remote DVR, DLNA enabled services, internet applications for TV, home networking and much more for operators to provide any content, any time, anywhere solutions.

50 Storage & Asset Management

• OTT TV content management systems: future proofing to managing OTT services managing content and rights across multiple devices all from one central head end.

• CAS: Latens software-only CAS-5 with Second Source CAS mode support for protection of content across multiple devices. One way CAS for low cost digital switchover solutions, migration from one way to two way, through hybrid networks all managed from one head end from one central CAS source, reducing costs.

Visit www.latens.com

the Mac’s USB port. The included software provides a video capture tool and compresses the video as it converts. All required cables are provided: USB, composite video/audio, S-Video, and (in Europe) SCART. An installation guide is also included.

The ADVCmini for Mac retails for US$149.

Visit www.grassvalley.com

Actus Digital At IBC 2010 Actus Digital (Stand 4.A91), a provider of webbased media monitoring and management solutions for broadcasters, government agencies and content producers, announced that it will be showcasing its groundbreaking global channel monitoring solutions at the IBC 2010.

“Actus solutions transcend typical monitoring applications by offering full disclosure of the broadcast and absolute convenience for the user. With Actus you can record and analyse the actual broadcasted media of your own channel, a competitor’s channel…. any channel transmission from any region… from your desktop,” says Sima Levy, CEO, Actus Digital. “We provide an elegant, simple-to-use browser based system that is powered by an enterprise platform with a wide range of features to enrich transmission data, whether it is adding annotations, ratings analysis or editing segments for content repurposing to different outlets.”

At the core of every Actus installation is the Actus 4 media management platform. Developed to leverage IT-based hardware, the highly scalable architecture provides an agile environment for supporting a wide range of media monitoring, analysis and management capabilities. Core features include multi-channel ingest, multi-format conversion engine, content detection and analysis, media database and broadcast player for content redistribution. Actus modules seamlessly integrate with Actus 4, providing forward-thinking features for managing a wide range of post transmission monitoring, detection, analysis, enrichment and repurposing workflows.

Actus features: • Access your own channels, the competition and other relevant channels • Automated content detection with tools to analyse actual broadcast media • Content catalogue that centralises transmission storage and complies with regulation • Simple to use production tools to repurpose content to Internet and mobile phones • IT-based architecture based on latest web technologies providing immense scalability and support for future applications Visit www.actusdigital.com

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Euro Debut of Signiant Content Tools Signiant, Inc. (Stand IP731) will demonstrate its three new content distribution management products for the first time in Europe at IBC. The new tools - Content Transporter, Content Point and Content Transfer Engine - are aimed at small to medium sized organisations that may not be ready for an end-to-end Signiant solution but still need to move content quickly, securely and cost-effectively across the WAN to internal or external partners.

Each solution is a starting point for content management workflows, allowing seamless integration

with all Signiant tools, including the flagship Content Distribution Management (CDM) software - and the opportunity to expand workflows as clients’ businesses develop and grow.

With broadcasters such as NBC, BBC, Fox, Five and Discovery Communications all using Signiant, these new cost-effective tools also deliver a significant business advantage to smaller organisations by allowing them to connect more easily with major broadcasters.

Vist www.signiant.com

Front Porch Previews IBC

browsers. V4.1 adds a revamped and simplified browser interface; support for identification and retrieval of clips with non-contiguous timecode (for the archivist and preservation community); partial-restore format auto-detection to further simplify user interaction with the complex format/wrapper challenges handled

by DIVArchive; and management of remote proxies without the need for their replication specifically for DIVAdirector. V4.1 also offers enhanced integration with the SAMMA Solo system.

SAMMA products Solo, Robot, Prep and Clean for migrating media content from videotape to filebased formats, will each debut new versions at IBC 2010. The advanced SAMMA technology makes it easier than ever to perform high-volume migration of media assets and to store, protect, access, retrieve, and manipulate them for repurposing later.

DIVAsolo V4 incorporates full integration with the world’s most popular NLE systems. Billed as a first-ofits-kind turnkey migration, CSM and MAM solution DIVAsolo system combines a SAMMA Solo encoding appliance with the DIVArchive CSM solution and DIVAdirector MAM. V4 features direct VTR control, automatic shot-list generation, key-frame extraction, dynamic metadata collection and full desktop Web browser access to all migrated assets, and an LTObased data tape robotic system to store and protect.

Visit www.fpdigital.com

Front Porch Digital (Stand 7.B15) will be at IBC 2010 to showcase its solutions for migrating, managing, and monetising media content.

DIVArchive V6.3 content storage management (CSM) system. The latest version is capable of full integration with industry editing and production tools including Avid Interplay, Apple Final Cut Pro, and Apple Final Cut Server. Avid Interplay integration makes it easier to access content stored under DIVArchive management, which now features include multi-resolution object support, sub-clip partial restore, best-effort restore, advanced Avid asset search within the DIVArchive user interface, and full Unicode asset support.

DIVArchive V6.3 offers full Unicode support for storage plan manager, the component that automatically manages the content life cycle based on advanced and fully configurable business rules and policies. It also incorporates DIVAprotect as a standard feature. By continually monitoring the digital storage infrastructure including connected broadcast devices, network connectivity, transcoder engine performance, and other key system parameters, DIVAprotect guards precious content against the ravages of data tape and drive degradation.

DIVAdirector V4.1 media asset management (MAM) system enables operators to search, locate, and retrieve stored media assets directly from desktop

THE iTX ENTERPRISE SUITE HAS ARRIVED Enterprise class, software-based, multi-platform broadcast solution for SD, HD & 3DTV The world's leading transmission platform steps up a gear with the addition of the iTX Enterprise Suite. The industry’s first fully integrated, software-only, multi-format content delivery system for TV, radio and the Internet applies the ground-breaking approach of iTX to the entire production chain, bringing increased efficiencies to the ingest, asset management, workflow and playout processes. www.omnibus.tv

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SGL Debuts FlashNet FCS Interface At IBC Software Generation Ltd (SGL) (Stand 8.A25a) will demonstrate its open system content archive and storage management software solutions that deliver a carbon foot print reduction as well as cost and workflow benefits. Advanced updates to Final Cut Server (FCS) interface: SGL’s new FlashNet FCS interface enables a streamlined and productive workflow by allowing the archive to act as a longer term repository. SGL FlashNet’s advanced features allow users to copy not move content directly to/from the archive to/from the online shared storage (or workstation) directly from the FCS UI, making the most efficient usage of data tape storage. This copy process works for both archive and restore and brings far greater efficiency to FCS content storage. European debut of support for LT05: In line with SGL’s continued progress to support all current storage technologies, the latest evolution from the LTO (Linear Tape Open) Ultrium consortium, LTO-5, will be demonstrated on the SGL stand. With a native uncompressed storage capacity of 1.5TB on each tape cartridge this version of LTO provides one of the most cost-effective solutions available today. LTO-5 drives are designed with backwardscompatible read-and-write capability with LTO-4 cartridges, and backward read capabilities with LTO-3 cartridges, helping to protect investments and ease implementation.

Support for Avid Interplay 2.2: Following comprehensive QA testing between SGL and Avid, SGL will demonstrate its support for Interplay 2.2, Avid’s production asset management system.

SGL FlashNet is still the only third-party archive management software that has been through the full Avid development and QA cycle and is available directly from Avid worldwide.

Visit www.sgluk.com

Digital Signage

digital SIGNAGE A

striking

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to the Singapore skyline, the Marina Bay Sands is set to become one of Asia’s leading business, leisure and entertainment destinations. It features convention and exhibition facilities, 2560 hotel rooms and suites, the rooftop Sands SkyPark with outdoor infinity pool some 200 metres above sea level, a shopping mall, restaurants, a casino, Paiza Club for premium players and an outdoor event plaza. It will also have a museum and theatre.

Delivering visitor information throughout this complex mini-city is an extensive digital signage network provided by Harris Corporation, a company that has been able to leverage its technology and experience in the areas of traditional communications, graphics, content management and television broadcasting.

The company’s solution at Marina Bay Sands is the largest Harris casino/resort Digital-Out-Of-Home installation in the ASEAN region. It follows other resort hotel and casino projects in which Harris solutions have been implemented, most notably The Venetian Macau Resort-Hotel and Four Seasons Hotel resort in Macau.

According to Denise MacDonell, Director and GM of Digital Signage Media and Workflow, and Joe Khodeir, Vice-President of Sales, with Harris Broadcast Communications, the Marina Bay Sands project encapsulates multiple uses of digital signage technology, providing content workflow models that can be adapted by a variety of other industry sectors.

C+T: How does Marina Bay Sands differ from the Macao project?

DENISE MACDONELL: “Conceptually, in terms of how the facilities are set up and where they have the signage display, that’s very similar, but the software infrastructure and the hardware infrastructure is different in the two facilities.”

JOE KHODEIR: “I think the type of visitor engagements are going to be different as well. This one is far more of a consultative approach to the business model. There’s likely to be an advertising system attached to an Infocaster, to allow them to effectively monetise the ad stream that’s going to be developed.

“That’s not in the current phase, however, so we see this as much more of a partnership in the long term rather than just an installation.”

DENISE MACDONELL: “The reason why at the end of the day they selected our products were for a number of reasons, one of them being they’re a premier facility that really likes the fact that we have

52 Digital Signage

Marina Bay Sands

Makes Sure Bet on Harris

D

sign the content+technology of digital signage

By Phil Sandberg

>> >> The eye-catching exterior of Singapore’s Marina Bay Sands complex. broadcast heritage, that we knew how to produce, display, manage high quality video content. And, there’s not a lot of digital signage vendors in the market place that have that unique characteristic like Harris. And, we use our intellectual property, our technologies from other graphics and broadcast areas of the business in digital signage. So, it’s a very robust, very stable, quality product set.

“The other thing was the flexibility that InfoCaster, which is our digital signage platform, gave them both from a creative perspective, so they’re a graphics design and marketing organisation, they really like the tool set in our creative environment.

“And then, their IT guys really liked the flexibility that the network management area provided. So there’s multiple components to our system and they really like the fact that they were all highly flexible and highly integrate-able, easy to learn, like could grow.

“They started their deployment in a way that I think is the right way. They’re really walking before they run. So the screens right now are very informational, promotional content based, so they’re not selling third party advertising on the screens at this time. It’s where they would love to get to at some point but right now we’re focusing on just getting them up and running, making sure the content looks okay, making

sure all the different zones of the building are set up properly so they have only hotel content in the hotel area, only meeting room content in the meeting room area, only casino content in the casino area, and making sure that that’s all configured and set up properly.

“And, the Harris solution allows them to set up those types of zones and configurations quite easily, quite flexibly. So, they can start with a simple deployment and then they can grow. They could start to look at segmenting screen orientation, resolution size, path of traffic and type of content and only push to those specific screens. The system’s quite flexible.

D-sign.tv is the online destination covering the Content+Technology of Digital Signage. With regular

C+T: What sort of scale are we talking about with the network?

DENISE MACDONELL: “They purchased 270 players from us which are dual head players so those 260 players can drive 540 screens as Phase One. That Phase One includes casino, hotel, restaurant signage, and the MICE convention centre.

“Then they have a secondary phase for the museum and the retail shop environment which we’ll be involved in. One of the product capabilities that they were very excited about and wanted to have

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email newsletter, website and E-magazine, D-sign.tv provides you with timely and relevant information on all aspects of the D-Signage market.

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Publisher Phil Sandberg - papers@broadcastpapers.com • Sales & Marketing Manager Daniela Huelsen - dh@broadcastpapers.com

Tel: +61 (0)2 9332 2221

www.D-sign.tv

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Digital Signage

>> >> One of

the foyer signs in the MSB network.

“Above that is the marketing and creative environment. It’s called the Creation Station and that’s where you sit down and define how your content’s going to look for the particular players that you’re pushing the content to. So, you define your live regions, your still regions, your ad content, your RSS feeds, and so on. You pull all of your content assets together and you create an Infocast which is basically a play list.

“That gets pushed down to the network manager and network manager knows where it’s supposed to go. So, that’s kind of how the system is put together, at a very simple level.

C+T: And it’s easily updatable or changeable?

in the facility was a video wall.

“They had a couple of areas of the building where they wanted to have a nice, big focal point, like screens. So, they needed someone who could support video wall functionality and we worked with them to build that capability in the product in the way that would meet their needs.”

C+T: InfoCaster - how do you describe it to customers who don’t have a technical background?

DENISE MACDONELL: “InfoCaster is a software and a hardware environment. The software environment of InfoCaster is agnostic to hardware. If someone wanted to just run the InfoCaster environment on a PC that meets the specifications, that’s perfectly fine.

The heart and the value of the product applications is in the software. And it’s three levels of software.

“We have player software that runs on a hardware platform, whether it’s ours or whatever hardware platform’s the platform of choice. And we have varying degrees of graphics intensity capability based upon the types of hardware. If you just wanted to do very simple graphics, you can do that very simply with a Lite version, and then we scale up from there, on the player zone.

“Then there is a network manager. A network manager is really the heart and the brains of the operation. So, network manager, and you can imagine, it’s going to be overseer, it knows where every single player is, it knows where every screen is, it knows what pieces of content are going where.

And, it’s what makes sure that everything’s up and running. “So, it monitors the health of all the players in the network, it reboots systems if it needs to, and pings them to make sure screens are on, it does all the logging and reporting and it’s a very IT-centric network management system.

54 Digital Signage

DENISE MACDONELL: “It’s software based, so network manager knows when there’s a software update. Whether it’s a software update or whether it’s a content change, it’s very, very easy to do. We are a Store and Forward model, so we do support a live stream model.

“For example, in the sports arena, we have the ability to have live game feeds streamed to the set top box or the hardware platform that the player’s running on and be able to surround the live feed with the right graphics and the right advertising content.

“But, if you’re running in a static mode, it’s a Store and Forward model. So, the Infocasts get created, they get pushed to the network manager. The network manager then pushes them to the player devices where they’re stored and then played and the rotational schedule that’s been copied.

“InfoCaster is really the basis and the foundation of a digital signage deployment. When you get to the point of a customer wanting to have an ad funded environment, and we see this a lot in retail and in sports facilities in particular - anywhere where advertising is a medium or very prevalent. We created a system for the campaign management, reporting, traffic schedule and billing.

“We do that very well in the broadcast area, so we took some of the technical intellectual property but more importantly the people that built those systems, and we created a similar platform for digital signage.

“It oversees the network, it allows you to see what available inventory or sellable items are available, it allows campaigns to be created with rates and CPNs or GRPs or whatever the actual rating mechanism in terms of the payment would be. Then it maps that campaign and plots that out across the entire network. It pushes it down to the players, to the InfoCasters, then it gets played and then it’s billed and reconciled so that you create an invoice.

“You go back to your advertiser - here’s how many gross impressions you had, here’s how many plays that it had across the network, here are the areas of the network it played across - whether they

pick a particular region in a region of a country, or they pick a ticket or a demographic based upon information that the advertiser knows about the network. Then you basically invoice and bill.

“So that’s very unique in the market right now in terms of the software platform. We were definitely doing something that most of the other smaller signage vendors aren’t doing in that area. There’s a lot of dialogue about advertising platforms but we’re really the only company that knows intimately enough about traffic scheduling, billing and then the agency business entirely to be able to create a platform that’s truly relevant.”

JOE KHODEIR: “The other area is rights management as well. We do that for the MacDonalds deployment in the Americas. We handle all of that including the rights management of the content, which is a tremendous value-add for a retailer or a QSR who has no idea how to manage content rights management.”

C+T: Are you able to speak about upcoming projects in this part of the world? What types of projects might be coming up?

JOE KHODEIR: “I think around the retail sector is probably an area we’re concentrating on. Unlike the States, we don’t have the same opportunity at sports arenas in this part of the world. But, retail, banking, there are a number of opportunities at the moment and I think the important thing for us is to get some of the case material we’ve obviously been able to capitalise on in the States and bring it to market.

“Having Marina Bay Sands as effectively a partner in this part of the world is going to be good for us. We’ve put a lot of effort to make sure that that’s very successful because, especially in Singapore, everyone’s going to be looking at the Marina Bay Sands Resort and we want to be attached to that sort of success.”

DENISE MACDONELL: “What’s nice about it is it touches upon all of the different types of networks and different types of content. I think in digital signage networks, retail is a very strong opportunity, the education market is a very strong opportunity, hospitality networks.

“When you look at the Marina Bay Sands, it actually has all of it. So you’ve got information networks that we’re supporting, you have hospitality networks that we’re supporting, they have retail shops and then they’ll have ad funded networks as well in the ball game. So it’s like a little mini city almost in and of itself. And what’s really neat about it is, you can pinpoint how digital signage is used and all of the different ways it’s used. Then you would take that into an educational facility and say ‘this is how it would be done in a university or college’. But, you can use what’s been done at Marina Bay as an example.”

Visit www.harris.com

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Cloud Computing

Cloud Computing

CLOUD COMPUTING & outsourced services MUPPITS Shows Power of Outsourced Workflow

By Paul Mc Cann There are many unfortunate tech acronyms in the broadcasting world, but MUPPITS at least has the benefit of being memorable. The letters stand for Multi User Post Production IT Services. It is a research project being run by a consortium of UK partners including Pinewood Studios, the BBC, post houses Smoke & Mirrors and Molinaire and the UK digital television industry body, the DTG, plus some IT services companies and the high-speed data transfer network Sohonet.

The purpose of the project is to create a single IT solution to a series of problems currently being faced by the production and post production business, problems that are forecast to get worse.

The main issue is the complex and often unnecessary working methods created by the need to move tapes or files of raw content from camera, studio and location to the host of service companies that make the edit, apply the effects or the myriad other things that can be done to a piece of content.

Services that often use non-compatible proprietary software based on whichever bit of technology they use for their part of the job.

Producers have been asking for a content management system that allows them to do three things: if they film in solid state, they want to be able to take the content off their hard drives so they can be re-used for the next days’ filming; they need to be able give access to the material to lots of people simultaneously and they need a secure archive for their material.

MUPPITS seeks to provide a tapeless working system through the use of a Service Orientated Architecture (SOA) called GRIA. SOAs allow companies to manage their interaction with their suppliers in a software-agnostic environment that sits above the systems used in each company. GRIA, which is an open-source system developed by the University of Southampton’s IT Innovation Centre, has already been put to use in industries with highly complex supply chains such as the motor manufacturing and aeronautics businesses.

“It is about inter-operability,” says Brendan Slamin, of the Digital Television Group who is heading the MUPPITS project. “It can manage the content without getting involved in the detail of the edit or the piece of video. A producer can issue instructions in real time to service providers by ticking a few boxes, via his iPhone should he wish, while the content, wrapped in metadata is sent to the various service providers via fibre networks.”

A key element in the MUPPITS system would be the 56 Cloud Computing

>> >>

System architecture of the MUPPITS service.

use of a media transfer centre, or data warehouse, that takes content in from producers and distributes it out to different post houses and specialists. Pinewood Studios already has a prototype data warehouse up and running on its lot west of London and is keen on implementing a direct-from-stage transaction system that will allow producers immediate access to a host of post services.

In addition to a tapeless working model, MUPPITS also seeks to help producers and in particular, post houses, deal with the ever-growing data-handling and associated power and cooling needed to deal with modern broadcast and cinema content.

The move to HD, and in turn to 4K and 3D, only exacerbates the enormous data-handling capacity needed in any reasonably-sized operation.

“There is a micro-climate in Soho,” says George Cook, an engineer at Smoke & Mirrors. “It’s two degrees warmer than the rest of London because of the enormous amounts of power and air conditioning being pumped in to deal with its data handling needs.”

Cook is part of a MUPPITS sub-project working to develop a render estimation service. This would give post production companies the ability to estimate how long the rendering of a piece of content will take with the data-handling resources it has available. If their deadline is tighter than the estimated rendering time then the next element of MUPPITS should kick in.

“Once you know you don’t have enough capacity in the time you need, to say render some

3D content, you know you have to outsource it and that allows others to make money selling you their spare capacity,” says George Cook.

“There are post houses with 1,600 parallel PCs working overnight to try handle their rendering requirements, but the advances in technology, in resolution and in special effects, is putting a massive strain on equipment,” says Brendan Slamin.

“MUPPITS allows individual companies to use other people’s resources as well as their own.”

It would in effect create a market place in rendering and other content-handling capacity. A post house with expensively-developed, but temporarily spare capacity could offer it through MUPPITS to a post house with a surge of demand. Through the use of high-speed networks and tapeless working, data handling becomes geographically liberated from the overheating square mile of Soho. The networked nature of MUPPITS would also allow producers to employ geographically distant specialists with a particular creative skill by letting them work on content wherever they are while also allowing the producer to approve their work back on location.

The MUPPITS system architecture would be designed to allow production and post staff to establish rules for automatic actions to be executed on pieces of content as well as generate lists of who would be authorised to view and work on clips.

In addition, MUPPITS would handle contract and payment details automatically.

The research stage of MUPPITS ends in September 2010. Visit http://www.muppits.org.uk

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Tata’s DAM in the Cloud Mosaic, from Tata Communications, is a cloud-based on-demand digital media management platform that manages content and workflow securely across collaborative media ecosystems.

Mosaic’s powerful workflow management capabilities enable media companies to facilitate, monitor and control complex and time-critical activities.

Producers have detailed control over features such as deadline-setting and secure task-sharing to deliver true multi-enterprise collaboration.

Ingest content from file, tape, live stream and thirdparty delivery. Manage diverse video and metadata standards manually or as batch processes, set priorities and receive notifications.

An advanced browser-based user interface combines the flexibility and independence of web access with the interactivity normally associated with desktop applications.

View, approve and log - Mosaic includes tools and proven workflows that automate and tighten the editorial viewing and approval of production content.

Log and manage transmitted content, enabling flexible repurposing and efficient library management and long-term storage.

Locate assets quickly even within the largest archives through the powerful search facility. Open integration

standards: our open web standards allow integration with third-party systems and services.

Controls access to assets, project folders and workflows. Permission controls can be set and managed according to projects, roles or users.

Part/segment time code capture - Marks up program segments and soft-parting points for reediting, compliance and conforming to schedule.

Mosaic integrates auto quality control systems into the preparation workflow and performs visual mark up sequences for correction.

Control fine-grained permissions covering access to content, workflows and functionality from within the application.

Share projects and work tasks with collaborators throughout the supply chain and outside of default user groups.

Configurable metadata capture for marking noncompliant events such as violence, bad language and nudity.

Language versioning - Manage audio tracks, overlays and subtitles by utilizing the media component management model.

Perform editing tasks such as reediting for schedule matching, adding/removing breaks and bumpers, creating advertorials, highlights and shot selection prior

to craft editing through the web-based editing tool.

Create foreign language and hard-of-hearing subtitles directly into the system, burn or export them for play-out and nonlinear distribution. The workflow removes the need to export low-resolution files, streamlining process and improving security.

Edit Decision Lists (EDL) can be generated from the ‘light table’, facilitating simple shot selection.

Repurpose content for any channel including transmission, IPTV, Web and mobile. Simple profile selection sets media and metadata formats, destination and optional automatic conform.

Mosaic is supported by Tata Communications’ world-class Global Media Delivery Infrastructure, which provides end-to-end integrated connectivity between media companies and suppliers around the globe.

Tata Communications’ Mosaic service provides media companies with a complete digital asset management solution, ensuring secure, efficient management of content and workflow throughout the value chain. Benefit from lower overhead and operational costs, shortened post-production time, the flexibility of an open operating environment, and premium content delivery over Tata Communications’ global fibre backbone.

Visit http://mosaic.tatacommunications.com

Cloud-based Collaboration Platform AVvA, from ScheduALL, is a free Web-based platform that connects anyone from the individual contractor to large enterprises for collaboration in real time. Partnering is now easier, more available and with elevated efficiency by using a common tool for hiring, project management and accelerating project work flows.

With AVvA, freelancers, equipment providers, truck companies and others can make their services, resources and specific pricing available selectively or to the entire AVvA partner network at no cost. Broadcast and media companies can identify resources by specialty, location, and price and anyone in the industry can connect with any other party.

“AVvA extends ScheduALL’s core technology to the industry at large – increasing efficiencies through better visibility, tracking, and reporting – individual freelancers and contractors, as well as larger suppliers within the broadcast and media supply chain can now connect and collaborate on projects and assignments through the AVvA platform,” said Joel Ledlow, ScheduALL CEO. “When you’re forced to work with the tight budgets we see today, being able to quickly find and contract with the right resource at exactly the right place and time can be the difference in profitability.”

With AVvA, individuals and companies use one platform that’s available anywhere with an Internet connection eliminating the need for the patchwork

of e-mail and phone calls required today to find, contract, schedule, manage, and report on different partners for different projects and assignments.

AVvA is built on Microsoft .net and uses Microsoft Silverlight to deliver a Rich Internet Application (RIA) experience. This gives users the look and feel of a desktop application through any browser with the free, widely-available Microsoft Silverlight plug in. And as a hosted service, back-ups and updates are managed centrally, reducing or eliminating infrastructure and technical resources needed to support farreaching operations.

Visit www.AVvAnow.com

Limelight Acquires Cloud Video Publisher Limelight Networks, Inc. has announced the acquisition of Delve Networks, a privately-held provider of cloud-based video publishing and analytics services.

“With Delve Networks added to our global computing infrastructure, Limelight Networks now can provide our customers with an at-scale valueadded solution for publishing online video, analyzing end-user preferences, and, in conjunction with our EyeWonder and mobility products, monetizing their digital assets,” said Jeff Lunsford, chairman and

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chief executive officer, Limelight Networks, Inc. Founded in 2006, Seattle-based Delve Networks’ software-as-a-service platform provides online businesses with a streamlined and scalable solution for the addition, management, syndication, analysis, and monetization of web video. Delve’s highly customizable software is designed to operate at Internet scale, and offers all the tools necessary for publishing videos online, including hosting, encoding, channel and playlist management, video search, metrics, and advertising.

Delve offers enterprises, governments and content owners a complete solution for using highquality online video to extend their brand, increase customer loyalty, lower support costs, and increase revenue.

Delve also complements and extends the value of Limelight’s mobility platform and EyeWonder’s instream video advertising products by providing a web-based workflow for these solutions.

Visit www.limelightnetworks.com

Cloud Computing 57

Radio

THE ORIGINAL BROADCAST MEDIA

RADIO Digital Radio Trial On Air in Darwin Commercial Radio Australia and Grant Broadcasters Pty Ltd have announced the launch of a trial of DAB+ digital radio in the Northern Territory capital of Darwin.

Hot 100 and Mix 104.9 and a digital-only service called Top Country NT will be joined by a new digital-only station to be announced shortly.

Commercial Radio Australia chief executive officer, Joan Warner said the trial in Darwin indicated how enthusiastic regional commercial broadcasters are to provide digital radio services to their clients and listeners.

“The family owned and operated Grant Broadcasters has been a leader in local regional radio for more than 60 years and is representative of the enthusiasm for, and interest in, DAB+ digital radio in regional areas,” said Ms Warner.

The signal will be at relatively low power for the trial and in the first couple of weeks there may be minor interruptions as the start up procedures are fined tuned but it is still expected to cover a large part of Darwin and will be broadcast from Broadcast Australia’s Deloraine Road transmission tower.

Through the digital radio trial many Darwin radio

listeners will be able to experience digital quality audio, robust transmission, text and images on screen, plus pause and rewind on some receivers.

Leading retailers Harvey Norman and Dick Smith will be supporting the digital radio trial in Darwin by stocking DAB+ radios to allow Darwin listeners to sample the new trial services but consumers will need to remember that until the Government commits to making provision for DAB+ digital outside of the five major cities, these services will remain trial services.

Grant Broadcasters has interests in 33 commercial stations covering every Australian state and territory.

Director of Grant Broadcasters, Grant Cameron said “We are supporting the digital radio trial to ensure the people of Darwin get to experience the benefits of digital radio first hand. We are excited to be able to offer additional multi-channelling and data to our listeners as part of the trial.

“We also want to demonstrate to Canberra that people and broadcasters in regional Australia are just as interested in digital radio as those in the five capital cities that have already been given the right to have permanent digital radio services,” said Mr Cameron.

Polling in Palestine Polling in Palestine

Nautel, ABU, DRM Consortium to Host Digital Radio Webinars Nautel Limited, along with special guests from the DRM Consortium, iBiquity Digital Corporation, EHDRA and the ABU will present several digital radio tutorials in September and October, 2010.

Tutorial-format webinars presented by industry experts will focus on “need-to-know” information for international broadcasters. Attendees will learn the benefits of digital broadcasting and the basics of how these technologies can be implemented. These non-sales educational sessions will focus on two of the most popular digital technologies, DRM and HD Radio transmission. Multiple bands such as FM, MW and LW will be addressed and implications for users’ overall broadcasting facilities will be discussed.

Participants can tune in using only an internet connection. Attendees will have an opportunity to pose questions to Nautel’s expert presenters; the sessions will be fast-paced and allow approximately 40 minutes for content and 20 minutes of Q&A. The schedule is as follows: DRM Tutorial: Asia/Pacific Wednesday 22 September, 7:00 – 8:00 AM UTC This webinar will be hosted by Hal Kneller, Market Development Manager at Nautel and will have

58 Radio

And, in Canberra, the legislative seat of power, its DAB+ trial has seen the number of digital radio stations rise to 10. Commercial radio stations 2CA, 2CC, Mix 106.3, 104.7 Hit Music, plus multicultural and multilingual stations SBS Radio 1 and SBS Radio 2 have all commenced DAB+ digital radio trial services.

In addition, Canberra listeners can now hear four extra commercial digital-only radio services – Radar Radio, Mix Plus, my Canberra Digital and Hot Country Canberra Digital. An additional two digitalonly stations SBS Pop Asia and SBS Chill will also be on air.

A second phase of the Canberra trial expected to begin by September will be the transmission of the test signal directly into Parliament House.

All sectors of the radio industry have made detailed submissions to the Federal Government’s Digital Dividend Green Paper requesting the allocation of vacated VHF Band III spectrum for digital radio as analogue TV switches off and that this allocation take precedence over the reallocation or sale of this spectrum for other new services.

Visit http://www.digitalradioplus.com.au

as its special guests Sharad Sadhu, Technical Director of the ABU (Asia Pacific Broadcast Union); Ruxandra Obreja, Chair of the Consortium DRM (Digital Radio Mondiale) and Lindsay Cornell, DRM Technical Committee Chairman.

Topics will include reasons to consider digital radio (especially DRM/DRM+ solutions), regulatory issues that apply to the Asia/Pacific region, and technical details of implementing digital broadcasting.

HD Radio Tutorial: Asia/Pacific Wednesday 6 October, 7:00 AM – 8:00 AM UTC Nautel’s Hal Kneller will bring in special guest Ahmed Nadeem of the ABU along with Scott Stull, Vice President of International Business Development and Jeff Detweiler, Director of Broadcast Business Development at iBiquity Digital Corporation. Mr. Nadeem was involved in testing of HD Radio technology in Vietnam. The first part of the webinar will be an overview of HD Radio broadcasting for managers and engineers along with reasons why stations should consider digitizing. International licensing procedures will be discussed, followed by technical implementation advice.

Register at www.nautel.com/webinars

.

New Community Radio for New Zealand New Zealand’s first new access (or community) radio station in 13 years began broadcasting on 12 July 2010, with the help of NZ$80,000 funding from NZ On Air. Situated in the western tip of the country’s North Island, Access Radio Taranaki broadcasts on 104.4 FM from Windy Point with panoramic views of land and sea including Mount Taranaki.

Access Radio Taranaki is the first new access station since Access Manawatu in 1997. Community access radio is also funded in eleven other locations around New Zealand. It exists primarily to provide access to the airwaves for special interest groups not strongly represented in mainstream media.

Programmes are made by minority language, ethnic, disability and religious groups, among others.

A guiding principle of all access radio operators is “by, for, and about”. This means that, as far as possible, stations operate as a platform with a support crew, allowing programme makers to broadcast shows that are “by, for, and about” their own communities.

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Radio

Radio

Wheatstone - an ACE Choice for Digital Production Audio Services recently completed delivery of a large Digital Audio Network and Digital Broadcast Radio Consoles to ACE RADIO’s newly constructed TRFM and Gold 1242 AM facilities in Gippsland Victoria using Wheatstone’s Wheatnet IP Digital Audio Network.

The Wheatnet IP Digital Audio Network hardware comprises five hardware blades providing I/O in various formats and a Digital Mix engine for Wheatstone’s Evolution Digital Broadcast Consoles.

Blades are linked together via a single CAT5E/6 over Gigabit/1000BASE-T protocol using standard layer 2 or 3 Ethernet switches. In addition to I/O, each Blade provides 12 GPIO ports, Front Panel metering, a headphone monitoring output, and front panel controls for simple X-Y routing controls.

In addition to these hardware features every blade has two internal 8-input, 2 Buss output Utility Mixers and have silence detect functions which can be enabled on any output with auto failover and fail-back to/from a secondary source.

ACE Radio’s requirements called for Three On-

>> >> Blades in the MCR

>> >> ACE Radio’s Studio 2.

Air Studios equipped with 12-Fader consoles and an On-Air Capable News Booth. Production Audio Services provided three Wheatstone Evolution 6 Consoles for the On-Air Studios and an Evolution 4 Console for the News booth. Each console houses a custom developed panel using one of Wheatstones Ethernet connected Logic Engines to provide Studio intercom facilities, intelligent Path routing, Delay control and outside source selection. Ian Thomson – Broadcast Products Specialist for Production Audio Services explains: “What we’ve achieved here is some very complex conditional logic programming which takes

a lot of the workload away from the operator – the best thing though, the Wheatstone solution allows us to provide all this without the need for a PC running anywhere in the system. Another key strength of the system is that it forms part of an ecology. Wheatstone has a full range of Accessories which directly connect to the Wheatnet IP environment. We’ve used costeffective Ethernet connected router X-Controllers to provide simple source selection for Production Suites, and these are simply configured to allow access to just the sources these suites require.”

Adrian Harper from DABPlus P/L - Partner Integrator

Polling in Palestine

for this project states “The Wheatnet IP system has proven itself be a great fit for ACE and was easily configured for quite complex operation. We’re very pleased with ease and speed with which the system came together.”

The Ace Radio Wheatnet IP system is made up of 12 I/O blades and 4 Digital Engine Blades. The system has been designed with Broadcast reliability in mind, where any one failure in the system is unlikely to take the station off air. Wheatstone’s GLASS-E Virtual Surface for Evolution consoles allows engineering staff to, via LAN or WAN, take direct control of any of the four Evolution Consoles in the event it is required.

Ray Baker – Chief Engineer for Ace Radio said – “Key strengths of the solution as provided

by Production Audio Services are the flexibility and modularity of the Audio Network. The ease with which we have been able to integrate these systems with our existing Playout and transmission systems was very appealing.”

Production Audio Services also provided Yellowtec M!ka Microphone and Monitor support equipment, Audix Studio Condenser microphones for Guest positions and iMediaLogger software for this Project.

Visit www.productionaudio.com.au

Northern Ireland Hosts Major DAB Conferences For those staying in Europe post-IBC, Belfast in Northern Ireland will host three major events on the international future of digital radio this October.

The WorldDMB General Assembly on October 27 at the Europa Hotel in Belfast brings together WorldDMB members from Europe and around the world. On the agenda is the development of the DAB family of standards, including DAB, DAB+ and DMB, and the future of digital radio broadcasting on an international scale. The same week sees the EBU Digital Radio Conference, also held at the Europa Hotel.

On October 28/29, European Broadcasting Union delegates will meet to discuss how best to chart a digital future for radio on multi-platforms. The conference will consider a practical assessment of the conditions for the successful and profitable future of radio in all its digital formats.

To accompany the EBU Digital Radio Conference, BBC Northern Ireland and RTE will present ‘Making Connections – a Festival of Radio’. The large-scale public event will celebrate radio and its connection with people and cultures at a local, national and international level. The free event will showcase new technologies and exhibits from the BBC’s local and network radio services. Visitors can also watch live radio programmes and get involved with interactive experiences. The Festival of Radio takes place in BBC Blackstaff House in Belfast between 28 and 30 October.

Digital radio in Northern Ireland is quite widespread with much of the Province within range of a regional multiplex and the BBC’s national mux. In the ROI, RTE broadcasts to 36% of the population, rising to 52% by the end of 2010. The “noise” created by these three almost simultaneous events in Belfast will raise the public profile and awareness of digital radio broadcasting across Ireland.

Visit www.worlddab.org

IP AUDIO MASTER’S DEGREE BUILT IN.

APT | Audemat | Arctic Palm Kintronic Labs | Belar | Dielectric Exir Broadcasting | Meinberg Ariane | UBS BACK TO CONTENTS PAGE A division of Dingbat Technology

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.

AUDIO NETWORKING–SIMPLY EVOLVED

Don’t hesitate to contact OnAir Solutions with your enquiry 60 Radio

Phone +61 2 8882 7766

Email sales@onair.com.au

www.onair.com.au

Wheatnet-IP KnOWS What tO DO…SO YOU DOn’t haVe tO

Whether you’re networking two studios in the same building or two buildings across town, award-winning WheatNet-IP has you wired. It’s as simple as plug and play – drop a BLADE and a control surface wherever you need a networked console or drop a BLADE wherever you need to route audio or automation data. WheatNet-IP configures itself and you’re up and running. Since the core of every BLADE contains the DNA of the entire system, you have the ultimate redundancy right out of the box. Simple. Ultra reliable. AND – this may surprise you – WheatNet-IP is the most economical professional system you can get. Each WheatNet-IP system is made in the USA and is backed by the years of experience that have made Wheatstone the number one name in networked audio. If you’re thinking IP, think WheatNet-IP. Only from Wheatstone.

www.wheatstone.com

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Proudly distributed in Australia and New Zealand by Production Audio Services info@productionaudio.com.au Australia: 4/621 Whitehorse Road, Mitcham Vic 3132 +61 3 9264 8000 • NZ: Unit 9/28 Torrens Road, East Tamaki 2013 Auckland NZ +64 (9) 272 8041 Radio 61

®

Radio

Radio

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BE Flexes AudioVAULT 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.

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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

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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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62 Radio

Broadcast Electronics’ AudioVAULT FleX digital automation system will be sporting a new look and feel this IBC conference, including new controls for manipulating audio seconds before air and voice tracker with gain control for complex program transitions.

“Overall, we are continuing to fill out our strategy for a studio system that is responsive and customisable. We are filling out the AudioVAULT FleX with several new functions to make it easier for talent to respond to on-air situations similar to a club DJ, and we’re adding layout features that make it possible to jump between applications,” says Ray Miklius, Vice President of Studio Operations for Broadcast Electronics.

AudioVAULT FleX features true IP networking, voice track segue editor, and changeable “skins” preset according to talent preference, show requirements and other studio purposes.

Now, with this latest version, AudioVAULT FleX ads a simple segue editor for doing quick song-to-song transitions and an enhanced voice tracker with gain envelope control for seamlessly crossfading voice tracks with music.

The new voice tracker makes it possible for talent to add commentary during a song by adjusting audio gain, and to fade music or voice tracks during transitions.

In addition, another new feature lets talent quickly mark sections of an upcoming song and play it on-air as a “hook” leading into a break, or as a recurring audio loop played at intervals throughout a segment.

The new version of AudioVAULT FleX can also be configured to suit the individual workflow, compared to previous versions of AudioVAULT that offered fixed layouts. In addition, its new tabbed gadget dock feature enables users to organize and stack gadgets into tabs and quickly switch between them.

Visit www.bdcast.com

PAT Takes on Optocore

With a growing requirement for networked audio solutions in Australia’s broadcast and live sectors, Optocore GmbH has appointed Professional Audio Technology as its exclusive territorial distributor. The highlyexperienced Sydney-based operation headed by Patrick Salloch and Tony Fitzsimmons takes up its role with immediate effect.

Speaking of the appointment, Optocore sales and marketing director, Tine Helmle stated, “I feel we have found the perfect partner in Australia.

PAT will concentrate its activities on Optocore’s core markets, namely broadcast, permanent and live sound.

“We look forward to an extensive and successful period in this region together with Patrick and his team.”

100% Australian owned (by MD, Salloch, and Technology Director, Tony Fitzsimmons), PAT have spent the last 15 years providing Australian and New Zealand customers with high quality technical solutions and enjoy an impeccable reputation in the broadcast and pro-audio industries.

PAT’s managing director said he was honoured to have been chosen as Optocore’s exclusive distribution partner in Australia.

“The Optocore products bridge the gap between various high end manufacturers when it comes to having a rock solid and reliable network for audio, video and data.

“In addition, Optocore provides solutions in the architecture of high end broadcast and/or pro audio systems that hadn’t previously been addressed by other manufacturers — they have excelled in the field of distribution networking to become the world leader.”

Patrick Salloch admits that it was the flexibility, reliability and production quality of the Optocore products that first attracted them. “Australia has always been a trailblazer when it comes to adopting new technologies and ‘pushing the envelope’ that bit further than the rest of the world, and I am certain we will continue to run into open doors with broadcasters and high end production companies with Optocore.

Visit www.proaudiotechnology.com.au

Netia/GlobeCast Focus On Convergence At IBC 2010, Netia (Stand 1-A29) will focus on the convergence of broadcasting and telecoms with a new line of audio and video content life-cycle management and preparation solutions.

Netia will introduce its fully upgraded suite of media asset management solutions which allows customers to streamline globally all of their production processes. The new software suite also allows users to connect all of their partners and vendors within a single production ecosystem, simplifying the sharing and managing of media assets.

Users can now manage all of the processes within the production environment. The new Web-based interface, built on Microsoft Silverlight technology, allows for increased performance and greater security.

All modules provide for ingest and quality control; metadata extraction and tagging; search, browse and low-res proxy generation; integration with key third-party systems including QA, tape/disk-based archive, non-linear editing, playout and traffic automation; and multiplatform delivery to mobile TV, VoD/Catch Up TV, IPTV, Web streaming, and HD and SD distribution platforms.

Netia will also demonstrate its entire Radio-Assist 8 range of digital audio automation software, highlighting its two new modules: CamDirector and Netia Workflow Engine.

The company will also illustrate the tight integration between Radio-Assist and Netia’s asset management system.

Visit www.netia.com

Nexus MCR Server & On Air 24 Single-Op Console At this year’s IBC, Stagetec (Hall 8, Stand C 80), presents the new Nexus Server, which is used to optimise Nexus in master-control-room applications, and the On Air 24 singleoperator console for radio.

Designed in close co-operation with BFE, Nexus Server integrates tightly with KSC Manager, BFE’s MCR control system. KSC Manager is to be found in a large number of broadcast MCRs in Germany and many other countries.

The Nexus Server enables event-based routing to be set up. The operator configures the Server in advance using a graphical user interface or by filling in a table. The programmed routing actions are then performed automatically at the exact preconfigured time. The more complex the MCR tasks are, the greater the benefits which can be achieved by employing a system with a Nexus Server and the KSC Manager.

Hessischer Rundfunk at Frankfurt is running the first Nexus Server installation in a radio environment. It is a large router network comprised of four separate Nexus networks each with two Nexus Servers which are configured as a master system with a redundant slave system.

Visitors from the radio-broadcasting domain will also be able to take a look at Stagetec’s brand-new Stagetec On Air 24 single-operator console. From the operator’s perspective, the console has very compact fader panels, each with four faders, plus a monitor panel.

The interface was designed specifically to ensure quick and accurate operation. A GUIbased PC software application enables the technical supervisor to prepare and support self-op use in the best possible way.

On the hardware side, the Stagetec On Air 24 console is similar to the Stagetec Auratus compact mixing console in that it relies on the Nexus audio router. Nexus not only provides the I/O interfaces but also acts as host to the mixing-console processing board.

Visit www.stagetec.com

Finally...FailSaFE nETWORKED aOiP. WhEaTSTOnE E-SERiES & WhEaTnET-iP aRE yOUR BEST ChOiCE By a lOnG ShOT. When it comes to networking your facilities, there’s only one best choice. Wheatstone. For years, we’ve been the network/control surface choice of top broadcasters.

And with good reason – we care.

can stand alone, even if the TOC goes down, with backup analog or digital program audio feeding a back end router independent of the core Gigabit infrastructure.

Wheatstone’s Audio-Over-IP product is the best in the business. Here’s why:

4. Modular is better. Why would you want to combine your switch, mix engine and I/O into one box?

Beats us. With WheatNet-IP, you install only what you need, where you need it. We believe in not overselling.

1. WheatNet-IP is easiest for a station to implement and configure.

It is, hands down,the easiest in the industry. No need for Wheatstone to provide factory on-site assistance unless you really WANT us there. The manual and app notes will have you up, running and stable in less time than any other system.

2. WheatNet-IP is a natural for large facility multistation networking (and for smaller facilities too!).

It uses the IGMP features of Ethernet Layer 3 switches to identify a multicast packet, see which ports are requesting that packet, and send it only to those ports.

Traffic control is maintained and system bandwidth is optimized.

3. Redundancy is critical. A typical WheatNet-IP installation has multiple levels of redundancy. Each BLADE holds the complete map of the entire system within its onboard memory – we call it distributed intelligence – a system with 50 BLADEs has 49 backups with failover in the event of a failure. Cisco Stackwise technology provides redundancy in the central core TOC switch. A WheatNet-IP/E-Series console studio complex

5. Manufacturing quality is very important.

Wheatstone is proud to have the best track record in the business for build-quality, reliability and intelligent functionality. With far more up-and-running installations than anyone else, this is where we really shine. An investment in WheatNet-IP and E-Series control surfaces today will reward you with a future-proof, failsafe networking/ control environment that’s infinitely updatable and in for the long run.

7. Wheatstone is self contained. WheatNet-IP and the E-Series, just like ALL Wheatstone products, are designed, engineered and built from start to finish in our New Bern NC USA facility. Everyone who works on our products is 100% knowledgeable and immediately available. You can relax – as with the famous insurance company, you actually ARE in good hands.

With WheatNet-IP, we think we’ve done our homework.

In fact, we know we have. And we’re happy to say that we’ve got the best product on the market. To learn more, and there’s a LOT more, get us on the phone or visit us on the web. We’ll be happy to meet with you and get you everything you need.

6. WheatNet-IP has an advantage. Take a look at your entire environment. Wheatstone is a perfect partner because we are always there, always innovating. Built into every WheatNet-IP BLADE are features others just didn’t think of – handy utility mixers, silence detection, crosspoint routing control, headphone monitoring of any source, lots of logic GPIO, and comprehensive metering of audio I/O, not just signal-presence indicators. And, in the hugely unlikely event that a BLADE needs to be replaced, you just plug in a new one and enter the BLADE number. That’s it.

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AUDIO NETWORKING–SIMPLY EVOLVED

www.wheatstone.com

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Proudly distributed in Australia and New Zealand by Production Audio Services info@productionaudio.com.au Australia: 4/621 Whitehorse Road, Mitcham Vic 3132 +61 3 9264 8000 • NZ: Unit 9/28 Torrens Road, East Tamaki 2013 Auckland NZ +64 (9) 272 8041 Radio 63

Audio

AUDIO

Loudness Control...From Production to Transmission Only Linear Acoustic – the leader in television audio control and QC – has the solution every step of the way from content creation to transmission: Production/Ingest: ITU-standard Loudness Metering and Correction with at-a-glance indication of current and program-length loudness. Upmixing to maintain surround field and center channel presence with perfect downmix compatibility.

TVNZ to Launch ‘Audio Description’ Trial New Zealanders with sight limitations are set to benefit from a 12-month trial by TVNZ which will see the TV network carry ‘Audio Described’ programming.

Audio Description allows people with vision impairment to follow television programmes more easily. An audio track describes the non verbal onscreen action in a programme alongside the normal soundtrack. Over 75,000 New Zealanders have a sight limitation that cannot be corrected by glasses or contact lenses.

Funding body NZ On Air and TVNZ have been investigating feasibility for some time, supported by strong advocacy from the community. Broadcast of the service is now possible with the digitisation of TVNZ’s transmission facilities, due to come on stream towards the end of the year. It is expected that the first Audio Described programme will screen around March 2011. NZ On Air’s funding is for a pilot year for a limited amount of TV One programming.

After NZ On Air and TVNZ evaluate the success of the pilot, and depending on available funding, it is hoped the service will roll out more broadly.

Audio Description NZ On Air has made available NZ$500,000 for the new service.

“NZ On Air has long supported captioning of broadcasts for the hearing-impaired,” said NZ On Air chief executive Jane Wrightson. “Now we are

proud to improve access to New Zealand television for the blind and vision-impaired community.”

“This is the result of many years of hard work and advocacy by the blind community, as well as ongoing feasibility investigations by NZ On Air and TVNZ,” she said. “Developments in new technology have finally made a service possible. We’re grateful for the willingness and support of Anna Donald and the team at TVNZ to build this service into their new digital infrastructure”, she said.

Syntec Addresses Installed Sound Market Syntec International has announced the creation of a new division to specifically address the installed sound markets across Australia & New Zealand.

The new team will focus on Apart, K-array and the other existing product groups within the Sennheiser family.

This expansion means that Syntec will be able to focus new energies into the Installed Sound market whilst maintaining their efforts in the Professional Audio and MI areas.

David Bell, Manager of the Syntec Professional Division, heads up both teams. Two new Account Managers have been appointed to the Installed Sound team: Sam Wood has been appointed in NSW and Paul Shephard has been appointed in Victoria. Gary Foster will support the Installed Sound team as Product Manager.

Syntec’s more traditional markets, being the Pro Audio and MI markets will continue to be addressed by Peter Hall in NSW & NT, Jason Hawkins in Victoria, SA & Tasmania, Cliff

64 Audio

Chandler in Queensland and Stan Johnson in WA. James Waldron has been appointed as Product Manager for Professional Products.

Cliff Chandler and Stan Johnson will also be responsible for the Installed Sound markets in their states and Jason Hawkins will be responsible for Installed Sound in South Australia and Tasmania.

“Both Apart & K-Array are relatively new in Australia & New Zealand and need a concentrated effort to cement them into the markets, along with the Sennheiser Installed Sound Products. At the same time we need to ensure that our more traditional customers continue to enjoy the same levels of service that they expect and deserve from us,” said Robert Sloss, Syntec’s Managing Director.

“This expansion allows us to achieve these two goals, and the experienced staff that have joined us recently should help us to hit the ground running,” said Michael Sloss, Syntec’s Operations Manager. Visit http://www.syntec.com.au

“Establishing this service is a major step forward for New Zealand,” said TVNZ’s Head of TV ONE and TV 2 Jeff Latch. “This new service will be as critical to vision impaired audiences as the captioning service is to hearing impaired audiences and TVNZ is proud to be able to help”, he said.

The Association of Blind Citizens of New Zealand welcomed the announcement. “We’ve been waiting many years for audio description”, said National President Clive Lansink. “Now the technology is finally here, it’s fantastic that NZ On Air and TVNZ have been able to work together to develop this service” said Mr Lansink.

Audio description is required in the United Kingdom (10% of all programming must be audio described) and Canada (in-house productions must be audiodescribed and all broadcasters will eventually have a quota). PBS offers it in the United States. It is not yet offered in Australia.

Audio Description will be provided on the digital Freeview service for TVNZ. New set top boxes and Freeview-integrated televisions available from 2011 will include the necessary software to enable viewers to turn on the audio description track. Viewers with existing set top boxes and integrated televisions will require a software upgrade to access the service.

In-plant: ITU Loudness Metering and Audio Monitoring, with flexible routing, switching, decoding and de-embedding.

Transmission: Loudness Control and Metadata Management that stops listener complaints while maintaining “Hollywood approved” production values on the latest surround systems.

Get it Right in the Mix: Loudness Monitoring That’s Truly Useful Evolved from extensive field research during high-profile events, the new Linear Acoustic LQ-1000 Loudness Quality Monitor shows you everything you need to know to mix to the new recommended practices for loudness control. Think of it like an audio speedometer: one quick glance and you can get back to driving the mixing desk.

With the LQ-1000, current loudness, target loudness and peak level are clearly indicated with an intuitive combination of large numbers, bargraph meters, and a loudness histogram. Color is used to display the loudness comfort zone: blue if too quiet, green to yellow within target and red if too loud.

Get it Right on the Air: Television Audio Controlled AERO.air or AERO.one in your transmission chain – just before the digital encoder – automatically monitors loudness range, adjusting it to keep the audio comfortable for the viewers at home, not too loud, not too soft. It prevents commercials from blasting out of the set, keeping you legal.

And AERO provides seamless and automatic upmixing of local plant audio from stereo to surround so your transitions from network to local don’t collapse the sound field or your viewer’s interest. Both AERO.air and AERO. one offer optional HD/SD-SDI support and integral Dolby® Digital (AC-3) encoding.

Unified Speech and Audio Coding At the recent 93rd Motion Picture Experts Group (MPEG) meeting held in Geneva, MPEG’s Unified Speech and Audio Coding (USAC) work item (ISO/ IEC 23003-3) progressed to Committee Draft.

USAC eliminates the need to use signal-specific encoding and decoding systems dedicated specifically to speech or music to attain high compression performance for both speech and music content, as well as mixed speech and music content.

This new standard addresses the strong market need for a codec capable of delivering consistent quality for such mixed content over a broad range of bit rates.

In the bit rate range of 8 kb/s through 24 kb/s, USAC’s capabilities represent a major advance in audio technology. In this range of bit rates, USAC enables applications such as those for streaming to mobile devices in which the content may consist of music, movies or a mix of talk and music with very high bandwidth efficiency and unparalleled quality.

Moreover, it also can be operated at higher bit rates, to meet any demand for excellent audio quality.

Visit http://mpeg.chiariglione.org/hot_news.htm

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AERO.air – fully-featured for the major local station or cable/satellite network.

AERO.one – simple, cost-effective solution for single programs or backup paths.

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

IBC Stand nr. 8.D29

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www.LinearAcoustic.com • +1.717.735-3611

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

Audio

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

NTP Debuts Latest AD/DA Audio Converter NTP Technology (Stand 8.B51) has chosen IBC 2010 as the international launch venue for the DAD AX24 192 PHD, the latest version of the proven AX24 eight-channel ultra-high-quality AD/DA audio converter.

“The key new feature of the NTP DAD AX24 192 PHD is an interface connecting directly to Avid Pro Tools digital audio workstations,” explains NTP Technology Sales Director Mikael Vest. “Supporting sampling rates of 44.1 up to 192 kHz, it is ideal for use where the highest possible recording quality is needed. An optional high-quality microphone preamplifier makes it the world’s most transparent microphone preamplifier with integral analogue to digital conversion.”

Available with eight analogue inputs or eight analogue outputs channels, or both, NTP’s DAD AX24 192 PHD is operated via the DADman control application which runs on Apple Mac OS X and Microsoft Windows. The DADman application is capable of handling 128 channels and can be automated from Avid Pro Tools, emulating the Avid Pro Tools PRE, or via

EuCon for operation from the Euphonix MC-Pro and 5-MC hardware controllers.

Designed for high quality music recording as well as mastering and monitoring in DSD, the NTP DAD AX24 192 PHD offers A/D and D/A conversion in PCM at up to 384 kHz sampling rate, DSD at 64 frame/s or 128 frame/s and 352.8 kHz DXD. The optional microphone preamplifier incorporates analogue gain in 3 dB steps as well as digital gain with 0.25 dB precision. Dynamic range is between 118 and 121 dB and the preamp equivalent noise floor is -130 dB. The AX24 192 PHD is fully remote controllable via RS-422, USB or Ethernet.

Visit www.ntp.dk

Linear Acoustic Sounds Off at IBC Television audio control specialist Linear Acoustic (Stand 8.D29) has announced a range of new products and updates for IBC 2010.

The Aero.air Transmission Loudness Manager — the only all-in-one processor to accept any Dolbyencoded or PCM audio, provide upmixing and loudness control, and to output both PCM and Dolbyencoded audio for transmission. Advanced multiband processing ensures consistency without artefacts, which is not achievable with wideband-only control.

New features include UPMAX-II 5.1 reference quality 5.1-channel automatic upmixing; CrowdControl, which prevents dialogue from disappearing in the mix; internal Dolby E/Digital/

Plus decoding; Dolby Digital, Dolby Digital Plus, and Dolby Pulse (HE-AAC) encoding; and internal Nielsen Watermark encoding for audience measurement.

Aero.mobile Audio Loudness Manager for Mobile DTV - The dynamic range “comfort zone” used for mixing television audio for viewing on stereo or surround in-the-home televisions is far too wide for comfortable listening on typical earbuds or tiny speakers.

The Aero.mobile employs newly developed psychoacoustic processing that enables content to remain audible in noisy environments on small mobile devices. Accepting mono, stereo, or

Dolby 5.1-channel station audio, the unit includes all tools a broadcaster needs to deliver the most satisfying experience appropriate for widely varying individual listening environments. e² 16-Channel Backhaul Encoder and Decoder Offering up to 16 channels of full-bandwidth audio carried via a single 20-bit, 48-kHz AES pair, e² (e-squared) has become the choice for highquality, reliable, error-free backhaul of program and associated audio of high-profile events including the Academy Awards and Country Music Awards.

Linear Acoustic is shortlisted for the IBC Innovation Award for Content Creation.

Visit www.linearacoustic.com

sources (tape, vinyl, DAT, cassette, records, 78s, and cylinders) in multiples of three parallel ingest streams. At IBC2010, NOA will introduce a fourparallel stream version, which additionally reduces the time it takes to digitise large databases. With this upgrade, NOA Record integrates seamlessly with both mediARC and JobDatabase workflow systems to form a unified solution for digitisation and archive management.

NOA Job Database V2.9 enhances throughput

speed and overall search performance for the handling of large databases. It also simplifies batch operation with the addition of a new, more user-friendly GUI, and interfaces with the NOA MediaButler transcoding platform.

NOA mediARC 1.5 audio archive management system upgrade includes expedited cataloguing, a more user-friendly interface, upgraded responsiveness, and better security.

Visit www.noa-audio.com

NOA Advances Archiving NOA Audio Solutions (Stand 8.D91) will showcase significant advances in all three of its product lines: IngestLine for transcribing audio content from analogue to digital format; Job Database for automating metadata transcription for newly digitised content; and mediARC audio archive management system.

NOA Record, Four-Channel Upgrade - until now, the NOA Record system has performed digitisation of any combination of analogue

Introducing

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

CT_sep10_TVAP_4c_IBC_215_65_5bleed.pdf 09.08.2010 10:36:10

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> IBC 2010: 2.C49

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www.junger-audio.com 66 Audio

www.jungeraudioasia.com

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Audio

Audio

Audio

Barix Debuts Audio Reflector Service

World class brands All under on e Class r Brands oof World 





All under one roof



At IBC, Barix AG (Stand 8.B16) will debut its new Reflector Service which simplifies audio transport connections between locations, and is paired with the company’s popular Audio over IP technology at the send and receive points. The hosted Reflector Service application serves as an online centre to configure and monitor the audio transport bridge while also providing a straightforward relay of the audio feed. The application dramatically simplifies installations for broadcasters relying on basic highspeed internet connections for studio-to-transmitter and point-to-multipoint distribution by eliminating firewall poking and costly static IP addresses that are difficult to configure. The Reflector Service even eliminates basic router forwarding configuration, as the devices are automatically partnered following connection to the Reflector Service via the World Wide Web. Barix will pre-load the Reflector Firmware on the Exstreamer 500, a new low-cost version of

the Exstreamer 1000 Audio over IP device that specifically targets IP Audio applications in the broadcast market.

The Reflector Service essentially auto-configures the devices over the internet and serves as an intermediary; the encoder forwards the program audio to the server and the decoder pulls the stream. Users sign up, plug in the two Exstreamer 500 devices and enter the unique MAC address for each device at the web page. After (optionally) selecting audio quality and adjusting audio levels, the auto-configuration process enables communication between the server and the two devices to begin streaming live audio within minutes.

The Reflector Service is operated by StreamGuys, a professional hosting service provider with servers in the US, Europe and Japan.

Visit www.barix.com

SSL Broadcast Automation at IBC At IBC Solid State Logic (Stand D83) will showcase the integration of the industry leading C100 HDS and C10 HD digital broadcast consoles with Ross Overdrive and Sony ELC broadcast automation systems.

SSL’s broadcast audio signal processing can now be fully integrated into an automated production signal flow. The first SSL product to support these new features was the C10 HD that was designed to manage increased station output on tighter budgets.

These benefits now carry over to the flagship C100 HDS, adding enhanced operational options for the larger installation.

The new broadcast automation features enable external control of faders, on/off switches, pans, and PFL. The features can be enabled or disabled to allow seamless transitions between audio-



Design  Install  Sales Service Support 

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P: 02-9940 3053/02-8006 2028 sale s@proaudiotechnology.com.au

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68 Audio

follow-video functionality and manual operation.

Additionally, the range of console channels under automation control can be specified to complement the workflow of the audio operator so they can concentrate on mixing complex segments. In this situation, channels that have been designated for external control may be hidden from the surface. An audio operator therefore has access to all console faders while automation simultaneously controls the assigned console resources in the background. The power of this solution is increased when combined with features like SSL’s ‘Dialogue Automix’ and ‘5.1 Upmix’ functions. These combine to provide very consistent, high quality program output, even with complex show production requirements.

Visit www.solid-state-logic.com

Mayah shows the new Audio Codecs German codec manufacturer Mayah (Stand 8.A74) is aiming to revive the market for live audio transmission and C11 is its newest Audio Codec generation. With 14 different models in total they cover the real-time audio transmission needs of broadcasters, telecom operators, recording studios and voice artists.

The C11 codec family provides Audio-overIP based strictly on EBU standard for SIP/RTP contribution application using Ethernet or 3G networks. It also supports ISDN, POTS and ASI network interfaces. In the advanced models an audio logging or playback to/from a local storage media is available along with the ability to switch the analogue line inputs to a high quality microphone inputs with 48V phantom power.

Supported audio formats include G.711/G.722, MPEG-1 Layer 2 / Layer 3, MPEG-4 AAC and HEAACv2, as well as AAC ELD and Linear audio.

APT-X, 4SB ADPCM and Transparent AES/EBU signal transmission over IP are offered as options.

Sporty is the new Portable Reporter Codec featuring a unique option for simultaneous audio logging or playback to/from an SD card or USB stick that allows for flexibility in journalists’ creative work. Automation of audio-over-IP connections is provided with SIP/RTP according to EBU standard.

Flashman II, the new Portable Audio Recorder/ Codec provides two professional microphone / line inputs for recording to SD/USB storage in advanced and conventional audio formats. www.mayah.com

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Eyeheight Automatic Loudness Controllers

Eyeheight (Stand 8.D92) has announced two Automatic Loudness Controllers for IBC 2010 that conform to the ITU-R BS.1770 recommendation and its US equivalent, ATSC A/85:2009.

KarmAudio is a hardware solution allowing real-time unattended adaptive loudness and true-peak correction. KarmAudio is based on a geNETics processor and integrates with the full range of geNETics products. It continually monitors the amplitude of incoming audio and makes gradual adjustments to ensure that the overall content complies with a predefined target loudness.

These adjustments occur uniformly across all channels to ensure that relative image positions are unaffected. KarmAudio also performs true-peak estimation and correction at 8 x real-time oversampling frequency.

KarmAudioAU Plug-in A plug-in for the Apple Mac OS X platform, KarmAudioAU performs offline scaling of the entire programme file to match audio loudness to a target LKFS level. Uniform scaling is applied to match the content with a predefined target loudness without affecting overall audio dynamic range. As a final pass, KarmAudioAU performs an 8 x oversampling true-peak analysis and corrects for true-peak overshoots. KarmAudioAU is accessible to all native OS X processing applications such as Apple’s Final Cut video/audio postproduction and Soundtrack Pro music creation and audio editing software.

Visit www.eyeheight.com

Singular Signs Up For Supermeet Singular Software, developer of workflow automation applications for digital media, has announced that it will exhibit at the Amsterdam SuperMeet to be held on Sunday, September 12, 2010.

Staged in parallel to IBC, the third annual Amsterdam SuperMeet is a networking event for creative professionals, digital content creators, and HDSLR filmmakers.

Thought-leaders on HDSLR production workflows, Singular Software will be on-site to discuss how its solutions address the challenges of multi-camera, multitake and dual-system audio editing.

Showing for the first time in Europe, the product line includes the newly released DualEyes and flagship product PluralEyes, for Final Cut Pro, Vegas Pro, and Adobe Premiere Pro Creative Suite (CS) versions 4 and 5.

By analysing audio information, PluralEyes synchronises audio and video clips automatically, without the need for timecode, clappers or any special preparation.

PluralEyes for Premiere Pro is compatible with Windows XP, Vista and Windows 7. A version for Mac OS X users will be released at a later date.

The Amsterdam SuperMeet will be held on at The Grand Hotel Krasnapolsky located at Dam 9 1012 JS, Amsterdam from 19:00 - 23:00. Doors open at 16:00.

Visit: www.supermeet.com and www.singularsoftware.com

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Audio

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.

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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Seven Network Builds Playout Facility with Harris

SIGNAL DISTRIBUTION, TEST & MEASUREMENT

Videocraft Builds Studio with Ambience

Production company Ambience Entertainment is used to requesting unusual solutions from Videocraft.

In fact, according to Supervising Producer Monica O’Brien it’s almost expected now. However, the company’s most recent request surpassed everything they had asked for to date.

“This time we asked Videocraft to build us a complete studio from scratch in under three weeks,” said O’Brien.

The request came after continued success for Ambience with the company being commissioned by the Nine Network to produce another children’s show entitled, Pyramid.

Upon initial discussions it became clear to Videocraft MD James Taylor and NSW State Manager Andy Liell that what Ambience needed this time was more than just a straightforward workflow solution.

Liell explained, “Ambience wanted us to think outside of the box. What was required wasn’t a traditional networked studio or OB solution. It was much more a bespoke studio build that would suit Pyramid and many other future shows for Ambience.

The studio also had to be tapeless with file-based workflows.”

Videocraft specified a system that used the latest industry standard components. This meant the production was not tied to a legacy of older equipment. Although Pyramid was to record in SD, the core of the system is a powerful and flexible HD backbone.

Liell continued, “This system is totally unique, customised to the needs of the production and

designed so it can be easily and quickly reconfigured if required with the entire studio able to switch from SD to HD by simply changing the cameras. The fact that this is now a permanent installation in Fox Studios Studio 8 means that there is virtually no potential for problems that could occur with a system that was constantly being bumped in and bumped out on a weekly basis, potentially delaying production if a problem arises at bump in.”

Key to the system’s success was the design, equipment and its workflows. Central to the system solution was a 6-channel EVS XT2 server and XDCAM workflow for record and playback.

Liell explained, “James designed the system to record to both EVS and Sony XDCAM. Main programme and a backup record is to two Sony PDWHD1500 XDCAM decks, which also give the advantage of being able to record 8 channels of audio in the MPEG IMX 50 format - equivalent in quality to Digital BETACAM. The EVS XT2 server records the programme feed, ISO cameras and also does playback. We also added the EVS IP Director to simplify recording and manage exporting operations

to Final Cut Pro for editing. The ISO material on the EVS is recorded in the same IMX 50 codec as XDCAM, so the quality of the master and the ISOs is identical. Both Final Cut Pro and Avid systems can natively edit these files with no quality loss. This file based workflow significantly helps the turnaround time of the programmes, reduces cost for tape stock, reduces ingest times to post and preserves the best picture and audio quality.”

Taylor’s system design also includes a fully optioned Sony MVS8000G Vision Mixer. Multi-view monitoring is taken care of by Evertz VIP-A multiviewers feeding four Sony 47” LCD screens that make up the control room monitor wall along with Marshall UMD LCD displays. Also included in the system is the TSL Tallyman box, which allows tallys and source names to follow through from the Codan router to all the monitors in the control room.

For graphics a Deko 3000 dual-channel CG boasting a full feature set was included and for intercom an RTS Zeus III Digital matrix with wireless floor manager comms, wireless IFB for talent and standard wired camera comms were chosen.

Videocraft also provided four Sony BVPE30WSP widescreen SD cameras on Sachtler pedestals and fifth camera (Sony HDCX310) as a jib mounted wide-angle camera with full paint control from the CCU area.

Videocraft also took care of the studio’s engineering area designing it with full control of all router sources and destinations, its own grade one monitor and audio monitoring.

Visit www.videocraft.com.au

Harris Corporation is providing Seven Network Australia with an end-to-end, file-based SD/HD playout centre at its Melbourne facility. The project is part of a master purchase agreement that is covering projects and activities for the facility buildout.

The facility incorporates a Harris ONE integrated broadcast workflow solution, which went on the air in June. The launch of the Channel 7TWO SD service was the first project completed under this agreement, with new channels scheduled to be added to the network’s lineup.

The Harris D-Series playout automation system provides ingest, content workflow management and playout, with the ability to support from 5 to 1000 channels with “take it for granted,” high-

availability redundancy technology. On-SAN (storage area network), high-resolution editing is enabled via Velocity ESX editors, and NEXIO servers provide file interchange support for existing Quantel Clipbox media. The system also supports live program segmentation and automatic turnaround — critical for regional channel transmission. The Platinum router and CENTRIO multiviewer technologies are also key components of this end-to-end system.

“This was the smoothest implementation we’ve ever experienced,” said Andrew Anderson, general manager of Broadcast Services at the Seven Network. “The Harris ONE solution will allow us to update our existing broadcast systems and to further streamline the preparation and playout of content for our existing channels. We will also have unparalleled

agility to implement new channel opportunities.

Harris has an established team of broadcast and IT specialists in Australia, so we benefited greatly from accessible and reliable local support.”

“Our solutions-based ONE approach provides a complete, file-based content delivery platform that will enable Seven Network to streamline its workflows and increase operational efficiency, while lower operating expenses and driving new revenue streams,” said Joe Khodeir, vice president of sales, Harris Broadcast Communications. “The proven reliability of the D-Series automation will enable Seven Network to incorporate new channels when needed.”

Visit http://www.harris.com

16-49 and is designed to complement Seven and 7TWO programming.

According to Chief Executive Officer of Seven Media Group, David Leckie, “Seven is Australia’s most-watched network and our suite of multi-channels delivers more viewers than anyone else. 7mate is the next step in building on our leadership in broadcast television. 7mate is going to be great (mate).”

“We’re delighted to be the first commercial network to move to three channels. With 7HD we

were first into multi-channelling for the commercial networks and this is another significant step for our television business,” Mr Leckie said.

To receive 7mate from 25 September, you will need to tune into channel 73 on an HD capable Digital TV, PVR or set top box. If you have an analogue television you will need to connect your old TV to an HD capable Digital set top box, PVR, or Digital recorder and tune in to channel 73.

Seven’s New Digital Channel Australia’s Seven Network has released details of its new digital channel. It is the first “third channel” to be launched by a commercial television network in Australia. Sounding like a brand of condom, the new channel will be called 7mate and will primarily target men. It will launch on 25 September with high definition coverage of the Australian Football League Grand Final. According to Seven, 7mate will be more than sport. It is the first broadcast television channel to cater for men

Austar Takes Triveni for Test Lab Triveni Digital has announced that AUSTAR Entertainment, the provider of subscription television services in regional and rural Australia, is using the GuideBuilder SI to provide DVB-SI data for the company’s test lab in Sydney. Supplied by systems integrator Magna Systems, the Triveni Digital metadata generator supports AUSTAR’s Sandpit, Development, and Test platforms by allowing them to create and generate the private tables and custom descriptors they require without investing in a costly system upgrade.

“Every SI generator offers basic DVB/MPEG (P)SI tables and descriptors; however, all decoder vendors and platform operators design and use private tables and descriptors specifically for their platforms,” said Michael de Marigny, senior broadcast engineer at AUSTAR Entertainment. “Within the AUSTAR platform, there are a number of vendors that rely on

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private descriptors. With the GuideBuilder SI, we can accommodate any of this private data. By allowing us to do so without a patch upgrade or further software development, this solution from Triveni Digital helps us in meeting our deployment timelines and design deadlines.”

The AUSTAR Test platform is predominantly used to test, verify, and review all interactive applications and new decoder software and hardware prior to launch to customers. The company’s Development platform is used by decoder engineers, software developers, and third-party developers to work on new applications and new decoder software and hardware vendors.

The Sandpit is used by broadcast engineers to work on POCs, to test vendor equipment, and to cut streams for vendors.

In generating accurate DVB-SI data for these

WTS platforms and providing users with an intuitive interface for managing this information, GuideBuilder SI can import program data from many different sources including listing services and traffic systems, automation systems, and SI data from off-air/live signals. Local or customized data can be manually entered into the system, as well. The AUSTAR Test Lab is taking advantage of this versatility, running the GuideBuilder SI system as a stand-alone generator and leveraging the system’s flexibility to define desired SI tables and descriptors without the need for new code drops or hardware changes. Though the GuideBuilder SI runs independently of AUSTAR’s conditional access (CA) system, engineering staff are able to use the Triveni Digital system to create, ingest, and support schedules for their CA system.

Visit www.TriveniDigital.com

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

WILL- BURT

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 www.luminabroadcast.com.au C+T Lumina HP 30-04-10.indd 1

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4/5/10 2:45:35 PM

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SysMedia IBC Preview At IBC 2010 SysMedia (Stand 3.B67) will launch WinCAPS Quantum subtitling software, new HD/3G-SDI subtitle encoding products and updated analogue and digital Teletext systems WinCAPS Quantum is a totally new subtitle preparation suite focused on productivity.

Quantum integrates powerful tools for automated media transcription, assisted translation and easy extraction of dialogue from scripts, with a brand new user interface. Subtitlers benefit from an enhanced workflow and the time-saving benefits

of the latest technology, while retaining control of their craft. The result allows broadcasters and subtitling facilities to satisfy increasing output demands at a lower production cost.

HD subtitle encoding hardware - SysMedia is also announcing a range of new HD/3G-SDI subtitle encoding products based on its brand new HDVANC and SD-VBI data encoding/decoding card.

The range includes a WST-OP47 teletext subtitle transcoder, 3G-HD caption generator and OP47/ EIA708 subtitle/caption encoder/decoder units.

Utah Scientific IBC News

At IBC 2010, Utah Scientific (Stand 2.B20) will introduce a new family of I/O boards for the UTAH-400 router to the European market. These new I/O boards will allow users to choose MADI audio and IP video input and output options in addition to the existing analogue and digital video (up to 3G) and analogue and digital audio options. Utah Scientific routing switchers include a full range of analogue, digital, and HDTV systems with integrated high-density frame

sizes from 8×8 to 1056×1056 (including the 144-frame in 9 RU, 288-frame in 16 RU, and 528-frame in 20 RU — all with 3G HD capability).

Utah Scientific will also demonstrate new internal squeeze and graphics capabilities for the MC-4000 Digital Master Control Processor.

At IBC 2010, Utah Scientific will show an extension of the Dot.Box family, a combined dual-channel master control and routing system that constitutes a complete, affordable solution for broadcasters

Dveo TimeShifter Goes IP Analogue and Digital Teletext Systems – SysMedia leads the market in both traditional and digital teletext production and delivery systems. Updated products on show at IBC 2010 demonstrate how the company continues to make it easier to create and maintain services on any TV platform, with digital-ready upgrades for analogue teletext systems and new developments in digital teletext including support for MHEG-IC and HbbTV. Visit www.sysmedia.com

moving to multichannel operation. The Dot. Box package has been extended to include a 144×144 frame size. Both the Dot.Box 64 and 144 are wired for future expansion of inputs, outputs, and master control channels.

For Utah Scientific’s control systems, IBC will be the European launch point for a major new release of the U-Con configuration software and R-Man management software.

Visit www.utahscientific.com

Dveo (Stand 2.A48), the broadcast division of San Diego based Computer Modules, Inc. (CMI), has announced the launch of the IP version of their popular TS-TimeShifter broadcast time delay system for local delay of programming sent out across multiple time zones. Dveo will introduce the new system at IBC and deliveries will start in October 2010. Designed for broadcasters and content providers, the TS-TimeShifter/IP is a file server with knowledge of real time. It captures MPEG-2 or H.264 IP transport streams and plays them back after a delay that is finely adjustable from seconds to weeks.

The TS-TimeShifter/IP is designed to faithfully reproduce the incoming signal. Whether the signal happens to be standard definition or high definition, the delayed stream will be identical to the incoming stream. The TS-TimeShifter/IP is designed for 24/7 operation and is configured around a SuperMicro or similar enterprise class rack mounted server.

Ordering options include a dual power supply, a spare fully-tested hard drive, and a GPS Clock and/or SMPTE time code card or NTP for super-accurate time. The system comes standard with a RAID hard drive array.

Visit www.dveo.com

Screen Subtitling Tools for IBC Subtitling specialist Screen Subtitling (Stand 1.C49) will be demonstrating its range of software and tools at IBC. Poliscript 3DITOR subtitle preparation software helps you design, display and deliver high quality 3D subtitles. Supporting a comprehensive range of 3D technologies and file formats, 3DITOR ensures compatibility with all production and delivery formats.

MediaMate is a software-based system designed for the repurposing and manipulation of media files. The system can be used for encoding, decoding and rendering media files for broadcast, VOD, Mobile and IPTV. Translation Manager is an intuitive and easy-to-use web-based workflow management system for subtitling, captioning and all translation service providers.

Polistream Black is the next evolutionary step in Screen’s premier transmission system.

Lower power consumption and energy saving technologies make it the greenest system Screen has ever built.

Visit www.screen.subtitling.com

Gearhouse Integration, SaleS & Rentals Gearhouse Broadcast (Stand 10.C41) is a leading international broadcast solutions provider specialising in the provision of Systems Integration, Broadcast Sales, Broadcast Rentals and Project Solutions.

At IBC Gearhouse Broadcast will showcase the work of its systems integration division including recent high profile system installations for Doordarshan, M-NET and Al Jazeera.

This company is an authorised dealer for a number of leading manufactures including Sony, Evertz, Harris, Snell, JVC and Tektronix.

Visit www.gearhousebroadcast.com

sat-nms MNC V3 Monitoring & Control Software SatService GmbH (Stand 1.F47), the German specialist for satellite ground stations, has announced version V3 of its sat-nms Monitoring & Control Software for satellite ground stations.

The sat-nms M&C software developed and sold by SatService GmbH is operational in a huge number of satellite ground stations and teleports. Operators all over the world enjoy the stability and the easy configuration and operation of the sat-nms MNC software.

Visit www.satservicegmbh.de and www.satnms.com

Pilat Media Offers Rights Management Pilat Media (Stand 3.C46) is helping broadcasters maximise their revenues while remaining rights compliant with a standalone, centralised rights management system based on proven IBMS features and technology. This new product covers a complete set of services for asset lifecycle management from production through distribution — applying centralised rights management, contract management, deal management, and asset finance.

A comprehensive application programming interface (API) enables integration with thirdparty systems including linear scheduling

systems, on-demand storefront management systems, internet content management systems, media asset management systems, and even content sales and affiliate management systems.

Pilat Media’s advanced advertising campaign management add-on module to IBMS has been enhanced with the ability to sell and insert advertising and other promotional messages in on-demand content. IBMS:OnTarget enables broadcasters to sell TV commercial inventory using profile-based targeting across live broadcast, ondemand content, and recorded programming.

Pilat Media is also introducing an advanced set of automation system interfaces based upon BXF (Broadcast eXchange Format) standards, initially for OmniBus Systems automation systems.

The highly dynamic Web service interface handles the synchronisation of schedules, playout, and plant routing between IBMS and automation systems to enable justin-time changes up to airtime in file-based operations.

IBMS acts as the central hub for orchestrating all programming and advertising changes, collecting as-runs, managing media, and re-routing live feeds.

Visit www.pilatmedia.com

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A division of Dingbat Technology

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R&S New Monitoring Solutions Rohde & Schwarz (Hall 8 D35) showcases DVB-T2, 3D TV and the latest monitoring solutions at this year’s IBC. An example is the R&S DVMS4 for monitoring digital TV networks, which premieres at the trade fair. New functionality for DVB-T2 includes multiple PLP defined in the standard, which has now been added to both transmitters and T&M instruments, - making it possible to transmit diverse services in one channel at variable data rates.

DVMS4 monitoring system, which monitors DVBT/H and DVB-S/S2 signals as well as transport streams, will be presented for the first time at IBC. The R&S DVMS4 simultaneously monitors the RF and transport stream characteristics of up to four digital signals in only one height unit, making it the most compact instrument in its class. It is therefore

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The R&S DVSG generates video and audio signals for the development and quality assurance of the latest TV generation

ideal for use at sites with multiple transmitters. The R&S DVMS4 detects all relevant errors, saving network operators the necessity of investing in other costly monitoring equipment. Rohde & Schwarz offers the R&S DVMS1 for monitoring just one RF and/or TS signal. The company has a solution available at an attractive price/performance ratio – regardless of the number of signals to be monitored.

A 3D TV test solution based on the R&S DVSG digital video signal generator can also be seen at IBC. The compact signal generator for the development and quality assurance of TV sets and projectors supports all relevant 3D TV formats, and outputs uncompressed video signals in accordance with version 1.4a of the HDMI standard.

Visit www.rohde-schwarz.com

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MP

Hybrid is a leading manufacturer of broadcast production technologies.

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

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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 Phone +61 2 8882 7766

Email sales@onair.com.au

www.onair.com.au

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MANAGING THE SCHEDULE ScheduALL (Stand 1.B39) joins IBC to demonstrate how it connects businesses with the right resources.

Products to be showcased include: ScheduALL’s Enterprise Resource Management application (ERMa) enables disparate ScheduALL systems to connect and accelerate project workflows throughout the content creation to distribution supply chain. With ERMa, ScheduALL owners can partner and share inventories with another ScheduALL system in real time. Studios can collaborate directly with Post-Production, Broadcasters can seamlessly purchase bandwidth from Satellite transmission providers, and News groups can work with freelancers and book resources from anywhere in the world.

AVvA is a cloud-based solution that books freelancers, equipment providers, etc, directly into workflows as if they were in-house resources. AVvA is available anywhere with an Internet connection, eliminating the need for the patchwork of e-mail and phone calls required to otherwise find, contract, schedule, manage, and report on different partners for different projects and assignments.

ScheduLINK manages highly complex inventories and avoids multi-parameter conflicts, technical mismatches and double bookings. ScheduLINK’s sophisticated logic checks help to avoid potential problems such as availability restrictions, equipment incompatability, antenna port and look-angle conflicts, single and dual-path polarity conflicts, insufficient setup / move time, and required bandwidth capacity.

ScheduALL will showcase added functionality of its scheduling tool sets with a new “process-based” scheduling component. This new tool provides the granularity of task-based scheduling, faster work order/process creation via reusable drag-and-drop templates, and enhanced forecasting, budgeting, and reporting within the project workflow spectrum.

Visit www.scheduall.com

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Bridge Technologies Bows VideoBridge 4.5 Bridge Technologies has released version 4.5 of the VideoBridge monitoring and analysis software for cable, terrestrial, and satellite media delivery operations. The new 4.5 software release adds a range of enhancements and upgrades for Bridge Technologies’ IP probes and VBC server, designed to extend real-world versatility, at-a-glance monitoring, and integration capabilities with third-party management systems.

New features have been added that support the increased capabilities of Bridge Technologies’ VB262 Dual QAM/VSB RF interface card and other hardware devices.

All VideoBridge probes have received a range of enhancements and new features including audio metering with large thumbnail displays, Cop3.2 FEC detection and analysis, enhanced security settings for more comprehensive access control, software upgrade and upload via the Web interface, advanced auto threshold settings for RF interfaces, alarm filtering and scheduling for services and PIDs, and major usability enhancements to the Eii (External Integration Interface).

The VideoBridge Controller (VBC) now includes central alarm scheduling and enhanced equipment view and configuration controls. The VB280 Content Extractor also features new realtime, large-thumbnail displays, audio metering, and content detail display.

“We have refined the analysis tools and built in industry-leading value and versatility with features like Spectrum Analytics in our probes, which can save operators from having to invest in extra equipment,” said Simen Frostad, chairman of Bridge Technologies. “We’ve also extended and enhanced the entire satellite-to-set-top-box capability of the VideoBridge system.”

Visit www.bridgetech.tv

Calibre’s New Image Processors

DONATE NOW Visit www.unicef.org.au 74 Transmission

Premium image-processor manufacturer Calibre UK (Stand 6.C28F) returns to IBC this year with new products to round out an offering for existing dealers and new distributors alike.

Among the new additions to the company’s range are the HQView500, 510 and 520, which offer << << The VideoExcel range of 3G-SDI inputs and outputs together with edge blend processors will debut at IBC 2010 and warp options.

Also new are two additions to the VideoExcel Broadcast range, the VXL75HD and VLX150HD, which offer format conversion, frame synchronisation and scan conversion in a single package.

For broadcast applications, the brand new VideoExcel range of processors will be on show.

“While the quality and functional specification of these processors is very high, lean manufacturing has enabled us to be very aggressive in our price positioning,” said Pauline Brooksbank, Managing Director.

“That is a winning combination, and one that we think will appeal to many integrators, dealers and distributors, many of whom may not have partnered with us before. While our offering spans many industry sectors, we are particularly keen to hear from those with niche expertise in broadcast pre- and post-production as well as multipleprojected and LED video imaging.”

Visit www.calibreuk.com

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Ross Video Updates Switchers At IBC Ross Video (Stand 10.A31) raises the bar in high end production switchers with Vision Octane, the world’s first 8 MLE switcher. Vision Octane is extremely powerful with 35 Full Screen HD Animation Stores, 24 Channels of 3D DVE with WARP capability, 96 inputs, 48 outputs, and an unprecedented total of 56 Keyers - 32 Full Keyers, 12 AuxKey Mixer / Keyers on the aux bus outputs and 12 DVE key combiners.

Vision Octane can be loaded with any number of MLEs from 1 to 8, match any application, and be combined with up to 9 different control panels.

At IBC Vision adds an optional internal Multiviewer with access to all internal and external sources.

Source labels with transparency, full program and preview tallies, and user selectable source assignments make this an excellent and cost effective solution for production control rooms.

The entire Vision Series ships with a new 3G

infrastructure as a standard feature. Stereoscopic 3D capabilities and comprehensive iMag MultiScreen support will also be shown.

CrossOver’s v3.0 software feature set, introduced at NAB 2010 added an Internal Multiviewer, LiveEDL, EDL export, XPression LiveCG and CleanSwitch Audio. IBC 2010 will see the release of v3.1 software, which adds powerful new features such as Robotic Camera Control, Video Server Control and even more user requested features.

IBC 2010 will see the launch of v9.1 software for OverDrive Automated Production Control. Version 9.1 features NKeyer support, NRCS CG timer support and many new MOS device interfaces.

GlobalView exploits the additional workspace of widescreen displays allowing for user-configurable layouts.

Visit www.rossvideo.com

Air Cooled Transmitter Doubles Power BNT Priboy (Stand 8.A44), based in St Petersburg, Russia, is a leading designer of cutting-edge integrated cooling systems for power electronics and power instrument engineering and manufacturing.

With nine patents secured in the past two years, BNT Priboy has traditionally supplied air, liquid and mixed type cooling systems for power amplifier blocks.

Integrated Air-Cooling system for PA-600D Digital Television Amplifier At IBC 2010 BNT Priboy will demonstrate its state-of-the-art complete integrated air cooling system using base carrying construction. It will show the PA-600D digital television amplifier, which utilises this cooling technology, providing a nominal output power of 600W from a self-cooled unit measuring only 530×420x132mm. By using this air cooling technology this amplifier can deliver twice as much power as other leading air cooled transmission amplifiers at the same size. The PA-600D utilises aluminium/copper heat sinks, combined bearing under structures with pre-set thermal performance to deliver increased air cooling efficiency, by up to 30 per cent, while creating significant savings on the engineering and manufacturing process.

BNT Priboy will host a seminar on this topic at IBC on Saturday 11th September from 3pm - 5pm in the Emerald Room at the RAI. Visit www.bnt-priboy.ru

Digital Rapids IBC 2010 Preview

Digital Rapids (Stand 7.G41, Main / IP341, IPTV Zone) is bringing a comprehensive range of solutions for transforming and distributing media to IBC 2010.

The new Flux family of video capture and preprocessing hardware will make its IBC debut.

Flux HD boards are the first cards optimised for encoding and streaming to feature dual-link and 3G-SDI input support. The Flux hardware builds on the advanced video processing technology that has earned our solutions their reputation for industryleading encoding quality. Working in conjunction with the Digital Rapids Stream software, Flux cards enable real-time, multi-format media capture, encoding and streaming for applications including post production, Internet TV, IPTV, VOD, mobile video, archive and more.

Live adaptive streaming encoders - the highperformance StreamZHD Live ABR adaptive streaming encoder will also make its first IBC appearance. StreamZHD Live ABR encodes and streams live HD and SD content at unparalleled quality for delivery through the latest generation of adaptive streaming technologies including HTTP Dynamic Streaming for Adobe Flash Player; adaptive HTTP streaming to Apple iPhone and iPad; and Microsoft IIS Smooth Streaming. Adaptive bit rate delivery ensures that content consumers receive the highest quality viewing experience possible even under changing bandwidth and playback conditions. For multi-channel, enterpriseclass deployments, multiple StreamZHD Live ABR encoders can be combined with the scalable Digital Rapids Broadcast Manager software for management, automation, scheduling, monitoring and failover. A new version of Broadcast Manager will be unveiled, with new features including automation for an expanded range of third-party video routers to manage incoming sources.

Visit www.digital-rapids.com

New Newtec Satellite Products for IBC Satellite communications company Newtec (Stand 1.A49) has announced it will show a range of new products and features at IBC. Showing for the first time at IBC, DualFlow is a new technology allowing broadcasters to migrate cost-effectively from traditional ASI to IP-based satellite operation, with efficient investment during the transition period.

Aimed at the contribution, DSNG, and distribution markets, DualFlow enables two-way IP interactivity over satellite and allows operators to choose when they make the switch to IP by simultaneously supporting both ASI and IP. Operators can therefore continue to service clients using ASI and cater for clients already converted to IP operation. DualFlow is available as part of Newtec’s Azimuth satellite broadcasting modulation equipment.

FlexACM — boosting efficiency of IP trunking and IP backbone networks over satellite.

FlexACM is a unique end-to-end solution for implementing ACM technology, IP shaping, compression, and acceleration in a very efficient way for IP trunking and IP backbone satellite links. The implementation of FlexACM can result in a doubling of the data throughput in a given satellite segment while also guaranteeing 100 percent link availability and reducing OPEX by up to 50 percent. FlexACM is available as part of Newtec’s Elevation product family, which consists of DVB-S2 IP satellite modulators, demodulators, modems, and satellite IP appliances. Visit www.newtec.eu

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<< <<

Newtec’s Azimuth satellite broadcasting modulation equipment with DualFlow.

Transmission 75

ABE2010

conferences >>viscom frankfurt 2010

>>Submarine Networks

& Digital Signage World

World 2010

28-30 October, 2010

1-3 September 2010

Frankfurt/Main,

Singapore

Exhibition Centre,

www.terrapinn.

Hall 3.0

com/2010/submarine

www.viscom-messe.com

>>IFA 2010

November

Consumer Electronics

Digital Signage World

Unlimited

Asia Suntec, Singapore

3-8 September, 2010

9-10 November, 2010

Messe Berlin

www.terrapinn.

Germany

com/2010/digitalasia

www.ifa-berlin.com News Xchange 2010 >>IBC2010

11 Nov 2010

Conference 9-13,

Athens, Greece

September 2010

http://www.

Exhibition 10-14,

newsxchange.org/

September 2010 RAI Amsterdam

>>InterBEE 2010

www.ibc.org

17-19 November, 2010 Makuhari Messe,

October

Chiba, Japan www.inter-bee.com

>>National Radio Conference 2010

Commercialising Video 28 & 29 September 2010 Sydney

Equipment

>

Services

>

Products

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

EXHIBITIONS & ROADSHOWS SEPTEMBER

exhibition

ESP Directory

video highlights

TRADES HOW SNAPSH OT

Online video has dramatically changed the way we consume content with 1 billion videos viewed daily. Video makes up a quarter of the internet’s traffic and this is expected to grow to 90% in three years. YouTube viewers watch nearly 100 videos each on a monthly basis—meaning they’re watching more videos than ever. And it’s no surprise that online video advertising is booming also.

94% of advertising executives plan to increase online video ad spending in 2010 in the US. Why? Because it works. AIMIA and VentureOne are delighted to bring you the 3rd annual Commercialising Video seminar and workshops, to be held in Sydney.

This is the only event to share, discuss, and debate your views on the opportunities in video across multiple platforms – and how to profit from them.

In a series of case studies and panel discussions you will hear the latest information on: * International case study on online video streaming * Evolving business models of video * Using video for brand awareness and sales * A Great Debate: The Future of Content * Funding and distributing new independent content * How IPTV will transform viewing habits * Monetising the long tail Day Two will feature morning sessions on Measurement including: * Establishing agreement on measurement * What are advertisers and agencies looking for?

And in the afternoon half day workshops on various topics will be held.

Event Details: Date: 28 & 29 September 2010 Venue: The Establishment Address: 252 George Street, Sydney Visit http://www.aimia.com.au/home/events/aimia-events/commercialising-video(Editor’s note: don’t forget hyphen after ‘video’ in the above URL).

15-16 October, 2010 Crown Casino, Melbourne, Australia www.commercialradio. com.au

content

technology MAGAZINE

presents

3D-DAY

November 16, 2010, Sydney, Australia

Join C+T magazine and a range of experts for a day of technical and production insights into The Third Dimension!!!

3D Glasses, 3D Classes ... for Content Creators & Technologists

Visit www.abeshow.tv

To register, visit www.3d-day.tv 76 Conferences Exhibitions & Roadshows

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ADVERTISER INDEX 3D-Day.............................................23 Amber Technology..............................17 Audio Video Consulting..................59, 67 Australian Broadcasting Summit.............45 Avid Technology.................................43 Behind the Screens PR . .......................77 Blackmagic Design................................5 C&T Awards......................................21 www.d-sign.tv....................................53 Eureka Pacific.....................................49 Ericsson..........................................OBC GDB Intl..............................................7 Gencom Technology............................11 Grass Valley.......................................33 Harris Corporation.............................IBC IBC...................................................19 Junger Audio......................................66 JVC...................................................31 Lateral Linking.....................................77

Linear Acoustic....................................65 Lumina Broadcast Systems....................71 Magna Systems & Engineering........13, 32 Mediaware....................................... IFC Netia................................................55 OB Group.........................................77 Omneon Inc.........................................3 Omnibus...........................................51 On-Air Solutions............................60, 73 Panasonic..........................................27 Procom..............................................74 Production Audio Services..............61, 63 Professional Audio Technology...............68 Quantel.............................................25 Quinto Communications.........................9 Riedel Communications........................39 Ross Video Asia..................................37 Syntec International........................62, 69 Techtel...............................................15 Videocraft..........................................29

Classifieds 77

Off-Air

Off-Air

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

>> >>>> ABE >>2010

78 Off-Air

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Off-Air 79

Time Shifter With broadband

a hot topic during this year’s Australian election campaign, we thought we’d look back to the heady days of 1998 and Internet Service Provider EISA’s Ultimate Express Pack of 12 months pre-paid internet access.

As well as the pre-paid ‘Express Card’, this connective package also came with ‘Discover the Internet’, a 168-page step by step instruction manual and a 45-minute ‘Discover the Internet’ VHS tape (Youtube?

Humbug!).

The accompanying blurb to the video includes the following: “Have you ever wondered what the Internet is?

How it works? What can you get out of the Internet?

Are you baffled by jargon like The Web, Browsers,

email, Newsgroups and IRC? “This informative training presentation and introduction contains everything you need to know about computer hardware, modems, connecting to and using the Internet. It dispels fears and introduces you to the world of the Internet from the comfort of your lounge room.”

As well as the very compelling goodies above, your EISA subscription included: • Access to the World Wide Web (WWW); • Access to FTP (File Transfer Protocol) for downloading off the Internet; • Access to EISA’s On-Line gaming servers such as Quake and Quake II; and • 5Mb of space for your personal webpage.

All you needed to catch the Internet Surfing Wave was: • 486-DX 66MHz processor; • 8Mb RAM minimum, 16Mb with Active Desktop (24Mb+ for NT 4.0); • 70Mb Hard Disk Space; • Mouse; • Modem; • CD ROM Drive; and • Windows 95/Windows NT 4.0 or later.

EISA was the first ISP in Australia with National coverage to offer Flat Fee service with no additional charges. The eisa.net.au domain name is now owned by Webmetrix Pty Ltd, an ISP based in East Brisbane.

At Harris, we’re delivering the future today.

For nearly a century, Harris has pioneered the technologies that drive the world’s leading television and radio broadcast operations.

Today, Harris is the industry’s total communications leader — uniquely merging traditional broadcast and IT systems with powerful media software to streamline your current workflow and unlock all-new markets such as 3DTV, Mobile DTV, digital radio and out-of-home advertising.

Where are we headed tomorrow? Wherever you and your audience want to go.

See us us at at IBC2009, IBC2010, Hall Hall 7 7 Stand Stand G20 See G20 To learn more, please visit us at www.broadcast.harris.com.

Hong Kong +852 2776 0628

Gerry Brooks is on leave.

80 Time Shifter

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China +86 10 5172 2920

Singapore +65 6595 4600

Japan +813 3526 8500

Sydney +612 9975 9700

India +91 120 477 5400

End-To-Endless

television Introducing Ericsson E2E TV™.

Redefining “end-to-end” to ensure that the Individual TV Experience is desired by people, technologically proven, and profitable.

See more at ericsson.com/televisionary.

E2E TV – that’s televisionary

Visit Ericsson at IBC2010 - Hall 1 D61

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